Roots Magic - Take Root Among the Stars

August 20, 2020

Label: Clean Feed

Personnel - Alberto Popolla: clarinet, bass clarinet, objects; Errico De Fabritiis: alto and baritone saxophones, mouth harp; Gianfranco Tedeschi: acoustic bass; Fabrizio Spera: drums, percussion, zither. Guests - Eugenio Colombo: flute; Francesco Lo Cascio: vibraphone.

Formed in 2013, the exploratory Italian quartet Roots Magic delves into another set of tunes collected from the early traditional blues compendium - in its country and Delta variants - and the rich sonic palettes of the avant-garde and free jazz from the 70’s.

On their third installment for Clean Feed, Take Root Among the Stars, the blues pieces represent different eras. Whereas “Frankiphone Blues”, written by Sun Ra’s associate Phil Cohran, pulsates freely with an Afro-centric thrust, “Mean Black Cat Blues” was culled from the vintage repertoire of Charley Patton, considered by many to be the father of Delta Blues. The former track brings two guest artists to the forefront - vibraphonist Francesco Lo Cascio harmonizes with exoticism while flutist Eugenio Colombo sends brisk notes into a tizzy; the latter piece, instead, relies on a heavy counterpoint scenario, playful riffery and a final rhythmic cadence that throbs with excitement.

Maurice McIntyre’s “Humility in the Light of the Creator” starts with innocuous chiming percussion and a serene bass clarinet contemplation. The other instrumentalists, including drummer Fabrizio Spera (he's passionate and vigorous in the way he plays), have no objection to join and raise the intensity of things. Later, the group explores contrasting possibilities when suspended states filled with melodic circularity are shaken by the earth-bounding energy of Alberto Popolla’s bass clarinet and Errico De Fabritiis’ alto saxophone.

This pair of uninhibited improvisers cascade chromatically with plenty of nerve on “Still Screaming For Charles Tyler”, an arrangement that splices “Cha-Lacy’s Out East” and “Man Alone” by the underestimated baritonist cited in the title. This particular piece is swept by a propelling rhythmic force, containing a scorching hard-swinging section propitious for the woodwinds invasion. The baritone, most notably, projects a hulking mass of sound.

If the ensemble succeeds in bringing forth a fragile state of bliss on Ornette Coleman’s “A Girl Named Rainbow”, whether by trading spiraling melodies or searching for more spacious atmospheres, they were unable to elevate Sun Ra’s “Where There Is No Sun” to a superior dimension.

Concluding the record, “Karen On Monday” by clarinetist John Carter, is portrayed with abstraction, torpor and uncertainty, probing alternative moods through the use of a different instrumentation.

Roots Magic can perform with both athleticism and grace. Although with some tunes working better than others, this work finds the group in its classic form, both in concept and execution.

Favorite Tracks:
01 - Frankiphone Blues ► 02 - Humility in the Light of the Creator ► 04 - Still Screaming For Charles Tyler

Charlotte Greve / Vinnie Sperrazza / Chris Tordini - The Choir Invisible

August 19, 2020

Label: Intakt Records, 2020

Personnel - Charlotte Greve: alto saxophone; Chris Tordini: acoustic bass; Vinnie Sperrazza: drums.

A lovely combination of distinct musical personalities is found in The Choir Invisible, a Brooklyn-based cohesive trio formed in 2017 and co-led by saxophonist Charlotte Greve, bassist Chris Tordini and drummer Vinnie Sperrazza. All three hard-working musicians contribute pieces for the project, possessing a prodigious capacity to create freely in addition to a conspicuous fondness for keen, organic sounds. It's a staggering integration of writing material and improvisation.

The relentless, ritualistic “Chant” and the sole-saxophone-driven “These Materials” are compact pieces that prepare us for “Low”, which is set up with a gripping languid groove, a variety of tonally rich cymbal intonations that enhance texture, and a buoyant bass solo with deliberately directional saxophone notes as underpinning. Greve penned these first three selections.

She also brings “Daily Task” into the program. Since the tension never grows too tight, this piece is all about coordination, shaken by the flapping sounds of Sperrazza’s sizzling snare.

The drummer infuses his broad percussive palette on his own “Change Your Name”, a reflective chamber piece in which saxophone and bowed bass start a dialogue, agreeing on the direction to take.

Tordini’s compositions seem crafted to spotlight each individual’s talents. The trio endows “1.7” with a wealth of melodic and percussive twists. At the outset we have Sperrazza’s pragmatic supportive brushwork, circular riff-motivated movements, and a thoughtful, measured bass accompaniment that never feels precipitate. Then the bass is set loose for a spacious and abstract middle passage - aiming for more open playing - and extremely aesthetic snare drum rolls. The final stage is designed with funk-infused accentuation and a sturdy indie-rock feel.

One can tell that “Zuppio” and “e)” share some compositional characteristics. However, if the former sounds agreeably elliptical rather than surprising, the latter evolves into a dancing syncopation with refreshing, non-obvious sax lines after a []-minute free bass intro. Tordini expresses himself with that full supple tone that characterizes his playing, predominantly round and robust.

The absence of harmony makes this boundless experience even more inquisitive, with the trio taking the listeners into a joyride abundant in colorful textures and noble melodic purposes.

Favorite Tracks:
03 - Low ► 04 - 1.7 ► 06 - Zuppio

Dave Douglas - Dizzy Atmosphere

August 18, 2020

Label: Greenleaf Music, 2020

Personnel - Dave Douglas: trumpet; Dave Adewumi: trumpet; Fabian Almazan: piano; Matthew Stevens: guitar; Carmen Rothwell: bass; Joey Baron: drums.

The admiration that Dave Douglas nurtures for his fellow trumpeter Dizzy Gillespie results in a tribute album that does much more than just reproducing his tunes or relying on his recognized musical idiosyncrasies. There’s a brilliant work here in terms of arrangement and the fantastic band he puts together does an excellent job, not only tackling a pair of Dizzy’s great compositions but also shaping up seven Douglas originals.

The title “Con Almazan” is a pun that clearly alludes to Dizzy’s “Con Alma” at the same time that acknowledges the talents of pianist Fabian Almazan. The latter’s typically strong work - both as accompanist and soloist - elevates a piece that, seamlessly switching between quadruple and triple meters, also features an effect-drenched improvisation from broad-minded guitarist Matthew Stevens, and an enthusiastic two-trumpet conversation where Dave Adewumi stands shoulder to shoulder with Douglas.

Before the aforementioned track, we have the uplifting “Mondrian” opening the album as another double tribute. Besides quoting Dizzy’s “Bebop” in the head, Douglas, who blows with cliché-free determination, gets inspiration from Piet Mondrian’s painting Broadway Boogie Woogie. Brace yourself for dazzling unison melodies supplemented with contrapuntal guitar harmonics, advanced chordal work, and dexterous improvisations from piano, trumpet and bass.

Promptly brushed by the formidable drummer Joey Baron, “Cadillac” enters in a cyclic routine imbued with folk melodies and jubilant horn-driven call-and-response. Everything sounds in the right place, yet Stevens audaciously attempts to warp the aesthetics with a delightfully offbeat incursion.

The unperturbed, polished surfaces of “See Me Now” and “Pacific” counterbalance the woozy antics of Dizzy’s Latin fantasies, “Manteca” and “Pickin’ the Cabbage”. The former is an Afro-Cuban-tinged piece that includes another exciting duel of trumpets, while the latter, vividly performed, sports a Latinized, funk-inflected jazz sumptuously conducted by the bass of Carmen Rothwell, who swings with nerve. The dynamic confluence of feelings on both these tunes may catch you off-guard.

Douglas didn’t intend to record this project when he first put it together in 2018 (with a completely different set of musicians) for a performance at Jazz at Lincoln Center. I’m glad he did because this resplendent work absorbs Dizzy’s rich musical legacy to open up contemporary fresh paths.

Favorite Tracks:
01 - Mondrian ► 05 - Manteca ► 06 - Pickin’ the Cabbage

Dave Pietro - Hypersphere

August 17, 2020

Label: ArtistShare, 2020

Personnel - Dave Pietro: alto saxophone, flute; Alex Sipiagin: trumpet; Ryan Keberle: trombone; Gary Versace: keyboards; Johannes Weidenmueller: acoustic bass; Johnathan Blake: drums; Rogerio Boccato: percussion.

New York-based saxophonist/composer Dave Pietro reflects on the modern human experience on his new outing, Hypersphere, a record that reveals the searching quality of his music. His working group, whose well-oiled mechanics ensures the fluidity of the proceedings, accompanies him with the same commitment expressed on the previous album, New Road: Iowa Memoirs, released in 2017.

inspired by the current social structures and the interminable cable news, “Kakistocracy” opens the record with elegance in the harmonic construction. Although it’s Pietro, on alto sax, who leads the lilting melody, he’s not alone at the front, with trombonist Ryan Keberle and trumpeter Alex Sipiagin providing a few accents at the margins and joining him in occasional parallel movements. After a passionate saxophone dissertation, there’s a change of pace that feels quite right for the trombonist’s cool vibe. His colleagues adorn the end of the statement with prompt unisons, and then it’s the skilled patterns and myriad syncopations in Johnathan Blake’s drumming that come to our attention.

The ability to move smoothly between distinct passages and tempos is also felt in a number of other cuts, but especially on the title track. Its structure and odd-meter are disorienting weapons, and its strength is reinforced by Sipiagin’s searing trumpet, Pietro's expressive narrative, and a post-theme vamp that favors Blake’s hyperactive rudiments.

Variety is a strong point, and if “Incandescent”, written for Maurice Ravel, accommodates a silky waltzing carpet charmed by trumpet-sax unisons, “Quantum Entanglement” steps into the crossover jazz genre, adding a hot Brazilian flavor to the rhythm. Both tunes feature Rogerio Boccato’s understated percussion and keyboardist Gary Versace on the piano. In the former piece, the pianist, alone, makes a soft harmonic bed over which Sipiagin’s melodicism rests. This middle passage is later consolidated by Johannes Weidenmueller’s measured bass and Blake’s cozy beat. Alternatively, “Quantum Entanglement” is subjected to variation, inviting Versace to bring his conversational talent into focus.

Versace’s work also stands out when he plays the Hammond B3 organ. It happens on “Gina”, a lush ballad written for Pietro’s wife, and “Tale of Mendacity”, a balladic cruise centered on the arduous search for truth and filled with powerful saxophone articulations and some trumpet exoticism.

Firmly introduced by bass, “Orison” concludes the album with appeasing tones, relying on an efficient dialogue and melodic juxtapositions to accomplish the task of conveying hope.

Even with a few cuts leaning on the contemplative, Pietro’s music can never be accused of static simplicity.

Favorite Tracks:
01 - Kakistocracy ► 06 - Quantum Entanglement ► 08 - Orion

Flash Reviews - Deerhoof & Wadada Leo Smith / Kepler is Free / Max Plattner Trio

August 13, 2020

DEERHOOF & WADADA LEO SMITH - TO BE SURROUNDED… (Joyful Noise Recordings, 2020)

Personnel - Satomi Matsuzaki: vocals, bass; Ed Rodriguez: bass, guitar; John Dieterich: guitar; Greg Saunier: drums + Wadada Leo Smith: trumpet.

This recording from indie-rock experimenters Deerhoof is empowered by the participation of Wadada Leo Smith, an ever-searching trumpeter and free improviser who carved out a singular path in the avant-garde sphere. His searing lines populate the five last tracks on the album, which were captured live at the NYC Winter JazzFest 2018. All 11 tunes were culled from former works, and it’s the wonderfully sung “Believe E.S.P.” that opens the album, churning an uncompromising indie-rock professed with muscle, energy and tons of noise. The playful thrash riot of “Polly Bee”, the cathartic and eccentric “Bad Kids to the Front”, and the power-chord-filled “I Will Spite Survive”, which emerges in arena rock mode, are all delivered with the expected energy for which we know them. The illustrious guest Wadada infuses his loud projections in the Talking Heads-oriented “Snoopy Waves”, interacts with the furious guitar incendiarism of “Breakup Songs”, and adapts incredibly well to the reggae vibes in “Mirror Monster”. The mercurial “Last Fad”, which abounds in gorgeous guitar detail and giddy trumpet presence, is the longest piece at nearly nine minutes. [B+]

KEPLER IS FREE - TEEGARDEN (Veego Records, 2020)

Personnel - Nikiforos Nugent: keys; Spiros Zardas: trumpet; Giorgos Migdanis: guitar; Vassilis Alexopoulos: bass; Sokratis Tsentoglou: drums.

The debut album by eclectic Athens-based group Kepler is Free consists of five tracks that seamlessly blend disparate musical styles. On the first minutes of “Bennu”, a pounding, pedaling bass pulse underpins atmospheric guitar tones and synth tides. This smooth surface becomes rugged as a consequence of an electro-rock texture weaved with distortion and half-cerebral, half-improvised trumpet lines hovering overhead. “Teegarden b” and “Habitable Zone” are palpable sonic frames infused with soul and jazz. The former relies on a circular groove in seven - with slippery bass and a routinely syncopated rhythm - and features a keyboard solo with manifest guitar comping in the background; the latter piece, initially marked by synth loops, denotes changes in pace and direction. Migdanis’ free funk chops here prepare our ears to “Cluster 3”, a combination of funk and electronica that achieves an anthemic status by the end. “Juno” steps into more commercial territories and concludes the session with a hip-hop feel in the beat, guitar-driven melodies, and the voice and lyrics of Kalli. Although somewhat lumpy and programmatic in its structural blocks, the band shows to have a sense of direction. [B-]

MAX PLATTNER TRIO - II (Cracked Anegg Records, 2020)

Personnel - Lorenzo Sighel: tenor saxophone; Marco Stagni: double and electric basses; Max Plattner: drums.

Austrian young drummer/composer Max Plattner has a knack for song structures that involve enjoyable melodies, improvisation and groove. For his debut album, II, he opted for the typical saxophone-bass-drums format, playing alongside a pair of Italian musicians. “Cooking” makes for an enticing opening, featuring Lorenzo Sighel’s clear-cut sax phrasing over a round, thick and loud propulsive rhythmic drive. Bass player Marco Stein delivers a chant-like improv here, whereas on “Love Song” he opts for an ambient chordal-like work offset by Plattner’s chunky slams. “Chopped Up” is a danceable rave-up with claps and vocals; “Il Nano Masticatore” channels the energy into Charlie Parker’s artistry with playful bop melodies, fragmented rhythms and a firmly locked swing; “Rips Are Cage of Emotions” finds a balance between nontoxic punk rock and sensitive post-bop; “Welcome to Sodoma & Gomorrah” has a more experimental vibe with traces of free bop; while the ebb and flow of “Neuschee” is rippled by sprightly brushwork, a caravan-like groove and mood variations that include both meditative and rock-infused passages. The results are consistently pleasant to listen to, with the trio showing off a confident sense of identity. [B+]

Julian Shore - Where We Started

August 12, 2020

Label: Tone Rogue Records, 2020

Personnel - Dayna Stephens: tenor and soprano saxophones, EWI; Julian Shore: piano, synth; Edward Perez: bass; Colin Stranahan: drums + Ben Monder: guitar; Caroline Davis: alto saxophone; Oded Tzur: tenor saxophone.

American pianist and composer Julian Shore is in good company on his fourth album as a leader, Where We Started. The album is composed of eight pieces - five originals and three covers - that share a singular personality in spite of their various tempos and moods. Teaming up with bassist Edward Perez and drummer Colin Stranahan in the rhythm section, Shore assigns the first row of his core quartet to saxophonist Dayna Stephens. However, to make his music thrive, he also counts on priceless appearances from guitarist Ben Monder and saxophonists Caroline Davis and Oded Tzur on selected tracks.

“I Preludio” emerges with sheer classical elegance on the introductory solo piano passage, which opens up the door to a gradual integration of atmospheric arco bass, nearly indiscernible EWI and textured guitar. By the time that Davis blows the alto and Stranahan adds a soft percussion layer, the group prepares its departure from the classical and lands on jazz ground. This opening number, inspired by the Hungarian guitarist Zsófia Boros, has another solo piano passage that makes the transition to the following piece, “II Winds, Currents”. The latter, featuring solos from Stephens and Shore, is a charming 3/4 post-bop ride arranged with aural immediacy. A vamp pops up at the final stage, inviting the drummer to increase the percussive impact of his actions.

“III Tunnels, Speed” is buoyed by the sinuous, distorted sounds of Monder’s guitar. Regardless the speed of his fingers and dirty sound, his ideas remain clear, objective and infused with a forward-thinking bent. He also contributes temperate chiaroscuro sketches to Carlo Gesualdo’s “O Vos Omnes”, an emotionally-charged 16th-century madrigal drowned in atmospheric magnetism.

The delicately brushed “IV Marshes, Amphibians” keeps waltzing with decorum. Still and all, its crepuscular tones are only lifted by Stephens’ tenor solo.

If “Nemesis”, a composition by Shore’s former teacher Hal Crook, is given an odd futuristic touch due to the forceful presence of the EWI at the fore, then Gershwin’s “Oh Bess, Oh Where’s My Bess”, a languorous ballad, and the title track, which relies on harmonic suspensions and mysterious atmospheres, point in a more introspective direction. None of them impress as the first four tracks did.

I was unable to connect with all the material here. The guests bring some spark to the music, but don’t really take it to newfound places. With that said, there’s a number of well crafted sections where things work well.

Favorite Tracks:
02 - II Winds, Currents ► 03 - III Tunnels, Speed ► 04 - O Vos Omnes

Javier Subatin - Variaciones

August 10, 2020

Label: Self released, 2020

Personnel - Javier Subatin: guitar; Pedro Moreira: tenor saxophone; João Paulo Esteves da Silva: piano; André Rosinha: double bass; Diogo Alexandre: drums.

Argentine guitarist/composer Javier Subatin is currently based in Lisbon, where he’s been very active in the last three years - the guitarist released two records and just put together the Composers & Improvisers Community Project, a global community of independent musicians whose main plan is to fight the hardships brought by the covid-19 crisis through Patreon. His sophomore album, Variaciones, is seen as a natural extension of the 2018 debut CD, Autotelic, a duo collaboration with Portuguese pianist João Paulo Esteves da Silva plus guests. Besides the pianist, whose intricate work fits hand in glove with Subatin’s solution of composed and improvised segments, this new work features saxophonist Pedro Moreira, bassist André Rosinha and drummer Diogo Alexandre.

“Solo#3”, which opens the record, comes flavored with the subtlety of classical music and the strength of contemporary jazz. The integration between piano and guitar is rock-hard, and before the guitarist steps forward - his exquisite fingerpicking draws sharp reactions from Alexandre behind the drum kit - there’s a passage filled with polyrhythmic haziness in which the instruments dance with unabashed freedom.

Bookending the four ‘variaciones’, we have the continual motion of “Prelude”, whose up-to-date fugue-like behavior prepares the way for what’s coming next, and the softly tempered “Postlude”, which closes out the album in a more reflective mode.

As architecturally sound essays conceived with synergy, discipline and creativity, these variations look to connect the dots between different styles and techniques by relying on a refined sonic palate. “Variaciones#1” denotes Jarrett-esque folk influences in the melody and a strong Latin current running underneath. The drums stand out during the fragmented rhythmic passage that leads to improvisations by Subatin - crammed with inside/outside incursions - and Silva, who populates his clear diction with groove and a few motifs.

Less buoyant than its predecessor, “Variaciones#2” adopts a more serious semblance as it provides just the right amount of tension, intrigue and spark. The magnetism of Moreira’s saxophone is put on display prior to a tranquil and abstract middle passage where piano and guitar circulate freely. Odd meter is often spotted throughout the journey, and if here we have a guitar pattern in nine at the base, the next pair of pieces: “Variaciones#3” and “Variaciones#4” are no exception in this respect. The former, delivered in seven, also boasts compact unisons and a streamlined harmonic progression; while the latter, intricately constructed with quiet and uptempo sections where different tempos come and go, takes the shape of an unpredictable oddity. It’s impossible not to notice an ecstatic chapter where a fast-paced rock meets a hip Latin-American groove.

Subatin has here a compositionally strong work.

Favorite Tracks:
01 - Solo #3 ► 04 - Variaciones#2 ► 06 - Variaciones#4

Jeff Cosgrove - History Gets Ahead of the Story

August 6, 2020

Label: Grizzley Music, 2020

Personnel - Jeff Lederer: saxophones, flute; John Medeski: organ; Jeff Cosgrove: drums.

Possessing a confident yet unflashy style, drummer/composer Jeff Cosgrove pays tribute to bassist and composer William Parker - with whom he performed and recorded a few times in the past - by focusing majorly on his quartet repertoire. With him, enlivening his sixth outing as a leader, are saxophonist Jeff Lederer (Matt Wilson Quartet) and organist John Medeski (Medeski, Martin & Wood). Their uplifting energy and fully commitment on these 10 tracks simply prove they were optimum choices to fulfill the task.

This classy organ trio starts unapologetic and quite charming on “O’Neals Porch”, working dynamics with tasteful surroundings, ebullient trills, piercing saxophone shouts and ecstatic psychedelic chops with hints of R&B. Riding these swinging waves with abandon, Lederer becomes naturally the focal point here as he extracts sweeping phrases and rhythmic motifs from the jazz and blues idioms. However, the harmonic and rhythmic works by Medeski and Cosgrove, respectively, become vital in mitigating the dichotomy between uncertainty and resolution, as well as retro and newfangled sounds.

Brushed with a nice touch, “Corn Meal Dance” is characterized by slow and controlled movements, a pale harmonic palette with a stable bluesy feel, and the attractive, occasionally raucous tones of Lederer’s gospelized tenor. Displaying sterling melodies, the saxophonist contributes two excellent pieces of his own to the lineup: “Gospel Flowers”, a waltzing piece that conjures the spiritual and modal realms of John Coltrane and Dr. Lonnie Smith; and the resplendent “Purcell’s Lament”, a re-imagination of Henry Purcell’s aria where soprano melodies, mallet drumming, and sustained organ chords conjugate beautifully. It’s pure classical-meets-jazz sophistication.

“Little Bird”, an elated heavy swinger, kicks off with an interesting flute-organ interaction before fixating in personal statements from all three artists - Medeski is at once playful and assertive, Lederer is eloquent and inventive, and Cosgrove, playing with a bit more reserve, talks with coherence. This piece is marked by a frenetic, spiraling finale.

Also pulsing and throbbing with life, “Wood Flute Song” swings in a different way, crossing the line that separates tradition from avant-garde.

Probing different moods, “Ghost” and “Things Fall Apart” have a higher prevalence of abstraction and fantasy. Penned by Cosgrove, the former piece has timely cymbal crashes punctuating the eerie atmospheres explored by Medeski; in turn, the latter number feels shapeless and totally improvised, even when displaying synchronism between the players.

The first album to feature Parker’s music without the presence of the bassist, embraces variety in a clever, relatable way. And the music soars, sometimes with a tasteful restraint, sometimes with an electrified intensity.

Favorite Tracks:
01 - O’Neals Porch ► 03 - Gospel Flowers ► 09 - Purcell’s Lament

Christian Sands - Be Water

August 5, 2020

Label: Mack Avenue, 2020

Personnel - Christian Sands: piano, keyboards, voice, Fender Rhodes, Hammond B2; Yasushi Nakamura: bass; Clarence Penn: drums + Marvin Sewell: guitars; Marcus Strickland: tenor sax, bass clarinet; Sean Jones: trumpet, flugelhorn; Steve Davis: trombone. String Quartet - Sara Caswell: violin; Tomoko Akaboshi: violin; Benni von Gutzeit: viola; Eleanor Norton: cello.

American pianist/composer Christian Sands has a striking new album in which he leads a flexible band composed of his core trio plus guests. Sands, who has made a name for himself as a creative composer and virtuosic player both as a leader and member of Christian McBride’s Insight Straight trio, takes inspiration from the fluidity and malleability of the water to traverse new ground. He shapes his music like water and fills the structures through clever sonic routes that often tweak expectations. Be Water contains 10 tracks, all originals with the exception of a gospelized trio version of Steve Winwood’s folk-rock song “Can’t Find My Way Home”.

The first part of the title track stresses the formless and shapeless qualities of the precious liquid, starting with the voice of actor and martial artist Bruce Lee, an early idol whose philosophy and physical agility influenced Sand’s music. This piece boasts a personality of its own, becoming a vehicle for fine improvisations - by turns, saxophonist Marcus Strickland, trumpeter Sean Jones, and Sands (on Fender Rhodes) explore concise yet ambitious itineraries created from their imagination.

The spectacular harmonic avenues of “Drive” also provide solid ground for the soloists, with Strickland and guitarist Marvin Sewell, who concludes in big, deserving the spotlight. Tightly weaved but never overworked, the arrangement sports a nervy guitar ostinato, freethinking piano playing and a bright, funk-rock rhythm. The bass clarinet is added for depth and extra groove.

“Intro” makes for a docile opening filled with dramatic splendor and emotional power. It leads to “Sonar”, another sophisticated and multifaceted trio experience whose passages require expertise to work. The group’s ultra-refined chemistry is on display throughout ever-evolving sequences where unpredictability is key. The complexity of the rhythm and crisp melodic accents are in the mould of progressive jazz. They are later slowed down, with the group reaching a calm, airy retreat before setting an invigorating, uptempo swing in motion. Taking the form of a vamp, the polyrhythmic final section is filtered through empathetic drumming and a collective rhythmic understanding.

“Crash” is presented in the classic piano trio format with underlying lushness. Sands engages in a nearly telepathic communication with bassist Yasushi Nakamura and drummer Clarence Penn, whose colorings and rock-inflected propulsions feel just perfect for the lighthearted tone of the pianist’s brazenly jazzy melodies. On the lyrical “Be Water II”, Sands even employs a competent quartet of strings for sonic diversity.

Sands' accomplished compositional style helped configuring Be Water with absorbing musical moments. This is clearly my first pick from the pianist's catalog.

Favorite Tracks:
02 - Sonar ► 03 - Be Water I ► 05 - Drive

Caterpillar Quartet - Threads

August 4, 2020

Label: ESP Disk, 2020

Personnel - Henry Raker: alto saxophone; Steve Holtje: keyboards; Jochem van Dijk: electric bass; Ken Kobayashi: drums.

Caterpillar Quartet - Henry Raker on alto sax, Steve Holtje on keyboards, Jochem van Dijk on electric bass, and Ken Kobayashi on drums - operates in an ecosystem of its own since 2018, the year of its formation. Threads, the sophomore album by the New York-based group, offers nine new compositions that predominantly blends elements of free jazz with alternative, ambient and underground rock music.

The session is launched with “Intimations”, a moody piece that never goes beyond the taciturn places initially proposed. Both the tonal stagnancy and lethargy in pace are common characteristics to other tunes. Such is the case with the gently psychedelic “Noir”, which, in spite of the title and the low-pitched bass routines, is a pop-ish stew with a rudimentary, uniform beat underneath. In the same bunch, we have “Essence”, a conveyor of serenity marked by crepuscular wisps of immaterial forms, and “Requiem”, in which incisive saxophone cries cause streaks of vivid color to appear over the sustained harmonic tapestry. There’s also “Inside Out”, the heart-rending ballad that closes out the album, warmly brushed by Kobayashi and carrying a nice, sweet melody at the center.

Contrasting with the numbers described above, “Skronky” overflows with detail within a boisterous context. The tension and density created by bowed bass and thumping drums serve as a thrilling playground for the saxophonist, whose melodic figures and expressive outputs feel as much supplicant as sardonic. Following a similar line of action, “Tempest” is a free jazz contortion informed by irregular swinging bass walks, expansive post-bop language, and a fervency akin to Marion Brown’s prayerful appeals. Anyway, it holds a meditative section where the piano becomes the focus.

If “Embers” boasts roaring electronic-like drones while demarcating a funk rhythm with refracting twirls, then “The Machine in the Ghost” embraces dark atmospheres, injecting static noise for extra tension and opacity. Raker blows playful rhythmic phrases with circularity on the former, whereas, in the latter, he enters in a convulsive spiral as his horn vociferates with cutting and gruff tones.

This quartet firmly commands our attention to its textures and moods, applying perspicuity in the process without forgetting the necessary portions of adventure and intrigue.

Favorite Tracks:
02 - Skronky ► 05 - Tempest ► 09 - Inside Out

Federico Calcagno - Liquid Identities

August 3, 2020

Label: Aut Records, 2020

Personnel - Federico Calcagno: clarinets; José Soares: alto saxophone; Adrian Moncada: piano; Pau Sola Masafrets: cello; Nick Thessalonikefs: drums.

Amsterdam-based Italian clarinetist Federico Calcagno leads a super dynamic quintet named Liquid Identities. Their eponymous debut album, an agreeable surprise, offers thrills from start to finish. Calcagno has in the Portuguese altoist José Soares an excellent ally in the frontline as they often indulge in smart contrapuntal moves and open interplay instilled with complex Dolphy-esque intervals. The rhythm section - comprised of piano, cello and drums - was entrusted to Adrian Moncada, Pau Sola Masafrets and Nick Thessalonikefs, respectively, and their strong chemistry played a great part in the deal.

The record consists entirely of original material, kicking off with “Modernity”, an impressionistic composition designed with bold tempos (additive 8+7 meter), exciting counterpoint and unisons with tenacious salient figures, and even some chamber-esque reverie at times. The breathable middle section precedes a logical conversation between the two reedists, who alternate bars with extra motivation. The abrupt finale coincides with the peak of a brief crescendo.

Terrifically patterned by Masafrets’ plucked cello, the meditative “Road to Koog” attaches South Indian music influences while carrying a wistful tenderness in its polyphonies. The texture is moderately strengthen, providing solid ground for unbounded, explorative statements from clarinet, piano and alto. Parallel staccatos enrich the segment that precedes the concluding chamber passage.

“Blame”, an electronica-influenced neo-bop churner, adopts a modern, danceable posture. This trip comes filled with sudden rhythmic shifts, brisk and zigzagging phrasing, steeped accentuations, and a tonally immersive solo by Soares, who commands his horn to scream, bend and glare right into your ears.

An attractive syncopated beat is not the unique element of “Disruptive Innovations” associated with agility. There’s also Moncada’s pointillism and wide-ranging harmonic colors, which become increasingly darker as Calcagno and Soares step into more neurotic and palpably tense territories with a somewhat confrontational posture.

Assembled with a fashioning compelling aesthetic, “Miles Drives” provides counter-movements in unison (clarinet/cello vs. piano/sax), Latinized piano activity and a startling juxtaposition of improvised lines by sax and bass clarinet. There’s a lightness in the rhythmic flow that feels very breezy here. In an opposite manner, the kinetic avant-jazz of “There Was a Rhythm” forges heavier chains with which to be bound.

Calcagno and his Liquid Identities spill energy from every pore, assuring that the eight tracks on the album are abundantly provocative and never boring.

Favorite Tracks:
01 - Modernity ► 03 - Blame ► 05 - Disruptive Innovations

Joshua Redman / Brad Mehldau / Christian McBride / Brian Blade - RoundAgain

July 30, 2020

Label: Nonesuch Records, 2020

Personnel - Joshua Redman: tenor and soprano saxophones; Brad Mehldau: piano; Christian McBride: bass; Brian Blade: drums.

The super-quartet put together by saxophonist Joshua Redman 26 years ago is back, not as the latter’s quartet, but as a collective effort to which every member contributes compositions. Moodswing (Warner Bros., 1994) had been the sole Redman release featuring this lineup with Brad Mehldau on piano, Christian McBride on bass and Brian Blade on drums, but now, on the brand new RoundAgain, the musicians relate to one another more than ever, and the ideas blossom comfortably with expected maturity and wider vision.

Compositionally, these artists display distinct characteristics, which become noticeable as we hear the seven tracks on the record - three by Redman, two by Mehldau and one each by McBride and Blade.

The saxophonist, tremendously melodic and often eclectic in the way he composes, contributes “Undertow” - the album’s opener is delivered in six - whose relaxed theme statement is slightly shaken by a B section demanding intervallic agility; “Right Back Round Again”, a central groovy piece with an R&B inclination and whose round melody immediately sticks in the ear; and “Silly Little Song”, an amiable pop-ish tune whose thrills come exclusively from the solos. If the former two pieces feature Redman stirring up excitement with improvisations where it’s almost impossible not to get swept by his impetuous eloquence, the latter is buoyed by a tenacious, strongly articulated statement by McBride, followed by the soulful, bluesy sensitivity of Mehldau, who has demonstrated an excellent handle in the crossover genre throughout his career. Redman gets the final vamp to speak out.

Penned by the pianist, the polyrhythmic “Moe Honk” indubitably requires teamwork. Leaping confidently during the theme, Mehldau occasionally reproduces Redman’s motif, and then swings hard during the improvisations. Everybody is given an opportunity to stretch out, and we can detect subtle influences of Monk, Brubeck, classical music, and even stride.

McBride’s “Floppy Diss” is a post-bop haven that finds a winning compromise between cool and snappy vibes. It features Redman on the soprano, and his clear-cut moves draw precious reactions from Mehldau. The latter also infuses his own statement with both rhythmic and harmonic sophistication.

The record closes out with Blade’s “Your Part To Play”, a suave and comforting slow-burner whose energy comes from within. Here, one can indulge in the scintillating cymbal work and distinctive snare drum sensibility of the drummer. The tune climaxes as the intensity reaches a peak.

When technically adroit players like these explore possibilities and push boundaries, they usually get interesting outcomes. Even if that’s the case here, the latest recordings from each member of this quartet, as solo leaders, are a notch above this collective outing.

Favorite Tacks:
01 - Undertow ► 02 - Moe Honk ► 07 - Your Part to Play

Rajiv Jayaweera - Pistils

July 29, 2020

Label: Outside in Music, 2020

Personnel - Chris Cheek: tenor and soprano saxophones; Aaron Parks: piano; Hugh Stuckey: guitar; Sam Anning: bass; Rajiv Jayaweera: drums, percussion. Special guest - Lara Bello: vocals.

New York-based Sri Lankan/Australian drummer and composer Rajiv Jayaweera presents a wonderful set of original compositions on his commendable debut album, Pistils. Establishing a deep and intimate musical connection with the virtuosic members of the combo he leads - saxophonist Chris Cheek, pianist Aaron Parks, guitarist Hugh Stuckey, and bassist Sam Anning - the drummer pays tribute to his Sri Lankan roots, devising nine elegant tunes with unobtrusive arrangements that allows the music to flow with charm and beauty.

Bookending the album are two different versions of “Pistils”, whose title evokes the huge variety of flowers in Sri Lanka. On both of them, the group cruises tranquil waters, with the difference that the opening tune features the voice of guest vocalist Lara Bello, who sings in an improvised language, while the closing version displays the emotionally rich melodies of Cheek - on tenor saxophone - floating above the surface.

“Ellstandisa” is a made up word that resulted from the combination of Jayaweera’s grandparents’ names. The piece is introduced by temple drum, and then embraces a contemporary 7/8 coolness replete with ample harmonic sophistication and enchanting motivic melody delivered in unison. The rhythm section provides a fertile terrain for pleasurable improvisations from Cheek and Parks, and while the former draws attention as he binds attractive jazz idioms and soul-nourishing tones, the latter cooks up a delightful solo that feels, by turns, playful and momentous.

Denoting a gentle polyrhythmic feel and folk intonations, the carefully sculpted “Welikadawatte” also showcases an understated bossa groove embedded in the bottom layer. Delivered in six, the piece thrives with superior statements by the usual suspects, namely Cheek and Parks.

If the two pieces I’ve just described - and we can add the sharply percussive “The Elephant” to the assemblage - spiral upward into the sky in a balancing act between lyrical folk and fresh contemporary jazz, then “Galadari” and “Hirimbura” grounds us a bit more, showing that the group is capable of muscling up when the music calls for it. The former number denotes bold shifts in tempo and has Cheek and Stuckey trading bars with keenness; the latter piece, on the other hand, swings uncompromisingly with hard-bop ardor, stepping into more familiar territory.

Eschewing any type of fireworks in favor of a relaxed, smooth flowing, the set of songs proposed by Jayaweera - his rhythmic sensibilities are reminiscent of Paul Motian, Brian Blade and Peter Erskine - is fruitful, generous and transparent in its purest form.

Favorite Tracks:
02 - Ellstandisa ► 03 - Welikadawatte ► 09 - Pistils (feat. Chris Cheek)

Jason Kao Hwang - Human Rites Trio

July 28, 2020

Label: True Sound Recordings, 2020

Personnel - Jason Kao Hwang: violin, viola; Ken Filiano: bass; Andrew Drury: drums.

Human Rites Trio is probably my favorite project from violinist Jason Kao Hwang, who, in the recent couple of years has collaborated with pianist Karl Berger and saxophonist Ivo Perelman.

The ingenious rhythm section of this trio, with Ken Filiano on bass and Andrew Drury on drums, also guarantees the firm foundation of Hwang’s octet Burning Bridge and quintet Sing House. The six tracks on the record, which was completed during the Covid-19 pandemic and dedicated to both the victims of this disease and healthcare workers risking their lives out there, sound fresh, following an adaptable model that integrates as many prearranged moves as absorbing improvised moments.

Directional shifts are a constant, and the first two tracks on the record, “Words Asleep Spoken Awake”, parts I and II, are excellent examples. Part I kicks off with the violin in spritely counterpoint with the bowed bass. The percussion becomes well immersed in the conversation, establishing a three-way dialogue. Consecutive terse punctuation on the fiddle serves as both harmonic plank and percussive accompaniment during Filiano’s discourse, and then there’s a collective spiral of sizzling and squeaking violin sounds, bass rambles, and busy drumming, before Filano fixates on an open groove over which Hwang improvises.

Part II pushes the initial hard-swinging gush into a nine-minute improvisatory journey where a furious violin is set against a sturdy rhythmic net. Prior to the unison-filled conclusion, the group embraces darker atmospheres stuffed with deep arco bass slashes, enigmatic sounds emanated from Drury’s floor tom, and plaintive violin cries.

The trio sometimes sounds like an elastic orchestra but the eclectic approach takes them to other worlds than just jazz improv. Take the examples of “Conscious Concave Concrete” and “Battle For the Indelible Truth”, where Hwang explores traditional Asian music. On the former piece he plucks the viola with expressive meaning, painting a clear, bright landscape that includes hushed solo moments and an in-the-pocket good-time bounce totally anchored in the blues. The latter piece, in turn, exhibits an intense rock-flavored tone with call-and-response patterns that are reminiscent of activist chants.

Less upbeat, “2AM” shapes up as a reflection expressed with chamber-esque mournful tones. Yet, it’s not devoid of groove. The recording ends with “Defiance”, where modern classical goes hand in hand with Oriental music, and a triumphant march leads to an explosive drum solo and untroubled abstract interplay.

With 15 years of mutual collaboration and musical understanding, Hwang, Filiano and Drury have developed a natural, fascinating language that is fully expressed on Human Rites Trio.

Favorite Tracks:
02 - Words Asleep Spoken Awake Pt. II ► 05 - Battle For the Indelible Truth ► 06 - Defiance

Aaron Parks' Little Big II - Dreams of a Mechanical Man

July 23, 2020

Label: Ropeadope, 2020

Personnel - Aaron Parks: piano, synthesizers, Wurlitzer, Rhodes, celeste, vibraphone, glockenspiel, chimes, voice; Greg Tuohey: guitar; David Ginyard: bass; Tommy Crane: drums.

aaron-parks-little-big- dreams-mechanical.jpg

The second installment of pianist Aaron Parks’ Little Big project offers considerable improvements over the group’s debut. The quartet continues to embrace an organic blend of styles gleefully expressed with elements of jazz, electronica, folk and some psychedelia.

Both “Attention, Earthlings”, the record’s first track, and “My Mistake” are propelled by arresting, streamlined rhythmic pulses. Yet, while the former relies on a soulful piano harmonization and crystalline guitar melodies, the latter draws a mysterious magnetism that comes from darker piano voicings and ululating guitar cries, an inexhaustible source of remorse and anguish.

“Where Now?”, one of the two fully improvised pieces on the album, feels like a dub exercise underlined by a groovy funk-hop rhythm. A vibey experimentalism is pulled off nicely here.

A few tunes will let the listener suspended in their soft gravitational auras, usually centered in melodies wrapped in reverie, yearning and wistfulness. While the notion of space steadily plays a key role, the group always finds room for improvisation, usually explored by Parks and guitarist Greg Tuohey.

Commanded by a charming rhythmic touch, “Here” offers satisfying moments of relaxation and melancholy. An effortless deep bass interlocks with the moving piano chords in a formidable way. “Solace” - a melodious poem introduced by jazzy piano - was put together with a backdrop of vulnerability and hope, while “The Shadow and the Self”, featuring effective vocals from Parks, is a ripe, unhurried, wistful waltz influenced by the music of Pat Metheny Group and Blonde Redhead, as well as the work of philosopher Carl Jung.

The pianist disclosed the influence of another philosopher - the Armenian-born George Gurdjieff - on the cinematic “Dreams of a Mechanical Man”, a visually suggestive piece whose elegant storytelling progresses with a sense of fascination and enigma.

In turn, pieces like “The Storyteller”, the odd-metered “The Ongoing Pulse of Iseness” and “Friendo” are more fluid in rhythm. In the latter, an amiable funk joins the rock harmonic aesthetics, with bassist David Ginyard and drummer Tommy Crane in perfect consonance.

Sometimes paradoxical, sometimes purely logical, the music of Little Big won’t make you indifferent.

Favorite Tracks:
02 - Here ► 08 - Dreams of a Mechanical Man ► 09 - My Mistake

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