Hedvig Mollestad - Ekhidna

July 22, 2020

Label: Rune Grammofon, 2020

Personnel - Hedvig Mollestad: guitar; Susana Santos Silva: trumpet; Erland Slettevoll: keyboards; Marte Eberson: keyboards; Ole Mufjell: percussion; Torstein Lofthus: drums.

After yielding considerable attention with five trio outings, the dauntless Norwegian guitarist Hedvig Mollestad, an advocate of prog-rock and jazz-metal aesthetics, digs into six originals with a lot to like. Here she leads an investigative bass-less sextet with two keyboardists - Erland Slettevoll and Marte Eberson - and two percussionists - Ole Mufjell and drummer Torstein Lofthus, who find no problem handling muscular rhythmic grids. Rounding out the group is the inventive Portuguese trumpeter Susana Santos Silva, whose improvisational prowess stands out in a couple of tracks.

Her trumpet is clearly heard on the less-than-two-minute opener “No Friends But The Mountains”, a meditation whose composure is not devoid of an intriguing sense of restlessness.

The abrasive guitar riff and vigorous rhythm inculcated in “A Stones Throw” can be compared to Pantera's “Cowboys From Hell”, even if they feel cooler in tone. This prog-metal section, fully charged with high-voltage currents, morphs into a more melodic passage - slow-paced and rich in texture - where the influence of Pink Floyd’s The Dark Side of the Moon is irrefutable. Moments later, the group goes berserk again, stimulated by nervy synth explorations and a coercive driving force that hit us hard, attracting everything into its spinning vortex.

Lacing luxurious sonic landscapes reminiscent of Yes with the heavy-duty textures of Tool, “Antilone” is another conspicuous example of tremendous robustness. Mollestad brings in strident guitar looping, hefty riffing, fleshy power chords, and a shredding solo initially underpinned by pure percussion. That's before things get cathartic with rock-solid drumming and synth washes.

Compared to the previously described piece, “Sightly Lighter” feels like a plume, shaping as an atmospheric synth-guitar ballad, while “One Leaf Left” starts as a modal ambient reflection with subtle gradations, becoming weightier as it advances toward the fierce final shout. However, its ending is not as dark or concentrated as “Ekhidna”, a volatile procedure that alternates heavy patterns, anthemic rock momentum with fair doses of melodicism, and avant-prog texture. Silva contributes to the melodic consistency, but later leaps forward to discharge a cleverly intoned statement infested with throbbing syllabic rhythms over rich percussive playing. The final keyboard solo is absolutely stunning.

Ready to conquer the scene with refreshing, powerful music, Mollestad deserves all the attention she can get. And she damn rocks!

Favorite Tracks:
02 - A Stones Throw ► 03 - Antilone ► 05 - Ekhidna

Matthew Shipp - The Piano Equation

July 21, 2020

Label: Tao Forms, 2020

Personnel - Matthew Shipp: piano.

With unmatched style, pianist and improviser Matthew Shipp masterminds another solo offering where his fabulous command of timbre and texture brings creative ideas to fruition. The titles of the 11 pieces that comprise The Piano Equation indicate connections with mathematics and space phenomena, containing words like equation, void, vortex, hyperspace, signal and cosmic.

The title cut opens the record like a lugubrious lullaby distorted by tense bulky sounds and angular movements on the lower register. At some point, it made me think of the standard “Like Someone in Love”, totally warped by the pianist’s expansive vision.

“Swing Note From Deep Space” has multiple and independent movements - an assortment of contrapuntal swing-based motifs, odd intervals and quizzical sequences of notes - forming spontaneous grids. Letting his imagination go beyond what is expected, Shipp creates a polyrhythmic cadence by the end, able to disconcert as much as to enchant.

Dazzlingly amorphous and moodier, “Vortex Factor” emulates particles in perpetual swirling motion. The outcome is knotty and heavy like Cecil Taylor’s music, but undoubtedly organic. The vitality felt here is matched by the short “Clown Pulse”, a much lighter piece where the pianist employs a more archetypal jazz vocabulary.

If “Radio Signals Equation” is made of danceable passages bursting with rhythm, spiraling micro-phrases interlaced with highly-coordinated strokes, and harmonic tartness, then “Land of the Secrets” is its opposite, striking a balance between the contemporary classical and the avant-garde jazz genres. Poised, enigmatic and poetic in its creative spark, this particular number left me with a sense of wonder.

Immersed in blues-bustling abstraction, “Void Equation” is an intoxicating tale that gains further momentum as it advances. Nothing compared to the closer “Cosmic Juice”, though, which is my favorite piece on the album. Initially served with a tangy, concentrated flavor and allowing both bright and dark tonalities to emerge, the tune is reshaped into something more atmospheric as a consequence of the perplexing chordal work exerted by the pianist.

The freedom of playing solo is beautiful, and that can be deeply felt here. By exploring new places within his vast musical cosmos, Shipp takes us into a journey that emboldens the listeners’ imagination.

Favorite Tracks:
05 - Land of the Secrets ► 09 - Radio Signals Equation ► 11 - Cosmic Juice

Mark Helias' Open Loose - The Third Proposition

July 20, 2020

Label: Self release, 2020

Personnel - Tony Malaby: tenor saxophone; Mark Helias: acoustic bass; Tom Rainey: drums.

With a strong foothold on the left side of the jazz spectrum and boasting a captivating full-bodied sound, bassist Mark Helias puts out a live recording of his powerhouse trio Open Loose - featuring serious-minded peers Tony Malaby on tenor and Tom Rainey on drums - 20 years after it was captured at La Maison de la Radio, during the group's 2000 Paris tour. The material retrieves some old compositions spread across several released albums.

“Line Nine” and “Last One In, First One Out”, for example, were culled out from Open Loose’s 1998 debut album Come Ahead Back. You can think of the former piece as a buoyant bop-inflected scenario mounted with freedom and groove and populated by the dark hues of Malaby’s provocative horn. More groove-centered, the latter piece relies on odd meter, sturdy Coltrane-inspired melodies and limber rhythmic variations to impress.

Both “Question Time” and the ballad “Gentle Ben” would be included in their next album, New School, released in 2001. If Malaby is on fire on the former, he is naturally more restrained and melodically driven on the latter. The transformation has very much to do with the nature of the tune itself.

“Munchkins” is all muscle and agility, while the uptempo “Moto Proto”, which Helias wrote for the BassDrumBone trio, swings in a more conservative style. Yet, considerable infusions of irreverence and furor make it stand above that designation. Rainey refracts and reshapes quirky rhythms, forging an unbreakable alliance with Helias. They employ an intriguing blend of stamina and adventure in their tight rhythmic net, which suits the saxophonist’s language.

Three of the nine pieces were spontaneously created on stage, namely “The 53rd Signal”, “The Third Proposition” and “Expostulation”.

The sound might not be ideal, yet all the musical ingredients you might expect to find on Helias’ Open Loose records are here, expressed with an in-your-face energy.

Favorite Tracks:
02 - Line Nine ► 05 - Question Time ► 08 - Last One In, First One Out

Kahil El'Zabar's Spirit Groove feat. David Murray

July 16, 2020

Label: Spiritmuse Records, 2020

Personnel - Khalil El Zabar: percussion, voice; David Murray: tenor saxophone; Emma Dayhuff: acoustic bass; Justin Dillard: synth, piano, organ.

Master percussionist Kahil El’Zabar keeps searching the spiritual in music, this time through a satisfying collection of groove-centric pieces delivered in the company of longtime collaborator and powerhouse reedman David Murray. The rhythm section is rounded out by keyboardist Justin Dillard and bassist Emma Dayhuff.

Carrying a strong R&B feel, El’Zabar’s “In My House” appears on the album in two long versions that succeed each other. The opening piece is a 10-minute radio edit inflamed by Murray’s incendiary forays while the full version, clocking in at 20-and-a-half minutes, is extended by bass and piano solos, vocal experiments, and extra sax snoops.

Propelled by El’Zabar's cajón, Murray’s “Necktar” is equipped with a spry hip-hop undertow that is counterbalanced by the chilled-out soul/funk on the surface. The rap-influenced phrasing employed here by the saxophonist is transferred with wide tonal range and intervallic wit to the last part of the motivic “Song of Myself”, a groovy, trance-like acid jazz piece armed with looping bass lines and psychedelic organ and vibes.

The gentle and exotic kalimba patterns on “Katon” impel us to dance with freedom and abandonment. You’ll be able to pinpoint an unhurried bass pedal, musing pianism, and fervent saxophone prayers that make us fly above the groove.

Seminal influences of spiritual saxophone giants like Pharaoh Sanders and John Coltrane are noticeable on “In The Spirit” and “Trane in Mind”, respectively. The latter piece, with Murray completely immersed in the Coltrane language, deviates from the soul-inflected contemplation to set foot in a modal post-bop with a modicum of gospel.

Even infused with a salutary eclecticism and spirituality, this recording is burdened with immutable rhythmic currents that occasionally become protracted. However, it's all done with passion and warmth.

Favorite Tracks:
04 - Song of Myself ► 05 - Katon ► 07 - Trane in Mind

Kurt Rosenwinkel Trio - Angels Around

July 15, 2020

Label: Heartcore Records, 2020

Personnel - Kurt Rosenwinkel: guitar; Dario Deidda: bass guitar; Gregory Hutchinson: drums.

Owning an inimitable style, guitarist Kurt Rosenwinkel has a special gift for playing standards with expertise and passion, making them afresh. On his latest trio outing, Angels Around - with a strong assist from Italian bassist Dario Deidda and American drummer Gregory Hutchinson - he presents five notably selected standards that really make me want to revisit them again and again. The program is rounded out with two sinewy originals, one by Rosenwinkel and one by Deidda.

Opening the album, Monk’s “Ugly Beauty” suggests an initial rock layer that soon evaporates, soaked in the mellow synth-effects of Rosenwinkel’s reverb-drenched guitar. The electric transferences provided by the guitarist always find a generous supportive from the well-oiled rhythmic engine of Deidda and Hutchinson.

Paul Chamber’s “Ease It” is a colorful, energy-filled hard-bop tune that doesn’t necessarily implies a reach back in time or any sort of nostalgia.

Composed by the soulful bassist Charles Mingus, “Self Portrait in Three Colors” includes breeziness and articulation in its dynamic contours. The melodic and harmonic contents merge together in a canvas pigmented by myriad color shadings. It's glorious.

Delivered with brio, Bill Evans’ “Time Remembered” is given a more spirited treatment than we usually find in most of its renditions. While the jaunty, rock-ish groove doesn’t eradicate any of the tune’s emotional lyricism, Rosenwinkel’s superb harmonic work hit you square in the chest.

Displaying his soloing capabilities at full force, the guitarist takes the trio full steam ahead with his own “Simple #2”, where a hard rock heftiness is exposed with a swirling three time feel. Combative power chords, smart bluesy licks and dazzling jazz fantasy are all squeezed in an underlying rhythmic approach that doesn’t eschew intense melodicism. Deidda also shows his improvisational qualities here, as well as on the title cut he wrote, which relies on an indie-rock framework tinged by jazz undercurrents.

Joe Henderson’s “Punjab” and Jobim’s “Passarim” (bonus track) complete the program.

Rosenwinkel brings the full breath of his natural musicianship and spontaneity into this session. Despite the valid fusion works made recently (Caipi, Bandit 65), his true glory lies here, where the style is more direct and accessible and he reaches the apogee of his musical powers. This is a gem not to be missed.

Favorite Tracks:
01 - Ugly Beauty ► 03 - Self Portrait in Three Colors ► 04 - Simple #2

Glenn Zaleski - The Question

July 14, 2020

Label: Sunnyside Records, 2020

Personnel - Lucas Pino: tenor sax; Adam O’Farrill: trumpet; Glenn Zaleski: piano; Desmond White: bass; Allan Mednard: drums.

33-year-old pianist Glenn Zaleski reflects a remarkable musical maturity beyond his age. As an adept of the classic trio format, his discography as a leader is enriched with albums in which he works with the following rhythm sections of bassist and drummer, respectively - Rick Rosato / Colin Stranahan and Dezron Douglas / Craig Weinrib. That being said, he now opted to expand his sonic palette by putting together a supportive quintet for his latest work, The Question. The material was partially inspired by the transition to his thirties as well as becoming a father for the first time. Offering many possibilities, the group exhibits a front row with saxophonist Lucas Pino and trumpeter Adam O’Farrill, and a rhythm section where Zaleski teams up with bassist Desmond White and drummer Allan Mednard.

Although connected in its musical identities, “The Question” and “The Answer”, respectively opening and closing tracks on the album, are expressed with distinct outfits and moods. If the latter shapes into a solo piano reflection, the former displays the strong rhythmic alliance between Zaleski, White and Mednard. The drummer begins by laying down a gorgeously syncopated beat, with which the piano texture meshes with purpose. Subsequently, sax-trumpet unisons levitate in a soul-searching examination that is complemented with solos from saxophone, piano and drums.

O’Farrill’s quick-witted trumpeting is in evidence on “Backstep”, a compellingly brushed waltz designed with the famous Coltrane changes going in a backward direction. The relaxation of Bill Evans combines with the cleverness of one of Zaleski’s biggest influences, Dave Brubeck, whose timeless ballad “Strange Meadow Lark” appears here with the habitual classical-meets-jazz sophistication. This silky arrangement dates back to when Zaleski, then 18, was enrolled at the Brubeck Institute in California.

In addition to the previously mentioned cover, there’s “Road Life”, an exultant swinging bop tune written by Memphis pianist James Williams (a member of Art Blakey’s Jazz Messengers from mid 70’s to early 80’s) and buoyed by multi-colored soloing efforts.

In an attempt to stress the deceptions created by social media, “Smoke and Mirrors” kicks off with precise harmonic patterns tasked with preparing us for the smooth, hip-hop-ish, loosened-up funk to come. The bass line in the second half is a mirror of the first, and both Pino and O’Farrill ooze excitement from their interplay during the final theme, minutes after having embellished Zaleski’s solo with parallel lines. Horn fills are also spotted on “Subterfuge”, a sensitively brushed illustration loaded with adventurous pianism.

Perfectly integrated in the line up, the smooth “BK Bossa Nova” features adept guitarist Yotam Silberstein imparting emotion in his splendorous storytelling.

With a genuine aptitude to extract beauty and joy from his playing, Zaleski is a modern pianist who never loses touch with the jazz tradition.

Favorite Tracks:
01 - The Question ► 03 - Smoke and Mirrors ► 05 - Subterfuge

World Jazz Quintet - Live at QPAC Theater

July 13, 2020

Label: Self released, 2020

Personnel - Scott Litroff: alto sax; Francis Hon on piano; David Ullmann: guitar; Jeong Hwan Park: bass; Daisuke Konno: drums.

World Jazz Quintet is comprised of like-minded NY-based musicians with an ability to transform a mixture of idioms into a seamless fusion blend. This cross-country group - Scott Litroff on alto sax, David Ullmann on guitar, Francis Hon on piano, Jeong Hwan Park on bass and Daisuke Konno on drums - has recently released a live recording, Live at QPAC Theater, whose seven tracks demonstrate their taste for jazz tradition, Asian folk and pop music, post-bop, and R&B.

The record opens with Ullman’s “Astor Place”, whose slick rhythmic expressions evoke the spirit of that one-block street located in downtown Manhattan. Built on a tight foundation and crossing the borders of jazz, this piece is bolstered by a supple sax solo enthralled by refined post-bop terminology and serving straight-up emotion. With Litroff easily sticking out due to the force of his peremptory vocabulary, Hon serves as a counterbalance by cooking his solos thoughtfully and patiently. Although less dominant, he's by no means less efficient in his approach. However, it’s the saxophonist who shines again on “Spring Breeze”, a lighthearted folk Taiwanese composition by Deng Yu-Hsien, which gains a standard-like nature due to its cool tones and soulful harmonic progressions. Curiously, at times, it made think of an intersection between the spiritual pop songs of Van Morrisson and the straight-ahead jazz of Eric Alexander.

Joe Sample’s “Soul Shadows”, a staple among The Crusaders’ most known songs, is pure, grooved-out soul-jazz with a magnetic appeal. Slippery guitar and popping funky bass lines are part of the deal, in which everybody gets to solo. After this third track, the record faces a shortage in tension due to three balladic pieces in a row. Risking close-to-the-edge tonalities, Park’s “Ultimo Fin de Samana” is filled with long vibrato notes, while the waltzing “One’s Way Back”, borrowed from Korean K-pop artist Son Ju Park, is boosted with wide-ranging saxophone, soothing bluesy guitar, and a dramatic piano unfolding.

The record ends with one of the most iconic compositions from the late pianist Randy Weston - “Little Niles”. With it, the quintet restores the infectious verve of the first tracks, waltzing and swinging effortlessly with symmetry and proportion.

Never subjective in their practices, the members of this crew share musical warmth at the same time that celebrate their influences.

Favorite Tracks:
01 - Astor Place ► 02 - Spring Breeze ► 03 - Soul Shadows

Ambrose Akinmusire - On The Tender Spot of Every Calloused Moment

July 9, 2020

Label: Blue Note, 2020

Personnel - Ambrose Akinmusire: trumpet; Sam Harris: piano; Harish Raghavan: bass; Justin Brown: drums.

Besides being one of the most reputable conceptual thinkers out there, trumpeter Ambrose Akinmusire is a prominent figure on the scene, modernizing the parameters of jazz and blues to create music that is utterly appealing and innovative.

The 11 tunes comprising On The Tender Spot of Every Calloused Moment, his sixth album as a leader, point to a well-defined direction that is very much Akinmusire’s line of action. The topic at the center of the album is the continual struggle endured by black people in America, which, according to the latest occurrences - including the murder of George Floyd and massive gentrification - finds itself in an opportune time to urge change on social issues.

The sections of “Tide of Hyacinth” fluctuate between stirring and serene with much lyricism to appreciate. The tempos, whether rubato or camouflaged by odd-meter, have direct influence on how the rhythm shapes, while the energy, following the dynamics of each passage, can be as much enveloping as invigorating. The spoken word of Jesus Diaz, uttered in the Yoruba language, evokes pure African chants.

“Yesss” opens quietly as a ballad and closes strongly as a scream of hope. At the outset, the trumpet notes are long, precise and emotionally-charged, strongly backed by unaggressive bowed bass and consolidated piano. The quartet then dives in an atmospheric supplication where trumpet wails sit on top of sustaining synth clouds and sluggish syncopated beat. Other equally beautiful, and sometimes dolorous balladic reflections are found in cuts like “Reset”, a touching meditation on quiet victories and celebrated defeats with penetrating trumpet echoing off into infinity, and “Roy”, which uses a more familiar structure and aesthetic - drawn from the Baptist hymn The Lord’s Prayer - to pay homage to the late trumpeter Roy Hargrove. “Cynical Sideliners”, dressed up with a gossamer Fender Rhodes fabric (provided by Akinmusire) and haunting vocals by Genevieve Artadi, also falls in this tranquilizing, if socially enlightened, category.

Another dedication, this time to the multireedist Roscoe Mitchell, is made on “Mr. Roscoe”, an avant-garde sort of march amplified by contrasting tonalities, marked by dry wit and delivered at a medium trot. Justin Brown’s inventive drumming is on display here, motivating staggering intensities and trusted routines.

Adopting a deliberate stagnation in its initial phase, “Blues” is radically introduced by prepared piano, extended trumpet techniques, understated rim shots and dispersed bass notes. The busier second half incites to a change of posture, and the group kind of swings in a modern fashion.

On “An Interlude”, bassist Harish Raghavan dishes out a splendid solo introduction before fixating in a continuous rhythmic flow with Sam Harris’ rich harmonic colors atop.

The trumpet work by Akinmusire is absolutely fantastic throughout, cutting across the underlying textures with acerbic twist, painful consciousness, and a fair dose of abstraction. His self-possessed lyrical force is not within reach of common artists.

Favorite Tracks:
01 - Tide of Hyacinth ► 02 - Yesss ► 06 - Reset

Sojoy + Stu Dias - Ambistellar

July 8, 2020

Label: Self released, 2020

Personnel - Sojoy: vocals; Stu Dias: vocals, composition; Eric Klaxton: tenor sax, clarinet; Matt Langley: soprano, tenor and baritone saxes, bass clarinet; Nick Mainella: tenor sax, clarinet; Zach Lange: trumpet; Josh Gagnon: trombone; Scott Kiefner: bass; Jonny Peiffer: drums, composition.

Ambistellar, the new outing from Jonny Pfeiffer’s Sojoy with the participation of singer/songwriter Stu Dias, narrates stories inspired by mythologies and constellations that also connect to ancient civilizations. Pfeiffer - the drummer, arranger and main composer for the chord-less septet based in Portsmouth, New Hampshire - co-wrote the 14 tracks on the album with Dias, relying on a pliable five-horn frontline to give them a varied range of expression. Together, they cram a melange of styles into a coherent whole, with the players toggling effortlessly between the composed and the improvised worlds.

“It’s Lonely Up Here” takes the shape of a vocals-over-bass pop song before blossoming into a fully jazzified orchestral section that leads to the end. The lyrics are about the giant huntsman Orion and his post-mortem solitude after Zeus has placed him among the stars as a constellation.

With Dias alternating vocal dynamics according to the intensity of its distinct 4/4 and 3/4 passages, “Nothing is Broken” balances rock, jazz, and R&B into a wave of energy, but doesn’t back off from a sort of cabaret impression that feels at once artsy and dramatic. “He Loved There Honey” is another example, yet blurred by the inebriated, lullaby-ish singing.

Despite of its title, “Calm” is not a ballad but rather an elated, funkified cyclic motion underpinned by a groovy bass ostinato. Somehow recalling Tom Waits in the wry manner that it's stated, the piece loses grace when watery effects (connected to the theme of a flying fish) mold the vocals.

Having a sturdy bass and incisive drums working hard at the bottom layer, “Wing and Fin” brings a relaxed and carefree sense of adventure, allowing the central spot to be filled with trumpet and clarinet. Their statements trigger responses from the remaining horns.

Embracing melodic counterpoint, a lounging swinging pulse and classic film-noir temper, “Big Bad” features multiple, simultaneous soloists. In fact, the horns remain alert throughout, responding to the spoken word with adequate expressive dimension while unisons mark the final section.

Part epic, part plaintive, “Bird Of Paradise” boasts chirping-like ostinatos as figurative ornaments for a 6/4 sonic flow that, for moments, brings Sun Ra’s space voyages into mind. The group offers a totally different atmosphere with “My Kin Decide”, whose instrumental similarities with Santana’s “Smooth” are noticeable. The understated Latin feel here turns into festive on the playful “I’m Dreaming, She Murmured”.

Pfeiffer sets the pace for the band on the sinuous “The Snake Charmer”, and his effective drum play, with resounding kick drum and rattling snare, is stressed during the whole enchantment. The uplifting closing track of the album “Draw Tight Your Bowstrings” displays a radiant tenor solo.

Jazz influences are front and center on Ambistellar, an aptly arranged collection of tunes with some infatuating melodic and rhythmic contents.

Favorite Tracks:
04 - Big Bad ► 05 - Bird of Paradise ► 10 - Nothing is Broken

Tim Stine Trio - Fresh Demons

July 7, 2020

Label: Astral Spirits, 2020

Personnel - Tim Stine: guitar; Anton Hatwich: bass; Frank Rosaly: drums.

A low-key affiliate of the Chicago jazz scene, guitarist/composer Tim Stine goes out on a limb with his new trio album Fresh Demons. Using the secure foundation established by bassist Anton Hatwich and drummer Frank Rosaly to his own advantage, Stine performs eight originals with the same open-mindedness and unorthodox acoustic approaches that have been allowing him to escape jazz conventionalities. His previous outings include the homonymous trio album, out in 2016 on Astral Spirits, and Knots, a quartet effort released last year on the Clean Feed imprint.

Proving what I just said, the first piece on the album, “Talking Faster”, is an alternative folk-jazz tune that is as much offbeat as it is engaging in its rawness. The garrulous conversations occur with an adventurous fortitude, stimulated by cranky strummed harmonies and off-the-cuff dilatations that take place on the drum set before the closure.

If the music sounds already strange and curiously patterned, then titles such as “882233” and “686868” don’t help clarifying things up. The former initially displays a bass ostinato drawn from the theme statement and closes with a final vamp for the drummer to stretch, whereas the latter piece develops a balanced meeting ground between contemplative hues and loose-limbed grooves that swing in strange ways. Although immersed in complexity and defying tonality, the melodic phrases are intelligibly enunciated.

A great deal of improvisation is typically found over the sturdy frameworks. The expressionist “VVVValley” is cooked up with labyrinthine decoy, with a few notes picked by the guitarist at particular times making all the difference. His ‘irregularities’ and discordant routes sound great on top of the rhythmic grids weaved by Hatwich and Rosaly. If this number is apparently the most straightforward of the program, then “Watched Trains” draws its pulsing core from an unvarnished joint effort. The trio also weaves around one another on “OTR”, which is more of a slow boil seasoned with hushed brushwork, sleeker guitar melodies, and a reflective bass exposition.

Fresh Demons is a blurred, often hypnotic sonic canvas meant to be naturally eccentric and intense.

Favorite Tracks:
02 - 882233 ► 04 - VVVValley ► 07 - 686868

Steve Cardenas - Blue Has a Range

July 6, 2020

Label: Sunnyside Records, 2020

Personnel - Steve Cardenas: guitar; Jon Cowherd: piano; Ben Allison: bass; Brian Blade: drums.

Steve Cardenas, a skilled guitarist with an enjoyable classic bent and tempered style, releases a new album of all original material. The nine-track Blue Has a Range features the guitarist, a regular presence in the New York jazz circles since his arrival in 1995, in a quartet alongside pianist Jon Cowherd, bassist Ben Allison (who co-produced and mixed), and drummer Brian Blade. These artists feel just the perfect choices to carry out Cardenas’ adept writing.

“Lost and Found”, the album’s opener, incorporates part of a motif from Wayne Shorter’s “Lost”, hence the title. However, its quiet and thoughtful developments sometimes recall the music of John Abercrombie. Cowherd and Cardenas amuse with discerning individual statements.

The guitarist demonstrates his glowing lyricism on “Blue Language”, a spacious, mellow and deeply emphatic piece rooted in the New Orleans blues genre. The solo intro has something of Frisell but much comes from Cardenas’ own viewpoint on the bluesy affairs. This is an appealing number with a feel-good vintage vibe and with the quartet drawn to a streamlined consonance.

With a gift for dramatic understatement, Blade ensures that the music is never cold. He does wonders as he takes over the backdrop of the previously described piece in the groovy company of Allison, and they nail it again on “Language of Love”, a mid-tempo jazz waltz permeated with warm bluesy licks à-la Grant Green. This is the only tune on the album that had been previously recorded, appearing on Allison’s 2008 album Little Things Rule the World. The delicacy and sensitivity of Cardenas’ lines are transferred to the acoustic guitar (a vintage Martin that belonged to his partner’s mother) on “Fern’s Guitar”, which is served up with unassuming sophistication. Cowherd’s piano operates in the same wavelength rather than serving as a foil for the guitarist’s melancholy.

While the swinging “Highline” is a busier Coltrane-inspired ride that veers closer to mainstream, “Sign Post Up Ahead” features the quartet in a surprising improvisatory spin that reflects counterpoint, call-and-response actions, a funk-infested foundation, and blues-rock guitar chops with occasional acuteness and dissonance.

Inspired by an idyllic and mystical Philippine island, the soulful “Siquijor” is among the best pieces, emanating positive feelings from and probing possible healing powers in the atmospheric impressionism created by the ensemble.

Simply give this record a spin and let the noble and passionate emotions illuminate you.

Favorite Tracks:
02 - Blue Language ► 07 - Siquijor ► 08 - Sign Post Up Ahead

Brandon Seabrook - Exultations

July 2, 2020

Label: Astral Spirits, 2020

Personnel - Brandon Seabrook: guitar; Cooper-Moore: diddley bow; Gerald Cleaver: drums.

Brandon Seabrook, a guitarist of rhythmically inventive force, boasts a curious style in which he effortlessly draws from the avant-garde, free improvisation, experimental and indie rock genres, including punk and math rock. Exultations emphasizes his energetic chops on top of the structurally rhythmic riches provided by kindred spirits Cooper-Moore, a dexterous pianist here exclusively dedicated to the diddley bow, and Gerald Cleaver on drums.

Powerful aural transmissions occur throughout a mesmerizing record that opens with “Flexing Fetid and Fecund”, a sinewy and muscled noise-rock exertion involving athletic drumming and distorted diddley bow slaps. Faithful to his strenuous, agitated vocabulary, Seabrook expands the freedom to “Dark Bogs”, a mechanical, somewhat droid-guided march where he engenders out-of-the-box textures and opens new communicative channels with both digital-oriented proficiency and industrial sonic conception.

Cooper-Moore and Cleaver often adhere to a sort of krautrock precision, and if “Behavioral Tub” implants electronic music influences in the experimental affairs, then the wildly inventive “Along Comes Diddley” proposes a fluttery funk feel conveyed by breakneck guitar actions spilled out with abandon, fire and flair. Whereas the former piece is permeated with carefree guitar noodling, fiery fretwork easily morphing into ostinatos processed by spacious effects, and drum rudiments fleshed out over a droning texture; the latter provides pointillism and synth-guitar clouds over a blistering rhythmic ambiance.

Trapped in a post-punk trance appended with glitchy sounds, “Cudgel Majik” differs considerably from both “Essential Exultations”, an atmospheric tour with some diaphanous minimalism, and “Absurdities in Bondage”, where the trio finds a special way to swing. Still, all pieces share the rigidly interlocked rhythms of Cooper-Moore and Cleaver in addition to Seabrook’s manifold strengths, which include the ability to mutate his playing from sharply angular to quizzically atmospheric.

The originality and inventiveness of the trio translate into unconventional textures that make this experimental work starkly fascinating.

Favorite Tracks:
02 - Dark Bogs ► 03 - Behavioral Tub ► 07 - Along Comes Diddley

Bernhard Meyer / John Hollenbeck - Grids

July 1, 2020

Label: Clean Feed, 2020

Personnel - John Hollenbeck: drums, percussion, prepared piano; Bernhard Meyer: electric bass, effects.

On their first collaborative duo album, NY drummer John Hollenbeck and Berlin bassist Bernhard Meyer create their own experimental signature with a combination of unbound rock and ambient electronic sounds. Investigations of both industrial and minimal music, and a considerable amount of chilled, low-pressure beats are also found in Grids.

Inspired by landscapes around the world, the album starts and finishes in atmospheric suspension with “Black Rock Desert” and “Vya”, respectively. The innate mystery of the former has its origins in the chromatic bass moves that populate the textural paths conducted by Hollenbeck's iridescent brushwork. Siding with it in tonal quality, the latter piece takes the shape of a tone poem bathed in melancholic dark hues. Also ambient-oriented, “Kozhim, Naroda and Balbanyu” depicts the Russian rivers with a minimalistic, downtempo approach. Yet, you’ll find sweeping rattling sounds and patterned bass noodles spotted with harmonics.

If “Xina Bena Jordao” alludes to the folk Amazonian culture of Brazil by mixing its rhythms with trip-hop vibes and presenting bass chants dubbed with murmuring overlaps for texture, then “Peace-Athabasca” paints the Canadian Delta referred in the title with an interesting combination of indie rock and electronic music. Meyer’s aesthetic bass work brings some dissonance and echo to a composition stirred by Hollenbeck’s rhythmic transfigurations.

On “105, Sangkat Boeing Profit, Khan 7”, the duo focuses on a specific Cambodian scenery, incorporating screeches, slams, clanks and microsounds in the insistent mechanical routines that Hollenbeck’s prepared piano is in charge of. The rigidness of this industrial procedure becomes variable in frequency, and soothing bass lines and effects carried off by Meyer consent in giving the piece a serenely composed conclusion.

“Uluru-Kata Djuta” is a sonic reconnaissance of the Northern Australian park, a protected area characterized by peculiar rock formations. Tinged with attractive sound effects, this number is plotted with a more tangible substance.

Grids will reward more the experimental music follower than the typical jazz listener.

Favorite Tracks:
01 - Black Rock Desert ► 02 - Peace-Athabasca ► 06 - Xina Bena Jordao

Dave Bryant - Night Visitors

June 30, 2020

Label: Self released, 2020

Personnel - Dave Bryant: keys; Charnett Moffett: electric bass; Gregg Bendian: drums, percussion.

With one foot in the fusion genre and the other in the harmolodic approach of free-jazz pioneer Ornette Coleman, Boston-based keyboardist Dave Bryant releases Night Visitors, a trio effort where he is joined by bassist Charnett Moffett and drummer Gregg Bendian.

Even though the steadfast “Lime Pickle” has resulted from an exercise for Bryant’s students, the way its rhythmic complexity and melodic abandon relate makes us conclude that an experienced hand is required.

Bryant, who was a late member of Ornette’s Prime Time ensemble, pays tribute to his post-graduate mentor by evoking him on several pieces. The saxophonist’s “Dee Dee”, which was first recorded in 1966 with a trio that included Charnett’s father, Charles Moffett, appears as the sole cover on the album, acquiring the form of an expressionist organ-driven piece shaped with genuine swinging excitement. On the other hand, “The Night Flock” mixes Ornette and Monk’s moods, allowing the trio to interact and stretch farther with rhythmic elasticity.

Fuzzier and heavier in sound, “In Transit” alludes to electronic music through synth fireworks, unstoppable bass runs and frantic drumming, being completely disconnected from the organized “Skywritten”, the piece that immediately follows. Here, the bass is bowed at the tune’s extremities, taking the shape of a walking pizzicato groove in the middle section in order to support the effortless eloquence of the pianist. A stringent articulation contours his phrasing.

Sounding like a fun exercise, “Chihuahua Pearl” lives from the humor and flippancy between the funky bass and the high-energy keyboard, with the drums adhering to the provocation with low-key drama. Much more exciting is the blues-tinged “Scorpio 80”, written for the 80th birthday of comic books artist Jim Steranko. It was through the latter that Bryant met Bendian.

The album closes with the three-part suite “Three Night Visitors”, which offers that kind of abstract pleasures that I would be happy to find in greater extent. You’ll find glockenspiel enlaced with curious percussive elements, ritualistic proceedings and nice sound effects as parts of a cadenced dance, and a spontaneous three-way conversation between glockenspiel, piano and the bass, which interchanges pizzicato and arco techniques.

Although this record only partially worked for me, loyal fusion devotees may well go for it.

Favorite Tracks:
07 - The Night Flock ► 09 - Three Night Visitors I ► 10 - Three Night Visitors II

Jonathan Andersen - Tiny Grass is Dreaming

June 29, 2020

Label: Gateway Music, 2020

Personnel - Magnus Thuelund: alto saxophone; Jacob Anderskov: piano; Jonathan Andersen: bass; Espen Laub Von Lilliensjkjold: drums.

Tiny Grass is Dreaming, the debut album from Danish bassist/composer Jonathan Andersen, is tagged by versatility in style and competence in execution. I was not immediately grabbed by the title track, though, which opens up the album carrying a bolero vibe in its lowest layer. While saxophonist Magnus Thuelund is in command during the theme statement, the expressive brushwork offered by drummer Espen Laub Von Lilliensjkjold and the waves of serenity emanated from Jacob Anderskov’s elegant pianism keep acting in the interest of the piece’s romantic nature.

The sprightly “Silvo Plex” is another story, combining the vibrancy of Woody Shaw and the dramatic instinct of Kurt Rosenwinkel. The pianist catches the saxophonist’s lines to form unisons, while the groove-centered disposition of the tune becomes an opportunity for fitting statements from piano and bass.

If the quartet explores tranquil landscapes with a Yusef Lateef perception on the coruscating waltz “Woodcraft”, they opt to dive into post-bop relaxation on “Mending the Broken”, a wonderful piece where groove and melody walk hand in hand. Included in this cool-toned category, there’s also “Dry Air”, a balladic exercise punctuated by gorgeous bass decays and uplifted by a fine saxophone solo.

While “A Muse Meant Business” is a piano-less bop-inflection marked by the contrasting tones of Von Lilliensjkjold’s skin work and a natural proclivity to swing, “Hello Gulina” is crafted with modal virtue, conveying a breezy feel with the help of winning, curving melodies. These strong impressions are covered in emotional satisfaction, being extended to the solos.

Aesthetic variety doesn’t stop here, and if “AO” displays a jazzistic frame with deep folk engraving, “Macroscope” is a short layered piece that relies simultaneously on the independence of moves and conjoint articulacy, occasionally reaching avant-garde latitudes.

The album closes with a bluesy pop song called “Big Guitar”, to which an awesome beat is added.

Tiny Grass is Dreaming is no stiff listening experience, compelling us to recognize Andersen as a viable voice willing to explore several branches of the jazz tree.

Favorite Tracks:
02 - Silvo Plex ► 05 - Hello Gulina ► 09- Mending the Broken

Sara Serpa - Recognition

June 25, 2020

Label: Biophilia Records, 2020

Personnel - Sara Serpa: vocals, composition; Mark Turner: tenor saxophone; Zeena Parkins: harp, tuning forks; David Virelles: piano.

The New York-based Portuguese singer and composer Sara Serpa has been a powerful creative stylist with a penchant for exploring beyond the ordinary beauties of jazz. The successor to her acclaimed trio album Close Up (Clean Feed, 2018) is Recognition, a multidisciplinary work centered on the Portuguese colonialism in Africa, which raises the bar and soars new heights, both sonically and conceptually. This record marks her debut on the Biophilia Records and features a splendid new quartet comprising saxophonist Mark Turner, harpist Zeena Parkins and pianist David Virelles. The music was specifically composed for a silent movie that resulted from an assemblage of Super-8 footage captured in Angola and found in Serpa’s family archives.

The opener, “Lei do Indigenato, 1914”, has the harpist and the pianist coupling crisp articulations before focusing on a taut rhythmic cadence. Serpa and Turner align their voices in parallel, preserving this melodic correlation when performing “Occupation”, a 5/4 spectacle immersed in contrapuntal balance and featuring intrepid harp offerings and a heartfelt solo from Turner. Serpa denotes total control and perspicuity whenever she steps in, and exquisite juxtapositions of notes further enrich the instrumentation.

“The Multi-Racialism Myth” and “Propaganda” are showcases for the bandleader’s first-class vocal work. Displaying a mood that feels relentlessly oneiric while also tightened up with tension, the former piece boasts an enchanting vocal solo whose spiky lyricism is kept under way by Virelles. The latter piece, on the other hand, is an exercise in perseverance, crafted with sweep and grandeur as the ensemble cycles through patterned phrases.

“Control and Oppression” expresses the chilliness, fear, and dejection that the title suggests. Long vibrato notes play a vital role in an abstract lamentation that cries for freedom. If this is all expressed through music, then “Beautiful Gardens” employs mirrored voices to narrate an excerpt from Jose Luandino Vieira’s novella The Real Life of Domingos Xavier. Jolts of energy emerge from the purposely unsettled foundation established by harp and piano.

In addition to nine Serpa compositions, the recording includes three spontaneous improvisations that thoroughly demonstrate the limberness of the ensemble. “Free Labour” is a work song in the guise of an offbeat waltz rendered with counterpoint and bracing rhythmic figures as its liberating forces. “Civilizing and Influence” relies on the refinement of a sax-piano communion, while “Queen N’Zinga” thrives on spoken word (an excerpt from the book Njinga of Angola by Linda M. Heywood) and Turner’s elaborate stunts, which are pushed to the forefront of a jittery polyrhythmic coalition.

Filled with pungent atmospheres and urgent messages, Recognition challenges the listeners by blurring any and all genres with authenticity and resolve. Serpa’s command of her voice is ravishing and her compositional prowess keeps evolving from record to record.

Favorite Tracks:
02 - Occupation ► 03 - The Multi-Racialism Myth ► 04 - Free Labour

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