Sara Schoenbeck / Wayne Horvitz - Cell Walk

June 24, 2020

Label: Songlines Recordings, 2020

Personnel - Wayne Horvitz: piano, electronics; Sara Schoenbeck: bassoon.

Pianist Wayne Horvitz and bassoonist Sara Schoenbeck have been straddling the worlds of improvised and notated music for 20 years with fruitful collaborations in several ensembles. An example is Horvitz’s Gravitas Quartet in which they join forces with trumpeter Ron Miles and cellist Peggy Lee. The two likeminded artists appear together for the first time as a duo on Cell Walk, complementing each other perfectly through the conjugation of their inherent musical voices.

Three of the 17 tracks on the album were retrieved from Horvitz’s The Snowghost Session (Songlines, 2018) and adapted to the current context. “No Blood Relation”, a lyrical, sweet-sounding effort with a breezy vibe and authentic grace is the most notable of them, but there's also “Ironbound”, here filled with revolutionary activities, and then “American Bandstand”, which concludes the session harmoniously.

“Undecided” conjures quiet, lovely impressionism in chamber music, contrasting with the jagged friction of cuts like “Twining”, where the attractive tones of the bassoon transpire mystery over a slow churn of jarring, deep piano chords. Comparatively, the artists flip their tonal range on “3 Places in Southern California”, infusing velocity in their actions with no loss of commitment in the interplay.

With disturbing simplicity and cinematic quality, Horvitz’s “The Fifth Day” includes silvery unisons and develops with iterative motifs underpinning the improvisations. This piece leads to Schoenbeck’s “Deep Well Well”, where the bassoonist makes a keen demonstration of some of the powerful extended techniques applied to the instrument. Whereas here, we find doleful cries over a piano lament, on “Sutter St.”, her circular breathing technique adds a little bit more pathos, magnifying a brooding improvised number marked by a remarkable manipulation of electronics.

References to the late groundbreaking pianist Cecil Taylor and the microtonal-inclined composer Lou Harrison are exposed on the title track and “For Lou Harrison”, respectively. The former flows in a continuous stream of melody and texture, while the latter showcases patterned pointillism and counterpoint.

Known as boundary pushers, Horvitz and Schoenbeck succeed in grabbing hold of the narrative development of each selection.

Favorite Tracks:
02 - Twining ► 03 - No Blood Relations ► 07 - Deep Well Well

Quin Kirchner - The Shadows and the Light

June 23, 2020

Label: Astral Spirits, 2020

Personnel - Nate Lepine: tenor saxophone, flute; Greg Ward: alto saxophone; Nick Mazzarella: alto and soprano saxophones; Nick Broste: trombone; Jason Stein: bass clarinet; Rob Clearfield: piano, Wurlitzer; Matt Ulery: acoustic and electric basses; Quin Kirchner: drum set, percussion, kalimba, synth.

Chicago drummer Quin Kirchner shows off his multifaceted percussive style on The Shadows and the Light, a double album comprising original material and a gratifying selection of covers that pay tribute to his musical influences. Emphasizing rhythm, free improvisation and structure, the 15 tracks on the album are explored in different formats - from solo to septet - in the company of musicians that demonstrate heaps of potential in their playing.

“Shadow Intro” is a welcoming and animated percussive introduction to a beautiful journey. Kirchner crafts this one alone, aggregating Afro-samba pulsations and synth effects. These rhythmic flavors veer to Afro-Cuban on “Batá Chop”, where the bandleader, at the center of the rhythm, plays aesthetic attention to the surroundings created by bassist Matt Ulery, keyboardist Rob Clearfield (on Wurlitzer), and alto saxophonist Greg Ward. The latter, plays mostly by the 'rules', but intensifies the dance with outside expeditions that don’t last for long.

The bandleader is attracted to both fervently earnest and sensually exotic rhythms. In the former category we have “Rift”, a swinging avant-garde trio effort that pushes the tenor saxophonist Nate Lepine to the foreground, and Carla Bley’s “King Korn”, from which the trombone of Nick Broste erupts, evoking the spirit of Grachan Moncur III, as well as the perfervid bass clarinet of Jason Stein. Conversely, the sight of foreign landscapes is conjured on titles such as “Sahara”, a composition by Sun Ra Arkestra’s former member Phil Cohran, here featuring flute, bass clarinet and kalimba; “Planet Earth”, a mid-50's mainstream-meets-progressive piece by the venerated keyboardist Sun Ra; and “Jupiter Moon”, a Kirchner original that, after starting off as a multi-timbral saxophone constellation, embraces a keen 5/4 groove laid down in support of unisons, garnishing melodies, and concurrent improvisations.

The drummer is in charge of the transition that bridges “Star Clutter” - where five unaccompanied horns participate in a buzzing, ongoing activity - and “Moon Vision”, where the rhythm section digs into a hip-hop-ish groove.

Definitely a highlight, “At This Point in Time” salutes the late saxophonist Frank Foster, who penned it, and the great drummer Elvin Jones, who included it in his 1976 Blue Note album Prime Element. It’s a remarkable orchestration formulated with an Eastern-tinged introductory section, odd-metered groove, gospelized soul-jazz vibrations and a dash of funk. The shining soloists here are Nick Mazzarella on soprano, Lepine on tenor, and Kirchner, whose expressive idiom precedes the contribution of all horns in ecstasy. Everything ends with an inexorable ostinato.

The album is completed after “Lucid Dream”, a beautifully harmonized ballad performed in septet and dedicated to the giant bassist Charles Mingus.

This is an exciting album of rhythmic proficiency and stylistic variety. En route, you'll find countless pleasurable moments to savor with no redundancy.

Favorite Tracks:
03 - At This Point in Time ► 10 - Planet Earth ► 11 - Jupiter Moon

Marcin Wasilewski Trio with Joe Lovano - Arctic Riff

June 22, 2020

Label: ECM Records, 2020

Personnel - Marcin Wasilewski: piano; Joe Lovano: tenor saxophone; Slawomir Kurkiewicz: bass; Michal Miskiewicz: drums.

Polish pianist Marcin Wasilewski augments his crisply articulate piano trio - featuring bassist Slawomir Kurkiewicz and drummer Michal Miskiewicz - with the addition of great American saxophonist Joe Lovano, who populates Arctic Riff with his burnished saxophone literacy. The album comprises 11 pieces - four by Wasilewski, one by Lovano, four collective improvisations, and one by pianist Carla Bley, which makes a double appearance with the inclusion of an alternate take. The composition in question is “Vashkar”, which first saw the light of day in 1963, when it was included on Paul Bley’s trio album Footloose. The quartet’s reading admits conspicuous turbulence by the time that Wasilewski speaks and also exposes great saxophone work over a logical bass-drums association. The tune’s variation is cooked with the same passion and subtly atmospheric tones, but relatively different flavors.

“Glimmer of Hope”, a Wasilewski ballad, kicks off the record by sailing in shimmering, streamlined, slow-moving waters. Everything is brought into a collective harmony, yet the saxophone melodies bring an exceptional lyrical warmth to the music of the trio. The pianist also penned two other ballads: “Old Hat”, which closes out the album, and “Fading Sorrow”, which showcases his taste for beautiful and relaxing melodies over functional, sensitive chords. Impossible not to notice the deeply felt bass solo that comes as lucid in the phraseology as it sounds rich in tone.

Kurkiewicz also has the spotlight for a limited period of time on “Arco”, an enigmatic collective improvisation where Lovano steals the show by employing impressive multiphonics. However, “Cadenza” is my first choice among the extemporaneous pieces. Clocking in at nine minutes, this number emerges with brushed drums, wandering bass itineraries and ruminative saxophone. Departing from the lower registers, nimble piano movements expand, integrating with the other instruments to form cohesive sonic landscapes whose topographies range from meditative to avant-garde.

Wasilewski’s “L’Amour Fou” and Lovano’s “On the Other Side” stand out as the most unreserved selections in the program. The former, boasting a dancing quality in the head that exceeds the conventional swinging flow, thrive with ingenious solos from piano, sax and drums; the latter piece, on its side, denotes clever communicative exchanges and passes through different configurations, with Lovano citing Monk’s “Played Twice” in a sweeping solo that crosses the hard-swinging accompaniment provided by bass and drums.

Even when exploring boundlessly, the quartet embraces a fluid style leavened by a wonderful sense of space. As a key to our contentment, the sounds are not just meticulous but also consistently surprising.

Favorite Tracks:
03 - Cadenza ► 04 - Fading Sorrow ► 07 - L’Amour Fou

Ingrid Laubrock / Kris Davis - Blood Moon

June 18, 2020

Label: Intakt Records, 2020

Personnel - Ingrid Laubrock: tenor and soprano saxophones; Kris Davis: piano.

Two of the most admired improvisers and composers of our times - saxophonist Ingrid Laubrock and pianist Kris Davis - join forces in a full-fledged duo session that sparkles with creativity and maturity. The program includes nine tracks - four by Laubrock, three by Davis and two completely improvised - that conjure a broad variety of timbres, moods and textures. Most of them were penned specifically for this record, which showcases the incredible musical understanding between these musicians.

Davis’ “Snakes and Lattice” launches the proceedings and provides a happily modern, amiable trippy spin with spot-on synchronism, spectacular pointillism and coiled chains. At an early stage, Laubrock deliberately embraces pleasant melody, eliciting the standard “Lover Man” to pop into my head. This ephemeral moment evolves into a fusion of classical and avant-garde music where the cool attacks of the pianist send us over the moon.

Laubrock’s “Blood Moon” lures us into its microtonal narratives. Relatable on an emotive level, this is a mainly reflective piece created with elasticity in timbre and a laid-back posture. Tradition is pulled into this orbit, yet the duo digs deeper for a little while, delving into an immersive risk-taking atmosphere.

The saxophonist infuses “Whistlings” with turns and jumps, making it a free rhythmic dance. There are arresting unisons and fragmented episodes full of life and color.

The discrepancy between “Flying Embers” and “Golgi Complex” are noticeable, yet both came from Davis’ creative mind. The former is a low-key, sometimes ethereal exercise on intangibility with sustained sounds and long notes, while the latter, drawn from the pianist’s latest album Diatom Ribbons, appears with a new outfit. In addition to the advanced language spoken throughout, we have an energizing groovy section by the end.

Just like the previously described piece, Laubrock’s soprano inundates “Gunweep”, a duo improvisation where she blows with bracing expression, agile technique, and a fair amount of charm. Davis' whirling vertigo is the perfect foil for this type of phrasing. It comes out of the right reaches of the keyboard and it's complemented with deep chordal sequences drowned in smart extensions.

What I really fancied about this work was the fact that it avoids the oversaturation and convoluted sonic vortexes commonly associated with the avant-garde jazz. The dynamics are more polished in a way, and the comfortable transitions occur with logic, being extremely pleasant to the ear. Both Laubrock and Davis boast a brilliantly-earned self-sufficiency in their playing. They also do wonders whenever their attractive sounds cross paths.

Favorite Tracks:
01 - Snakes and Lattice ► 02 - Blood Moon ► 03 - Gunweep

Micah Thomas - Tide

June 17, 2020

Label: Self released, 2020

Personnel - Micah Thomas: piano; Dean Torrey: bass; Kyle Benford: drums.

Tide, the debut album from rising pianist and composer Micah Thomas, is something precious in the way that it squeezes tradition and novelty into addictive new music. Thomas has been excelling in many New York ensembles as a reliable sideman (Lage Lund, Harish Raghavan and Immanuel Wilkins are just a few examples), but now it’s his turn to shine as a leader while displaying virtuosic compositional abilities. Playing alongside empathetic trio partners - bassist Dean Torrey and drummer Kyle Benford - Thomas floods most of the originals on this live recording with extravagant swinging gallantry.

A vibrant “Tornado” kicks off the record, underlying the notions of intricacy and beauty with a Chick Corea feel that evokes his 1968 masterpiece Now He Sings Now He Sobs.

The title track translates into unstuffed, breezy productivity. It displays a singing bass solo before entering that swinging gateway that encourages the pianist’s bopish fantasies replete with melodic and rhythmic hooks.

The trio swings and grooves with a straightforward, happy vibe on “Grounds”, a Jarrett-esque folk-jazz piece imbued with rivers of motifs, clever phrases, and stunning chordal work. Torrey paves the way with absolute confidence and also provides a lovely bass talk that, for moments, touches the spiritual side.

Inspired by the fourth movement of Mahler’s Symphony No.6, “The Game” is an indisputable joy to listen to, encompassing ingenious rhythmic variations within a well-defined structure. What more can you expect here? A considerable amount of surprises and twists, lots of energy stemming from the splendid teamwork, and audacity in the labyrinthine connections between the jazz and the classical styles.

The kinetic mechanisms decline on ballads such as “The Day After”, which features an arco bass dissertation and a dynamic wrapping-up drum solo, and the Bill Evans-tinged “Across My Path”. “Vanta” is also carried out in a lighter vein, being a supple, rubato, solo piano effort.

Thomas makes a significant contribution to the jazz panorama with an accomplished body of work that not only testifies his enormous respect for the past but also a wholehearted and open vision that takes the genre beyond the expected.

Favorite Tracks:
01 - Tornado ► 02 - Tide ► 05 - The Game

Leni Stern - 4

June 16, 2020

Label: Leni Stern Recordings, 2020

Personnel - Leni Stern: vocals, guitar, ngoni; Leo Genovese: keys; Mamadou Ba: electric bass; Alioune Faye: percussion + guest Mike Stern: guitar.

For a few years now, German-born, New York-based guitarist/vocalist/composer Leni Stern has been exploring unparalleled world-jazz territories imbued with West African influences. On her new outing, 4, Stern’s trio with Senegalese musicians - bassist Mamadou Ba and percussionist Alioune Faye - is augmented with the addition of Argentine keyboardist Leo Genovese. In this manner, the group earns ampler harmonic and rhythmic magnitudes as well as a deeper improvisational perspective.

“Lambar” is a Malian rhythm that, in the case at hand, is adapted and hyped up with wafting electric bass articulations, n’goni and synth sounds. However, I was far more attracted to “Amadeus”, a gorgeous ambient-pop ballad with some bluesy piano details that would make Tom Waits happy. Both the voice and the piano are very melodically driven and there’s a soulful guitar solo that builds a special aura. Also balladic in nature, the breezy “Chartwell” exposes a three time feel that is extended to the inventive “Japalema”, a Genovese composition that intertwines melodies based on the Japanese pentatonic scale, the spirit of the blues and rich rhythms. Ba’s funkified bass lines are heard in the first half minute, but then the song takes us into places other than what had been suggested at a first glance. The experimental effusions from Genovese become the song’s irresistible attraction.

Featuring Leni’s husband - the iconic guitarist Mike Stern - as a guest soloist, “Habib” dives deep in the groove and African rhythm, detaching from the more tempered nature of “Miu”, which, carrying an appealing, sunny feel, appears as a tuneful confluence of styles with inspired Nigerian rhythms. Both “Amadeus” and “Miu” were written for and titled after Leni’s cats.

These eight songs, very picturesque in their in-depth eclecticism and peculiar instrumentation, provide a different listening experience.

Favorite Tracks:
02 - Amadeus ► 05 - Japalema ► 07 - Habib

Rudresh Mahanthappa - Hero Trio

June 15, 2020

Label: Whirlwind Recordings, 2020

Personnel - Rudresh Mahanthappa: alto saxophone; François Moutin: bass; Rudy Royston: drums.

Possessing a sui-generis improvisational style, altoist Rudresh Mahanthappa is known as one of the most powerful forces in today’s jazz. On his latest recording, Hero Trio, he performs in trio format, basking in a collection of nine familiar non-originals that includes jazz standards, bebop and post-bop hits, and - surprise! - an R&B and a country-pop song by Stevie Wonder and Johnny Cash, respectively. For this purpose, Mahanthappa enlisted his longtime associates - bassist François Moutin and drummer Rudy Royston - paying homage to his influences and inspirations with able arrangements of his own, and that constant, impulsive spontaneity that has been stamping his discography.

Navigating meters with an extraordinary fluidity, the trio brings Stevie Wonder’s “Overjoyed” to life with a gifted arrangement by Panamanian pianist Danilo Perez, with whom Mahanthappa has collaborated in duo format. The joyous melody slides over the shifting harmonic landscape suggested by Moutin, who, together with Royston’s sturdy versatility, shapes the song’s foundation with brilliancy. And then, the saxophonist gets complex phrases off the ground by interlacing long sequences of notes with momentum.

Both the irresistibly kinetic “The Windup” by Keith Jarrett, here transformed into a successful piano-less effort, and Ornette Coleman’s “Sadness”, which ends as abstractly as it began with resonant bowed bass and deep mallet drumming, were unaltered in their original forms.

Two Charlie Parker tunes bookend the album. If the closer, “Dewey Square”, only surprises partially, then “Red Cross” is subjected to an explosive reading by the trio, opening the session with the saxophonist taking its bebop vibe a few steps further by weaving in and out with logic and determination over a swinging pulse. The rhythm section is exemplary and, before concluding, the drummer trades bars with his trio mates. Parker is evoked once again, but this time he brings Coltrane with him, in a malleable, groovy collage of “Barbados” by the former and “26-2” by the latter, which happens to be a contrafact of Bird’s “Confirmation”.

Both widely known, “I Can’t Get Started” and “I’ll Remember April” are carried out with different postures. The former, more meditative, is delivered in five and exhibits an incantatory way of breathing, whereas the latter returns to that soulful ebullience that Mahanthappa often presents us with.

This is a trio of shifting texture and smart rapport.

Favorite Tracks:
01 - Red Cross ► 04 - I Can’t Get Started ► 05 - The Windup

Whit Dickey Trio - Expanding Light

June 11, 2020

Label: Tao Forms, 2020

Personnel - Rob Brown: alto sax; Brandon Lopez: bass; Whit Dickey: drums.

Expanding Light is a compelling trio session where the ideas emerge and unfold with vehement passion. Drummer Whit Dickey, a longtime adherent of the creative downtown free jazz movement of NY, teams up here with saxophonist Rob Brown, a close collaborator for more than 30 years, and, for the first time, with the 32-year-old rising star bassist Brandon Lopez.

“The Outer Edge” kicks off the album with the bandleader flaunting an expedite work with the kick drum and creating giddy excitement through persistent and controlled cymbal textures. Brown’s imaginative zigzags are thrown in a minute, expressing melodic and rhythmic insight. The bass enters at a later time, affixing a regular pace that accelerates into an unpretentious, snappy swing. Before the final section arrives with a Dolphy-esque pose and coarse hi-hat attacks, Dickey embraces his percussive speech with elan.

An active dialogue between pizzicato bass and brushed drums occurs on “Desert Flower”. Lopez’s apparently aimless moves end up in a sturdy ritualized groove, which, with Dickey’s assistance, creates a solid base of support for Brown’s thoughtful developments.

A fluid arco bass legato permeates “Plateau” with a meditative quality but also tension. The pressure is heightened by the boldness of the percussion treatment and intricate saxophone practices that accommodates a number of spiritual moments worthy of Coltrane.

The title cut, an off-the-cuff excursion with potent layers of energy, has intertwined trajectories established by bass and drums as its most attractive feature. Accordingly, beautifully designed textures become the natural outcome of the formidable combination between loose-limbed bass articulations and crisp percussive routines.

By comparison, it’s Brown's saxophone that is designated as the nerve center of the fervently prayerful “The Opening”. The saxophonist blows with volcanic strength and invincible perseverance while the rhythm section guarantees compact rhythmic fluxes by encapsulation of droning bowed bass and some stirring drumming.

Free jazz is in very good hands with this excellent trio.

Favorite Tracks:
02 - Desert Flower ► 04 - Expanded Light ► 06 - The Opening

Dave Glasser - Hypocrisy Democracy

June 10, 2020

Label: Here Tiz Music, 2020

Personnel - Dave Glasser: alto and soprano saxophones, flute; Andy Milne: piano; Ben Allison: bass; Matt Wilson: drums.

The latest album from New York-born saxophonist Dave Glasser, Hypocrisy Democracy, arrives not only with a vital message of fairness and justice to the world but also with an intense will to ‘speak’ to the listener, musically. Drawing from tradition but sounding properly contemporary, Glasser, the lead altoist for the Count Basie Orchestra, is backed by a stellar quartet comprised of pianist Andy Milne, bassist Ben Allison and drummer Matt Wilson, all of them accomplished bandleaders.

The opening two tracks are scorchers that demonstrate the athletic agility of the ensemble. “Knit Wit” has Glasser doubling on alto and soprano during the theme, and it feels like we have Thelonious Monk and Herbie Nichols shoulder-to-shoulder. Ferocious rhythmic accents, a staggering harmonic presence, and authoritative improvisations with responsive reactions from the non-protagonists are part of the deal. Sharing a similar attitude, “Justice” has the group rejecting static routes, embarking instead on a hard-swinging verve where Milne, Allison and Wilson offer a robust, comfortable pillow for Glasser to lie in. The saxophonist blows with muscle, showcasing a fully developed jazz language with a copious command of timbre. He does it again on “Freedom”, a blues infused with some Coltrane spirit and explosive growling. At some point, the pace increases from moderate to snappy.

“Coffee, Dogs and Teledogs” and “Glee For Lee” are duets that serve as loose scaffoldings for improvisatory interplay. The former thrives with bouncing enthusiasm as the saxophonist pairs up with Allison, while the latter, written for former mentor Lee Konitz, is developed in the company of Wilson’s talkative drums.

If “Dilemonk” is a bluesy Monkian stretch, then “Revolver” seems to fuse the late pianist’s “Ask Me Now” with some Brubeck’s demeanors. And you’ll also find a beautiful ballad with shades of bolero and great piano work on “Dark Deep”, and crested waves of funk on “It’s Nothing New”, where soprano and flute ride together over Milne’s wide harmonic avenues.

Fueled by an infectious, inspiring energy, this album is immediately relatable and a pleasure from start to finish.

Favorite Tracks:
01 - Knit Wit ► 02 - Justice ► 10 - Dark Deep

Jon Balke - Discourses

June 9, 2020

Label: ECM Records, 2020

Personnel - Jon Balke: piano, sound processing

Resisting categorization, the music of the Norwegian pianist Jon Balke, a longtime ECM recording artist, can be sublime, rousing and touching, all at the same time. On his third solo piano recording, Discourses, Balke is deep inside his piano playing. With a sense of dignity and penchant for exploration, he emanates a genuine intimacy from statements that are juxtaposed with processed soundscapes, creating absorbing narratives inspired by the overwhelming lack of dialogue and polarized speech in the political context we’re living in. Hence, language appears as a crucial factor here, with Balke employing specific composed ideas as a vehicle for improvisation, as well as sound processing to complement his conceptual thinking.

The opener, “The Self and the Opposition”, immediately showcases his skilled command of the instrument, from which he draws coiled and hasty lines rich in both emotional depth and aesthetic function.

“The Facilitator” feels like a pastoral poem whose relaxation is disturbed by the tension that comes from jarred processed sounds. Its tautness, however, differs from “The Polarization”, whose enigmatic chordal work is infused with somber colors. A completely different mood, more dreamy and wondrous, is offered on “The Container”, where the inspired melody is wrapped in a comforting harmonic framework and tasteful, innocuous effects.

Percussively cluttered and busy, “The Assumptions” draws from modern classical music, but it’s “The Certainties”, an astute, even-tempered sculptural piece irradiating transcendental light, that promptly touches my heart.

The pure erudition of “The Suspension” culminates with an atmospheric ending, whereas the meditative “The Why” establishes an elegiac tone that searches for beauty. Conversely, “The How” moves ahead with enchanting ebbs and flows while living in a mix of suspension and resolution.

Nearly behaving as a broken fugue in its initial phase, “The First Argument” carries a singing quality in the digitally manipulated outro. This new poise and freshness had already been found on “The Second Argument”, an elegantly outlined piece that comes first in the song alignment.

This is a dazzling album from a fascinatingly complex musician who, without refraining from innovate, preserves his exceptional musical identity.

Favorite Tracks:
03 - The Container ► 05 - The Certainties ► 06 - The Suspension

Patrick Shiroishi / Dylan Fujioka - Neba Neba

June 8, 2020

Label: Cacophonous Revival, 2020

Personnel - Patrick Shiroishi: alto and baritone saxophones; Dylan Fujioka: drums, percussion.

Although they’ve been playing together since 2013 in different contexts, West-coast saxophonist Patrick Shiroishi and drummer Dylan Fujioka have never released a collaborative duo album until now. Neba Neba is a three-track free jazz suite, in which the duo adopts their habitual take-no-prisoners approach. Shiroishi and Fujioka joined the post-rock band Upsilon Acrux in 2015, and more recently have collaborated with keyboardist Paco Casanova on Kage Cometa (FMR Records, 2018) as well as with multi-instrumentalist Vinny Golia and drummer Alex Cline on Borasisi (Astral Spirits, 2019).

“Lucky Boys” starts off with plain sax melodies floating atop limber percussion. While the saxophonist gradually extends his color range by incorporating glissandos, eccentric trills, and elliptical movements, the drummer injects zealous bass drum kicks in his lively activity. The improvisational interplay may vary from cogitative suspensions to fiercely intense rides, and every idea favors exploration and communication. Even in the sections where they operate in solo configuration, the clear language overrides demonstrative aesthetics. Prior to the conclusion, a predominant cymbal legato with variable flashes of intensity joins the droning quality of the alto sax before it glides into spiraling mode.

Whereas the previously described piece lasts for nearly 26 minutes, “Chorizo” clocks in at 29, validating improvisation as the driving force behind the duo’s actions. Launched with dry snare drum and eloquent, breathy alto sax phrases, this piece gains some nice, loose throb along the way. At a given moment, Shiroishi switches to baritone, extracting interesting deep sounds with occasional multiphonics while engaging in a strange dance with his mate. He returns to the alto for a powerful ending.

Although initially marked by the serene cascading effect of a rattling percussion and restrained saxophone playing, “Stray Dog” reaches its boiling point right before fainting permanently into quietude.

This is a bold sax-drums duet.

Favorite Tracks:
01 - Lucky Boys ► 03 - Chorizo

John Scofield - Swallow Tales

June 4, 2020

Label: ECM Records, 2020

Personnel - John Scofield: guitar; Steve Swallow: electric bass; Bill Stewart: drums.

On Swallow Tales, guitar giant John Scofield returns to the trio format, interpreting nine beautiful ‘songs’ from longtime bassist friend Steve Swallow, who pairs up here with drummer Bill Stewart to ensure a consistently swinging rhythmic foundation. Knowing one another very well, the old dynamics still pack a punch in what is Scofield’s first record as a leader on the ECM label.

The waltz “She Was Young” opens the recording, driven by Stewart’s sensitive brushes, Swallow’s efficient harmonic conduction, and the warmly persuasive guitar work of Scofield, who maintains the singing quality of a tune that in 1979 was sung by Sheila Jordan. It’s not difficult to conclude that groove is everywhere. “Hullo Bolinas” is another piece in 3/4 that resists the striking predominance of 4/4 tempos and fiercely swinging attitude.

Ingratiated by Stewart’s straight eights, “Falling Grace” is a fancifully articulated post-bop ride issued with lots of rapture. In addition to a spiraling guitar solo cooked with single-note phrases, octave approaches, and angular intervals, it’s easy to behold Swallow’s groundwork while he comfortably pads across the swing. This piece is deeply associated with Gary Burton’s groups, just like “Portsmouth Figurations”. The latter composition has the loose feel of a pleasant recollection and comes bolstered by psychedelic chords at some point. Scofield’s playing is adventurous, but never anarchic, and the tune gets better and better as the trio moves toward an epic finale.

Originally an up-tempo romp, “Awful Coffee” was slowed down for this album with a languorous groove and velvety texture, yet maintaining the bluesy feel. The nature of the piece compelled the stringed instrument players to trade fours with the drummer, and, along the way, Scofield also provides nimble arpeggiated gestures, shifting figures, and keen harmonic choices to accompany his own discourse. On the contrary, “Eiderdown” shake us up with bursts of hard-swinging energy.

“Away” is a short-form ballad whose ample space facilitates the emotional flow, whereas “In F” is a tongue-in-cheek exercise that straddles the worlds of funk, soul, and jazz with subtlety. It comes equipped with churning bass lines, smart percussive chops, and that feel-good factor that characterizes the music of these players. Their musical relationship pops like champagne bubbles, and the record, not being a masterpiece, carries the all-around colorful sonics one should expect from a trio of this calibre.

Favorite Tracks:
01 - She Was Young ► 02 - Falling Grace ► 05 - Eiderdown

James Carney Sextet - Pure Heart

June 3, 2020

Label: Sunnyside Records, 2020

Personnel - Ravi Coltrane: tenor and soprano saxophones; Oscar Noriega: bass clarinet, alto saxophone; Stephanie Richards: trumpet; James Carney: piano; Dezron Douglas: bass; Tom Rainey: drums.

Pianist and composer James Carney has been an important figure in the New York scene for years, whether leading interesting groups assembled to carry out his creative ideas, whether curating and hosting the improvisation-centered Konceptions music series in Brooklyn.

His new outing, Pure Heart, features a sextet composed of a powerful three-horn frontline with saxophonist Ravi Coltrane, multi-reedist Oscar Noriega, and trumpeter Stephanie Richards, and a gritty rhythm section that puts bassist Dezron Douglas and drummer Tom Rainey side by side for the very first time. Despite the different aspects of their musical personalities, interesting things happen throughout the five tracks on the album, a display on how utterly comfortable Carney is on his instrument.

That rare rhythmic empathy we find here is promptly brought to the table as we hear the first sounds of “Inharmonicity”, a jolt of inspiring vitality comprising intervallic awe, impeccable synced accentuations, and a three-way horn conversation that soars with empowerment and freedom.

Effectively melding tradition and avant-garde, the appropriately sinuous “Throwing Shades” is an imagination of how Horace Silver would compose in the modern times. The bass enters alone, later enjoying the company of the piano, which reinforces the groove. The horns align melodically during the theme, getting ready to set flight in solos that unfold with fearless posture. The bandleader also improvises, extending his actions by interjecting and reacting during Richards’ conversational narrative. This number ends pacifically under a bass-and-drums spell.

“Mayor of Marcellus” emphasizes zigzagging consonances within an asymmetric form. It’s a lush-looking collective effort that mirrors the personal sense of composition and instrumental color in Carney’s artistry.

Written for a friend who died from brain cancer, “Forty Year Friend” is a sore, waltzing ballad brushed with sympathy and stirred by a clarinet statement and a subsequent sax-trumpet dialogue. Richards and Coltrane keep the conversation going on “Gerrymandered”, but having Noriega’s assertive bass clarinet right next to them on this occasion. They’re given a chance to flex their muscles with obliquity before an introspective piano deliberation transpires over a bass-only substructure.

With an incredibly open and wide view on jazz, Carney and his new group surprise at every turn. Pure Heart is candid creative music.

Favorite Tracks:
01 - Inharmonicity ► 02 - Throwing Shades ► 05 - Gerrymandered

Tania Grubbs Quintet - Live at Maureen's Jazz Cellar

June 2, 2020

Label: Self released, 2020

Personnel - Tania Grubbs: vocals; David Budway: piano; Ron Affif: guitar; Jeff Grubbs: bass; James Johnson III: drums.

Pittsburgh-based vocalist Tania Grubbs fronts a jazz quintet featuring her husband, the bassist Jeff Grubbs, along with David Budway on piano, Ron Afiff on guitar, and James Johnson III on drums. The 12 tracks on this CD were recorded live at Maureen’s Jazz Cellar in Nyack, New York, and despite of the stylistically diverse repertoire, it’s clearly the jazz tradition and classic form that prevail in their interpretations.

Possessing a seductive vocal tone, which she uses with abandon, Tania remains restrained on Billy Strayhorn’s “A Flower is a Lovesome Thing”, the song that launches the session. The timid projection of her voice here contrasts with the blues that closes out the album, “Don’t Take Your Love From Me”.

If the ballads didn’t make a positive impression - Horace Silver’s “Peace” is imbued with cliched guitar details; Joni Mitchell’s “Love” carries no major twists; and Stephen Sondheim’s “I Remember” is a tepid vocal-piano duet with occasional bowed bass - then the folk-pop of Leonard Cohen’s “Bird on a Wire” together with the groovy country-jazz of Neil Young’s “Harvest Moon” provide an enjoyable listening experience. The group also nails the melancholic spirit of “The Peacocks”, the Jimmy Rowles-penned tune immortalized by Bill Evans, which is an emotional ride per se.

The energy of Charlie Parker’s bop classic “Ornithology” is there but with little amounts of inventiveness despite the apropos phrasing of the singer, who included one sole original in the program. “Hope is the Thing with Feathers” was inspired on Emily Dickinson’s poem of the same name, relying on a propulsive bossa groove and a sharp solo by Jeff to boost it.

Although the musical ideas fit the style, they often lack that sense of adventure I would like to have around. Sometimes the songs get trapped in repetitive vamps and gushing rhythmic patterns that fail to surprise. Nevertheless, even with some songs working far better than others, Tania should be able to carve a niche in the vocal pop and jazz continuums.

Favorite Tracks:
02 - Bird on a Wire ► 07 - The Peacocks ► 09 - Harvest Moon

Yaroslav Likhachev Quartet - Crumbling

June 1, 2020

Label: JazzHausMusik, 2020

Personnel - Yaroslav Likhachev: tenor saxophone; Yannis Anft: piano; Conrad Noll: bass; Moritz Baranczyk: drums.

Russian-born, Germany-based saxophonist Yaroslav Likhachev debuts with an engaging album of original music featuring a cast of young stars - pianist Yannis Anft, bassist Conrad Noll and drummer Moritz Baranczyk. The quartet was formed in 2016 and the musical rapport developed between its members is founded on a depth of artistic communication that is quite fascinating to observe.

The opening title, “November Tune”, displays an introductory section where the bass leads, confidently backed by piano and brushed drums. Moments later, the authoritative presence of Likhachev is strongly felt by the virtue of a spirited melodicism and burning improvisational flair. Catchy figures and bending notes are constituent elements of his articulated phrases, whose compelling rhythmic drive benefits from Anft’s tension-and-release logic. The pianist mitigates the energy by the end, when Noll’s arco bass interjections become tangible.

“The Fifth Mode” is a fully grooving tour de force crafted with not just individualistic perspective but also synergistic collective effect. The group’s agile maneuvers and ecstatic posture make you want to dance to it.

In contrast, introspective moments can be found on “Ballad For Eli”, which is positively touched by Baranczyk’s deft moves and cymbal glow, and “Traceless Rails, Traceless Waters”, which closes out the album with an unflappable stability. Stability is also what characterizes “Sicilian Flower”, a waltz with shades of Charles Lloyd’s spirituality and Jerry Bergonzi's eloquence.

As a result of the range in dynamics and mood, the most peculiar piece on the album is undoubtedly the title track. Anft weaves the enigmatic first section with both composed and startling actions, and a short time later, we're taken by the surprising impact of the odd-metered theme. The rhythm engine is in a trance during the piano stretch and the arrival of Likhachev brings extra strength and rock-solid attitude to the setting. When the band revisits the obscure ambience presented in the overture, Moll is given an opportunity to explore sound through extended techniques, and he does it with a beautiful aesthetic purpose.

Managing to transform the bebop language into new forms of expression, Likhachev’s bracingly fresh debut is strongly recommended.

Favorite Tracks:
01 - November Tune ► 02 - The Fifth Mode ► 04 - Crumbling

Karuna Trio - Imaginary Archipelago

May 28, 2020

Label: Meta Records, 2020

Personnel - Adam Rudolph: percussion, electronics, overtone singing, chordophones; Ralph M. Jones: woodwinds, vocals; Hamid Drake: drums, percussion, vocals.

Master percussionists Adam Rudolph and Hamid Drake are forward-thinking musicians with a penchant for experimentation. They co-lead the innovative Karuna Trio along with Ralph M. Jones, a versatile woodwinds player whose unpredictable lines and unobtrusive posture make him a great fit for the ensemble’s sonic descriptions of landscapes that consolidate the ancient and the future.

Dedicated to the eclectic saxophonist Yusef Lateef, Imaginary Archipelago marks the trio’s return, two years after their debut album, Karuna. Each of the 11 islands depicted here is spontaneously imagined with rhythmic passion and an idiosyncratic tonal palette, yet they connect one another by certain elements that make this archipelago a consistent whole.

“Okomibo” and “Dimahala” share trancing rhythms while exploring a natural freedom in its motions. The latter, for example, is marked by oscillatory electronic vibes, pounding drums subjected to opportune syncopation, and winding flute melodies.

While “Alima” is a close-to-the-nature contemplation professed with some circularity and an emphasized drum work as it moves forward, “Ibak” offers you a wonderful tour into a more jagged territory. Sounds of percussion and organic electronic manipulations come across with aesthetic intention, and its fluxes are occasionally interrupted by unusual slides and scrapes. The prayerful intonations of the soprano sax at the fore is more or less intensified as the rhythmic flow changes, and its phrases echo in the air, way above the entangling polyrhythmic tapestry. You’ll also find replicated phrases on the beautifully layered “Chandirasa”, a lament where flute and vibes collaborate closely, creating a placid mystery that is only shaken by occasional cascading streams.

“Apekweh”’s offbeat and insistent pulsation comes in waves, and on top of it rests a meditative flute abreast of esoteric vocal chants and drones. Chants and drones that get a larger proportion on the hypnotic “Vajna”.

“Madazuba” and “Suwakaba” are two lovely creations. Incorporating different pitches in its sonic architecture, the former evolves with a three time feel until a tribalistic march is imposed by Drake. The latter piece, in turn, gets closer to the avant-garde practices we are familiar with. Yet, still out of its standardized forms. Soaked in flickering effect, Jones’ saxophone is punchier than ever here, but the piece ends calmly brushed and nearly whispered.

In spectacular form, the trio takes their irresistible pulsing rhythms and close-to-the-nature auras to the next level.

Favorite Tracks:
03 - Ibak ► 06 - Madazuba ► 08 - 09 -

Ricardo Grilli - 1962

May 27, 2020

Label: Tone Rogue Records, 2020

Personnel - Mark Turner: tenor sax; Ricardo Grilli: guitar; Kevin Hays: piano; Joe Martin: double bass; Eric Harland: drums.

Brazilian-born, New York-based guitarist/composer Ricardo Grilli has been conquering the scene, playing alongside top-notch musicians. If on his previous outing, 1954 (Tone Rogue, 2016), the narrative began in his father’s year of birth, now with 1962, he shifts the starting point to his mother’s. The group format was augmented from quartet to quintet, with Grilli keeping the foundational structure of the rhythm section with bassist Joe Martin and drummer Eric Harland, and offering the piano chair, previously entrusted to Aaron Parks, to Kevin Hays. The group is rounded out by the incredible saxophonist Mark Turner.

The latter burned a hole in my brain with a vibrant solo filled with intervallic awe on the gorgeous “Mars”, a 7/4 inspiration that deftly combines melodic illumination and harmonic openness. Grilli follows him, employing a highly articulated flowrate of notes in a torrent of sweeping emotion. Before this one, he had opened the session with “1954-1964”, an effects-drenched solo guitar intro that bridges the two records.

More polished in tone and with a bass groove that brings Coltrane’s “Acknowledgement” to mind, “Signs”, pays tribute to guitar hero Peter Bernstein, asking for both bop and post-bop interventions from piano, sax and guitar. A slick melody and bluesy feel are part of the process, but the band also swings with feeling. They return to the swinging motion on “ERP”, another bopish verve with sax-guitar unisons. Grilli opts to explore with stimulus, occasionally sliding figures with chromatic tension, whereas Turner glimpses at “Giant Steps” in his inner thoughts, developing ideas with flexibility.

The vibrancy of New York is very much on display on both “Lunatico”, a tribute to the Brooklyn’s bar mentioned in the title, which takes the form of a melodic pop-inflected exercise with hints of maracatu, and “183 W 10th St”, a Lovano-infused post-bop number with ample harmonic expansion and a nod to the famous jazz club Smalls.

Although one can’t find a real ballad here, distinction in mood is easy to detect, especially when you measure tunes such as “The Sea and the Night”, a hard-hitting evocation of Rosenwinkel’s best years in jazz; the Brazilian flavored “Coyote”, which reflects the bandleader’s native influence; and “Voyager”, a rhythmic steeplechase in five where Harland shines through.

Grilli sticks to traditional forms and these new compositions provide room to stretch. Surrounded by great musicians, he broadens his jazz palette with a functional musical vision.

Favorite Tracks:
02 - Mars ► 06 - The Sea and the Night ► 10 - Voyager

Kaja Draksler Octet - Out For Stars

May 26, 2020

Label: Clean Feed, 2020

Personnel - Kaja Draksler: piano, kalimba, cowbells; Laura Polence: voice; Björk Níelsdóttir: voice; Ada Rave: tenor saxophone, clarinet, mouth organ; Ab Baars: clarinet, tenor saxophone, mouth organ, voice; George Dumitriu: violin, viola, mouth organ; Lennart Heyndels: double bass, voice; Onno Govaert: drums and percussion.

Boasting an admirable, inventive way of expressing herself, Amsterdam-based Slovenian pianist Kaja Draksler continues the poetry-inspired musical work she has been developing for her singular octet. Out for Stars is the much anticipated follow up to Gledalec (Clean Feed, 2017) and comes sealed with her unique signature sound. The inspiration arose from poems by Robert Frost, whose excerpts are passionately intoned by singers Laura Polence and Björk Níelsdóttir.

On “Danas, Jucer Sutra”, ethereal voices are set against the solemn chamber wall of cello and violin, creating a sort of ritualistic musing. The conversational exchanges between saxophonist Ada Rave and violinist George Dumitriu is preceded by the former’s occasional popping sounds and trills. At that point, we also have sparse piano raindrops and understated percussive work conferring it textural beauty.

“Acquainted With the Night” advances patiently in its poetic narrative, weaving a refined aesthetic that incorporates trio moments composed of earthy round bass, angular piano, and prismatic drumming. From there, the trio falls into cadences formed from insistent notes and bold chords, bass rambles, and a kinetic percussive flow that reinforces the propagation of energy. The ambience that follows draws some tension and jagged momentum from amidst the complex combinations of things. Down the line, the group hangs in suspension with vocals and clarinets side by side until the solo piano placidity of the final moments.

Providing one of the best moments on the record, “The Last Mowing” is the most propulsive piece and its vigorous energy gets underway as soon as the percussive chops by Onno Govaert are generated. This being said, the climax arrives with the narrow and wide magnitudes of two tenor saxophones in ecstasy. The isotropic consolidation of sounds along with the finely calibrated vocals are a total fun to listen to, and points of comparison with The Fire Orchestra! can be established.

“The Silken Tent” blends spoken word (narrators here are clarinetist/saxophonist Ab Baars and bassist Lennart Heyndels), pure classical singing with the transcription of Händel’s Dominus A Dextris Tuis, and free improvised music, whereas “Away!”, featuring a recorded declamation by Frost, adopts an art-pop lyricism and reaches its emotional pinnacle with plaintive, dissonant saxophone wails.

With a gripping pastoral atmosphere at the core, Out for Stars is given depth and breadth by the ensemble’s adroit execution. It’s not for everyday, but when the spirit asks for these moods, it’s an artistic treat.

Favorite Tracks:
02 - Acquainted With the Night ► 03 - The Last Mowing ► 06 - Away!

Flash Reviews - Sunjae Lee / Ivo Perelman & Matthew Shipp / Fredrik Lindborg

May 21, 2020

SUNJAE LEE - PULSE THEORY (GhettoAlive Records, 2020)

Personnel - Sunjae Lee: tenor sax; Eunyoung Kim: piano; Dayeon Seok: drums.

50 minutes of continuous improvisation are squeezed into a sole track in the new digital outing from South Korean saxophonist Sunjae Lee, a free jazz practitioner who is also an acupuncturist and an oriental brush painter in Seoul. Extended iterative segments eventually expand in energy and body, always under the controlled conduct of the bass-less rhythm section comprised of pianist Eunyoung Kim and drummer Dayeon Seok. The music was captured live at GhettoAlive in Seoul and was mastered by New York-based bassist, composer and producer Eivind Opsvik. The communication between the threesome feels effortless throughout and the group explores textural variety by embarking on occasional duo sections. You’ll find what is expected from a free jazz session - dedicated interplay with contrasting moments that usually evolve from stable to temperamental and from imperturbable to livelier. Freed of tempo and form concerns, the trio takes most of the time exploring circularity, fragmentation and texture with casual pointillism. Yet, the quiet lyricism of the last five minutes was what grabbed me the most. [B-]

IVO PERELMAN & MATTHEW SHIPP - AMALGAM (Mahakala Music, 2020)

Personnel - Ivo Perelman: tenor sax; Matthew Shipp: piano.

Amalgam is the latest improvisational tour from saxophonist Ivo Perelman, who celebrates 30 years of a profuse career, and pianist Matthew Shipp, his regular collaborator since 1996. This 12-track program follows their uncontrollable appetite for music created in the spur of the moment. The limitless possibilities lead to passionate, often intellectual dissertations with oneiric atmospheres (“Part 1”); motivic developments forming shapely mosaics supported by intrinsic lyrical sophistication rooted in classical music (“Part 10”); frisky avant-jazz dialogues professed with rugged textures and brave contrapuntal moves (“Part 11”); unpremeditated percussive propagations (“Part 12”); inventive delineations represented with a mix of entanglement and contemplation (“Part 4”); and introspective yet ruminative exercises - sometimes with fair doses of assimilative melody and piano strings vibrations (“Part 3”), and other times with the addition of enigmatic depth (“Part 8”). The thing is: the discography of the duo is so vast that it's hard to say if this recording is better or worse than its predecessors. It’s certainly authentic. Question: will their unstoppable creativity come to a halt with the current pandemic crisis? [B+]

FREDRIK LINDBORG - A SWEDISH PORTRAIT (Prophone Records, 2020)

Personnel - Fredrik Lindborg: baritone, tenor and soprano saxophones; Martin Sjöstedt: bass; Daniel Fredriksson: drums; Daniel Migdal: violin; Henrik Naimark Meyers: violin; Yivali Zilliaous: viola; Amalie Stalheim: cello.

Saxophonist/composer Fredrik Lindborg blends mainstream jazz with melancholic folk music from Sweden, traversing genres with ease while maintaining his musical personality intact. For this record, a 14-track program with music of baritone saxophonist Lars Gullin, he incorporated a string quartet to further enrich the music of the trio he leads. I dare to describe it as a feel-good retro jazz glee with intelligently crafted string arrangements, giving the traditional a new look that is not devoid of eclectic essence. The opener, “Mazurka”, was arranged exclusively for strings (by Gullin himself) and carries poignant classical tones; “Har Nagon Sett/Baritonome” boasts a gentle Latinized percussion to be mixed with efficient swinging passages and chamber jazz sections; “Decent Eyes” forced me to imagine George Gershwin dancing the tango; while the wildly swing of “Galium Verum” evokes Mulligan and Webster’s unforgettable collaboration. The cheerfulness of “I Min Small Sang” brings to mind the standard “How About You”, while “Igloo” conjures up “Caravan”. You’ll also find malleable waltzes and heartfelt ballads. Lindborg blows soulfully and deserves wider recognition. [A-]

Big Heart Machine - Live at The Jazz Gallery

May 19, 2020

Label: Toof Records, 2020

Personnel - Brian Krock: conductor; Charlotte Greve: alto saxophone, flute; Caroline Davis: alto saxophone, soprano saxophone, flute; Timo Vollbrecht: tenor saxophone, soprano saxophone, clarinet; Anna Webber: tenor saxophone, alto flute, flute; Jay Rattman: baritone saxophone, bass clarinet; John Lake: trumpet, flugelhorn; Kenny Warren: trumpet, flugelhorn; Chloe Rowlands: trumpet, flugelhorn; Dave Adewumi: trumpet, flugelhorn; Nick Grinder: trombone; Sam Blakeslee: trombone; Isaac Kaplan: trombone; Jen Wharton: bass trombone; Olli Hirvonen: guitar; Arcoiris Sandoval: piano; Marty Kenney: bass; Nathan Ellman-Bell: drum set.

After an acclaimed eponymous debut, the 18-piece Big Heart Machine, led by saxophonist/composer/arranger Brian Krock, returns with a live recording captured at The Jazz Gallery in New York. It was great to see that the ensemble, even without Paul Jones, thrives with the talents of saxophonists Anna Webber and Caroline Davis on its lineup.

“Unblock the Stoppage” opens the session, bringing a sense of orchestral freedom in a way but sounding perhaps a bit more cerebral than other Machine’s efforts. A dialogue between the saxophones of Anna Webber and Timo Volllbrecht is emphasized while, down the road, the immensely adaptable drumming from Nathan Ellman-Bell keeps shifting in texture, density and color. The drummer has the spotlight exclusively turned on him on the percussive section that introduces “Recessive”, whose asymmetric meter doesn’t discourage a fleshed out alto solo from Caroline Davis, with winning orchestral passages bridging segments. Bassist Marty Kenney also makes his point with a discourse over a lugubrious harmonic sequence delivered by pianist Arcoiris Sandoval.

Krock penned the two aforementioned compositions, as well as “Poreidoliac”, an avant-garde fantasy made of contractions and expansions and bold individual statements. Webber's flute stands out, and there are considerably more oblique angles in its puzzle of interlocking configurations than on “Glow On”, a love song written by Krock’s fiancée, the singer/songwriter Molly McAdoo. The light-filled tune immerses the listener in tender, expressive melodies while exuding a quietly ravishing quality. Guitar, trombone and trumpet occupy the center spots.

The group delves into Gyorgi Ligeti’s “Fanfares” with classical insight and contemporary chamber-jazz posture, but also an inner swinging sense. Stimulated by brushed drums and delicately spiraling horns and flutes, the piece is carried out with a constant effervescence without pouring things over too soon.

Orchestrated with modernistic splendor, this big-band music is nicely done.

Favorite tracks:
02 - Recessive ► 04 - Glow On ► 05 - Pareidoliac