Tomas Fujiwara - Triple Double

October 9, 2017

Label/Year: Firehouse 12 Records, 2017

Lineup – Tomas Fujiwara: drums; Gerald Cleaver: drums; Ralph Alessi: trumpet; Taylor Ho Bynum: cornet; Mary Halvorson: guitar; Brandon Seabrook: guitar.

The Double Trio project, put together by the virtuous Boston-born, New York-based percussionist Tomas Fujiwara, inhabits the contemporary jazz panorama with a laudable degree of excellence. The band, two mirrors of the same nature, comprises a pair of horns, masterfully handled by Ralph Alessi and Taylor Ho Bynum, a pair of hooky guitars, whose barbed sounds are the fruits of the imagination of Mary Halvorson and Brandon Seabrook, and two drums, provocatively banged by Gerald Cleaver and the bandleader himself.

Triple Double features ten tracks that morph from catchy indie rock to sparkling avant-garde jazz and vice-versa.

One can admire the group’s suppleness right in the opening track. The ternary “Diving For Quarters” primarily strikes with a double six-string roam. A variety of snoopy sounds, from squeals to hollow tones to air notes, are thrown in by Ho Bynum, who forges an atmospheric mood before Alessi expresses his vastly articulated and melodious thoughts. He does so, having a beautifully dissonant guitar polyphony and double drumming exposure working underneath. I felt this tune as a delicate lament that gradually expands with the force of a rock song.

The lofty rhythmic patterns continue with “Blueberry Eyes”, in which Fujiwara takes on a march-like African cadence as he pushes his bandmates to create freely within the outlined structural blocks. His shimmering technique prone to syncopation can be further enjoyed on “For Alan”, a percussion duet homaging Fujiwara’s mentor Alan Dawson.

In order to subdue the vivid intensity, moments of sheer musing were prepared on pieces such as “Hurry Home B/G”, an ethereal pop song propelled by brushed drumming and tweaked by guitar effects, “Hurry Home M/T”, and “Love and Protest”. The latter composition counterbalances a dreamy vulnerability in its texture due to Halvorson’s tart slide guitar, which works in opposition to the effervescent drumming and melodic flights that relentlessly push us toward a shivering climax.

“Pocket Pass” and “Decisive Shadow” bursts with avid energy and verve. The former lifts off with swift guitar embroidery, rhythmic assaults, and improvised cogitations that later take the form of a horn polyphony; the latter is a trancelike exploration filled with mesmerizing sounds, scintillating solos, and ultimately telling power chords.

“To Hours” closes the session with pure fun, offering up powerful guitar pedals and surrounding voicings, unnerving flurries of rhythmic timbres, and staggering counterpoint, all in the same package.

Triple Double is a precious work, shinning more and more at every listening. It not only shows Fujiwara’s creativity at all levels but also elevates the new shapes of jazz through a refreshing originality.

Favorite Tracks:
01 – Diving For Quarters ► 07 – Decisive Shadow ► 10 – To Hours

Anat Cohen Tentet - Happy Song

October 5, 2017

Label/Year: Anzic Records, 2017

Lineup – Anat Cohen: clarinet; Sheryl Bailey: guitar; Nadje Noordhuis: trumpet; Owen Broder: baritone sax, bass clarinet; Nick Finzer: trombone; Vitor Gonçalves: accordion; Rubin Kodheli: cello; James Shipp: vibraphone, percussion; Tal Mashiach: bass; Anthony Pinccioti: drums.

Anat Cohen is a multifaceted clarinetist-composer who has been recently immersed in the Brazilian jazz scene. Two of her recent outings, Rosa dos Ventos and Outra Coisa, recorded with Trio Brasileiro and guitarist Marcello Gonçalves, respectively, confirm exactly that.
For her newest record, Happy Song, she changes direction, gathering a dynamic tentet whose members come from different parts of the world, a fact that suits perfectly her wide eclectic vision and multi-cultural approach to music.

The repertoire here consists of eight pieces ranging in color and style and telling the story of the clarinet under the guidance of musical director and longtime collaborator Oded Lev-Ari.

Opening this polychromatic tour is the title track, which is nothing else than a funky exercise delivered with a contagious groove and blues-inflected speeches. Cohen’s clarinet takes the leading role, always well supported by the funky chunks of Sheryl Bailey’s guitar and the well-shaped movements superiorly orchestrated by the unified collective.

“Valsa para Alice” is expressively poetic in its engrossing melody, featuring passionate solos by the bandleader, the vibraphonist James Ship, and the Brazilian accordionist Vitor Gonçalves. The latter’s dramatic intonations deserve the spotlight on “Loro”, a piece by the virtuous Egberto Gismonti, in which Brazilian folklore with all its enriching rhythms gives it an exuberant sense of uplift.

Evoking the traditional swing era, Owen Murphy’s cheerful “Oh Baby” is arranged with humor and character. It combines Duke Ellington's orchestrations with Joe Pass’ swinging fervency and rejoices with improvisations by Bailey, Cohen, trumpeter Nadje Noordhuis, and baritonist Owen Broder, intercalated by in-synch phrases and call-response maneuvers. By the end, is Pinccioti who shines with efficient rhythmic bite.

One of the most idiosyncratic pieces, “Anat’s Doina”, is split into three Eastern-tinged movements: Mayse, Der Gasne Nigun, and Foile-Shtick. The amply dramatic appeal is heavily reinforced by Rubin Kodheli’s cello, but expect other stunts like shifting rhythmic accentuations within the ternary time signature, compulsive Polka-like dances delivered with celebratory postures, and a smooth crossover jazz with strong Latin vibes.

Cohen and her peers also tackle “Trills and Thrills”, an emotional pop/rock ballad composed by Dev-Ari and driven by Bailey’s six-string weeping laments, and Neba Solo’s “Kanedougou Foly”, a piece propelled by exotic African percussion rhythms and where the melodic suggestions of the clarinetist find echo in the counteractions of the horn section. Cohen arranged this one herself.

Happy Song mirrors the forthright and sumptuous style of Anat Cohen, whose adaptability to multiple genres and settings is impressive. It’s remarkable how easily one can engage in this multiethnic celebration of the creative spirit.

Favorite Tracks:
02 - Valsa Para Alice ► 03 - Oh Baby ► 06 – Trills and Thrills

Christian McBride Big Band - Bringin It

October 3, 2017

Label/Year: Mack Avenue Records, 2017

Lineup includes – Christian McBride: bass; Ron Blake: tenor sax, flute; Steve Wilson: alto and soprano sax, flute; Todd Bashore: alto sax, flute, piccolo; Carl Maraghi: bari sax, bass clarinet; Dan Pratt: tenor sax, flute; Freddie Hendrix: trumpet; David Lee: trumpet; Frank Greene: trumpet; Nabate Isles: trumpet; Steve Davis: trombone; Michael Dease: trombone; James Burton: trombone; Joe McDonough: trombone; Douglas Purviance: bass trombone; Rodney Jones: guitar; Xavier Davis: piano; Melissa Walker: vocals; Quincy Phillips: drums.

Every record put out by the world-class jazz bassist Christian McBride is well worth checking out. After digging Live at the Village Vanguard with his trio, the bassist returns to the big band format with Bringin’ It, an honorable follow-up to the 2011 Grammy Award winner The Good Feeling.

What does McBride bring us this time? Originals? Jazz standards? Elated post-bop classics? Well, the answer is yes to all of that, and he does it with an impressive cohort of artists and outstanding soloists, many of them retrieved from the first experience, including saxophonists Ron Blake and Steve Wilson, trumpeter Freddie Hendrix, trombonists Steve Davis and Michael Dease, as well as pianist Xavier Davis and vocalist Melissa Walker.

“Gettin’ To It”, the first of three reshaped old originals by the bassist, flows with soulful energy, colored with Rodney Jones’ funk-oriented guitar chops and filled with lots of jabs and hooks thrown in by the improvisers. Hendrix sounds magisterial in his brave trumpet ululations and then Jones applies all his bluesiness to an individual statement, well backed by a trombone/baritone ostinato.

Freddie Hubbard’s “Thermo” is a triumphant, engaging post-bop vehicle for the soloists, who take us to the golden era of jazz without leaving aside the buoyant twists of modernity.

McBride’s remaining compositions, “Youthful Bliss” and “Used ‘Ta Could”, are both colorful but inhabit different worlds. The former, including a bass discourse with bright melody and groove, cultivates a post-bop idolization with occasional delicate ripples of soul and Latin for extra color, while the latter is a celebratory waltz with plenty of Mingus’ moods.

Another punch in the stomach arrives with McCoy Tyner’s “Sahara”, exuberantly set in motion by Quincy Phillips’ mallet drumming together with free-floating woodwinds, and then leaning on a 6/8 groove with vibrant horn unisons atop. Striking improvisations from piano and alto saxophone occur over modal harmonic progressions while Phillips finishes off what he had started, resorting to his classy rhythmic deftness.

Wes Montgomery’s groovy “Full House” starts with packaging all the original guitaristic steam in Jones’ well-measured solo, passing by Carl Maraghi’s magnetic baritone before the epic finale. The vivacity felt here opposes to the more tranquil vibes of the jazz standards “I Thought About You” and “ In the Wee Small Hours of the Morning”.

The vocal warmness of Ms. Melissa Walker is quite something on Djavan’s Brazilian hit “Upside Down” (the original version is called “Flor de Lis”), and also polishes up “Mr. Bojangles”, a tune by the American country artist Jerry Jeff Walker, here brought up with interesting rhythmic details and a leisurely swing.

Suffused with striking arrangements and turning the ensemble's grandiose sense of unity to its advantage, Bringin’ It is a tour-de-force album that substantiates how a modern big band can sound so stalwart and effulgent at the same time.

Favorite Tracks:
02 - Thermo ► 03 - Youthful Bliss ► 05 – Sahara

Or Bareket - OB1

October 3, 2017

Label/Year: Fresh Sound New Talent, 2017

Lineup - Shachar Elnatan: guitar; Gadi Lehavi: piano; Or Bareket: bass; Ziv Ravitz: drums.

Comfortably straddling traditional and modern settings, young bassist Or Bareket brings his roots and all the multicultural influences that surround him into his debut album OB1, affectingly dedicated to his late father.

Based in New York for quite some time, Bereket, who was born in Jerusalem and raised in Buenos Aires, establishes a fundamental, trusting connection with the members of his quartet: guitarist Shachar Elnatan, pianist Gadi Lehavi, and Shai Maestro Trio’s drummer Ziv Ravitz.

Drawing inspiration from different musical sources and marked by a 6/8 time signature, “Patience” bursts out of the gate in a kaleidoscopic cornucopia with a predetermined bass-piano unison statement and an unclouded, Jimi Hendrix-like guitar ostinato that brings a strong fusion charisma to the head. At some point, Elnatan and Lehavi exchange ideas with open ears, trapped in the enthusiastic percussive web acutely weaved by Bereket and Ravitz. The finale bolsters the innocuous encounter between funk-rock and Israeli folklore.

A bass pedal procures crystalline harmonics on “Snooze”s introductory section. Here, the easy melodies are set against a more complex harmonic sequence, yet everything is enveloped by a gentle groove.

Opposing to the consciously contemplative “Shosh” and “Misdronoth”, we have “Joaquin”, an outgoing, dance-fueled spectacle vividly designed with eclectic ideas, and the well-ventilated waltz “La Music y la Palabra” that takes off the ground with the further assistance of Brazilian accordionist Vitor Gonçalves, one of the two special guests on the album (the other one is the influential Japanese percussionist Keith Ogawa).

The piece “Elefantes” is split into two parts. While part one is prone to modulation and maintains a classical feel throughout, even when Bereket starts his poetic declamation, the part two finds its cruising speed with a stronger jazzistic touch and a steady rhythm but embodying the same lyrical spirit.

The album ends beautifully with “Shir Lelo Shem”, an expressionistic 3-minute solo recitation by Bareket, rounded with gleeful melodic intention.

While OB1 embraces a variety of styles and moods, it all works as an integrated whole that feels rich and breathable. This is an auspicious debut by a prodigious bassist who, additionally, reveals a persuasive sense of composition.

Favorite Tracks:
01 - Patience ► 07 - Joaquin ► 09 - Shir Lelo Shem

Anouar Brahem - Blue Maqams

October 2, 2017

Label/Year: ECM, 2017

Lineup – Anouar Brahem: oud; Django Bates: piano; Dave Holland: bass; Jack DeJohnette: drums.

Tunisian oud player and composer Anouar Brahem is a widely reputed artist who has recorded extensively on the ECM label. Indelible works such as Barzakh, The Astounding Eyes of Rita, and especially Thimar, a memorable trio session with British multi-reedist John Surman and American bassist Dave Holland, are among his most accomplished works.

The top bass player mentioned above is part of the triumvirate that interact with Brahem in his latest outing Blue Maqams, a collection of mostly new compositions based on the Arabic modal music system that fits the unequal world chamber-jazz current he usually embraces. The other members are the British pianist Django Bates and the legendary American drummer Jack DeJohnette, who round out the real jazz rhythm section.

“Opening Day” brings interesting ideas en-route, taking us instantaneously to torrid, distant places through the oud-bass singalong. Bates’ point of departure fully corroborates with Brahem’s melodic phrase. It all ends up in a three-side parallel melodic movement whose fluency is disrupted through a sensitive bass solo by Holland.

The bassist’s amazing sound and virtuous sense of groove, always with DeJohnette’s sober-minded rhythmic measures alongside, constitutes the body of the songs. “Bom Dia Rio”, whose Portuguese title means ‘good morning river’, and “Persepolis’s Mirage” are typical cases of spectacular drifts delivered at unusual tempos. Masterfully layered, the former tune meditates through the oud sounds after jolting with a super 10/8 time signature. On the latter piece, marked by passages with 14 beats per measure, we can hear the exotic lute-like instrument, impeccably dominated by the bandleader, embracing deep-toned sounds while advancing in perfect consonance with the bass.

There’s a soulful contemplation attached to “La Nuit”, where piano and oud embark on a candid one-to-one conversation, reflecting conjointly until the bass and the drums become involved. It feels like a tranquil prayer of gratitude.

Denoting an inflation of the Western feel due to a delicate waltzing jazz approach, the title track changes radically when Brahem isolates himself, exploring his innermost musicality. After this retreat, the reappearance of the rhythm section sounds no less than magical.

Regardless the title and the rhythmic touch, the piano-less “Bahia” doesn’t sound particularly Brazilian, rather exhibiting an occasionally hummed 2-minute solo introduction by Brahem, who first recorded this piece in 1994 with saxophonist Jan Garbarek for the latter's album Madar.

Blue Maqams has no need to pound or poke, finding tranquility in the pragmatic acoustic formula and unblemished technique evinced by the quartet. In these disturbing times, nothing better than listening to music that is congenial, peaceful, and deeply felt. Anouar Brahem delivers all that and more.

Favorite Tracks:
03 - Blue Maqams ► 06 - Bom Dia Rio ► 07 - Persepolis’s Mirage

Brian Landrus Orchestra - Generations

September 28, 2017

Label/Year: BlueLand Records, 2017

Lineup includes - Brian Landrus: baritone saxophone, bass clarinet; Alan Ferber: trombone; Ralph Alessi: trumpet; Igmar Thomas: trumpet; Marcos Rojas: tuba; Mark Feldman: violin; Jamie Baum: flutes; Tom Christensen: oboe, flute; Michael Rabinowitz: bassoon; Alden Banta: contrabassoon; Debbie Schmidt: horn; Brandee Younger: harp; Joe Locke: vibraphone; Lonnie Plaxico: electric and acoustic bass; Jay Anderson: acoustic bass; Billy Hart: drums, and more.

Brian Landrus, a true prodigy in the art of playing deep-toned woodwind instruments, governs an amazing orchestra on Generations, a solid work sparkling with thoughtful arrangements and unusually fetching sounds.

The band lineup includes illustrious artists known for their creative contemporary vein such as flutist Jamie Baum, trombonist Alan Ferber, trumpeter Ralph Alessi, tuba player Marcos Rojas, violinist Mark Feldman, vibraphonist Joe Locke, bassist Lonnie Plaxico, and drummer Billy Hart, among many others.

“Jeru Concerto”, a well-worked opus divided into four movements, opens the record with a strength of character. On the first movement, there’s consonance in the musicians’ activity. However, nothing here is too obvious and the layered sounds make us search incessantly for the essence of the music. Before the soft narration of the second movement, voiced with contrapuntal splendor, there’s a one-minute interlude where Landrus shows his impeccable command of the circular breathing technique.
Oscillating between the pastoral and the metropolitan, the third movement continues to live in a sort of contemplation, even when the orchestration is intensified. It leads to the more extrovert fourth movement, where Landrus gives wings to his imagination as he draws phrases with an impressive tonal range from his potent baritone. The impetus is seamlessly refrained halfway to open up airy melodic spaces that regain an enthusiastic consistency on the final stretch.

The reggae accentuation of “Orchids”, whose foundation is reinforced by a diligent bass groove, gains extra coloration with the preponderant presence of Brandee Younger’s harp and the bandleader’s bass clarinet, working in conjunction with emotional horn designs.

Enigmatic and searching, “The Warrior” is a shifting piece whose storytelling is initiated with terse violin strokes in counterpoint with reed movements and occasionally supported by Locke’s soft textures. This phase lasts just until trumpeter Igmar Thomas steals the show, employing a few lines à-la Miles Davis over a mild swinging flow. Comprehending continual floating currents of instrumental skillfulness, the tune also goes through some triumphant phases enriched by bold rhythmic thrusts.

“Arise" and “Human Nature” are among the most satisfying compositions. The former, having Plaxico’s electric bass and Rojas’ tuba paving the ground, brings a panoply of reed instruments acting collectively over an invigorating rhythm; the latter uncovers its true nature by playing with light and darkness, dancing effusively through singable flute melodies, soaring violin streaks, and deep-voiced horn traces.

The final piece, “Every Time I Dream”, brings up Bobby Hutcherson’s exquisite moods attached to a fervent desire to sound free. Nonetheless, it lies within the structural limits imposed.

Since the surprising factor never ceases, the super intriguing Generations is not an easy album to assimilate all at once. Even after repetitive listening, our gratification is magnified whenever we plunge into its astonishing ambiances.
Brian Landrus proves to be an extremely skillful composer and a first-class multi-reedist.

Favorite Tracks:
06 - Orchids ► 09 - Arise ► 10 - Human Nature

Matt Mitchell - A Pouting Grimace

September 27, 2017

Label/Year: Pi Recordings, 2017

Lineup – Matt Mitchell: piano, Prophet 6, electronics; Jon Irabagon: soprano and sopranino saxophone; Ben Kono: oboe, English horn; Scott Robinson: bass saxophone, contrabass clarinet; Sara Schoenbeck: bassoon; Anna Webber: flutes; Katie Andrews: harp; Patricia Brennan: vibraphone, marimba; Ches Smith: vibraphone, glockenspiel, marimba, timpani, percussion; Dan Weiss: tabla; Kim Cass: upright bass; Kate Gentile: drums, percussion; Tyshawn Sorey: conductor.

One of the most adventurous pianists and inescapable presence in the scene is Matt Mitchell, who, besides his own work, is a fundamental piece in Tim Berne’s Snakeoil, Dave Douglas Quintet, Darius Jones Quartet, and Rudresh Mahanthappa’s Bird Calls.

The cover of A Pouting Grimace, his latest work, exhibits an intriguing collage of figures that assume different forms, textures, and colors. This illustrates Mitchell’s compositional style and music. These forms sometimes live secluded; other times they collide with other forms, metamorphosing into a new creature with a totally different texture, consistency, and visual appearance.

The off-kilter sounds on the album respond positively to the high bar raised with his previous quartet-session Vista Accumulation. It is layered by an enthusiastic set of musicians who performed beautifully within the various formations envisioned by Mitchell for each tune.

Mitchell, alone, opens and closes the album with a soaring monochromatism that stems exclusively from electronic sound manipulations. This is just the skin of a body that transpires many more surprises when its guts are exposed.

The impressionistic “Plate Shapes” is a complex vortex of rhythms and sounds that advances moderately yet compulsively. It feels like a nonstop train running, hastened by Jon Irabagon’s sopranino runs and Sara Schoenbeck’s inquisitive bassoon. Expressing freedom, this trip is a paradise for the instrumentalists and true explorers who alternately dive into unisons, ostinatos, and impromptu ideas in the form of deft phrases and motivic figures.

The combination of Kim Cass' propulsive swinging bass and Kate Gentile’s vibrant drumming becomes best friends with Mitchell’s dazzling textures on “Mini Alternate”, a mutant piece featuring the charming yet cavernous sounds of Scott Robinson’s bass saxophone and the bandleader’s meticulous explorations. Ches Smith on glockenspiel and Dan Weiss on tabla enrich the scenario with quality vibes when the band gets suspended in a hectic groove before landing definitively on an enchanting percussive soil. Fragrances from the Middle East aromatize the air through Ben Kono’s flexuous oboe drives.

“Brim”, enthusiastically built up by a 12-piece ensemble, is one of a pair of pieces conducted by Tyshawn Sorey. The group decants a spiral of rampant rhythms and dancing polyphonies that stimulates the senses with its imaginative sounds imbued with cinematic avant-garde flair.

Mitchell, Cass, and Gentile, performing in a classic piano trio formation, launch “Gluts” into the orbit. During the mission, they come across with Anna Webber’s alto flute, Schoenbeck’s bassoon, and Katie Andrews’ harp. Interaction is urgent and indispensable.

Impressively aesthetic, “Heft” is a poignant piece delivered in quintet, whose dual nature encompasses dark and glittery tonalities. Full of spins and thrills, it starts with rhythmic splashes, at the same time that patterned high-pitched piano notes are thrown against the low-toned honks expelled by the bass saxophone. After a recurrent piano phrase of intervallic quality, Irabagon and Robinson embark on a powerful collective improvisation suffused with wild, bouncing attacks, which leaves the impression we have a much bigger band in action. The tune finishes calmly and gorgeously at the sound of contrapuntal piano and sopranino, and an unobtrusive percussion as their friendly company.

Mitchell loves to push boundaries, assuring a gravitational balance that starts in the mind and is transported to his nimble fingers with precision and resolve. Every inch of this uncategorizable music is cerebral, intelligent, and absolutely mesmeric.
You can put down this one on the list of 2017 mandatory albums.

Favorite Tracks:
02 - Plate Shapes ► 03 - Brim ► 08 - Heft

Sam Bardfeld - The Great Enthusiasms

September 26, 2017

Label/Year: Brooklyn Jazz Underground, 2017

Lineup - Sam Bardfeld: violin; Kris Davis: piano; Michael Sarin: drums.

New York violinist-composer Sam Bardfeld has a natural inclination for avant-garde jazz, yet he has had other enriching experiences in his career such as recording with the rock star Bruce Springsteen (three albums) and Joel Harrison’s String Choir (one album). He’s also a member of The Jazz Passengers and was part of the Anthony Braxton’s prestigious Trillium J Orchestra.

After a 12-year discontinuity (his sophomore album Periodic Trespasses was released in 2007 on the Fresh Sound label), Bardfeld returns alongside Kris Davis, a master pianist in the art of creating dynamic/ecstatic textures, and Michael Sarin, a highly adaptable drummer and genre-bending jazz militant. Together, they render five Bardfeld originals and two covers, bringing The Great Enthusiasms into life.

The trio strides into action through the teasingly provocative “Fails While Daring Greatly”, which displays questioning and exclamative violin expressions hovering a fine piano-drums texture delivered at a 4/4 mid-tempo. Bardfeld strolls in the company of Sarin, but is later joined by the emulation of a walking bass movement put out by Davis. The latter also improvises with the rhythmic inventiveness that got her recognition.

“Resignation Rag” is made of similar material as the previous tune, except that, evoking an older musical style, Bardfeld draws more from the blues in his speech and Sarin becomes fairly playful in his responses. Davis also works dexterously with both hands during the time reserved for her individual expedition.

Full of shifting passages, “Winner Image” starts with wide-ranging violin melodies and soft cymbal caresses, assuming a dreamlike posture with the addition of an ethereal piano. The bandleader suddenly jumps into a spiral of fast, circular moves before giving total freedom to the pianist, who builds an unorthodox bouncy dance that only ends with the theme’s statement.

A beautifully flowing, emotionally charged rendition of “Because the Night”, a 70s pop/rock composition by Bruce Springsteen and Patti Smith, comprises both scaled up accentuations and peaceful moments of relaxation. The album also features another Bardfeld’s American rock favorite, “King Harvest” by The Band.

The conclusive gesture, “The 37th Time I Have Spoken”, evinces a dual nature, mixing lyric and waggish tones as it progressively explores and spreads its concentrated inner energy. The theme is made of an emphatic juxtaposition of whispered strummed violin, delicate piano tact, and accurate percussive awareness.

Bardfeld is very much effective in the way he builds music, experimenting in accordance with his unique vision and taking advantage of the enthusiastic passion he feels for this particular genre. Rather than clashing, the trio advances collectively, finding an exquisite purity and climactic astonishment in their procedures.

Favorite Tracks:
02- Resignation Rag ► 04 - Because the Night ► 07 - The 37th Time I Have Spoken

Chris Speed Trio - Platinum On Tap

September 26, 2017

Label/Year: Intakt Records, 2017

Lineup - Chris Speed: tenor saxophone; Chris Tordini: bass; Dave King: drums.

As a result of the sparkling combination of emotional playing and brilliant technique, the saxophonist/composer Chris Speed has been widely solicited by multiple renowned artists who have no doubts when it comes to incorporate his talents in their personal works.

Speed has built his reputation not only with exciting projects from others - John Hollenbeck’s Claudia Quintet, Jim Black’s Alas No Axis, Tim Berne’s Bloodcount, Dave Douglas group, but also with the robust bands he co-leads, Endangered Blood and Human Feel. Recently, his prominent voice also served to boost Michael Formanek Ensemble Kolossus, Craig Taborn Quartet, and Dave King’s Trucking Co.

On his newest release, Platinum on Tap, the charming, wispy tone of his saxophone spearheads an enthusiastic trio that includes bassist Chris Tordini, and drummer Dave King. Offering up eight originals and two covers, this impressive work clearly surpasses the trio’s previous release, Really OK (Skirl Records, 2014).

“Red Hook Nights” revolves around a catchy melody that rubs over a soft surface created by relaxed bass plucks and rhythmic brushing suppleness. The mixture ensues a melodious universe where both jazz standards and Americana are well accepted.

A symbol of superior triangular articulation is certainly “Arrival High”, a tune where Tordini’s bass groove is impeccably in tune with King’s intricate Afro churn filled with talkative and tremendously coordinated agglomerations of snare, tom-tom, and cymbal diffusions. Initially operating undercurrent, Speed changes posture after bringing the theme’s melody to surface. While improvising, he dispatches vehement, hasty phrases but maintains lucid and coherent chains of thought.

The saxophonist’s timbral explorations are patented on “Buffalo 15”, a light-hearted marriage between folk melody and rock pulse, “Crossface Cradle”, a highly motivic, blues-based post-bop tune that takes us to Coltrane ground and throws a few hooks à-la Sonny Rollins, and “Torking”, whose inquisitive melodic statement is turned into long multiphonic blows during the improvisation. Also, the frenzied “Crooked Teeth”, extremely playful in its carefree posture, encompasses high-pitched intonations and flutter-tonguing technique as part of its rebellious manners. This deflection into avant-garde territory finds a sequence with the closing tune, “Spirits”, a strenuous classic authored by the iconic saxophonist Albert Ayler.

A much more affectionate conduct is adopted in order to handle Hoagy Carmichael’s “Stardust”, as well as the title track, a relentlessly static dance that ruled by an odd meter and obeying to a formal AABA structure.

Three different individualities united by a strong chemistry find a magnetic way to communicate, creating dynamics that sound as natural as their own existences. Containing exceedingly well-crafted compositions connected to the jazz tradition but shaped with a unique modern touch, Platinum on Tap brings an irrefutable breath of fresh air to the chord-less trio formats.

Favorite Tracks:
01 - Red Hook Nights ► 02 - Arrival High ► 06 - Crooked Teeth

Mark Guiliana Jazz Quartet - Jersey

September 24, 2017

Label/Year: Motema, 2017

Lineup – Jason Rigby: saxophone; Fabian Almazan: piano; Chris Morrissey: bass; Mark Guiliana: drums.

American drummer Mark Guiliana combines an affirmative versatility, aesthetic sensibility, and puissant technique in every project he participates. Those features make him able to play in many different settings. Besides being an integral part of the urban jazz projects led by Donny McCaslin and Dave Douglas, Guiliana got broadened notoriety when he took responsibility for all the rhythmic work in David Bowie’s final album, Blackstar.

Despite the constantly busy schedule, the drummer found the time to gather his adjustable jazz quartet in 2015, in order to build the excellent album Family First, an acoustic mix of easygoing post-bop and irresistible pop/rock.

That’s exactly the line of action followed in his new outing, Jersey, which unfolds with strong melodic ethos while breathing deeply and methodically with an unyielding musicality.

For this record, Fabian Almazan sits down at the piano replacing Shai Maestro, while saxophonist Jason Rigby and bassist Chris Morrissey remain in their respective positions.

An upbeat drumming style, marked by tom-tom expansiveness and timely hi-hat staples, introduces “Inter-are”, a piece dank in smothered and highly-rhythmic low-pitched notes delivered by Almazan, who, once in a while, infuses fulminant, bright chords with his right hand. Rigby’s solo benefits from this particular mood and the tune resumes the initial percussive eruption after Almazan’s short and sweeping solo.

Evincing a strong propensity for touching balladry forged with catchy melodies, Guiliana presents us the title track, a soulful, sunshiny pop song earnestly written and passionately delivered with a reinvigorating in-and-out improvisation by Rigby; “September”, whose soaring drones emitted by Morrissey’s bass arco form a prayerful, modal atmosphere when combined with Rigby’s melodies and Almazan’s reverberating harmonies; and David Bowie’s poignant ballad “Where Are We Now?”, which closes the album in a crescendo, regardless its benevolent character and crystalline lyricism.

Morrissey’s “Our Lady” and Guiliana’s “Big Rig Jones” take disparate directions, considering that the former is an eventful cocktail of happy folk melodies, bracing harmonic passages, and Afro-Latin pulses, while the latter, also falling into post-bop orthodoxy, varies in intensity. It embarks on a storytelling that is nice and quiet when Morrissey has the word for a brief moment, but earns a sparkling flair when Rigby comes to the forefront, fueling the combustion with his incendiary dialect. A tender pianism softens the fervency for the finale.

Jersey, another great accomplishment by the Mark Guiliana Jazz Quartet, is here to fill your ears with achingly warm sounds and true emotions.

Favorite Tracks:
02 - Jersey ► 06 - September ► 07 - Big Rig Jones

Hudson: DeJohnette, Grenadier, Medeski, Scofield - Hudson

September 21, 2017

Label/Year: Motema, 2017

Lineup - John Scofield: guitar; John Medeski: keyboards; Larry Grenadier: bass; Jack DeJohnette: drums.

In my mind, the word Hudson establishes an immediate link to the river that flows through eastern New York, which includes the Hudson River Valley and its adjacent communities. However, and from now on, it will also be associated to a super quartet composed of colossal jazz musicians, namely, drummer Jack DeJohnette, bassist Larry Grenadier, guitarist John Scofield, and keyboardist John Medeski. From different generations, they nonetheless share similar music tastes and the fun of creating together.

Their first album, equally entitled Hudson, brings not only originals but also curious renditions of tunes by Bob Dylan, Joni Mitchell, The Band, and even Jimi Hendrix in a clear celebration of the music from the late 60s and early 70s.

The title track, the only piece credited to the collective, opens the record rooted in an off-the-cuff funky groove, coalescing with the surrounding noirish drones created by Medeski and generating an exuberant milieu for Scofield’s sometimes-lachrymose, sometimes-vigorous stringed chatters.
“El Swing”, the following tune, is a product of the guitarist’s mind and mirrors all his compositional adroitness and flair for fusion. The structure accommodates a migrant folk melody on top of a rock music web, which, despite closely knit, arrives reinforced by unabashed power-chords. This scenario is seamlessly linked to swing passages, where the tension accumulated is momentarily released with groove and laid-back discipline.

The subsequent four tracks allow us to picture the past with vivid colors of the present, starting with Bob Dylan’s “Lay Lady Lay”, here deeply immersed in warm Jamaican waters to acquire the intended reggae complexion. The melodic insinuations come almost exclusively from Scofields’s driving vocabulary.

After reviving “Woodstock” by Joni Mitchell with idiosyncrasy and nostalgic devotion, the band crafts “A Hard Rain's A-Gonna Fall”, another song by Dylan turned into a highly atmospheric concoction of folk, jazz, and blues, and where Medeski feels compelled to deconstruct a bit, employing vaporous abstractions that steal the spotlight from Scofield.

On Hendrix’s “Wait Until Tomorrow”, the blues elements remain strongly central, even if the rock contortions threaten to take over the setting. The Hendrixian side of Scofield doesn’t disappoint and packs an intense punch while Grenadier and DeJohnette respond accordingly. The former, introducing clipping bass slides and plucking the strings with pure enchantment; the latter, by sending in propulsive flares with a double purpose: embellish and push forward.

The drummer, a true living legend, not only brings three assorted compositions of his authorship into the game, but also sings on two of them. If “Song For World Forgiveness” embraces a conscious pop air after an enigmatic introductory section, “Dirty Ground”, co-written with the pianist/singer Bruce Hornsby, is reminiscent of the latter’s gospel-tinged pop/rock, whereas the optimistic “Great Spirit Peace Chant” is sketched out with indigenous woodwinds and vocals over regular tom-tom thumps.

Not as powerful as some of the projects in which the members of the quartet have been involved lately, Hudson still blooms with a sumptuous elegance and ostensible effortlessness proper of the masters.
To me, not every song reached the same level, but one can’t deny the involving sound and scorching vibrancy drawn by the amalgam of moody blues and several other styles.

Favorite Tracks:
02 – El Swing ► 05 – A Hard Rain's A-Gonna Fall ► 06 – Wait Until Tomorrow

Nicole Mitchell - Mandorla Awakening II: Emerging Worlds

September 20, 2017

Label/Year: FPE Records, 2017

Lineup – Nicole Mitchell: flute, electronics; Kojiro Umezaki: shakuhachi; Alex Wing: guitar; Tomeka Reid: cello; Renée Baker: violin; Avery R. Young: vocals; Tatsu Aoki: bass, shamisen, taiko; Jovia Armstrong: percussion.

With her stupendous new album Mandorla Awakening II: Emerging Worlds, recorded live at the Museum of Contemporary Arts in Chicago in 2015, American flutist/composer Nicole Mitchell assumes a prominent position in the most adventurous flank of the modern jazz.

In order to explore unfamiliar regions, Mitchell gathers a flexible band whose most of its members play multiple instruments, widening the musical possibilities of an eclectic journey that feels transformative and innovative in many ways.

When I first heard the abrasive compound of low-toned bass drones and percussive chops that launches "Egoes War” into the air, I couldn’t imagine how much I would enjoy the uncanny groove that kept sustaining the acid strokes of Alex Wing on the electric guitar. The flutes of Mitchell and Kojiro Umezaki connect and create murmuring rants, triggering a hypnotic oddity that breathes both suburban pollution and the fresh scents of a distant, untouched forest.

Starting to flow at an inviting 5/4 tempo, “Dance of Many Hands” sweeps you up with the counterpoint created by flutes and violin that dance over a repetitive guitar motif. After a massive percussion invasion, both flutes embark on unison phrases, this time having a sluggish 3/4 cello ostinato created by Tomeka Reid underneath. The cellist concludes the piece with a solo trip.

The band grasps a more regular beat and simpler groove for “Listening Embrace”, a composition that invites to a meditation before entering in a contrasting rhythm propelled by Jovia Armstrong’s percussion and Tatsu Aoki’s shamisen. The exotic dynamics provide the propitious setting for multiple improvisations.

“Forestwall Timewalk”, a zany shamanic experience, is shaped through heavy drumming, rough guitar strokes with varied pitches and intensities, and woodwind unisons. A radical mutation occurs by the end, when a brief stylish passage jumps ahead, arising a spiral of euphoric, noisy whirls.

On the R&B/blues-tinged “Staircase Struggle”, the multi-disciplinary artist and poet, Avery R. Young, sings: ‘we keep on doing the same thing, over and over again’, which definitely doesn’t happen on this record. He also vocalizes “Shiny Divider” with might and main, a protesting song steeped in the soul music, and the closing piece “Timewrap”, an unorthodox funk.

Mandorla Awakening II happens to be Nicole Mitchell’s boldest record in years as it pushes the vanguard jazz to edgier extremes. You may think of it as a mystic, electrifying version of The Art Ensemble of Chicago, where the absence of barriers allows a pacific coexistence between the modern and the ancient, the rhetoric and the philosophical, the euphony and the dissonance…

Favorite Tracks:
01 – Egoes War ► 05 – Forestwall Timewalk ► 06 – Listening Embrace

Manny Echazabal - Short Notice

September 19, 2017

Label/Year: Self-produced, 2017

Lineup – Manny Echazabal: saxophone; Tal Cohen: piano; Dion Kerr: bass; David Chiverton: drums.

Short Notice, the auspicious debut CD by Miami-born saxophonist Manny Echazabal, is a fun post-bop ride that reveals compositional ingeniousness and an adventurous side that draws from Wayne Shorter and Michael Brecker, but still brandishing a valid signature of its own.

Echazabal doesn’t refrain from exteriorizing emotions throughout the nine original tracks that compose this album, recorded in the good company of pianist Tal Cohen, bassist Dion Kerr, and drummer David Chiverton.

“Time Out” sets the tone, starting in an invigorating post-bop fashion and emanating elegant remarks, whether from the bandleader or the pianist, on top of warm harmonic movements.

The title track, a straight-ahead, hard-swinging modal piece, is as much responsive as it is playful, becoming immediately a highlight on the album due to its outgoing nature and mighty charisma. By blowing the saxophone with muscular authority, the saxophonist stimulates his peers, who respond with regard and excitement.

When it comes to finding space to breathe, “Abraham’s Warrior” is a notable example of textural finesse. In truth, this is a piano-less waltz showcasing Kerr’s bass pedals, Chiverton’s supple brushwork with an emphasis on the snare drums, and Echazabal’s attractive timbre variations, which derives naturally from the fluency of his language.

“The Green Monk”, the first tune ever written by Echazabal, is highly symptomatic in its rhythmic accentuations and melodic drive, presenting well-oiled hinges that turn the mechanism flexible and operational. Cohen’s forward comping has much to admire, not only on this remarkable piece but also on “New Dawn”, a three-part composition painted with distinct techniques and evincing particular tempers. The pianist excels in his solo moment within the last part (reprise), stepping further afterward, when the tune fences an endearing groove. Then, the bandleader wraps it up, attaching passion and discernment to his melodic initiatives.

Short Notice is impressive and becomes even more admirable when we think of it as a debut album. Even if some tunes had their origin in an academic environment (with a little stimulus and push from educators such as Terence Blanchard and Shelly Berg), their level is far from scholastic, rather proclaiming an elevated maturity and care for the sound.

Favorite Tracks:
01 - Time Out ► 03 - Short Notice ► 08 - New Dawn (reprise)

Alan Ferber Big Band - Jigsaw

September 18, 2017

Label/Year: Sunnyside Records, 2017

Lineup – Alan Ferber, John Fedchock, Jacob Garchik, Jennifer Wharton: trombone; John O'Gallagher, Rob Wilkerson, John Ellis, Jason Rigby, Chris Cheek: saxophones; Tony Kadleck, Scott Wendholt, Alex Norris, Clay Jenkins: trumpet; Anthony Wilson: guitar; David Cook: piano, keyboards; Matt Pavolka: bass; Mark Ferber: drums; Rogerio Boccato: percussion.

Besides being a skillful trombonist, the Grammy award nominee Alan Ferber is a magical arranger and a focused bandleader. These true gifts make him an inevitable figure in the contemporary jazz universe. As a leader, he got notoriety for conducting a vibrant nonet whose album Roots & Transitions was definitely one of the most irresistible I had the chance to tackle last year.
The same sense of fulfillment applies to Jigsaw, his seventh album of originals, recorded with a 17-piece big band that includes some of the most enlivening jazz artists on the scene.

The superior quality that results from this compositional vision-meets-ravishing arrangements is fully felt on the first track, “Impulso”, an absolutely impulsive, gritty scorch established within a sumptuous, contemporary setting. Flowing at a moderate pace with a Latinized cool spirit, the tune finds the band wading into striking interplay before each soloist begins to express what's going on in their minds, starting with the bandleader, then saxophonist John O’Gallagher, and finishing with trumpeter Alex Norris, who finishes the story.

Guitarist Anthony Wilson handles the introductory section of a song he wrote, “She Won’t Look Back”. He employs slightly dissonant chords modeled by acerbic sound effects, a tactic that beautifully fits the languid air surrounding this half-dreamy, half-conscious pop fantasy. Here, the bass of Matt Pavolka is particularly highlighted.

Reveries of freedom arrive with the title track, whose more abstract, free-form overture obtains a bold avant-gardish tonality created by the kinky sounds flowing from David Cook’s keyboards. In addition to the enticing rhythmic contortions, one can indulge in O’Gallagher’s highly expressive saxophone improvisation filled with volcanic episodes, and there’s also time for a spontaneous percussive escapade by Mark Ferber, Alan’s twin brother.

Contradicting this last tune, we have the silkiness of “North Rampart”, a weeping ballad that besides intelligently harmonized and orchestrated, exhibits a catchy melody imprinted on the head. There’s also the Latin-tinged breezes of Paul McCandless’ “Lost in the Hours”, which acquires a pronounced Brazilian feel, considerably intensified through the action of percussionist Rogério Boccato, especially during the improvisations of trombonist John Fedchock and saxophonist Rob Wilkerson.

Muted trombones and trumpets prepare the ground for the soulfully groovy vibe that sustains “Get Sassy”, a brassy piece reminiscent of Mingus’ exultations, where the amazing teamwork eases the glorious blend of traditional and modern elements. A different concoction was achieved for Clay Jenkins’ “Late Bloomer”, artistically devised to contain unpretentious swinging jazz and brawny rock passages.

Jigsaw is a kaleidoscopic, up-to-the-minute jazz album that doesn’t need frivolous pyrotechnics or radical asymmetries or complicated meters to sound marvelous. It rather uses a genuine reciprocity between the highly committed musicians who, under the keen direction of Alan Ferber, provide another lovely and contagious big band record.

Favorite Tracks:
01 - Impulso ► 03 - Jigsaw ► 05 - Get Sassy

Henrique Eisenmann - The Free Poetics of Henrique Eisenmann

September 15, 2017

Label/Year: Red Piano Records, 2017

Lineup - Henrique Eisenmann: piano; Gustavo D’Amico: soprano saxophone; Jorge Roeder: bass; Rogério Boccato: percussion.

New York-based Brazilian pianist Henrique Eisenmann gathers an attractively eclectic quartet - bassist Jorge Roeder, soprano saxophonist Gustavo D’Amico, and percussionist Rogério Boccato - to give wings to his free, erudite, and often blatantly rhythmic composures.

The Free Poetics of Henrique Eisenmann starts with “Niños Peruanos”, where the voice of a 6-year-old Peruvian child reciting a poem in Spanish becomes the inspiration and main motif for the pianist’s creative reactions, emancipated with the assistance of Roeder’s smothered bass and Boccato’s understated percussion. The elegant scenario is intensified during the stunning rendition of Hermeto Pascoal’s “Zurich”, a musical conclave where enlightening jazz, Brazilian folk, and modern classical are the preponderant elements. The pianist is peremptory in responding to D’Amico’s rhythmic provocations, a feature that characterizes his playing.

The classical influences are noticeable again on “Sarabande No. 2”, a velvety carpeting whose final workmanship weaves highly rhythmic ostinatos.
Stepping on avant-garde ground, “Dans un Fracas de Plumes” brings in an ecstatic, free-feel posture that grapples with smothering low-toned notes on the piano and a buzzing, folk-inflected final cadenza.

Eisenmann also employs this smothering technique to get a percussive effect on “Zumbi”, a lyrical, stylized, and slightly mystic chant that also exhibits strong Brazilian flavors in its groovy trance. It shows less Brazilian pronunciation than “Epilogue: Pifanos”, though, where we find samba rhythms, typical choro melodies, and collages of piano sweeps and whirls that run at different tempos.

One of the most pleasurable moments on the record comes with “Afro-Latidos”, supposedly inspired by animal sounds, according to its title. Recurrent expansions and contractions are motivated by brisk piano movements, breathable bass accompaniment, and a vibrant percussive flow that gains extra resonance during the individual statements by D’Amico and Eisenmann. After a bridge encompassing both wistful and sprightly melodies in its passages, Boccato communicates expressively, secured with an embellishing piano-bass pattern in the background.

Bringing into play their musical and cultural backgrounds, the band delivers sheer moments of musical tightness and stimulating ecstatic exploration, achieving the artistic freedom envisioned by the bandleader. It confirms how jazz can work beautifully with other influences, making its universe a better place.

Favorite Tracks:
02 - Zurich ► 05 - Afro-Latidos ► 08 – Zumbi

Fred Hersch - Open Book

September 14, 2017

Label/Year: Palmetto Records, 2017

Lineup - Fred Hersch: piano.

Open Book is another wonderful opportunity to get in touch with the compelling and always emotional music of Fred Hersch, an established pianist who, playing solo, presents three originals and four selected covers of disparate nature.

The gifted musician confesses in the booklet notes of his 11th solo release that what gives him more pleasure lately is sitting down at the piano and let it flow to see what happens. That’s exactly the sensation we got when this record is spinning. It starts by conveying a delicate intimacy in its opening tune, “The Orb”, an original and very personal composition whose touching lyricism is freed by the magic touch of his fingers as he couples melodic and harmonic richness. Everything is surrounded by a glorious sense of dreaming.

“Plainsong” is another original composition that reflects this state of melancholy, generating an idyllic crossing between jazz and classical genres. Its structure has nothing to do with “Through the Forest”, a ruminative 19-minute free improvisation that explores imaginary paths and trails of a secret forest. There are amazement, abstracted reverie, and dazzle in the depiction, but also mystery and an intermittent tension that is mostly created by the deep-sounding chords unhooked with the left hand.

Jobim’s “Zingaro”, also known as “Portrait in Black and White”, shows up with a heavenly aura, carrying all that crushing sentiment in the beautiful melody and harmonic progression.

Benny Golson’s classic “Whisper Not” is dissected with wisdom and perceptiveness, and then reconstructed with adventurous melodic counterpoint and ruling staccato voicings that, in an early stage, difficult the perception of which tune we are listening to. The main melody only becomes clearly discernible when we reach the final shout chorus.

In turn, Monk’s “Eronel" theme is delivered when most expected. Holding on to its natural bop gaiety, Hersch’s rendition exerts inventive rhythmic variations, stout phrases enriched with exciting passage notes, and attractive motifs. It diverges from Billy Joel’s lyric poem “And So It Goes”, which, interpreted with elegance, closes the album with a romantic touch.

As a curiosity, the previous solo album by Fred Hersch, precisely entitled Solo, also included one Jobim and one Monk song, and closed with a pop/rock piece, in the case, Joni Mitchell’s “Both Sides, Now”. Regardless the observation, Open Book is another story and a wonderful one, replete with fantastic moments that should be enough to make you exploring it with no reservations.

Favorite Tracks:
01 – The Orb ► 02 - Whisper Not ► 04 - Through the Forest

Darren Barrett's dB-ish - The Opener

September 13, 2017

Label/Year: dB Studios, 2017

Lineup – Darren Barrett: trumpet; Clay Lyons: saxophone; Erena Terakubo: saxophone; Santiago Bosch: piano, keyboards; Alexander Toth: bass; Anthony Toth: drums; Judith Barrett: percussion; Chad Selph: keyboards + guests Kurt Rosenwinkel: guitar; Nir Felder: guitar.

With his dB-ish project, Canadian trumpeter Darren Barrett excavates voguish ground by merging different styles such as post-bop and hip-hop with a nice, cool touch, and then spicing it with the addition of electronic samples and other valuable soundscapes.

Barrett’s music background includes a graduation at Berklee College of Music and the first place in the prestigious Thelonious Monk International Jazz Competition, as well as enriching collaborations with the likes of Elvin Jones, Jackie McLean, Herbie Hancock, and Roy Hargrove, just to name a few.

For his new outing, dB-ish: The Opener, the trumpet ace invited American guitarists Kurt Rosenwinkel and Nir Felder to participate in one track each, joining an impressive band that features Clay Lyons and Erena Terakubo on saxophone, Santiago Bosch on piano and keyboards, Alexander Toth on bass, Anthony Toth on drums, Judith Barrett on percussion, and Chad Selph on keyboards.

“The Opener” is where rhythmic hip-hop invention meets luxurious post-bop with strong modal accents and a crisp usage of sampling techniques. Barrett, who shows all his impetuousness every time he puts his horn to his mouth, delivers elastic phrases surrounded by delay effect, and is well accompanied in terms of improvisations by Bosch and Rosenwinkel. The latter, resorting to an affirmative synth guitar sound, expatiates on effervescent melodic escalation.
The lucid jazz-hop of “Beauty on Beauty” sounds invigoratingly beautiful in its melodious and superiorly articulated trumpet incursions, which gains an impish sound effect in the chorus, section that also scintillates with the riffscape of a saxophone.

Even if there’s a vibrant inner energy constantly bubbling underneath the surface, you’ll find several other occasions to chill out throughout the session. Examples are the reflective “Don’t You Know I Love You”, and the slightly more avid “Db-Lemma”.

“Different” mixes a self-assertive urban vibe with off-kilter rhythms that seem to fit between Brazilian samba and African lilt. The invitation to the dance floor is imposed by Anthony Toth's dry snare thumps and swift hi-hat, yet this posture is occasionally curbed by a more traditional jazz approach during the improvisations.

One of the highest peaks on the album happens on “To Conversate”, a piece that thrives with amazing collective timing and synchronization, as well as incredibly dynamic solos by the bandleader and then Felder, whose expressive six-string flux stirs up the groove.

Following the examples of fellow trumpeters Terence Blanchard and Marquis Hill, who also strive to push boundaries, Darren Barrett shows no fear of agitating style conventions through bold ideas. The scrumptiously groovecentric dB-ish: The Opener provides a gut punch of originality in its no-nonsense conception. Open mind, open ears, open style, open world… the future of jazz might well reside here!

Favorite Tracks:
01 - The Opener ► 02 - Beauty on Beauty ► 06 - To Conversate

Paul Jones - Clean

September 12, 2017

Label/Year: Outside in Music, 2017

Lineup – Paul Jones: tenor saxophone; Alex LoRe: alto saxophone; Matt Davis: guitar; Glenn Zaleski: piano; Johannes Felscher: bass; Jimmy Macbride: drums.

Paul Jones, an emergent tenor saxophonist based in New York, exhibits higher levels of maturity and a willingness for originality in his incredible new album, Clean, a considerable step ahead since the release of his full-length debut album, Short Stories, recorded in 2014 with his reliable sextet. The band members are maintained here with the exception of pianist Sullivan Fortner, who gave its place to Glenn Zaleski. The remaining artists, all young and powerfully talented, are Alex LoRe on alto saxophone, Matt Davis on guitar, Johannes Felscher on bass, and Jimmy Macbride on drums.

Some tunes feature a group of woodwind players that plump for a classical chamber tone rather than a jazz-oriented drive. The admitted influence of classical minimalists like Phillip Glass and Steve Reich are noticeable in these short-lived pieces: “Ive Sn Th Gra Md”,“Romulo's Raga”, “Im Prety Uch Fkd", and “The Minutiae Of Existence”, in which we can hear cello, oboe, bassoon, clarinet, and extra saxophones that often embark on circular breathing techniques, unisons, and well-driven counterpoint. On “Alphabet Soup”, for instance, Jones’ tenor surfs on top of the motivic, danceable waves created by Nanci Belmont’s bassoon and Susan Mandel’s cello. Those involved then change positions, effortlessly readapting to the new setting.

The title track brings the saxophones to the forefront, exerting cyclic behaviors intercalated with Davis’ melodic guitar. Improvisations by Jones and Zaleski occur on the surface of a static groundwork.

Immersed in post-bop shimmer, the catchy “The Generator” and the leisurely-paced “Dirty Curty” become intensely perceptive in their musical transparency. If on the former, one is able to relax at the sound of the introspective guitar and then perk up with the sinuous phrasing of the saxophone, on the latter piece, we find unison melodies in the head and iridescent improvisations, with special focus on the fantastic piano work developed by Zaleski who surprises with polyrhythm in his clever interspersion of chords and melodic phrases.

The bandleader not only delivers his best solo on “Centre In The Woods”, a lucid, wispy, and dramatic enchantment, but also unveils his aptitude for luminous songcraft. Despite the harmonic humbleness, the tune goes directly to your heart and senses through the elasticity of Jones’ language and the control of Macbride’s gentle snare drumming. The drummer gains preponderance once again in the minimalistic “Trio”, a beautiful poem that easily and softly invades the space around us.

Moving in different stratospheres, “I Am An American” carries a more familiar jazz signature as it mildly swings, while “Hola, Amigo” sprinkles a hip-hop flavor in the air and boasts exhilarating solos from tenor and guitar.

Combining the thrillingly emotional with the astonishingly lyric, this impressive body of work feels like a balmy elixir in today’s jazz. Paul Jones is not just the revelation, but also the revolutionary musician of the year.

Favorite Tracks:
03 - Alphabet Soup ► 04 – The Generator ► 06 - Centre In The Woods

David Virelles - Gnosis

September 11, 2017

Label/Year: ECM, 2017

Lineup includes: David Virelles: piano, marimbula; Roman Diaz: percussion, vocals; Thomas Morgan: bass; Allison Loggins-Hull: flute, piccolo; Adam Cruz: steel pan, claves; Matthew Gold: marimba, glockenspiel; Rane Moore: clarinets; Alex Lipowski: perc.; Mauricio Herrera: perc; Yunior Lopez: viola; Christine Chen: cello; Samuel DeCaprio: cello.

Cuban jazz pianist and composer, David Virelles, has been widely solicited by the attentive musicians on the current scene, who immediately recognized his outstanding creative capabilities. In the recent past, he has played key roles in projects led by trumpeter Tomasz Stanko and saxophonists Henry Threadgill and Chris Potter.

As a leader, Virelles always brings heritage into the game, and both Continuum (Pi Recordings, 2012) and Mboko (ECM, 2015) received accolades from the specialized media for his inventive avant-Afro-Cuban-jazz venture. Last year, the multifaceted pianist left everyone mouth-watering with the Vinyl/EP Antenna, a fully experimental mix of Latin rhythms, electronic vibes, and avant-garde jazz.

His roots and devouring appetite for experimentation become decisive again in Gnosis, meaning an intuitive apprehension of spiritual truths, his new CD and the second on the reputable ECM label.
Lacking the electronic maneuvers that once worked in his favor, the album consists of 18 short compositions (the longest has about six minutes while the shortest 40 seconds) that attempt to transform the Cuban tradition, strongly represented by the Abakua rhythms, into eclectic and sometimes abstract pieces of modern jazz.

Sparse piano strokes, bass perambulations, and multiple percussive approaches set the mood of the amorphous opening tune, “Del Tabaco Y El Azucar”, which at a certain point explodes with a long, thunderous roar.

In turn, the stylish “Fititi Ñongo” encourages everyone to move freely through the loose-jointed Afro-Cuban rhythm that accompanies the propulsive harmonies and well-discernible voice leading. Another super enticing African throbbing arrives with a work song feel in “Erume Kondo”, whose short story is chanted by the acclaimed percussionist/poet Roman Diaz.

Virelles plays unaccompanied on “Lengua I”, a piece with sudden variations in rhythm, texture, and mood, climaxing in a frenetic rhythm adorned by rapid runs, incisive flurries, and mechanical harmonic smacks. Its second part, “Lengua II”, provides a completely different setting, resorting to the efficacious chamber ensemble to adjust the lines.

Also with two different parts, “De Ida Y Vuelta” enchants with the classical romanticism and dulcet lyricism of the earliest segment, and then provides us with the gracious cinematic vision of the more folkloric and motivic second half.

Virelles’ distinguished ideas flow continually on “Tierra”, a 6-minute trip initially sparked by piccolo, bass clarinet, piano, and hypnotic rhythms, and also on “De Portal”, in which he finds the ideal balance between sound and silence, operating in a wide tonal range before dropping anchor in a catchy groove. A more meditative examination was selected for “De Cuando Era Chiquita”, despite the pianist’s low-pitched blows on the lower octaves and dramatic voicings on the higher. The quasi-childish, totally-singable melody expressed before the finale and its subsequent inspired groove made me wish the tune's duration had been extended.

David Virelles, just like his countryman and fellow pianist Aruan Ortiz, maintains his roots and traditions well alive by adapting them to today’s edgier jazz. He does it exemplary through a unique and adventurous voice that can be fully recognized in the course of this conceptual work.

Favorite Tracks:
02 - Fititi Ñongo ► 09 - De Ida Y Vuelta II ► 17 – De Cuando Era Chiquita

Vector Families - For Those About to Jazz/Rock We Salute You

September 8, 2017

Label/Year: Sunnyside, 2017

Lineup - Brandon Wozniak: saxophone; Dean Granros: guitar; Anthony Cox: electric bass, cello; Dave King: drums.

Minneapolis-born drummer Dave King, a bottomless well of rhythmic creativity, has been participating in several modern jazz projects that vary in nature and formation. In addition to the widely acclaimed trio The Bad Plus, King has been making interesting music with Happy Apple, Halloween Alaska, Buffalo Collision, and his Trucking Company group, whose excellent album Surrounded by the Night was reviewed last year on JazzTrail.

2017 signals another debut project led by King, a skittish quartet called Vector Families, featuring Brandon Wozniak on saxophone, Dean Granros on guitar, and Anthony Cox on electric bass and cello.
The title For Those About To Jazz/Rock We Salute You is a flattering way of saying thanks to the ones who follow their music and support their open style.

“Free Funk!” is partly indicative of what you’ll find in the opening tune, an excellent source of jazz/funk hybridity that brims with bass freedom, rough-and-tumble drum chops, and explorative melodies on the saxophone. All the more, we are driven to an unorthodox guitar solo, rich in scintillating harmonics and punctuated by unfettered atonal inventions. The guitarist coaxes the saxophonist to join the party, and both get back to reciprocal action by the end, delivering jointly extemporaneous runs and stimulating the percussive attacks of the drummer, who seems reluctant to ease things off.

“Duetz Duetz” is another suggestive title for a number that combines three duets to compose a solid whole. First, we get a modern classical feel as we spot Cox’s solemn cello gluing to the renegade acoustic temper of Granros. Afterwards, the latter is briefly joined by King, whose understated percussive environments also find Wozniak’s dramatic speeches in the concluding section. In this third phase, the initial vulnerable tone becomes denser as the saxophonist explores further, favoring spontaneous reactions from King.

Strayhorn’s classic piece “Satin Doll” is freely fragmented and graciously deconstructed through an unnervingly brash funky feel created by bass and drums, and the casual conversations between Granros, whose midi guitar technology emulates rusty piano sounds, and Wozniak, who scrutinizes around the theme’s melody.

Boasting a mantra-like percussive vibe and irregular chimes, the almost 18-minute “10,000-year-old Rotary Club” feels introspective as the saxophonist displays his introductory poetic vision. Cox infiltrates himself, adding effect-drenched bass lines to assure extra textural consistency. After Granros place his thoughts over a steady bass groove and syncopated rhythms, the tune ends up in multiple collective exultations.

The jolting “Dee Dee”, a composition by Ornette Coleman, starts as a typical swinging stretch that gradually advances into avant-garde territory. It is crammed with free rambles, just like the closing piece “African Dictaphone”, a sagacious exercise in free improvisation with Coltrane hints that, by turns, feel as much compact as elastic.

Vector Families actuates with uncanny power, exploring the aesthetic on the bolder side of the jazz spectrum. This first record is to be listened to attentively and its energy fully absorbed.

Favorite Tracks:
04 - 10,000-year-old Rotary Club ► 05 - Dee Dee ► 06 - African Dictaphone