The End - Svarmod Och Vemod Ar Vardesinnen

July 2, 2018

Label: RareNoise Records, 2018

Personnel - Mats Gustafsson: baritone and tenor saxophones, live electronics; Kjetil Moster: baritone and tenor saxophones, electronics; Sofia Jernberg: vocals; Anders Hana: baritone guitar; Greg Saunier: drums, vocals.

Worshippers of goth new music, The End is an unconventional bass-less quintet that boasts a sturdy frontline composed of inveterate Scandinavian improvisers Mats Gustafsson and Kjetil Moster. Blowing their baritone and tenor saxophones with fiery consistency, the pair infuses a striking raw power on the material, which is edgily harmonized by the baritone guitarist Anders Hana, and rhythmically driven by Deerhoof’s trailblazing drummer Greg Saunier. Rounding out the group is the spectacular Ethiopian-born singer Sofia Jernberg, whose singular experimental flights find purpose in the type of instrumentation created by her peers.

Conjuring an array of six energetic, if somewhat obscure, tunes on their debut CD, the band starts off with “Svarmod”, a bizarre sound-blast with guttural guitar noise, powerful saxophone unisons, and agonizing vocal wails. They proceed with “Vemod” in a clear invocation of Jimi Hendrix’s grooving rock riffs. Jernberg’s voice, blending the sweetness of Mazzy Star and the pugnacity of PJ Harvey, is well backed by saxophone and electronics, producing a sort of neo-psychedelia flavor. Gustafsson and Hana penned these two first tracks.

Composed by the collective, the tenebrous “Translated Slaughter” starts with the vocalist whispering in a creepy-crawly narration with occasional hissing sounds and flimsy ethereal-like passages. The stark guitar drones and irregular drumming underneath are in the basis of a sonic eccentricity that gains further intriguing moods with Jernberg’s abrasive vocalization. If her highly flexible expression gets closer to Diamanda Galas on this tune, then on the mutable socio-political manifesto, “Don’t Wait”, she impressively embarks on the no wave style of Lydia Lunch. Several current problems and challenges of today’s vulnerable world are denounced with a blistering energy, also infecting the baritonists, who cooperate actively on top of guitar-driven, indie rock-based grooves. Music and lyrics are by Gustafsson.

Moster’s “Both Sides Out” closes out the album with spooky cinematic tones. It carries a pestilent toxicity in its morose atmosphere, a sort of eerie gothic post-punk bolstered by a pungently dissonant improvisation from one of the baritonists.

Edgy, intense, and positively confrontational, The End boasts a unique aesthetic that feels simultaneously uncanny and strapping. The album, recorded after only three gigs, has not only something serious to say to the world but also proposes something completely new in its artistic development of sound and concept.

Favorite Tracks:
02 - Vemod ► 04 - Don’t Wait ► 06 - Both Sides Out

Jamie Saft Quartet - Blue Dream

June 28, 2018

Label: RareNoise Records, 2018

Personnel – Bill McHenry: saxophone; Jamie Saft: piano; Bradley Christopher Jones: bass; Nasheet Waits: drums.

Exposing valuable technical skills and a lyricism of his own, Jamie Saft is one of the sharpest pianists working today. His second release of the year, following the grandiose and haunting Solo a Genova, is entitled Blue Dream, an illuminated work where transcendence is achieved through the creation of absolutely glorious emotional soundscapes. For this session, the artist brings together an astounding quartet with saxophonist Bill McHenry, bassist Bradley Christopher Jones, and drummer Nasheet Waits, all of them supportive teammates and top-flight improvisers.

“Vessels”, a pure modal jazz inspiration, conveys an unmitigated spirituality through the divine harmonic progressions. Besides the beautiful collective work, McHenry, in an act of pure instinct and inspiration, offers an inside-outside prayer in the line of Archie Sheep, Pharaoh Sanders, and Billy Harper. The meditative “Infinite Compassion” also follows the same steps, presenting us transfixing piano voicings with a few sweeps and swirls reminiscent of Alice Coltrane, while the eruptive “Words and Deeds” is stirred and shaken by the tremendous force of McHenry’s searing lines.

Submerged in a soulful, blues-based post-bop, “Equanimity” starts with Waits’ impeccable rhythmic facility, proceeding with Coltrane-inspired saxophone phrases, and landing on Saft's rich patterns replete with cascading notes, congruous runs, and occasional motivic inflections over a swinging bass-drums workflow. Forming an unfading alliance, Jones and Waits swing hard again on the title track, even with Saft exploring calmly in an opposite direction, and also intermittently on “Decamping”, a straightforward post-bop exercise. Both tunes feature enthusiastic bass solos.

The quartet ascends into heaven on “Sword’s Water”, a feverish splendor containing dense and contrasting low/high-toned piano maneuvers, bursting saxophone lines uttered with authority, taciturn arco bass, and abundant cymbal activity.

The evanescence on the spacious “Walls” is caused by dark classical piano moves and mournful bowed bass, while “Mysterious Arrangements” carries a slightly Latin touch in the rhythm. The group's versatility is taken further with the addition of three jazz standards gently propelled by Waits’ understated brushwork - the blithe “Violets for Furs”, the solo-less “Sweet Lorraine”, and the mellifluous “There’s a Lull In My Life”. Even conjuring a familiar feel, they never sound decontextualized in regard to the whole.

Impressively executed with great feeling, Blue Dream makes you plunge into aurally transparent sonic waters that open your soul, clear your mind, and more than satisfy your ears. Saft’s music touches me deeply and it feels awesome to be enveloped by his voluble and devotional reverberations.

Favorite tracks:
01 - Vessels ► 02 - Equanimity ► 03 - Sword’s Water

Jure Pukl - Doubtless

June 27, 2018

Label: Whirlwind Records, 2018

Personnel – Jure Pukl: tenor saxophone; Melissa Aldana: tenor saxophone; Joe Sanders: bass; Gregory Hutchinson: drums.

The up-and-coming New York-based tenor saxist Jure Pukl went back home, Slovenia, to record Doubtless, an open-spirited album comprising originals and covers. In this stalwart quartet, he shares the frontline with his wife, award-winning tenorist Melissa Aldana, while the foundation is entrusted to bassist Joe Sanders and drummer Greg Hutchinson, who sport courage and firmness in their duties.

The title track, “Doubtless”, launches a contrapuntal dance for the reedists. They seamlessly forge ahead, en route from the carefully scored theme to spontaneous interchanges, and are certainly thankful for Sanders’ brilliant accompaniment, which carries a definite sense of harmonic direction. If the counterpoint is king here, then jubilant parallel movements limn “Doves”, which, clocking at just over seven minutes, is not just the longest piece on the set but also one of the most attractive. While the rhythm section creates a gorgeous state of cadenced emancipation, the high-wire individual statements by the saxophonists are separated by a fine bass monologue.

A vibrant double-saxophone intro brings Ornette Coleman’s “InterSong” to life, conjuring an unfussy, classic avant-garde scenario. Shades of Ornette are a bit everywhere, becoming particularly steep on “The Mind and The Soul”.

An African-tinged groove infests “Elioté”, a celebratory composition wrote by Sanders for his newborn son. Curiously, I detected something from Lee Morgan in its melody.

“Elsewhere” is a sumptuously grooving, perfectly danceable music cocktail prepared by the simpatico quartet, in which they seem to join the dots between jazz, Latin, and rock, respectively brought by the saxophonists’ well-versed language, continual bass patterns, and imaginative drumming.

The quartet is reduced to a trio on “Compassion” - a leisurely engaging reflection adorned with conspicuous motivic chromaticism and circular phraseology - and to a duo (sax and bass) on “Where Are You Coming From?”, whose salient folk intonations attempt to respond the question in the title.

Prone to buoyancy, Doubtless showcases Pukl and his associates combining traditional and modern elements within well-defined forms and structures. Prepare yourself for an exciting expedition bolstered by the passion of true creators and their solid musicianship.

Favorite Tracks:
02 - Doves ► 05 - Compassion ► 06 - Elsewhere

Sean Conly - Hard Knocks

June 26, 2018

Label: Clean Feed, 2018

Personnel - Michael Attias: alto saxophone; Sean Conly: acoustic bass; Satoshi Takeishi: drums.

Sean Conly had his first electric bass at the age of 13. At that time, he couldn’t imagine he would become a respected bandleader and sought-after sideman, establishing unfading foundations in groups led by Anthony Coleman, Greg Tardy, Michael Attias, Yoni Kretzmer and Mara Rosenbloom.

With Hard Knocks, his second work for the progressive Clean Feed label, he plunges into a set of six modern jazz compositions penned for his powerhouse, chord-less trio composed of longtime comrades Michael Attias and Satoshi Takeishi, alto saxophonist and drummer, respectively. Expanding their actions beyond tradition, the trio sets that special, interactive mood that is only possible when the rapport among the involved is strong enough.

The title track unfolds with a variety of rhythmic accents (knocks, if you prefer) and a fine groove. It’s a well-crafted, well-structured, metrically astute piece that takes us to Sam Rivers’ spins. Exploration is undertaken individually when Attias extemporizes thoughts over a profuse swinging vibe locked by bass and drums. After him, it’s Conly who carefully groups selected notes to form consistently bright phrases.

Gradually built in layers, “Totem” kicks off with the attractive timbres of Takeishi’s percussion. We don’t have to wait too long for the saxophonist to join with a sinuous Eastern-influenced phrase carrying an occasional vibrato. Lastly, the bassist sneaks in to lead his gang toward an energetic rock-tinged flux in six.

“Skippin’ Town” is immersed in those avant-garde waters once agitated by Dewey Redman and Ornette Coleman. It features not only an enthusiastic swinging section underpinning the sax solo, but also a reiterative odd-metered bass groove on top of which Takeishi creates with freedom.

The trio’s keen sense of tempo is obvious on “Loose Screws”, a blues-based piece crafted with high melodic articulation and shifting rhythms, whereas on “Artefact” they probe textural definition and intensity of playing. The band starts by forming a dense, stormy sonic cloud that thunders with fierce saxophone growls and multiphonics before being pacified by disruptive drum chops, a leisurely steady bass motion, and gentle sax melodies infusing a mix of light and dark tonalities.

Devised as a sort of meditation, “Undertow” is introduced by the bandleader with tranquil assurance and lapidary clarity. After the theme’s statement, he shows an improvisational vein with the support of the percussionist’s shimmering brushwork. The unhurried pace is then set without losing a bit of coordination. There is a strong spell of Mingus’ “Goodbye Pork Pie Hat” in the tune’s spacious atmosphere and melody.

Great hooks occurring with incredible ease, groove-centric ideas that can absolutely swing, and an unshakeable sense of unity are all good motives for you to dig Hard Knocks.

Favorite Tracks:
01 - Hard Knocks ► 02 - Totem ► 03 - Undertow

Marty Ehrlich - Trio Exaltation

June 25, 2018

Label: Clean Feed, 2018

Personnel – Marty Ehrlich: alto saxophone, clarinet, bass clarinet, wooden flutes; John Hébert: double bass; Nasheet Waits: drums.

Multi-reedist Marty Ehrlich, a devotee of compositional adventurism and vertiginous improvisations, is always surrounded by musicians who think alike and are capable of intuitive interplay with an elevated rhythmic perception. His new high-profile Trio Exaltation, featuring John Hébert on bass and Nasheet Waits on drums, proves what I just said.

The trio opens the album strongly with “Dusk”, an original by the late pianist Andrew Hill with whom all of them worked in the past. It starts off as a spellbinding saxophone incantation backed by lively, gorgeously detailed percussion. The bassist only arrives two minutes after, locking down an encouraging groove with clear intent and purpose. He stretches out later in a stroll that subsists in its own pace, regardless the drummer's polyrhythmic fills.

The rhythm section becomes more strenuous on the following piece, “Yes Yes”, whose textural audacity results from a fine combination of bass adventurism and an impermeable yet tasteful net of cymbal crashes and tom-tom fantasies. Unconfined and utterly expressive, the clarinetist spreads a breathtaking fervency while exulting in a prayer. Multiphonics and unexpected piercing notes are constituents of his hip melodic oddities.

In opposition to the dancing spirituality of “Spirit of Jah No.2”, an exhilarating piece for wooden flutes and African-tinged percussion, the haunting sounds of bass clarinet are exerted in compositions with a more reflective and contemplative nature, cases of “Dance No. 5”, a far-from-ethereal John Surman-esque illumination played in five, and “The Arc of the Oar”, an imperturbable duet with Hébert, where the melody of Coltrane’s “Giant Steps” is revived.

Sometimes Ehrlich’s approach is clean and transparently lyric, other times it may come intoxicated with searing lines professed with variegated timbres. This last aspect is particularly noticeable on pieces like “Senhor PC” (not for Paul Chambers but for Clean Feed’s Pedro Costa), a free ramble with questioning motifs and ruminative arco bass conspiring with Waits' mallet drumming, and “Stone”, a burner that keeps instilling brief swinging rides amidst avant-garde passages delineated with free bop melodic moves and sudden boisterous drum chops. With the closing piece, “Reading The River”, a deliberate swinging groove is definitely put into effect. It is not rare to find shades of Ornette Coleman throughout these pieces and “June 11th 2015” was precisely dedicated to him.

The Exaltation Trio creates mesmerizing sonic atmospheres based on the supple interplay and expansive personal statements of its members. If their openness facilitates communication, then their ample sense of freedom concedes fearless exploration.

Favorite Tracks:
01 - Dusk ► 02 - Yes Yes ► 04 - Dance No. 5

Rodrigo Amado - A History of Nothing

June 21, 2018

Label: Trost Records, 2018

Personnel - Rodrigo Amado: tenor saxophone; Joe McPhee: soprano saxophone, pocket trumpet; Kent Kessler: double bass; Chris Corsano: drums.

Portuguese saxophonist Rodrigo Amado, a mainstay of the European free jazz panorama, is recognized for blowing his tenor with logic and authority, frequently in trio and quartet settings. He was also a member of the adventurous Lisbon Improvisation Players group, with which he recorded three albums for the Clean Feed label.

A History of Nothing, his debut on the Austrian Trost Records, features five improv-centric tunes authored and sculpted by the same quartet that made This Is Our Language (Not Two Records, 2012) a reference in the genre. Namely, Joe McPhee on soprano saxophone and pocket trumpet, Kent Kessler on double bass, and Chris Corsano on drums.

“Legacies” opens the session with strong chamber intonations, driven by gentle bowed bass moves and occasional cymbal screeches. The midpoint marks a change with Kessler providing a bit more conduction through punctilious plucks, and Corsano getting increasingly active behind the drum kit while the horn section creates a free state of harmony.

The deliberative "A History of Nothing" starts with a cacophonous tug-of-war between saxophones, triggering responsive reactions from the rhythm section. It’s like a push-pull game of thrones where nobody wins, replete with raw, exhilarating collisions and powerful individual expressions. Bass and drums weave a supportive if impenetrable rhythmic net that stimulates Amado and McPhee to exhibit heftiness and intricacy in their explorative endeavors. At that moment, we can see the ensemble in full flight.

The mixture of mordant and airy sounds from pocket trumpet initiates the operations on “Wild Flower”, but McPhee soon switches to soprano sax, delivering racing phrases over the foundational tandem priorly established. Amado then chips in, employing discernible folk-ish lines with a rollicking grasp and striking timbre, evoking Archie Shepp, Albert Ayler, and sometimes Fred Anderson in his musical descriptions. It felt good hearing him digging something more melodic in contrast with the fierce rhythmic approach of his co-workers. McPhee joins again by the end, for a victorious, snappy final round of interactive play.

Establishing a strange communication, the quartet finishes this adventurous journey with “The Hidden Desert”, whose dark mood and sedative hypnotics take the listener to a brooding cinematic realm. However, I could not fail to mention the homage to McPhee on “Theory of Mind II (for Joe)”, marked as a CD-only track. The intense combination of mallet drumming and bass perambulations vary in intensity with Amado opting not to bring all his impetuosity in his first improvisatory incursion. He returns later with a turbulent foray, though.

Amado’s quartet is in peak form, exerting another biting album that comprehends both volcanic and ruminative sonic layers. Just let the freedom touch you while enjoying this finely calibrated commotion.

Favorite Tracks:
02 - A History of Nothing ► 03 - Theory of Mind II (for Joe) ► 04 - Wild Flower

Michael Dessen Trio - Somewhere In the Upstream

June 20, 2018

Label: Clean Feed, 2018

Personnel - Michael Dessen: trombone, electronics; Chris Tordini: bass; Dan Weiss: drums.

Trombonist Michael Dessen, a serious up-and-comer specialized in an artistic blend of composition, improvisation and technology, has been a regular presence on the Clean Feed roster with an experimental electro-acoustic trio that includes bassist Chris Tordini and drummer Dan Weiss. This stellar rhythm section provides him robust and malleable textures that serve his impromptu flares, occasionally populated with electronic elements. The 50-minute Somewhere in the Upstream is a conceptual work divided into eight parts and based on Dessen’s ‘scorestream’, a process in which sonic sculptures are formed upon a real time reading and interpretation of a longform score displayed on a screen. The work is dedicated to the late multi-instrumentalist Yusef Lateef and transcends categories.

A trombone solo launches "Part 1", which displays an independent bass flow at the base and gains a distinctive flavor with Weiss’ digressive impetuosity. The initial combination of snare and cymbal moves are extended to the tom-toms, going well with the practices of the bassist, whose solo departs from the theme’s melody to explore further. The transition from "Part 1" to "Part2", a bubbly wha-wha psychedelia with deep-toned notes and a sort of reverse-synth sound effect, is made through robotic sounds, free bass peregrinations, and a poised amalgam of rimshots and hi-hat activity.

On "Part 3", darker vibes flow from Tordini’s bass, bumping into soaring trombone lines. By the end, the energy is compressed and the abstraction enlarged. If the latter piece has a serendipitous nature, then "Part 4" has the trio functioning in a pure jazz mode while boasting a finely calibrated rhythmic strategy between bass and drums. At first, short trombone phrases can be heard on top of a roving bass motion and jittery hi-hat drumming. After a while, trombone and bass align positions, heading in the same direction, while Weiss’ snare chatter prepares the listeners for a nearly 3-minute masterful improvisation that constitute most of "Part 5".

The ten-minute "Part 8" boasts a rock-tinged intensity that favors the bandleader’s individual stretches. Melodic ideas, dropped down with a fluid sense of language, encourage the rhythm team to build the ground level with deep-rooted grooves and dramatic, propulsive beats.

The band keeps the experiment going on the spur of the moment, layering luxe rhythmic textures with a mix of brassy avant-jazz and electronic fantasia. Avoiding overt suggestions, the music may take you to accessible or recondite places, and that’s exactly from where the pleasure of listening to it comes.

Favorite Tracks:
01 - Part 1 ► 04 - Part 4 ► 08 - Part 8

Adam O'Farrill - El Maquech

June 19, 2018

Label: Biophilia Records, 2018

Personnel - Adam O’Farrill: trumpet; Chad Lewkowitz-Brown: tenor saxophone; Walter Stinson: acoustic bass; Zack O’Farrill: drums.

Evincing a precocious musical maturity for his young age (he is 23), Adam O’Farrill became one of the most longed-for trumpeters on the scene. He was absolutely fantastic in Rudresh Mahanthappa’s Bird Calls and Stephan Crump’s Rhombal, projects that gave him the visibility he needed to stand out. Born in a family of talented musicians (grandson of legendary Afro-Cuban composer Chico O’Farrill and son of pianist/composer Arturo O’Farrill), Adam not only gathered all the traditional knowledge but also developed modern skills before forming his own quartet. His debut album, Stranger Days, was released two years ago on the Sunnyside Records to critical acclaim.

Like the work cited above, his latest album, El Maquech, features Chad Lewkowitz-Brown on tenor sax, Walter Stinson on bass, and brother Zack O’Farrill on drums. It exudes a multitude of influences, being a great addition to Biophilia Records' modern catalog.
“Siiva Moiita”, a traditional Mexican folk tune, is reimagined with a provocative Latin touch and avant-garde grace, bringing into mind the playfulness of Dave Douglas. Channeling their creative energies and improvisational flair into an off-kilter dialogue, saxophonist and trumpeter differ in approach, with the former behaving more fidgety than the latter. All this occurs with the rhythm section fueling their whims with strenuous, throbbing polyrhythms.

Manifesting groove as an ideology, “Verboten Chant” makes us imagine Don Cherry and Gato Barbieri being subjected to a free-bop re-orientation. The composition adopts a more traditional avant-garde setting when compared to the title cut, in which the band speaks folkloric idioms through a fusion of mariachi music and adventurous jazz. Indeed, this is a curious encounter between profuse Latin melodies and marching rhythms.

Based on Monk’s “Eronel", “Erroneous Love” instantly captured my attention through the busy motif placed at its center together with the leisured yet purely instinctive bass flows, jittery drumming, and flawless interplay suffused with elliptical melodic trajectories. It precedes two compositions where the trumpet claims the spotlight: “Shall We”, a sketchy and rumbling duet with drums, and “Get Thee Behind Me Satan”, a song by Irving Berlin and popularized by Ella Fitzgerald, here transformed into an articulated monologue.

Before using ingenuity in the interpretation of Gabriel Garzon-Montano’s “Pour Maman”, which expands grandiosely and eloquently after a dark, solemn inception marked by deep bowed bass incisions, we have the Frida Khalo-inspired “Henry Ford Hospital”, another hectic odyssey into the ineffable soundworlds of contemporaneity. Expect to find shades of Jewish and Latin music, chirpy trumpet attacks, effusive saxophone counterlines, funk-inflected bass grooves, and ever-shifting gnarling drums.

Relying on the quartet’s collective power as well as on the strong individuality of its members, O’Farrill will consistently reach listeners interested in a fresh, electrifying jazz that pretty much reflects his go-ahead attitude.

Favorite Tracks:
04 - Erroneous Love ► 07 - Henry Ford Hospital ► 08 - Pour Maman

Brad Mehldau Trio - Seymour Reads the Constitution!

June 18, 2018

Label: Nonesuch Records, 2018

Personnel - Brad Mehldau: piano; Larry Grenadier: acoustic bass; Jeff Ballard: drums.

brad-mehldau-trio-seymour-reads-the-constitution-450.jpg

Brad Mehldau, one of the most influential pianists of our times, is all imagination and sophistication when it comes to composition and execution. After assembling readings of preludes by Bach and his own originals on the solo work After Bach (Nonesuch, 2018), he returns to the trio format, accompanied by longtime associates Larry Grenadier and Jeff Ballard on bass and drums, respectively.

The new album, Seymour Reads the Constitution!, got its title from a weird dream with the actor Phillip Seymour Hoffman, two weeks before his death. In addition to three originals, the album features renditions of meaningful post-bop pieces, pop songs, and a jazz standard.

Two originals are at the top of the song lineup. Whereas the odd-metered “Spiral” relies on a dazzling rhythm, a beautifully poignant melody reminiscent of Jobim, and a consistent post-bop stream of elegant sequential voicings, the title track is a classical-tinged waltz propelled by Ballard’s distinctive brushwork and stamped with refined piano phrases gently pronounced in unison with the bass. Mehldau compellingly flies in his solo, subtly pervading passage notes with warmth and richness, while Grenadier’s exploration becomes a source of inspiration such is the expressiveness revealed.

Swinging with gusto, the trio shapes “Like Someone in Love” with a different tempo and artistic refinement. Liveliness and elasticity conduct the drummer to enthusiastically trade bars with his bandmates. He repeats the procedure on Sam Rivers’ “Beatrice”, where notes are tossed with zest and lush chord changes take place on top of Grenadier’s dancing patterns. He even quotes “Acknowledgement” by Coltrane at some point.

Elmo Hope’s “De-Dah” is tackled with a cool touch and flows at a moderate pace with bebop stimulus. One finds the pianist in evidence again with improvised lines that go around the melody, deepened by cracking motifs in a fluent conversational tone. The melodicism mirrors his purest musical sensitivity. Following the bandleader’s example, bassist and drummer, besides utterly supportive of each other in guaranteeing a classy foundation, also explore swirls of emotion through the appeal of spontaneity.

Mehldau has a knack for giving pop songs a unique emotional touch. For this album, the chosen ones were Beach Boys’ “Friends” and Paul McCartney’s “Great Day”. The former was transformed into an amiable jazz waltz (the original version also obeys a 3/4 time signature) with an inventive final section while the latter feels like a lively percussive triumph with a bluesy feel. Placed in the middle of these compositions, “Ten Tune” falls in the third stream genre and comes cleverly arranged with melodic counterpoint.

Mehldau Trio demonstrates a firm grasp across styles, engulfing the listeners in their glistening, warm-hearted storytelling and transporting them into another realm. This is among the most enchanting offerings of his career.

Favorite Tracks:
01 - Spiral ► 04 - De-Dah ► 05 - Friends

Shawn Maxwell's New Tomorrow - Music In My Mind

June 14, 2018

Label: AO2 Records, 2018

Personnel – Shawn Maxwell: alto saxophone, clarinet, flute; Dee Alexander: vocals; Victor Garcia: trumpet, flugelhorn; Chad McCullough: trumpet, flugelhorn; Corey Wilkes: trumpet; Matt Nelson: piano, rhodes; Patrick Mulcahy: electric bass; Junius Paul: acoustic and electric bass; Tim Seisser: electric bass; Phil Beale: drums; Stephen Lynerd: vibraphone; Kalyan Pathak: percussion.

Shawn Maxwell's New Tomorrow returns two years after the release of their eponymous album on OA2 Records. The new CD, Music in My Mind, features ten electric originals performed by the original septet - Maxwell on alto sax, clarinet and flute; trumpeters Victor Garcia, Chad McCullough and Corey Wilkes; keyboardist Matt Nelson; bassist Junius Paul; and drummer Phil Beale - plus a few new additions that envision diversification through their personal approach to sound.

Vocalist Dee Alexander is one of them, lending her voice to the first two tracks. “Our Princess Is In Another Castle” starts like a frolicsome delirium with a cyclic saxophone slogan, snare drum rudiments (typical from a march), and trumpet countermelodies. Their energetic actions dilute to accommodate more pacific passages aligned with voice and horn lines. An engaging improvised dialogue in the form of question-answer then starts between Maxwell and McCullough, brought up with abandonment and eventually intersecting in the last minute.

In turn, the title track, “Music In My Mind”, comes equipped with two melodic ideas on the theme, effectively built by piano and voice (in strict collaboration with the horn section). After a sharp individual statement by Garcia, the musicians embark on a swift, complex counterpoint steeped in the classical genre. Maxwell reserves a solemn section played in five for himself, delivering an estimable improvisation on alto saxophone before returning to the previous classical mood.

The groovy sound of the Fender Rhodes on “Maxwell’s House” gives it a special funky flavor that melds with some R&B sparkle. Nelson and the bandleader are the ones in charge of the improvisations. Also carrying a smooth funk at its core, “He Gone” has its crossover panache softened by amiable flute melodies. The bass groove and stylish slides are from Patrick Mulcahy and the muted-trumpet articulation is the fruit of Wilkes’ labor. Also “Glamasue”, a song that first appeared in Maxwell’s debut album Originals, thrives with the Incognito-style funk bass delivered by Tim Seisser, whereas the playful “Another Monday”, anchored in an expressive motif, brings that sort of jazz-rock vibe offered by Donald Fagen in his Kamakiriad album.

Promoting diversification within a modern approach, the band devises “King Bill” (another piece from Originals) with danceable swinging motions, zealous percussive attacks, and passionate clarinet lines that evoke the jazz tradition, and “Snow Snow” with a harmonization that feels closer to pop music.

Maxwell and his associates dabble in a colorful urban jazz that stews with heat. Adopting a feel-good posture that rejects any kind of pessimism, the band provides the listener with ear-pleasing melody, lively interactions, and catchy orchestrations.

Favorite Tracks:
01 - Our Princess Is In Another Castle ► 02 - Music In My Mind ► 08 - Another Monday

Yelena Eckemoff - Desert

June 13, 2018

Label: L&H Productions, 2018

Personnel - Yelena Eckemoff: piano; Paul McCandless: oboe, English horn, soprano sax, bass clarinet; Arild Andersen: bass; Peter Erskine: drums, percussion.

It is amazing how the desert can be so intensely vivid and musically inspiring. Anouar Brahem, Zakir Hussain, and Rabih Abou-Khalil often invoked it in their respective world-fusion styles. Now is the Russian-born, North Carolina-based pianist Yelena Eckemoff, who musically describes those vast landscapes of yellow sand, starry blue skies, and orange sunsets. For that purpose, she convened three world-class musicians - multi-reedist Paul McCandless, bassist Arild Andersen, and drummer Peter Erskine - and invites us to take a trip with them into the exuberant world of the Arabian sultans.

“Bedouins” carries a bass groove impossible to resist, beautifully meshed with an elegant propulsive drumming to attain a lush foundation. When not accompanying with sparse and tasteful processional chords, Eckemoff improvises with a bold sense of tempo. McCandless plunges headfirst in malleable melodic stretches, whereas Erskine controls the tom-tom attacks with a brilliant touch. I would swear I saw a caravan of camels passing by.

All this velvety, intensity, and freedom are transferred to the next piece, “Mirages”, which soothes the spirit with idyllic passages initially introduced by a minimal one-note piano ostinato. The song is sonically expanded, gaining a strange and urgent force through the inventiveness of McCandless, whose atonal expeditions traverses jazz vanguardism. Eckemoff’s piano work is encouraging, making successive bass notes dancing in contrast with the delicious sweeping movements of the right hand. After the storm comes a calm, yet, not devoid of a giddy sense of adventure.

The musing literacy of the 3/4-metered “Desert’s Cry” bridges jazz fluency and non-Western spirituality in an attractive ethnic fusion. A similar tempo and mood characterize “Sands”, which closes out the album.
The classical background of the bandleader is strongly felt on both “Dance” and “Condor”. However, the tunes display distinct qualities. If the latter is deeply explorative in its jazz-classical hybridity, the former is a percussive charmer, churning a settled mix of ideas that include sax-bass unisons and expressive solos over jazz harmonic progressions.

The cumulative wisdom of the musicians simmers well throughout this enticing conceptual album, serving to translate complex compositions into traveler songs of sheer beauty and apparent facility. Other good examples are the breezy “Oasis”, rhythmically driven by brushes and featuring a gallant bass solo; “Dust Storm”, a modal jazz inflection marked by the disparate tonalities of McCandless oboe and bass clarinet; and “Garden of Eden”, a softly introspective piece with a folk melody and fugue-like piano movements.

Never too smooth, never too aggressive, the album offers the possibility and the pleasure of discovering new places. The classy compositions presented here conjure up the great mystic of the desert. The music feels like finding a precious oasis.

Favorite Tracks:
01 - Bedouins ► 02 - Mirages ► 04 – Dance

Ivo Perelman / Matthew Shipp - Oneness

June 12, 2018

Label: Leo Records, 2018

Personnel: Ivo Perelman: tenor saxophone; Matthew Shipp: piano.

The telepathic articulation between tenor saxophonist Ivo Perelman and pianist Matthew Shipp, two free spirits in the art of music-making, is quite obvious and grows stronger on Oneness, a triple album with 33 improvised tracks, which all together, offer more than two hours of searching music. In this sonic adventure, the interactions never feel a debate, but rather a well-reasoned conversation. The nature of the pieces often become visual, stimulating our imagination for mysterious interplanetary routes or energizing earthy expressions defined by an organic blend of avant-garde jazz, art-folk elements, and contemporary classical incursions.

The duo always finds new ways to surprise, reinventing lines and textures through spontaneous ideas. They not only have a staggering control of their instruments but also find an easy comfort with each other's craft and forms of expression.

The first tune of CD1 suggests an odd tango-ish mood until falling into a free ramble, in which Perelman’s sinuous moves exalted by deep-toned notes with a rich vibrato. In a variety of atmospheres along the way, the cohesion of the duo is felt through free-form approaches and effortless suppression of time while shaping, sometimes angular, sometimes curved geometric figures with an inner pulse of creativity. The timbral range is also a crucial factor in their aesthetic reality, with Shipp’s off-center chordal adventurism, always intricate and stunning, becoming a great vehicle for Perelman’s elliptical threads and asymmetrical zigzags. Ambiguity is also brought into their subliminal interplay, no matter which direction they decide to take - it may be tranquil, lyric and dreamlike but also tense, restless and provocative.

The extemporizations sometimes hinge on an initial idea or just flow briskly with refractory intervallic leaps and opportune chromaticism. No hesitation. No redundancy. No preconception. Pure exploration and inspiration.

The album reflects what these longtime collaborators and wonderful musicians can do. One saxophone, one piano, and oneness of mind and purpose are everything they need.

Favorite Tracks:
01 (CD1) - Track 1 ► 11 (CD1) - Track 11 ► 06 (CD2) - Track 6

The Vinny Golia Sextet - Trajectory

June 11, 2018

Label: Orenda Records + Nine Winds Records, 2018

Personnel – Vinny Golia: reeds and woodwinds; Gavin Templeton: alto sax; Daniel Rosenboom: trumpet, flugelhorn; Alexander Noice: guitar; Miller Wrenn: acoustic and electric bass; Andrew Lessman: drums and percussion.

Multi-reedist Vinny Golia, a prolific explorer, freethinker, and innovator, has been a multifaceted bandleader since the 70’s, and his discography is aggrandized with fruitful collaborations with the likes of Wadada Leo Smith, Tim Berne, Alex Cline, Rich Halley, and Nels Cline. His new sextet includes five former students and emergent talents: alto saxophonist Gavin Templeton, trumpeter Daniel Rosenboom, guitarist Alexander Noice, bassist Miller Wrenn, and drummer Andrew Lessman.

Trajectory is a riveting double-disc album with enough bite to attract free and avant-garde jazz fans as well as enthusiasts of an audacious crossing between modern creative and groovy funk. This work consists of a careful selection of tunes penned and performed by Golia for over a decade. It was released on his own label, Nine Winds Records, in collaboration with Orenda Records.

The band kicks off with “Ts'emekwe”, where obscurity reigns until a cheerful romp, permeated by a lively funk pulse and well-coordinated movements by the horns and guitar, becomes the dominant factor.

Wild in-and-out solos spread everywhere, contributing a sheer force and precision fury to the typical avant-garde settings created in compositions like “Dr. Loomis, Welcome Back To The Hospital”, a churning Ornette-style ride featuring crashing unisons and individual stretches, “By The End Of The Day”, with Templeton’s ebullient alto and Golia’s hard-hitting baritone challenging the guitarist in his adroit comping, and “Will, It's A Valuable Appendage”, another straightforward punchy tune with rock vitality and flawless paralleled melodies.

Rock and funk delirium is a constant on compositions like “OK Doctor Xavier”, whose brawny muscle and knotty essence are stressed by nervy bass flows and infectious drum fills; “Spaniard's Dilemma”, which boasts a distorted guitar ostinato over a fuzz-inflected groove, double saxophone trills, and inescapably abrasive counterpoint; as well as “Ananaki” and “Sparks Of Dare”, two forms of progressive, often-noisy funk journeys that positively quiver with edgy collective flywheels and exclamatory phrases of opulent tonalities.

Other tunes fall into the contemplative section, cases of “Ugly Bags Of Mostly Water”, a chamber jazz dance between baritone and alto saxophones supported by taciturn backing atmospheres; “The Penabus”, an airy restrained swagger propelled by mallets; and “Gift Of The Nile”, a prog rock excursion where spooky flute sounds hover on top of acerbic chords.

Golia’s sonically arresting originals gain another dimension when in the hands of this freewheeling sextet, which he commands with tensile strength. Strategically using groove as an aesthetic aid, this is a work of precious, exceptional power.

Favorite Tracks:
04 (cd1) - Dr. Loomis, Welcome Back To The Hospital ► 08 (cd1) – Ananaki ► 04 (cd2) - Gift Of The Nile

JD Allen - Love Stone

June 7, 2018

Label: Savant Records, 2018

Personnel – JD Allen: tenor sax; Liberty Ellman: electric guitar; Gregg August: acoustic bass; Rudy Royston: drums.

Boasting a magnificent sound as well as a beautiful, fluid language, tenor saxophonist JD Allen embraces jazz ballads from the past in his new Savant release, Love Stone, the excellent follow up to last year’s Radio Flyer. If there is something about Charles Lloyd in the way he declares “Stranger in Paradise”, a song popularized by Jimmy Smith, then he shows off an effective pitch control in the pure classic tradition of Sonny Rollins on “Until the Real Thing Comes Along”. All those marvelously deep notes are imprinted on our minds, uttered with warm tones and infallible precision. They uplift the spirit. Guitarist Liberty Ellman demonstrates his harmonic competence and melodic sensitivity on both tunes, well backed up by the breathable bass-drums workflow by bassist Gregg August and drummer Rudy Royston. The latter musicians have been recording regularly with JD since 2012, while Ellman joined last year.

The bop erudition of “Why Was I Born” reaches a groovy relaxation, renouncing to the fervently swinging incursions of Jackie McLean or the rubato adventures of Coltrane/Burrell, two versions still fresh in my mind. The shimmering brushwork of Royston and the appealing, laid-back posture of August are freaking awesome.

“Come All Ye Fair and Tender Ladies” is an adorable folk song that advances peacefully with guitar introspection, punctual bass plucks, and mallet drumming. It is followed by the casualness and graceful swinging balance of “Put On a Happy Face”, a composition formerly tackled by such different artists as Oscar Peterson and Stevie Wonder.

“Gone With the Wind” concludes the quartet’s voyage into this magical realm of balladic jazz with a profound, soulful appeal that stems from the unblemished teamwork.

In a quietly revolutionary mode, JD deftly reimagines familiar tunes with a sharp, affective, and pragmatic vision. The pristine glow of his saxophone brings us back the joy of listening to these sweet old songs. Tradition has its place in the modern jazz and this impressive album is probably what your ears have been aching for.

Favorite Tracks:
01 - Stranger in Paradise ► 02 - Until the Real Thing Comes Along ► 05 - Come All Ye Fair and Tender Ladies

Logan Richardson - Blues People

June 6, 2018

Label: Ropeadope, 2018

Personnel – Logan Richardson: alto saxophone; Justus West: electric guitar; Igor Osypov: acoustic and electric guitars; DeAndre Manning: electric bassist; Ryan Lee: drums.

The American saxophonist Logan Richardson, based in Paris since 2011, released interesting albums in the past to make us curious about his next steps. Shift, his Blue Note debut, was recorded with the illustrious Pat Metheny, Jason Moran, Harish Raghavan, and Nasheet Waits, while the new album, Blues People, released on Ropeadope, features a new band whose exploration of sound allows a sensible coexistence between post-bop, blues, hard rock, hip-hop, and electronica. Throughout the 14-song repertoire, he fuses all these genres, gaining a unique perspective through the involving musicality of the guitarists Justus West and Igor Osypov, electric bassist DeAndre Manning, and drummer Ryan Lee. Together, they reflect on the past and present of black people's lives.

“Hidden Figures” starts with periodic tom-tom sweeps before establishing the pace by locking a syncopated hip-hop beat. Both guitars, boasting a heavy tone that recalls Steve Vai, fuse with an instant understanding, creating a hypnotic mood that suits Richardson’s emotionally charged phrases.

Adopting a pop/rock posture, “80’s Child” is impregnated with the energy of Simple Minds. The song is enhanced with a bolder rhythm, having alto sax improvs over cyclic guitar riffs. The methodology used here is practically transferred to “Pure Change”, where the vigor of the rock drumming and guitar infusions are dominant, while melodious sax lines keep hovering on top. An assemblage of several ostinatos creates a lively urban portrait.

Both “Country Boy” and “Black Brown Yellow” feature acoustic guitar. Whereas the former adds electronic-like effects and slide guitar for a country blues experimentation, the latter initially embraces vocal layers and bowed bass within a classical romanticism that later reshapes in order to incorporate rich and rounded guitar licks suggestive of the heavy metal style. Also “The Settlement” brings up a neoclassical metal feel, more euphonious than unconventional.

Almost falling in a dark electronic hum, “Underground” does justice to its title, with the band mystifying our ears through the use of a bass pedal, disrupted rhythms, transverse guitar noise, and an effect-infused saxophone. The flux of cross beats also works well on “Hunter of Soul”, where vibes and drones are intensified to obtain intriguing textures, only attenuated by the bandleader’s melancholic lines.

Similarly to “Urban Life”, “Class Wars” relies on a bass groove eligible for both funk-rock and electronica purposes. If the latter has guitar ostinatos and unison melodies increasing the saturation of the colors, then the former’s rock exuberance serves as a vehicle for Richardson’s self-controlled melodic drive, definitely more plaintive and airy than euphoric.

Conceptual and diversified, Blues People has Richardson finding new paths while transcending genres. His fourth album may not be a career peak, but it's great to see him probing new directions in search of originality.

Favorite Tracks:
02 - Hidden Figures ► 03 - 80’s Child ► 14 - Pure Change

Thumbscrew - Ours

June 5, 2018

Label: Cuneiform Records, 2018

Personnel - Mary Halvorson: guitar; Michael Formanek: double bass; Tomas Fujiwara: drums.

Avant-jazz trio Thumbscrew, a collaborative project co-led by guitarist Mary Halvorson, bassist Michael Formanek, and drummer Tomas Fujiwara, augmented their discography with the release of two new complementary if conceptually distinct albums, suitably entitled Ours and Theirs. Following the example of their second album, Convallaria, these sessions were born from a residency at Pittsburgh’s City of Asylum and demonstrate the strong sonic chemistry of musicians who have been regular presences in one another’s bands.

Theirs consists of ten visionary renditions of non-originals, including standards (“East of the Sun”, “The Peacocks”), post-bop sensations (Wayne Shorter’s “Dance Cadaverous”, Herbie Nichols’s “House Party Starting”, Stanley Cowell’s “Effi”), hard-bop classics (Benny Golson’s “Stablemates”), avant-garde numbers (Misha Mengelberg’s “Weer is een dag voorbij”), and even Brazilian (Jacob do Bandolim’s “Benzinho”) and Argentinean (Julio De Caro’s “Buen Amigo”) pieces.

Conversely, Ours exclusively comprises originals, having each artist contributing with three compositions.
Halvorson’s “Snarling Joys” exudes a sonic exoticism brought forth by flamenco-like attacks on the guitar and a thoughtful bass solo over a more temperate texture. There’s depth in the groove, yet, unrelated with the one presented on “Saturn Way”, which thrives with the percussive incantation of Fujiwara, its author, and also impresses through Formanek’s fluttering arco rumination.

Suffused with lamenting chords, “Smoketree” advances at a medium-slow tempo imposed by a groove in nine. The inventive artistry of Halvorson, the snare drum palpitations of Fujiwara, and the empathic statement of Formanek are prominent. The bassist also delivers on “Unconditional”, a flirtatious tune driven by Fujiwara’s mallet appeal. This composition still sounds intriguing despite carrying a more standardized jazz phrasing and harmonization.

Formanek’s “Cruel Heartless Bastards” goes back and forth in tempo, jolting with changed-up rhythms and textures. Although rhythmically complex, the piece encloses rock-driven passages outlined with power chords, robust bass pumps, and effusive drumming that bear some resemblance with Pixies or The Fall, even if not so rough on the surface. Its energy has less to do with the groovy march of “Thumbprint”, but gets closer to “Words That Rhyme With Spangle”, a post-rock piece that cracks out dynamic kinetics, morphing into a jumbled amalgam of speckled drum chops, unfettered bass, electronic seizures, and revolutionary guitar spins.

An advanced post-bop harmonization affiliates with sharp melodic angularity to fabricate “Rising Snow”, which finds a sensitive equilibrium between the raw strokes of the pulse and the atmospheric velvety of the guitar.

The experimental sounds of Thumbscrew evolve with large amounts of imagination and boldness not to disappoint you. Whether playing originals or covers, their rhythmic deconstructionism and eccentric melodic conductivity make you dabble in this luxurious sonic bubble bath for the ears.

Favorite Tracks:
03 - Cruel Heartless Bastards ► 04 - Smoketree ► 08 - Words That Rhyme With Spangle

Matt Penman - Good Question

June 4, 2018

Label: Sunnyside Records, 2018

Personnel – Mark Turner: tenor saxophone; Will Vinson: soprano saxophone; Aaron Parks: piano, rhodes; Nir Felder: guitar; Matt Penman: acoustic bass; Obed Calvaire: drums.

Matt Penman was born in New Zealand but his hearty bass pizzicato and triumphant groove have been enriching the New York jazz panorama since 1995. Besides being an attentive bandleader, Penman contributes to prestigious bands such as SF Jazz Collective and James Farm, and collaborated with respected artists like Joshua Redman, Chris Cheek, Kurt Rosenwinkel, and Aaron Goldberg.

For each tune on Good Question, Penman asked a musical question to his bandmates and their responses were transformative and conversational. For instance, “Copeland” describes an aural safe haven from the traumas of modern life with an effective combination of jazz elegance and lullaby-ish folk melody. Working side-by-side with the warm brushwork of drummer Obed Calvaire, Penman sticks to a bass pedal, creating a polished anchor for Mark Turner’s gritty improvisation.

Surpassing the limits of pure technique and exhibiting a haunting tonal glow, the saxophonist, who plays six of the nine tracks, deservedly claims the spotlight on “Cave Life”, ultimately sparking the circular vibes suggestive of electronic music and created by clockwork hi-hat marks (later turned into beat arrhythmias), glorious sax-bass unisons, and crisp Rhodes harmonizations. He also delivers on the opener, “Mr.Right”, which flourishes with a breathable groove, several rhythmic accentuations, more sax-bass unison phrases, and the visionary pianism of Aaron Parks, here showing an extraordinary ability to produce relaxation and tension on the same textural tapestry. Penman opens the improvisational section with the right foot, repeating the ride on the Oliver Nelson-esque “The Blues and the Alternative Truth”, a balladic recipe cooked up in the classical piano trio format and where his bass testimony slides effortlessly over a sparse piano accompaniment and balmy percussion.

The dawning light of “Small Famous” brings a fresh, sweet serenity. Yet, after all, the tune is not devoid of an inner propulsive energy. The group has a remarkable rhythmic control at the same time that keeps searching for balance and common ground. Even in the face of a complex metric, everything sounds natural.

If saxophonist Will Vinson transcends language on “Fifths and Bayou”, intimately fashioning lines with a soulful side that serves to attenuate the song’s introductory dark texture, then guitarist Nir Felder responds differently to a double call, presenting an attractive idiom with a mellow sound effect on the rhythmically shifting “Rider The Paper Tiger”, and a more bluesy inclination on “Big Tent, Little Tent”, a joyful groovy piece in seven.

With the dominant thrust coming from the pliant rhythm section, the scenario becomes auspiciously enticing for the soloists, whose improvisational creativity is poured out with eager determination and a fertile imagination.
Moreover, great compositions deserve wonderful musicians and Good Question is a good example of that.

Favorite Tracks:
01 - Mr. Right ► 03 - Fifths and Bayou ► 06 - Ride the Paper Tiger

Geof Bradfield - Yes and... Music for Nine Improvisers

May 31, 2018

Label: Delmark Records, 2018

Personnel – Geof Bradfield: tenor and soprano saxophone, bass clarinet; Greg Ward: alto saxophone; Anna Webber: flute, tenor saxophone; Russ Johnson: trumpet; Marquis Hill: trumpet; Joel Adams: trombone; Scott Hesse: guitar; Clark Sommers: bass; Dana Hall: drums and percussion.

Boasting an impeccable tonal control and range, saxophonist Geof Bradfield hires a sterling cast of musicians to give wings to his seventh album of originals, Yes, and…Music For Nine Improvisers. The album title was taken from an improvisational theater game implemented by Compass Players, a cabaret revue from the 50s. Combining genres and moods to create a broader sonic palette, the group works dynamically, whether in nonet or trio, following written material and free improvisation as convenient.

“Prelude” opens up the record with a strong rhythmic focus in a sturdy sax-bass-drums trio format, exposing fiery timbral explorations and edgy hooks while binding post-bop stamina and swinging passages. This tradition-modernity crossing is even stronger on “Impossible Charms”, a song containing voluptuous vibes, acute improvisations (Bradfield on tenor, trombonist Joel Adams, and trumpeter Marquis Hill) with swinging accompaniment, and a percussive folk finale covered in Non-Western garments.

The energy becomes refracted on “In Flux”, a time-shifting spectacle penned for the entire nonet that fluctuates with a pedal-like groove and fine chamber passages bridging improvisations. It features Hesse’s rapid runs and cascading ostinatos, saxophonist Greg Ward’s emotional yet electrifying phrasing over a dynamic rhythmic activity, and Russ Johnson's diaphanous melodicism within a storytelling containing fragments of swing.

Avoiding bumpy roads, “Chorale” and “Chaconne” are short horn-driven pieces for trio, designed with parallel and diagonal motions as well as polyphony.

“Anamneses”, whose title means recollections of the past, slightly crosses world music frontiers. The mystique comes from percussive rattles and cymbal introspection, in addition to a self-disciplined guitar and collective lines in unison. Elegant ebbs and flows arrive through flutist Anna Webber’s agile stretches, smoothly placed on top of idle fingerpicked guitar chords. Then we have the beseeching lines of Russ Johnson’s muted trumpet, which find a compelling rhythmic web composed of mallet drumming and breathable bass lines. Concluding the journey, Bradfield skillfully tours a delicate harmonic texture complemented with horn fills.

The celebratory jazz-fusion of “Forro Hermeto”, a tribute to the musical wizardry of Hermeto Pascoal, overflows with iridescent Brazilian rhythms and sparkling statements by the improvisers.

Bradfield stepped up his compositional efforts for this categorical work and the outcome is unpretentious, sumptuous, and gratifying to the core.

Favorite Tracks:
01 - Prelude ► 06 - Anamneses ► 08 - Forro Hermeto

Michael Moss Accidental Orchestra - Helix

May 30, 2018

Label: Self produced, 2018

Personnel includes - Michael Moss: clarinet, composition, arrangement; Michael Lytle: bass clarinet; Jason Kao Hwang: violin; Steve Swell: trombone; Waldron Mahdi Ricks: trumpet; Richard Keene: oboe; Vincent Chancey: french horn; Elliott Levin: saxophone, flute; Ras Moshe Burnett: tenor and soprano saxophones; Steve Cohn: piano; Billy Stein: guitar; Larry Roland: bass; Warren Smith: percussion; Michael Wimberly: percussion; Chuck Fertal: drums; and more.

Michael Moss is a multi-instrumentalist, composer, and arranger that has been an assiduous presence in the New York’s free and avant-garde panoramas. His new album, Helix, comprises a 36-minute, 5-part suite and a separate composition that runs for more than 20 minutes. To accomplish this work, Moss gathered a 22-piece new ensemble, the Accidental Orchestra. The band includes respected bandleaders and improvisers such as violinist Jason Kao Hwang, trombonist Steve Swell, hornist Vincent Chancey, and saxophonist Elliott Levin, who doubles on flute. Pianist Steve Cohn and guitarist Billy Stein have a hand in texture and bring occasional harmonic color, while the robust rhythmic foundation is established by Larry Roland on bass, Warren Smith and Michael Wimberly on percussion, and Chuck Fertal on drums.

The Old One suite, influenced by several ritualistic practices from different parts of the world, opens with “Inception”, giving you a good idea of what is coming next. Its extravagant textures sometimes feel light, perceptible and explicit, while other times feel massive, dense and knotty.

“Bridge” evokes the stratospheric Afro explorations of Sun Ra, especially through the actions of piano, vibraphone and drums, whereas “Qabbala” pairs off violins and horns, with guitar and piano fortifying the athletic raids of bass and percussion.

The fourth part, “Bardo” brings mysterious tones through a whimsical combination of highly contrasting pitched sounds. As the time passes, the interactions get inflated, taking proportions of a loud crescendo.

The suite comes to an end with “The Mind of God”, whose duration extends for almost 16 minutes without getting us tired. A shuffling rhythmic cadence looks for a desperate flute dissertation adorned with chamber fills. After a few exciting runs from the oboe, there’s an atmospheric passage made of clarinet over a controlled guitar. However, it’s Steve Cohn’s piano that brings forth that jazz glow we were waiting for. The ride ends up in a concordant chamber jazz feast.

Closing out the record, we have a spiritual, swinging, celebratory piece, “See Sharp Or Be Flat/C# or Bb”, which is probably the most accessible due to a less number of collisions and intersections. Freely blending tradition and modernity, this composition, written when Moss was recovering from a fracture resultant from tripping over a curb, features numerous improvisers whose discourses are separated by suspenseful bridging passages. A blazing percussion discussion is reserved for the end.

Michael Moss works the orchestral dynamics with passion and Helix becomes less intricate and more intelligible as the record is played over and over.

Favorite Tracks:
02 - Bridge ► 05 - The Mind of God ► 06 - See Sharp Or Be Flat/C# or Bb

Adrean Farrugia / Joel Frahm - Blued Dharma

May 29, 2018

Label: GB Records, 2018

Personnel - Adrean Farrugia: piano; Joel Frahm: tenor and soprano saxophones.

Canadian pianist Adrean Farrugia and American saxophonist Joel Frahm share a common musical view, demonstrating a deep understanding of each other’s moves in their duo album Blued Dharma. The musicians, who play together since 2009 as members of drummer Ernesto Cervini’s groups, tackle five original compositions by Farrugia and two standards, using diversity and musical compatibility as their best advantages. Of course, this wouldn't be possible if they weren’t great instrumentalists with well-developed languages and a knack for rich storytelling forms.

The proof arrives with the opening tune, “Blued Dharma”, a melodious folkish song that navigates on top of a poignant harmonic progression. Frahm's solo is structured as a crescendo, having his resolute soprano lines being buoyed by Farrugia's crisp accompaniment. Over the course of his improvisation, the pianist adopts a Jarrett-esque style, guaranteeing the linearity of the bass on the left side and creating a beautiful mix of single-note rides and exciting trills on the right. Everything works in favor of a poised, thrilling texture.

While the pop ballad “For Murray Gold”, a homage to the English composer cited in its title, is introduced with a calm rubato deliberation, falling into a 4/4 medium tempo to sustain the improvisations, “Gospell” shows the duo’s devotion to the gospel genre through soulful lines dropped onto awe-inspiring circular harmonies.

“Cool Beans” is an 18-bar blues whose groove shifts registers as convenient. Blowing the tenor sax with precision, Frahm draws some excitement by employing boppish phrases that never neglect timbral exploration. He excels even more on the closing tune, “Half Moon (For Sophia)”, a joyful, fragile, yet danceable piece in which he unleashes myriad logic notes on the soprano, infusing positive vibes into the casual mood.

The two selected standards were “Nobody Else But Me”, presented in a more classic way with occasional fugue-like passages, and two different versions of “Cherokee”, deliciously swirling explorations that meld classical innuendos and uplifting jazz bounces with a free posture.
This is a sparkling, affable record to enjoy in a relaxed atmosphere.

Favorite Tracks:
01 - Blued Dharma ► 02 - Cherokee II ► 08 - Half Moon (For Sophia)