Jamie Saft Quartet - Hidden Corners

July 1, 2019

Label: RareNoise, 2019

Personnel – Jamie Saft: piano; Dave Liebman: tenor and soprano saxophones, flute; Bradley Christopher Jones: acoustic bass; Hamid Drake: drums.

The penchant for spiritual sounds evinced by keyboardist Jamie Saft is widely known, especially after a successful double release on RareNoise imprint last year: Solo a Genova and Blue. The novelty of his new album, Hidden Corners, is the musicians that follow him in this restorative, empyreal journey of musical discovery. Whereas bassist Bradley Christopher Jones continues in the rhythm section, the well-versed drummer Hamid Drake occupies the chair that belonged to Nasheet Waits. In the frontline, tenorist Bill McHenry gives his place to master saxophonist Dave Liebman, who extends the sonic possibilities with the addition of flute, tenor, and soprano.

Inspired by concepts from Jewish mysticism, the eight-track album makes a start with “Positive Way”, going toward the bandleader’s confession of faith in positivism. We find Jones bowing the bass with depth in a generous contribution for the overall splendor until he shifts technique to embark on an expressive pizzicato solo whose melodic paths amaze. With Drake driving the boat with pure love for rhythm and low-key expertise and Saft accompanying with the habitual efficacy, Liebman makes an astounding entrance, rising up above the ground with lines that simultaneously strike and breathe.

Asserting freedom, “Seven are Double” creates disengaged avant-jazz momentum with Liebman’s gutsy explorations and Saft’s episodic sweeping surges and intervallic leaps. The bass configurations engendered by Jones also soar with majestic grace.

The entrancing mood of Alice Coltrane is evoked on “Yesternight”, a 3/4 modal jazz tune where the bandleader imbues every detail with intention, denoting great sensitivity across the full range of the keyboard. His glorious chords add depth and counterpoint to Liebman’s luxuriant lyricism on the title track, a 12-bar blues whose amiable physiognomy makes us relax and enjoy its sounds with an open heart.

“231 Gates” is a free-form exercise melodically driven by a whistling flute that confers it airier vibes, bringing to memory the first section of Pharaoh Sanders’ “Morning Prayer”. Conversely, “Turn At Every Moment”, propelled by Drake’s pensive cymbals and quiet drum work, elicits some intonational comparisons with Billy Strayhorn’s “Lush Life”.

The program is completed with “Landrace”, offering a strenuous yet grooving bass solo upfront, an inexhaustible swinging tide for the soprano and piano statements, and a subtle Latin pulse by the time that Liebman re-enters to ensure completion.

Saft and his peers, besides dominating the genre inside-out, have an engrossing, ardent way of improvising. They are true masters in steering us toward these healing prayer-like pieces.

Favorite Tracks:
01 - Positive Way ► 03 - Yesternight ► 08 - Landrace

JD Allen - Barracoon

June 27, 2019

Label: Savant, 2019

Personnel - JD Allen: tenor saxophone; Ian Kenselaar: acoustic and electric bass; Nic Cacioppo: drums.

The incomparable saxophonist JD Allen returns with his 13th album as a leader, this time in the company of two young rhythm stylists who have been playing with the tenor titan for more than a year, bassist Ian Kenselaar and drummer Nic Cacciopo. Barracoon contains 10 tight, tough compositions that confer a wider ampleness to Allen’s improvisatory ground since the style adopted often leans on the avant-garde jazz while retaining the true essence of the blues and Americana spirit.

The title track is an incendiary tour de force that shrinks and expands with bite and insight in the account of the saxophonist’s fully intonated low-pitched notes, whose extraordinary timbre resounds like a cannon. Everything falls on top of the rambunctious swinging tapestry created by bass and drums.

The inspiration for this CD was today’s political fickleness as well as the books Barracoon: The Story of The Last Black Cargo by Zora Neale Hurston and The Immortal Life of Henrietta Lacks by Rebecca Skloot, whose emotions are directly transferred to “The Immortal (H.Lacks)”. Taking the form of a lachrymose spiritual, naturally rooted in the blues and folk traditions, this tune affiliates with “13” in terms of tone, feeling, and expression. The latter piece dawns with a solo bass statement and dusks after an impactful trio reassembly for an awesome finale.

If “The Goldilocks Zone” thrives on the art of swinging, absorbing the best of tradition but giving it a blatant contemporary flair, “Beyond the Goldilocks Zone” is a tense exercise that concentrates on flying freely with unflappable conviction. Allen’s virtuosity is on display, whether searching for points of energy in brisk phrases or engendering catchy rhythmic figures to be couched and chained with perspicacity.

Kenselaar switches to electric bass on “G sus”, attesting the static backbone with competent fretwork, whereas the drummer rambles freely within the structure. “Ursa Major” also incorporates electric bass, but it's Cacioppo’s crisp drumming that is highlighted both in the concluding solo and before that, in a passage where he interacts with Allen, whose inexhaustible rhythmic ideas take the form of tongue-in-cheek remarks and sincere impulsive cries.

Both “When You Wish Upon a Star”, the standard that concludes the program, and “Communion”, a grooving phenomenon that swings with class, exhibit an effortless lightness of movement. The nature of these songs in association with Allen’s distinctive language will certainly convince possible skeptic fans who might be dealing with some sort of expectation in regard to this new trio venture.

The musicians combine their talents for the first time to powerful effect, demonstrating a ferocious appetite for opening new frontiers.

Favorite Tracks:
01 - Barracoon ► 06 - Beyond the Goldilocks Zone ► 07 - Communion

Marco Ambrosini Ensemble Supersonus - Resonances

June 26, 2019

Label: ECM Records, 2019

Personnel – Marco Ambrosini: nyckelharpa; Anna-Liisa Eller: kannel; Anna-Maria Hefele: overtone singing, harp; Wolf Janscha: jew’s harp; Eva-Maria Rusche: harpsichord, square piano.

Italian-born nyckelharpa player Marco Ambrosini, a co-founder of the Ensemble Oni Wytars, is not a stranger to the ECM catalog, having made his first appearance on Rolf Lislevand’s 2005 recording Nuove Musiche. After a duo collaboration with French accordionist Jean-Louis Matinier in 2014, he resurfaces on the label, leading his own project: the one-of-a-kind Supersonus. The quintet explores archaic-ethnic sounds and forms but gives it a contemporary spin, layering and combining the quirky sounds of instruments like the nyckelharpa (a Swedish fiddle), harpsichord, kannel (an Estonian chordophone instrument), and jew’s harp (a mouth-played lamellophone with a low-pitched indigenous-like sound). Resonances is the ensemble’s first record.

The disc's first offering is “Fuga Xylocopae”, a solo nyckelharpa piece and the only one penned by Ambrosini. The sort of droning ostinato at the base of this song is transferred to Heinrich Biber’s 17th-century “Rosary Sonata Nr. 1” and followed with a murkier reverberance by Wolf Janscha’s jew’s harp on. The distinguishable classical facet, delicate and familiar, assumes a Baroque configuration through the harpsichord playing from Eva-Maria Rusche. The keyboardist contributes “Erimal Nopu”, in which sympathetic sounds hold one another with both groove and sophistication to imply a polyrhythmic feel.

The liturgical medieval song, “O Antiqui Sancti” by Hildegard Von Bingen, provides the most transcendent experience, shimmering with abashed affection with a near-telepathic musical involvement that draws us into a flood of emotions. The overtone singing technique of Anna-Maria Hefele, beautifully accompanied by Anna-Liisa Eller’s kannel, is remarkable here, and she delivers again on the self-penned “2 Four 8”.

Jansche composed “Ananda Rasa” and “Ritus” as two lively classical dances adorned with present-day harmonic progressions and percolating rhythmic maneuvers. The latter piece closes out the record like a Celtic-tinged foray.

Whereas “Toccata in E Minor” and “Praeludium, Tocatta Per L’elevazione”, penned by 17th-century keyboard music composers Froberger and Frescobaldi, respectively, embark on a lightly-fingered, wondrously arpeggiated sort of romanticism, Veli Dede’s “Hicaz Humayun Saz Semaisi” brings Ottoman court music to the table, going from elegiac to spirited.

Multiculturalism is taken further with the inclusion of the Swedish traditional song “Polska”, where Ambrosini brings some pathos into the music. The quintet finds a space uniquely their own with incantatory melodicism and erudite collective involvement.

Often blurring the line between written material and improvisation and retreating from the major traits of jazz, Ambrosini and his associates create breathtaking sculptures of sound while bridging cultural styles. Resonances is a satisfying world-fusion opus.

Favorite Tracks:
03 - O Antiqui Sancti ► 04 - Erimal Nopu ► 05 - Polska

Danketsu 9 - Towards a Walk In The Sun

June 25, 2019

Label: Self produced, 2019

Personnel – Patrick Shiroishi: alto and tenor saxophone; Mallory Soto: voice; Ang Wilson: flute; Kelly Coats: flute; Dylan Fujioka: accordion, percussion; Jason Adams: cello; Pauline Lay: violin; Noah Guevara: guitar; Ken Moore: double bass.

One can say that saxophonist Patrick Shiroishi is a conceptualist by the way he arranged the experimental 47-minute opus Towards a Walk in the Sun. The work takes the shape of a one single mysterious-sounding scalar piece recorded live at Heartbeat House in L.A. and titled “Un Fuego Se Apaga, Otro Sigue Quemando”. This is not the kind of improvisatory music that ramps up through the speakers, but rather a patiently layered, slow-burning long-form music that, without transcending, may pique your curiosity. The simplicity and balance achieved with this composite of volatility and opaqueness made me think of minimalist avant-garde composers such as Terry Riley and Moondog.

The journey begins with deep cello slashes, later coupled with violin lengthiness and Mallory Soto’s soaring voice to create a brooding chamber spell that takes us to a cinematic crossing between Kubrick’s Eyes Wide Shut and Lynch’s Twin Peaks. The controlled instrumentation enlarges and shrinks this sort of mantric introspection, which lasts more than 20 minutes. Occasional scratching and chirping noises become discernible amidst the droning practices. The sounds flicker and persevere.

This ethereal nimbus slides to a bit more explorative territory and becomes ominous with the presence of percussive elements and Shiroishi’s saxophone, whose brittle tone and atonal approach infuse some spark without ever pulling the tune out of its melancholy.

When an adventurous flute discloses intention to dance apart, the alluring bow work pushes it to its cavernous hideaway. This relentlessly dark symphony made of dusky gradients conjures images of desolation, wonder, and regret, all at once. The last section throbs with psychedelic instrumental activity within the same phantasmagoric denouement.

Maintaining the same intonation throughout, the music never explodes in any direction. Hence, broadening the dynamics would be of great benefit here since the framework is decorously orchestrated.

Remy Le Boeuf - Light As A Word

June 24, 2019

Label: Outside in Music, 2019

Personnel - Remy Le Boeuf: alto saxophone; Walter Smith III: tenor saxophone; Aaron Parks: piano, Fender Rhodes; Charles Altura: electric guitar; Matt Brewer: double bass; Peter Kronreif: drums.

Californian saxophonist/composer Remy Le Boeuf is searching for his own individuality on Light As a Word, his debut album as a bandleader after many years playing and recording with his identical twin brother, pianist Pascal Le Boeuf. As Le Boeuf Brothers, they released four albums and recorded with artists such as Linda Oh, Ambrose Akinmusire, Clarence Penn, and Marcus Strickland.

For this outing, which comprises 12 originals, the alto saxophonist summoned fantastic musicians. Tenorist Walter Smith III pairs with him in the frontline, while pianist Aaron Parks, bassist Matt Brewer, and Austrian-born drummer Peter Kronreif configure a rhythm section capable of inventiveness. Despite the great band, and the appearance of talented guitarist Charles Altura on a couple of tunes, the material only sporadically managed to catch on.

“Bloom” is a solo saxophone effort that works almost like a prelude to “Full Circle”, a breezy, medium-tempo post-bop piece with a gentle posture. The saxophonists step forward, using their gifts as soloists and speaking in an enveloping contemporary language.

I have to point out “The Melancholy Architecture of Storms” as a highlight. The gradual densification of texture and the reedists’ combined forces take the initial tranquility further. Although presented here as an instrumental, this particular tune had poet Sara Pickle Hughes writing lyrics for it, in the occasion of Le Boeuf’s Park-In Residency program.

Both “Imperfect Paradise” and the introspective “Union” are far from any heights of lyrical surprise. Still, the former features both Altura and Parks in competent improvisations as well as Kronreif’s cool spontaneity behind the drum kit. They nearly elevate the song to satisfactory levels.

I sensed some reluctance from the band to risk more, and the result reflects that sort of apathy. If “Mirrors in Your Eyes” breathes positive, soulful vibes, “Qoo” and “Traptop” are set to autopilot mode, oscillating between gracefulness and stiffness. Not even the warm bolero tide offered by the title cut managed to melt all those persistent icy layers.

Light As a Word isn’t quite an embarrassment, but, strangely, there was something here that simply didn’t let the fire burn.

Favorite Tracks:
02 - Full Circle ► 03 - The Melancholy Architecture of Storms ► 07 - Mirrors in Your Eyes

Caroline Davis - Alula

June 20, 2019

Label: New Amsterdam Records, 2019

Personnel - Caroline Davis: alto saxophone, voice; Matt Mitchell: Prophet 6, Modular and ARP synthesizers; Greg Saunier: drums.

Brooklyn-based alto saxophonist/composer Caroline Davis debuts Alula, an adventurous project launched in 2016 with Deerhof drummer Greg Saunier. The duo was augmented to the current trio with the inclusion of sought-after keyboardist Matt Mitchell. This 11-track collection of originals was compositionally motivated by an anterior digit on a bird’s wing and comes charged with trippy flights and landings, rotating lines and looped impressions, taut yet organic beats, and synth washes with throbbing bass notes trailing rigorous paths.

“Alula” and its reverse “alulA” sound very peculiar, opening and closing the CD, respectively. The palindrome reads the same way, yet their sounds are distinct. The former, featuring Davis’ embedded vocals as a surprising layer, is deep-seated in a psychedelic avant-garde jazz on the edge of intervallic dissonance and it’s just a glimpse of what is to come. In turn, the latter, much shorter in time, displays parallel motions between saxophone and keyboards with Saunier’s unrestrictedly paving the lower level.

Inaugurated by sax and drums, “Flight” holds quite some funk at its core, advancing within a well-defined structure. Despite the energetic balance, this number doesn’t surpass “Wingbeat” in terms of danceability. Brought up with a sweeping splendor, the latter piece seems ready to ignite a fire with orbicular saxophone figures, effusive drumming, and the congruous bass conduction offered by Mitchell’s synthesizer.

“Remiges” is one of my favorite pieces, starting as an ambiguous droning exercise before catapulting expressive elliptical movements with an M-base-like urgency. The audacious propulsion serves Davis and Mitchell’s improvisations, while Saunier, naturally more confined to a rhythmic support function, doesn’t hesitate to fill the role with provocative drum swoops.

Taking us to serene places, “Coverts” shines with even-tempered melody, silky harmonization, and a combination of snare drum distinctiveness and cymbal grit. It feels like a restorative tonic against the hectic excitement of tunes such as “Scapulars”, a fruitful, sometimes turbulent encounter between indie rock and avantjazz marked by the tearing passion of the saxophone, ultra-modern synth effects, and agitated drum automation providing strength.

Eclecticism is something valuable that the bandleader doesn’t want to step aside. Hence, the shape-shifting “Vortex Generation” mixes elements of folk, jazz, and electronica with taste and freedom.

Committed to moving forward as an artist, Davis makes her most daring album with Alula, pushing boundaries through a fresh, powerful material that, being willfully challenging, opens new horizons. This work will definitely attract bold listeners.

Favorite Tracks:
04 - Remiges ► 05 - Scapulars ► 08 - Vortex Generator

Anthony Braxton - Quartet (New Haven) 2014

June 19, 2019

Label: Firehouse 12 Records, 2019

Personnel – Anthony Braxton: sopranino and soprano, alto, baritone, bass, and contrabass saxophones; Taylor Ho Bynum: cornet, flugelhorn, piccolo, bass trumpet; Nels Cline: electric guitar; Greg Saunier: drums.

The prolific multi-instrumentalist Anthony Braxton, a legendary avant-gardist, sees the record label Firehouse 12 release a 4-CD box set of the unique experience that was gathering an all-star quartet in New Haven in 2014, featuring guitarist Nels Cline, cornetist Taylor Ho Bynum, and drummer Greg Saunier. Each CD runs for approximately one hour, homaging guitarists Jimi Hendrix and Merle Haggard, and vocalists Janis Joplin and James Brown, and unveiling Braxton’s musical interests for other genres aside from jazz and modern classical. He and his bandmates put together something meant to challenge, unnerving the listener with abstract instrumentations and angular melodic expressions filled with arcane charms.

“Improvisation One (for Jimi Hendrix)” is equipped with the untamed, blazing postures of psychedelic rock scattered throughout a session that also includes twisty drones, incisive ostinatos, reactive drum work, and occasional washes of noise poured out from Cline’s guitar, which carries enough spark to burn, not with Hendrix’s eternal fire, but with its own. Glorious dissonances and ebullient ricochets within a variety of dynamics are part of an entertaining game peppered with bi-directional free improvisations and stately collective layouts. It ends noiselessly with guitar harmonics and the momentary snarls of snare and toms.

As expected, “Improvisation Two (For Janis Joplin)” is not as bluesy as the songs of the rocker they pay tribute to but denotes flashes of that rustic hard rock sound that characterized her sound in the transition of the ‘60s to the ‘70s. Even starting unrugged with singing lines, fragmented drumming, and conversational rhythmic figures, the piece welcomes a lot more distortion, animated slogans, and post-psychedelia than Joplin could have ever dreamed about. Lovely sax/drums dialogues make an impact, giving their way to a set of incantatory atmospheres structured with discipline. It all ends in a furious space battle oversupplied with looming tension while the group’s offbeat brand of virtuosity is put on display.

There are no real funk expectations on the James Brown-dedicated “Improvisation Three”, but some of its colors can be found scattered throughout. Constantly in progress, the music has its grooviest moments in the combination of theatrical saxophone and brass drifts, unexpected post-apocalyptic guitar explosions and ever-adaptable percussive streams. Scorning laughs and bitter cries cut through the chordal fluxes and arrays of shaking trills (drums included), giving impetus to drama. Of course, any funk machine would be swallowed by the immensity of this composite of avant-jazz and post-rock.

“Improvisation Four (For Merle Haggard)” initially features the cavernous cogitation, bite, and swagger of Braxton’s contrabass saxophone. Cline’s mix of clear and nebulous guitar comping is perfect for the occasion, and the succeeding cyclic movements, some with fiery contrapuntal discernment and some other with seductively dark charisma, often feel more disquieting than soothing. This is valid, even when the group resolves to refrain their gustiness.

These enigmatic sounds and abrasive interplay might startle and dumbfound the unprepared listener, while avant-jazz regulars will be delighted with a four-hour document of massive creativity.

Favorite Tracks:
03 - Improvisation Three (for James Brown) ► 04 - Improvisation Four (for Merle Haggard)

The Pen Club - Data Retrieval

June 18, 2019

Label: Eupcaccia Records, 2019

Personnel – Jack Stoneham: saxophone; Felix Bornholdt: piano; Ashley Stoneham: drums.

Hailing from Sidney, Australia, The Pen Club is a bass-less avant-garde jazz trio capable of a potent, spontaneous primitivism but also well-planned engaging moments. Alto saxophonist Jack Stoneham plays the leading role, relying on a rhythm section entrusted to his brother, drummer Ashley Stoneham, and pianist Felix Bornholdt.

Presented as a suite, Data Retrieval exposes obvious connections between tunes by the hand of a unified trio demonstrating free postures and narrative arc within the structure.

The session opens with “Pen 1”, a brisk sax monologue exclaimed with disparate attractive sounds. It leads directly to “Agitated”, a nearly 9-minute piece where the saxophonist continues articulating what he had started with an unspecified route, accompanied with fragmented piano lines that extend over several octaves. The drummer shapes the pulse in a way that attests his bandmates’ ideas, showing rhythmic flexibility and concentration. Tension is exalted through the mix of timbres provided by each instrument, stirring dynamics that may oscillate between tempestuous and temperately cautious.

Accommodating a poignant solo piano effort in its first minutes and then a call-response demonstration between sax and piano, “Pen 2 Glitch” is a methodical ride that inclines toward a mysterious ballad ready to flare up with emotion. It comes in the sequence of the muffled serenity of “Still Struggle”, where whispering brushed rhythms, piano disclosures filed with an uncanny dreamlike feel, and thoughtful sax statements make it a highlight on the album. Throughout these two selections, it’s noticeable how simple melodic ideas can easily turn into majestic riffs.

“Elastic Band” is delivered at a well-measured pace and favors a crisp articulation between the brothers. Exciting counterpoint is instilled when Bornholdt comes into play.

More duologue in the form of a call-response is offered in “Buried Metal”, which shows proneness to mood changes and furious explosions. The occasional strapping textures and stone-cold rawness can cool off anytime, reflecting a more slumberous state of mind. Yet, the natural tendency is for tension-filled storytelling with the saxophonist claiming the spotlight through wide-ranging slide motions, overtones, and multiphonics.

Data Retrieval rewards repeated listenings and it’s an awesome option for free/avantjazz consumers looking for talented new voices within the genre.

Favorite Tracks:
03 - Still Struggle ► 04 - Pen 2 Glitch ► 06 - Buried Metal

Nature Work - Nature Work

June 17, 2019

Label: Sunnyside Records, 2019

Personnel - Greg Ward: alto saxophone; Jason Stein: bass clarinet; Eric Revis: bass; Jim Black: drums.

The recently formed jazz quartet Nature Work is not a response nor is connected to other groups with comparable names like Farmers By Nature or James Farm. The band was formed by saxophonist Greg Ward and bass clarinetist Jason Stein, two Chicago-based creatives who had the wish to do something adventurous together. As trailblazing reed players, they would naturally need a titanic rhythm section joining to reinforce their playground of sounds. Hence, it’s not surprising the addition of bassist Eric Revis and drummer Jim Black, two bedrock pillars equally comfortable in the art of improvised music. They play together for the very first time here, denoting a prompt rapport while treating the lower layers with rock-solid credibility.

The group's eponymous album is exclusively composed of originals - four by Stein and five by Ward - and was recorded last year in Chicago after two live performances.

The opener, “The Shiver”, validates Stein and Ward as inveterate communicators as they exchange complementary ostinatos. By the time these central ideas are unified, becoming unisons, Revis and Black ignite a robust swinging groove that fractures when the soloists change. By the way, the passage that makes the transition from Ward’s solo to Stein’s is phenomenal and their interaction, shortly before the theme’s reinstatement, is enlivening.

Throughout this work, the mood of a tune can tell us who the composer was. Both Ward and Stein’s approaches lean on the avant-jazz, yet the former infuses a lot of post-bop elements, usually vivid and outspoken, whereas the latter has an inclination to abstraction and non-linear melodies like heard on “Hem The Jewels”, introduced by an unassisted bass entanglement and grounded in a baffling, elusive groove with unisons atop; “Opter Fopter”, which vaguely searches with a cool pose before falling into a lovely pop/rock harmonically suggested by Revis and supported by Black’s impeccable brushwork; and “South Hampstead”, a syncopated rumination juddered percussively, where the horns share a few lines with carefree abandon.

In addition to the previously referred "The Shiver", there are a few other Ward compositions that stand out. The athletic “Zenith”, for example, is a showcase for Black’s incredible arrhythmias and splashing cymbals, so spellbinding and unpredictable. Timely unisons keep soaring above until Stein’s wild solo erupts, initially with drums as sole backing. Also highlights, “Cryptic Ripple” and “Tah Dazzle” give the soloists a great deal of creative space. The former starts varnished but becomes rugose, boasting a self-possessed rock-inflected groove with a waltzing looping bass cycle and boasting a zealous sax-clarinet debate; in turn, the latter composition is presented as a hyped-up blend of rock, jazz, and funk with a hint of Latin that comes from Revis’ bass accentuations. The co-leaders insert their resourceful ideas, tossing them around the rhythmic backbone, influencing dynamics, and promoting freedom of speech.

Nature Work is an affirmative collaboration for all the involved with beneficial effects for avid listeners.

Favorite Tracks:
05 - Opter Fopter ► 06 - Cryptic Ripple ► 07 - Tah Dazzle

Allison Miller's Boom Tic Boom - Glitter Wolf

June 13, 2019

Label: Royal Potato Family, 2019

Personnel – Ben Goldberg: bass clarinets; Kirk Knuffke: cornet; Jenny Scheinman: violin; Myra Melford: piano; Todd Sickafoose: bass; Allison Miller: drums.

Drummer/composer Allison Miller has always shown a penchant to jazz and rock with grooves that tick with elegance and pulse with abundant energy. Her compositions radiate swagger and soul, shinning with lively rhythmic colors and impressive melodic sensibilities. This was pretty evident on Science Fair, definitely, a career-high album co-led with pianist Carmen Staaf, and that’s what you’ll also find on Glitter Wolf, the fifth outing with her long-standing band Boom Tic Boom. The group was launched in 2010 as a quartet with Jenny Scheinman on violin, Myra Melford on piano, and Todd Sickafoose on bass, but was augmented to a sextet for the time being with the addition of virtuosic clarinetist Ben Goldberg and cornetist Kirk Knuffke.

Scheinman’s prolonged drone initiates “Congratulations, Condolences”, a consistently impressive piece that rocks at the substrate layer but leans on avant-garde empathy at the surface, notably due to the brisk, finely stated solos from Goldberg and Knuffke, who juxtapose thoughts like a conversation. However, it’s Melford who deserves all our attention, with wide-ranging leaping notes forming state-of-the-art phrases that bewilder and confound.

“The Ride" is another highlight. It takes off with explosive drums and shifts from a bruising funk eloquence (with horn counterpoint atop) to chamber classical ease to New Orleans-style jazz/blues intrepidity. Right after Knuffke and Scheinman’s confident discourses, Goldberg jumps out, taking his bass clarinet to an abysmal low-toned crusade that pumps up the groove deeply. The exciting ride ends in poised suspension.

The modernistic electro-pop touches of “Malaga” are anchored in the danceable rhythm underneath, but the sway of strummed violin, melody-driven piano groove, and the rampant clarinet fierceness, also contribute to the virtuous vibe.

The album draws inspiration from many different genres, and “Daughter And Sun” brings forth expressive folkish melodies in the head, cooking up a cordial crossover jazz. Married to a rhythm that shows optimism, Miller delivers a crisp solo peppered with incisive snare wallops, grooving tom-toms, and cymbal color. “Welcome Hotel” is another eclectic selection that invites us to exotic places with a playful and voluptuous compound of reggae catchiness along with folk and Latin elements. It ends in tango mode with the violin in evidence amidst the horns.

Not contradictory with the stylish genre-bending solution adopted on other pieces, the title track has the unpredictable Melford showing off her vast musical qualities. She slightly latinizes with zest a tune whose foundation rocks and funks with a pinch of electronica innuendo through Sickafoose’s bass lines. It becomes heavily Latin by the end with the horn section bringing on rousing activity.

Under Miller’s direction, the group keeps the music lean, sharp, and on point for a consistent musical confection with plenty of simpatico connections.

Favorite Tracks:
01 - Congratulations, Condolences ► 02 - The Ride ► 09 - Glitter Wolf

Sylvie Courvoisier / Mark Feldman - Time Gone Out

June 12, 2019

Label: Intakt Records, 2019

Personnel - Sylvie Courvoisier: piano; Mark Feldman: violin.

Pianist Sylvie Courvoisier and violinist Mark Feldman, two of the finest and consummate stylists of the New York avant scene, release a new set of bold music on Time Gone Out, twenty years after their first duo recording, Music for Violin and Piano. By turns literate and kinetic, the duo’s direction is never obvious and every little step feels like a secret unraveled.

“Homesick For Another World” highlights the enigmatic tones of Feldman’s violin. The bright melodies become sumptuously contoured but the mood never completely leaves the abstraction, which is reinforced when Courvoisier combs the piano strings and issues smothered staccato sounds. This atmosphere differs from “Eclats For Ornette”, a texturally exuberant piece written by the pianist and whose memorable main statement stays in the head. Clever intersections, whether presented in counterpoint or floating whimsically free, add an extra jolt of energy to an interactive scenario that bridges the classical and the avant-garde genres with erudition.

“Limits of the Useful” has an eccentric percussive start with the prepared piano and the erratic violin combining with spectral amplitude and odd timbres to create mystery. The percussive approach continues on “Crytoporticus”, a suitable occasion for Courvoisier to explore the depth and range offered by the piano. More refrained, this number goes from murmurous to dreamy to beautifully lyric in its final part, although with punctual impactful blasts arriving from the lower registers of the keyboard. The way these two musicians speak and breathe the music without ever curbing each other’s actions is phenomenal. Thus, freedom and space are always associated with their bilateral conversations, true sources of emotion.

The dramatic piano comping on the tonally interesting “Blindspot” is brilliant, setting the perfect backdrop for Feldman’s piercing shrills, ascending melodic inflations and glissandos, and ultimately soaring phrasing. Despite the vague reverie, the violin sounds more effulgent than dark, even when distributing waves of austerity here and there.

The central piece on the album is the title track, “Time Gone Out”, a nearly 20-minute chamber creation that you may think of as an offbeat chorale with a streamlined approach and celestial bursts. You’ll find an immersive solo piano passage as well as blossoming violin messages appearing as cerebral modern classical incursions dramatized with interactive commitment. Moreover, there’s a poised compromise between hushed, ruminative moments and dynamic activity.

Offering different dividends with each listening, this album encloses too many treasures to be discovered. The long-standing creative partnership between Courvoisier and Feldman is stronger than ever, taking us to a lot of unexpected places.

Favorite Tracks:
02 - Eclats For Ornette ► 04 - Blindspot ► 06 - Crytoporticus

Eric Hofbauer's Five Agents - Book of Water

June 11, 2019

Label: Creative Nation Music, 2019

Personnel - Seth Meicht: saxophone; Jerry Sabatini: trumpet; Jeb Bishop: trombone; Eric Hofbauer: guitar; Nate McBride: bass; Curt Newton: drums.

Guitarist Eric Hofbauer, a mainstay of the Boston scene, assembles a supple jazz sextet where he teams up with bassist Nate McBride and drummer Curt Newton in the rhythm section, providing footing for a pretty active three-horn frontline composed of saxophonist Seth Meitch, trumpeter Jerry Sabatini and trombonist Jeb Bishop.

The five-part suite Book of Water is the first of five books addressing the following elements: fire, wood, earth, metal, and water. The parts last between 10 and 17 minutes, approximately, and were given titles drawn from Ralph Waldo Emerson’s poem Water. Hofbauer's influences include John Tchicai and Roy Campbell, but there is also subtle touches of Messiaen and Ives, as well as the subversive orchestral worlds of Anthony Braxton and Sun Ra (without the synth).

By way of illustration, “Water Understands Civilization Well” favors an avant-garde jazz that still swings. The luxurious orchestration challenges any possible preconception, leading to sections where the interplay commands. After conversational maneuvers with plenty of rhythmic figures and oblique movements between trumpet and trombone, it’s time for the saxophonist and the bandleader step forward. The former instigates rapid phrases, some of them reiterated through circular breathing, while the latter combines quirky notes in order to bring certain atonality to the textures. Finally, bassist and drummer shake the foundation a bit, with the horns stepping in with timely pinpoint accuracy.

A nearly three-minute hushed guitar intro brings “It Wells, It Chills” to life. For his sonic exploration of the water's ice states and vapor, Hofbauer employs a dry, peculiar tone suffused with bright harmonics and delicate percussive techniques. Entering quietly but totally dominating the melody, Sabatini shows an impressive attack and pitch control of the trumpet and contributes gracious melodic lines. Effective chills occur in the darker final stage, where an unaccompanied McBride applies the arco to keep the gravity low.

The whimsical and resilient “It Is Not Disconcerted” takes advantage of penetrating saxophone lines, comfortably psychedelic guitar comping, resolute bass with a well-defined tonal center, and restless drums, proving that water is uncontrollable and unpredictable. Later on, is Bishop who experiences a similar type of freedom.

“Well Used, Adorning Joy” is marked by an unflagging 5/4 bass ostinato, which, along with the percussive stream and the projection of the horns, vouches for stoutness. The bandleader strikes with an unorthodox if swinging guitar improvisation filled with magic glamor.

The last and longest piece on the album, “Ill Used, Will Elegantly Destroy”, is also the strongest. It starts off with trombone and a timidly meddling arco bass, advancing for an uptempo orchestral foray in 3/4, which shifts afterward so that the trumpet can speak square. Meicht is the man here, delivering a nice saxophone solo but Newton also stands out behind the drum kit after the horn players’ infiltrations.

Hofbauer reveals himself as a creative composer capable of integrating exacting composition and tactical flexibility with dogged determination.

Favorite Tracks:
01 - Water Understands Civilization Well ► 04 - Well Used, Adorning Joy ► 05 - Ill Used, Will Elegantly Destroy

Fabian Almazan Trio - The Land Abounds With Life

June 10, 2019

Label: Biophilia Records, 2019

Personnel - Fabian Almazan: piano, percussion, electronics; Linda May Han Oh: acoustic and electric bass; Henry Cole: drums.

The Cuban-born, Miami-raised, and now Harlem-based pianist Fabian Almazan releases his fourth album as a leader, manipulating his music not only as a way to express political views and concerns about the welfare of our planet, but also as a reflection about his life and the emotional visit to his native Cuba, 23 years after leaving the country. The Land Abounds With Life reiterates him as a skilled storyteller and, as habitual, features a tight jazz triangle with bassist Linda May Han Oh and drummer Henry Cole occupying the lower vertices.

“Benjamin” is an acrobatic romp showcasing the bandleader’s articulatory agility on the keyboard and the response capacity of his trio mates. This richly textured, rhythmic-oriented churner overflows with fast, complex, and precise lines and its variations are implemented with elegance. The inspiration came from George Orwell’s political satire Animal Farm and the message is manifestly political.

Folk elements abound, unfolding naturally within a broad-minded jazz context. Hence, the Cuban heritage is revealed without a hitch on “The Poets”, a piece that honors the music campesina and features a sample of Cuban poet El Macaguero de Pinar improvising on Pie Forzado. It pretty much waltzes before shifting to a straightforward 4/4 passage marked by a salient odd beat. There are other hybrid tunes like “Folklorism”, an exaltation of the Afrocubanismo movement of the 20s and 30s and carried out with a thematic pulse, unison melodies, and bowed bass; and “The Nomads”, whose key and tempo shifts don’t meddle in a staggering embodiment of M-Base, rock, jazz, modern classical, and Afro-Cuban elements. Even well informed of the hardships of growing up in Cuba at that time, Almazan's intention is to celebrate life and music on this piece.

Going from one mood to another, “The Everglades” portrays the Miami wetlands in two different scenarios. A reflective first section, containing an adept bass solo with dramatic piano comping and imperturbable drumming, conjures up peaceful sunrises on a calm winter day; a more exuberant middle part in six pictures a lightning storm in the heat of July; subsequently, a complete tranquility is restored for closure.

A pair of non-originals had their place on the album: Cuban rocker Carlos Varela’s “Bola De Nieve” is a beautiful song written for the iconic entertainer Ignacio Jacinto Villa Hernandez, and was elevated by the presence of a string quartet, whereas the solo piano “Music On My Mind”, composed by the stride piano virtuoso Willie ‘The Lion’ Smith’s, resonates emotionally with intimacy as one of Almazan’s favorite pieces.

Lugubrious, lyrical, and tense, “Jaula” is another solo piano effort ingrained by sensitive modern classical gestures that attempt to sonically portray Nelson Mandela’s imprisonment during the apartheid.

These ambitious narratives speak for themselves, touting Almazan as a socially conscious voice and one of the most outstanding proponents on his instrument.

Favorite Tracks:
01 - Benjamin ► 02 - The Everglades ► 06 - The Nomads

Walt Weiskopf - European Quartet Worldwide

June 6, 2019

Label: Orenda Records, 2019

Personnel - Walt Weiskopf: tenor saxophone; Carl Winther: piano; Andreas Lang: bass; Anders Mogensen: drums.

American tenor saxophonist and composer Walt Weiskopf has been around since the ’80s, the time he started to be noticed after integrating the big band of Buddy Rich and stinting with the pair Toshiko Akiyoshi/Lew Tabackin. Soon, he forged his own path as a leader, recording more than 20 albums alongside distinctive musical personalities that include bassists Jay Anderson and Peter Washington, drummers Jeff Hirshfield and Billy Drummond, and, in occasion, guitarist Peter Bernstein and pianists Renee Rosnes and Brad Mehldau. Since 2003, he has been a constant presence in the rock band Steely Dan.

His second album on the Orenda imprint is called European Quartet Worldwide, the follow up to last year’s European Quartet. The group signals one alteration, with Daniel Franck being replaced by Andreas Lang on the bass, while pianist Carl Winther and drummer Anders Mogensen remain in their positions.

The word worldwide in the title is not misleading since the saxophonist makes reference to countries like Uganda, Brazil, Scotland, Russia and Japan on selected tunes of a 10-track album that includes eight originals along with personal interpretations of esteemed numbers such as Todd Dameron’s ballad “Soultrane” and Quincy Jones’ “The Pawnbrocker”, the main theme of Sidney Lumet’s classic film of the same name. On the latter piece, Weiskopf immerses himself in the melody, only stretching out in the final vamp.

Swinging with fortitude, “Russian Roulette” and “Coat of Arms” come loaded with Coltrane-style figures, whereas “Marcie by Moonlight”, with a groove inspired on the first chord change of “Stella by Starlight”, was conveniently retitled and dedicated to Weiskopf’s wife. During the piano solo, Mogensen insists on a cymbal continuum that feels a bit prosaic, yet the song aligns with softness in the melody and coolness in the harmonization.

With a sensitive and far-reaching approach, “Back in Brazil” exteriorizes a bit of that South American flavor without steeping too much in the bossa tradition, while the saddened “Scottish Folk Song” waltzes at a relaxed tempo, articulating beautiful bass-sax unisons and delivering solos from piano and bass.

The album’s most striking numbers are the leadoff track, “Entebbe”, and its follower, “Back in Japan”. The former embarks on a full-steamed, high-energy post-bop that imagines Uganda in a two-section structure (the A section grooves in seven and the B in five), while the latter, conjuring up evocative images from the Land of the Rising Sun, appears in the form of a post-bop thrill whose Eastern-infused melody connects to that specific culture. Both tunes feature the bandleader, who fuels his improvisations with outside boldness and vigorous timbre, keeping the listener engaged.

Favorite Tracks:
01 - Entebbe ► 02 - Back in Japan ► 09 - Scottish Folk Song

Ayumi Ishito - Midnite Cinema

June 5, 2019

Label: Self Produced, 2019

Personnel – Ayumi Ishito: tenor sax, celesta; Hajime Yoshida: electric and acoustic guitar; Steve Brickman: keyboards, piano, organ, synthesizers; Yoshiki Yamada: electric bass; Carter Bales: drums; Alessandra Levy: vocals.

Based in Brooklyn since 2010, Ayumi Ishito is a Japanese-born saxophonist/composer whose spunky style consists in a contemporary amalgamation of genres with a profusion of mood changes and predicated in demarcated structures that involve both group texture and individual improvisation. Her sophomore album is called Midnite Cinema and, contrary to her debut trio album, features a supple quintet with guitar, keyboards, bass, and drums.

The first two tracks, “Lost Sheep” and the adventurous “Caterpillars”, follow similar methodologies, shifting time signatures and sharing a common denominator: progressive rock. Still, their passages vary in style, and in the case of the former piece, propelled by a pumping bass, you even get a bit of R&B in the 4/4 section, sax ostinatos over a more commercial hard rock approach, and an openly groovy solo by keyboardist Steve Brickman, who takes us to a psychedelic electro-funk crescendo. He delivers again on the classic metal-tinged “Under the Raff”. The cinematic “Caterpillars” even brings other elements in, like when a brief soft popish moment blows in after an accented, in-your-face rhythmic passage that is no more than a breath away from prog-rock. There’s also a gritty sax solo dipped in effects running on top of a rock-solid vamping that veers into another vamp to feature guitarist Hajime Yoshida and his patterned metal licks. Guest vocalist Alessandra Levy makes an impact, fortifying the obscure choruses suitably arranged by Brickman.

“Not Today” is an indie pop song that starts like a lullaby, but gets Ishito’s wah-wah-drenched saxophone speaking expressively in the guise of a guitar. If simplicity is the word that better fits here, then “Clown Ride” feels like a kitsch cocktail of genres where everything is taken to the extreme with soft pop/rock, slippery American marching extravagances, bolero sumptuosity, and avant-garde pompousness.

Even a bit too strained sometimes, compensation arrives from “Antler Velvet”, which boasts a jazzy atmosphere in tones of ballad along with a fancy crawling beat, and “Eight Steps”, a wider step into the free/avant jazz universe where enthusiastic galloping runs contrast with darker sounds. At this point, Ishito maximizes timbral work and evokes Coltrane, while a toxic guitar noise gradually infiltrates, shoving its way toward the final.

Conceived with a mix of sly wit and calculated naivety, Midnite Cinema is rigorous fusion with uncountable transitions and some peremptory unexpected turns.

Favorite Tracks:
03 - Not Today ► 04 - Eight Steps ► 06 - Antler Velvet

Melissa Aldana - Visions

June 4, 2019

Label: Motéma Music, 2019

Personnel - Melissa Aldana: tenor saxophone; Joel Ross: vibraphone; Sam Harris: piano; Pablo Menares: bass; Tommy Crane: drums.

Exceeding one hour, the album Visions by Chilean reed player Melissa Aldana is presented as a musical exploration of self-identity and expression. The session, mostly composed of originals, was inspired by the life and work of Mexican artist Frida Kahlo, and starts with the title track, one of the two pieces composed for The Jazz Gallery residency commission 2017-18. Embracing a firm, medium-fast tempo, the tune exposes an expeditious melody dancing over a predominating triple meter that continues for the solos. The bandleader, who also shows her improvisational qualities, pronounces coincidental lines with vibraphonist Joel Ross, while pianist Sam Harris opts for a somewhat fuzzy approach during his solo. However, he proclaims clarity of language on pieces like “Perdon”, a gentle waltzing ballad written by bassist Pablo Menares, and the heart-rending standard “Never Let Me Go”, where he beautifully deconstructs the original harmony at the same time that explores melodies outside the lines.

“La Madrina” conveys a subtle classical feel in the chords’ movements and inherent voice-leading, preserving the sax/vibraphone coalition, aggrandizing emotions with the depth of bowed bass, and irrigating the foundation with a sultry Latin touch. This sprightly piece was also composed for the aforementioned commission.

Some songs came out gooier than fluid as if they were brought to a simmer without actually boiling over. These were the cases of “Acceptance” and “The Search”. I also missed memorable riffing in the music, here replaced by a strict post-bop posture flavored with colorful brushstrokes of Latin jazz. Even expecting more from this rising artist, there are moments where the intensity gets you. The rhythmically fervent “Elsewhere” and “Su Tragedia”, which waltzes with occasional tango expressiveness, are especially vivid examples of that. The saxophonist excels on the latter piece, exhibiting her searing tenor again on “El Castillo de Velanje”, the piece that concludes the album and redirects the spotlight in its final section to Ross’ vibrant mallet work.

Visions fails to make a very deep mark, but Aldana shows enough modernity in her language to keep us in.

Favorite Tracks:
03 - La Madrina ► 06 - Elsewhere ► 08 - Never Let Me Go

Brandee Younger - Soul Awakening

June 3, 2019

Label: Self Produced, 2019

Personnel – Brandee Younger: harp; Ravi Coltrane: tenor saxophone; Chelsea Baratz: tenor saxophone; Stacy Dillard: soprano saxophone; Antoine Roney: tenor saxophone; Sean Jones: trumpet; Freddie Hendrix: trumpet; Corey Wilcox: trombone; Nicole Camacho: flute; Niia: vocals; Dezron Douglas: bass; E.J. Strickland: drums; Chris Beck: drums.

Harpist Brandee Younger and her cohorts find a perfect balance in the repertoire that composes Soul Awakening, her fourth album as a leader, which was completed in 2013 but only now sees the light of the day. The lineup includes longtime collaborators such as saxophonists Stacy Dillard and Chelsea Baratz, drummer E.J. Strickland, and bassist Dezron Douglas, who produced the album. Additionally, there’s a bunch of special guests assisting the spiritual perspective of the bandleader’s music, always conducted with the intent to inspire.

The album astounds in its overture with Douglas-penned “Soulris”, a spiritual modal journey founded on a formidable bass/drums groove (the drummer here is Chris Beck) and suffused with those positive vibes associated with John and Alice Coltrane. Their son, Ravi Coltrane, is the tenorist here, blowing some well-timed outside notes that take us over the moon. His ardent post-bop influence is noticeable again on Younger’s “Loves Prayer”, a triple-metered exercise reflecting balladic tendencies and delivered at a medium tempo. Even in chilled out mode, the bandleader continues the excellent comping work, elongating the already sumptuous and sometimes wriggling sheets of sound.

“Linda Lee”, whose title refers to Younger's mother, navigates in breezy modes, underlined by a smooth funk that seeks extra color in the interplay between Baratz and guest trumpeter Freddie Hendrix.

The colorful “Respected Destroyer” was many times included in the repertoire of New Orleans brass band The Soul Rebels. Following the modest beauty of Younger’s harp, we find Baratz sharp articulations on tenor, and then the crisp, clear tone and range of trumpeter Sean Jones. Everything takes place under Strickland’s hip-hop-flavored groove.

Harpists Dorothy Ashby and Alice Coltrane are paid tribute with renditions of their own pieces, “Games” and “Blue Nile”, respectively. The former is a sultry R&B piece with bluesy and Latin insinuations, whereas the latter finishes the program in modal jazz fashion with tenor man Antoine Roney maneuvering in the foreground.

Vocalist Niia interprets Marvin Gaye’s “Save The Children” with a mix of cool intonation and soulful profundity. Depositing hopes in a better world, Younger included this tune as a homage to saxophone player Jimmy Greene’s late daughter, victimized in the Sandy Hook shooting in Connecticut. Expect deep, grooving electric bass lines, dreamy and crystalline harp moves, and an apt pulse with valid drum fills. At odds with this mood, the title track unrolls with uncompromising freedom. The bandleader designates Baratz, Dillard, and flutist Nicole Camacho as melodic colorists as she squeezes out a striking harmonization.

Brandee Younger puts her own stamp on these compositions and magical moments, going from inward to the vastness of space, are instantly tracked down. What the heck kept this splendid work on the shelf for so many years?

Favorite Tracks:
01 - Soulris ► 02 - Linda Lee ► 04 - Respected Destroyer

Patrick Cornelius - This Should Be Fun

May 30, 2019

Label: Posi-Tone Records, 2019

Personnel - Patrick Cornelius: alto saxophone; Nick Vayenas: trombone; John Escreet: piano; Ben Allison: bass; Mark Ferber: drums.

New York alto saxophonist Patrick Cornelius surrounds himself of great musicians for his second Posi-Tone album This Should Be Fun, a competent and feel-good exhilaration replete of timeless rhythms and burning jazz moments.

By entrusting the rhythm section to luxurious artists such as pianist John Escreet, bassist Ben Allison, and drummer Mark Ferber, Cornelius could feel at ease. On selected tracks, he teams up with trombonist Nick Vayenas in the frontline, a recurrent collaborator. The latter contributed the only number on the recording that Cornelius didn’t pen: “Dissolution”, a well-measured middle-tempo reflection. However, his effortless melodic work gains a wider dimension on tunes such as “Telescope”, a stimulating 6/8 offering with straightforward parallel motions and perfectly synchronized rhythmic actions, and “Leaving Paradise”, a breezy song with a pronounced bossanova feel, where the bandleader and Escreet also stand out. Saxophonist and pianist find the spotlight again on the clear post-bop waters of the opening piece, “Big Pictures”, where they embark on resolute elocutions and shape spiraling circles, respectively.

Generous concentrations of joy and exuberance are offered on four of the album’s ten pieces: the title track is a hot bluesy churner rooted in the early jazz tradition; “Restless Willow” displays a lively piano figure upfront, combining ingratiating Latin vibes with typical jazz standard progressions that almost make “I’ll Remember April” relive; “Like Kenny” boasts a soulful melodicism and substantial harmonic color; and “One Shy of a Dozen”, a lightning fast 12-bar blues ridden with energy and shook by Escreet’s deliciously twisty details. Everything is laid bare with quick-moving vitality and enormous respect for the past, yet two ballads counterbalance this prevailing cheerful mood: “Precious Souls”, a rubato sax-bass duet, and a tuneful closing story, “For Morgan”.

Advocating arrangements that are both efficacious and uncomplicated, Cornelius makes use of his tunes to emit great vibrations. Most of the support will likely come from straight-ahead jazz circles, but everyone looking for honest true jazz should find something fun here.

Favorite Tracks:
02 - Leaving Paradise ► 05 - Telescope ► 09 - Restless Willow

Matt Mitchell - Phalanx Ambassadors

May 29, 2019

Label: Pi Recordings, 2019

Personnel – Matt Mitchell: piano, mellotron, Prophet 6 synthesizer; Miles Okazaki: guitar; Patricia Brennan: vibraphone, marimba; Kim Cass: bass; Kate Gentile: drums.

Visionary keyboardist Matt Mitchell has been contributing extensively to make our modern jazz times richer. In order to tackle seven demanding compositions that relate to one another in very peculiar ways, he gathered the horn-less quintet Phalanx Ambassadors, which includes guitarist Miles Okazaki, vibraphonist/marimbist Patricia Brennan, bassist Kim Cass, and drummer Kate Gentile. These intrepid musicians had to possess exceptional qualifications to deal with such a rigorous structure and instrumentation, including advanced reading skills. Sharing the same taste for innovation, bassist and drummer had been gigging with the pianist as Phalanx Trio, and joining forces in the Mitchell/Gentile co-led project called Snark Horse.

A perpetual vehemence enwraps “Stretch Goal”, which begins with the drummer stressing urgency while a certain mystery arises from the complementary instrumentation produced in the lower registers. Cass puts a lot of energy in his soloing effort, while Mitchell swings in his very own way, blending wild patterns and multi-shaped phrases with an impeccable articulation. Brennan and Okazaki also bring their special sounds to light, culminating a sequence of improvisations that comes in reverse order from what is normally expected.

Whereas “Taut Pry” is relentlessly polyrhythmic, “Zoom Romp” is daring, tossing ideas around a rhythmic core that relies on some rock musculature and M-base attitude. Both pieces last less than two minutes, unfolding like a diagrammatic juxtaposition of odd patterns, and their tonal approach differs from “ssgg”, a spacious, chilled-out sort of soundtrack suitable for an abstract, surrealistic tale with accomplished integration of acoustic guitar, piano, vibes, and well-measured bass notes. On her part, Gentile implants extra rhythm in the sonic frame, employing rattling sounds, cymbal color, and sharp resonant sounds as produced by a woodblock.

Almost comparable with a restless mind unable to stop thinking in circles, “Be Irreparable” seems to be struggling to settle down. The haunting textures, usually vague and soft but having a rocking propulsion navigating underneath, are symptomatic of both unsubstantial and worldly natures. Also gaining rock expansion, “Mind Aortal Cicatrix” delivers fancy cinematic orchestrations, forging thrilling polychromatic pathways with marimba and mellotron in the mix. Shifting tempos and moods are frequent practices and the group addresses the transitions with refinement. This is the kind of composition that puts on display striking individualism coupled with rhythmically solid ensemble playing.

The nearly 16-minute “Phasic Haze Ramps” brings a mix of swirling psychedelia, sophistication, and elaboration. An optimistic utopia built with ostinatos and other odd-riffing expressions skimming over routine curved surfaces. The improvised timeframes never feel mechanical, but they're rather graspable in the sense that we feel that humans are playing it. It all ends mischievously and without a warning.

Prone to polyrhythm and unconventional textural work, Mitchell thinks out of the box with his music sounding accordingly. You may allege this is all very challenging and often dense, but let’s face the facts: is it not sufficiently creative to make you plunge headfirst into its insoluble aural puzzles?

Favorite Tracks:
01 - Stretch Goal ► 04 - Phasic Haze Ramps ► 07 - Mind Aortal Cicatrix

Matt Slocum - Sanctuary

May 28, 2019

Label: Sunnyside Records, 2019

Personnel - Gerald Clayton: piano; Larry Grenadier: double bass; Matt Slocum: drums.

Minnesota-born, Wisconsin-raised, New Jersey-based drummer Matt Slocum favors a low-key style that, seeming bashful at times, it’s far from being uncommunicative. His solid chops and thoughtful markings are always conducted in aid of the collective, often bringing out the best on his bandmates, which, in the present case, is the old pal and frequent associate, pianist Gerald Clayton, and ingenious bassist Larry Grenadier, who records for the very first time with the drummer.

The 10-track Sanctuary marks his fifth release as a leader and features all original compositions, except “Romulus”, a song composed by multi-instrumentalist Sufjan Stevens, where the mellifluous brushwork maintains the pressure low. Originally a 3/4 indie pop song with a dash of folk, this piece brings forth a magnetic, melody-centered bass statement before a waltzing pulsation takes place. It will later veer into a temperate snare-driven 4/4 spell whose lightly groovy effect impels Clayton to improvise with extraordinary pronunciation. The initial valse is then resumed with the trio at its lyrical best, having Grenadier delineating another euphonious statement at the conclusion.

Resulting from a reharmonization of Irving Berlin’s “The Best Thing For You”, “Consolidation Prize” begins as a rhythmically loose post-bop ride, departing definitely to an uptempo swinging flow that is later disrupted by a bouncing bass solo. The bandleader corroborates his temperate activity by phrasing with nuanced sensitivity. Influences of the past are visible on this tune, whose harmonically richness is akin to Bill Evans and Alan Broadbent.

The Chopin-inspired “Aspen Island” boasts utterly romantic moments in its feathery narrative, but not without some sadness hidden in-between the lines. If swaths of composure, self-control, and pathos can be found a bit everywhere, both “A Dissolving Alliance” and “Sanctuary” take them further. While the former advocates sparse, pensive, and lugubrious rumination with the tension stemming from bowed bass and influent chord extensions, the latter is deliberately musing in tone.

Contradicting this mood is “Days of Peace”, where we find the trio crafting a smooth harmonic path, whose velvety textures cause the improvisers to stretch out with joy and optimism. Slocum and Grenadier trade bars, showing a remarkable, intimate rapport if we consider that this session was recorded after one single rehearsal. “Anselmo” closes out the album with an ambitious spirit, disseminating vitality through the bass/drums linkage. Named after a key character in Ernest Hemingway’s For Whom The Bell Tolls, this piece is pretty active, yet never frantic or particularly tense.

Leaning on cogitation, this generous album unpacks the kind of infatuation that grows with multiple listenings, providing us with a rich territory to explore.

Favorite Tracks:
01 - Romulus ► 02 - Consolidation Prize ► 08 – Anselmo