John Hollenbeck - Songs You Like a Lot

September 9, 2020

Label: Flexatonic Records, 2020

Personnel - John Hollenbeck: composer, arranger, conductor; Kate McGarry: vocals; Theo Bleckmann: vocals; Gary Versace: piano, organ + Frankfurt Radio Big Band.

With Songs You Like a Lot, drummer/composer/arranger John Hollenbeck concludes the trilogy started in 2013 with Songs I Like a Lot and continued with Songs We Like a Lot. This album, featuring the synergetic pair of vocalists Kate McGerry/Theo Bleckmann on top of keyboardist Gary Versace (who returns after Uri Caine has taken the piano chair on the second installment) and the Frankfurt Radio Big Band, is the first to be released on Hollenbeck’s own label Flexatonic Records.

Similarly as in previous sessions, popular songs were culled from different genres (this time chosen online by a group of fans/listeners), being reshaped and stretched into musical states that still respect the integrity of the original versions. Even pushing the program a bit more into the pop canon, the eclectic drummer opens the album with the methodical gospel chant of the traditional “Down In the River To Pray”. This well-intentioned song makes a good catch with the understated “Kindness”, the sole Hollenbeck original, which sounds like a Bjork oddity subtly adorned with affable woodwind lines and beautified with melancholic improvisations from bassist Hans Glawischnig and guitarist Martin Scales.

If James Taylor’s folk rock hit “Fire and Rain” earns a bit of the Joni Mitchell’s mood in the voice of McGarry, then “Pure Imagination”, penned by Anthony Newley and Leslie Bricusse for the soundtrack of Mel Stuart’s classic film Willy Wonka and the Chocolate Factory, is slowly cooked with a theatrical reverie that gains further expression with Bleckmann’s vocal intonation. We have to wait four minutes for an odd-metered bass groove and steady rhythmic propulsion to take effect, but it all melts down again into contemplation until reaching the final climax.

Joni Mitchell’s artistry is indeed well represented in the rendition of “Blue”, where clarinet and synth dialogue in close proximity before muted trumpet and flute join from afar. Step by step, the instrumentation is expanded, but the amiable tones are kept, corroborated by Bleckmann’s quieting pronunciations.

Although I was not particularly impressed with the song selection, there are two pieces in the lineup that made me experience an immediate connection. The first of them was Bee Gees’ “How Deep Is Your Love”, here transformed by excellent rhythmic mutations and offering spectacle in the arrangement. It kicks off with a magnetic drum beat over which piano, flute and bass clarinet probe odd intervals. It also adds organ for textural consistency and color, and a tenor saxophone solo that stands out during the most orchestrally populated phase of the song. The other one was a memorable, risk-taking version of Peter Gabriel’s “Don’t Give Up”, here launched by a lone trumpet and redirected into a funkified jazz full of groove and harmonic force. Alternating dynamics, the band embarks on stop-and-go fluxes, and the circular passage toward the finale seems to ask for a rap attack. Although it didn’t happen, Hollenbeck prepared an electronic-like infusion with resonating pounding drums and free improvs in the mix.

Favorite Tracks:
02 - Blue ► 03 - How Deep is Your Love ► 05 - Don’t Give Up

Bill Frisell - Valentine

September 3, 2020

Label: Blue Note Records, 2020

Personnel - Bill Frisell: electric and acoustic guitars; Thomas Morgan: acoustic bass; Rudy Royston: drums.

The unmatchable guitarist Bill Frisell caresses our ears with another set of good-natured, ultra-refined songs delivered in trio. For this disc, he summoned longtime associates, bassist Thomas Morgan and drummer Rudy Royston, to perform 13 serene compositions, eight of which he penned.

Mixing pastoral and lounge atmospheres, the album starts with a revisitation of “Baba Drame”, a beautiful, warm piece by Malian guitarist Boubacar Traoré, which Frisell first recorded in 2013 for his album The Intercontinentals. The present rendition follows an uncluttered arrangement containing enough latitude to let the music breathe and a renewed sense of groove. From here, the trio makes a seamless transition to the spaciously textured “Hour Glass”.

Veering the tone, the title cut is a relentlessly delightful blues with a strong Monk-ian riff at the center, which often repeats during Morgan and Royston’s personal statements. The guitarist, a natural storyteller, shows how to deliver a masterful improvisation with absolutely no fuss and no place for fireworks.

Both “Levees” and “Wagon Wheels” bring that Western mood under their wings, conjuring vast American landscapes through country jazz sonorities and bluesy tones. The former is an original that Frisell wrote for the documentary The Great Flood, whereas the latter, a song from the early 1930s, comes from the pen of Billy Hill and Peter DeRose.

The ballad “Winter Always Turns to Spring” is harmonically interesting and driven by emotion, an attribute that also applies to Billy Strayhorn’s popular “A Flower is a Lonesome Thing”.

My favorite track is Burt Bacharach’s “What the World Needs Now is Love”, which emanates rays of light over our heads. Fully expressed from the heart, and with Morgan and Royston enlacing their sounds tightly, the tune finds Frisell propagating a fluid and logic narration with a slight R&B feel.

The trio pulls down the curtain after navigating a pair of tranquil compositions, both immersed in soothing tones and emotional vulnerability. They are “Where Do We Go?”, retrieved from the 2001 album Blues Dream and conducted by the bucolic tranquility of Frisell’s acoustic guitar, and “We Shall Overcome”, a traditional gospel piece that became an anthem for the civil rights movement.

Frisell’s discography reflects a distinguished four-decade career, and Valentine is another strong entry.

Favorite Tracks:
01 - Baba Drame ► 03 - Valentine ► 11 - What the World Need Now is Love

Immanuel Wilkins - Omega

September 2, 2020

Label: Blue Note Records, 2020

Personnel - Immanuel Wilkins: alto saxophone; Micah Thomas: piano; Daryl Johns: bass; Kweku Sumbry: drums.

Immanuel Wilkins was born to be a jazz star. The 23-year-old alto saxophonist/composer does not just deliver powerful personal music with the force of Coltrane and the progressive perception of Ornette, he also focuses on a fundamental message in his attempt to channel the Black experience in America through his sound. Omega, his majestic debut album, was produced by pianist Jason Moran and features a promising young rhythm team consisting of Micah Thomas on piano, Daryl Johns on bass, and Kweku Sumbry on drums.

The opening title, “Warriors”, is weaved with polyrhythmic complexity, denoting a swinging undertow that drags us in. Thomas’ amply rhythmic pianism cuts across the piece, whether in the form of individual statement or as a support for Wilkins’ vertiginous expansions. The saxophonist composed this one in honor of friendship, family and community.

A totally different ambiance is offered in related cuts such as “Ferguson - An American Tradition” and “Mary Turner - An American Tradition”, both quivering anxiety and despair pertaining to the tragic events addressed. The former, crafted with a forward thrust and pinpoint detail, reconstructs in reverse the 2014 shooting of 18-year-old Michael Brown by a white cop in Ferguson. Wilkins speaks volumes as he infuses the scenario with long, penetrating cries drowned in emotion. The latter piece, alluding to the 1918 lynchings in Georgia, emerges amorphously and minimally, and then presents a section where the saxophonist spills heart and grief over percussion. The addition of piano sets a widespread turmoil that busts into the avant-garde jazz department.

This freer posture also comes into view on “Guarded Heart”, the fourth and last part of a suite written in 2013, and where the fervency and tartness of Wilkins’ horn suits well the elasticity of his compositional style. The other parts of this sequence are “The Key”, which provides a softly textured opening; “Saudade”, an infectious, pulsating expedition that counterbalances tender and busy passages; and the eloquently expressed “Eulogy”, which keeps a pounding rhythm running in the background.

Written for James Weldon Johnson and kicking off with Johns’ bass at the center, “The Dreamer” is the ballad of the record. However, it’s the ardent spiritual force conveyed by “Omega”, the act of candor that closes out the album, that awes the most. Sumbry’s drum work is amazing and Thomas’ multifaceted harmonization spills, at once, rigor and freedom. The pianist embarks on a free conversation with Wilkins, and both musicians demonstrate their distinct subtleties and common passions.

Breaking traditional harmonic and rhythmic patterns, Wilkins is a giant newcomer whose poise and musical maturity are beyond his years.

Favorite Tracks:
02 - Ferguson - An American Tradition ► 09 - Guarded Heart, Pt. 4 ► 10 - Omega

Andrew D'Angelo & DNA Orchestra

September 1, 2020

Label: Self released, 2020

Personnel - Andrew D’Angelo: alto saxophone, bass clarinet, voice; Bill McHenry: tenor saxophone; Jeremy Udden: alto saxophone; Josh Sinton: baritone saxophone; Ryan Snow: trombone; Bryan Drye: trombone; Josh Roseman: trombone; Kirk Knuffke: cornet; John Carlson: trumpet; Jacob Wick: trumpet; Sasha Brown: guitar; Trevor Dunn: bass; Dan Weiss: drums + Nicole Federici: viola; Eric Biondo: beat box.

Alto saxophonist and bass clarinetist Andrew D’Angelo, reckoned as a force of nature for several reasons, finally releases this colorful, much-anticipated album mounted with his colossal 15-piece DNA Orchestra. All nine tunes in this program were previously recorded in different formats, but here they get new outfits and a special energy. His battle for life - he was diagnosed with a malignant brain tumor in 2008 - was won with the help of music, a crucial agent in his healing process. In addition to DNA project, D’angelo leads his own trio (feat. Trevor Dunn and Jim Black) and co-leads the quartet Human Feel (with Black, Chris Speed and Kurt Rosenwinkel).

The madly swinging “Free Willy”, the grand opening track dedicated to the drummer Matt Wilson and firstly heard on his album Humidity (Palmetto, 2003), is among the remodeled pieces. The orchestral arrangement is designed with splendorous ins and outs, and the featured soloists are Knuffke, who chips in with his habitual killing playing as soon as the music starts; trombonist Bryan Drye, who enjoys the rasping comping of guitarist Sasha Brown while improvising; and altoist Jeremy Udden, who expands his post-bop vocabulary with some warped sounds.

Both carrying curious titles and overcoming the 12 minutes, “Egna Ot Waog” and “Meg Nem Sa” are two of my favorite pieces. The former, written for bassist Ben Street, has a cautious start with buzzing horns, but quickly expands horizons with the precious assistance of Dunn’s cool, driving bass lines. Even if Brown causes some stir with his offbeat guitarism, the most incredible solo here belongs to tenorist Bill McHenry, whose neatly wrought blows end up in a rough-edged friction. “Meg Nem Sa”, in opposition, successfully blends prog-rock and avant-garde jazz and a lot more things, relying on constant rhythmic shifts that call for Weiss’ responsive and dynamic drumming. D’Angelo, who flies with a rocket-power propulsion, expanded this piece (which lasts less than three minutes on Tyft’s 2006 version) after the two brain surgeries he was subjected to. It was transformed in an intense musical journey.

McHenry composed “Norman” for D’Angelo (it’s his middle name) when he was sick in hospital. It’s a touching gospelized peace in the tradition of the late tenor player David S.Ware, here taken to heaven by the giddy, oblique trajectories of the bandleader.

Other highlights are “Big Butt”, a fun tour with fierce counterpoint and a hip-hop vibe (reinforced by beatbox artist Eric Biondo); and the infuriated “Marching Fvckers”, where baritonist Josh Sinton shines through.

Motivational, emotive and revolutionary, this work is replete with perpendiculars, tangents and intersections, embodying the force of character of a staggering, eclectic player/arranger who displays here a comprehensive range of his musical qualities.

** Read Andrew D’Angelo interview for JazzTrail **

Favorite Tracks:
02 - Egna Et Waog ► 08 - Norman ► 09 - Meg Nem Sa

Rez Abbasi - Django-shift

August 31, 2020

Label: Whirlwind Recordings, 2020

Personnel - Rez Abbasi: fretted and fretless acoustic guitars; Neil Alexander: organ, synthesizers, electronics; Michael Sarin: drums.

Adroit guitarist Rez Abbasi had the courage to revivify a few tunes by the iconic swing guitarist Django Reinhardt, an early source of inspiration. He rebuilds these old songs with a perfect contemporary twist, plunging them into fresh, gripping, state-of-the-art environments. Harmonically supported by keyboardist Neil Alexander and having the sensitive drummer Michael Sarin holding down the foundation, Abbasi makes room for both sly rhythmic interplay and fierce improvisation.

Rounding out a program that includes seven Django originals, we have readings of Kurt Weill’s “September Song”, a drum-less experience where the fretless guitar sounds allude to a sitar, and Ion Ivanovich’s “Anniversary Song”, here infused with an odd-metered funk-bossa groove and spanking maneuvers in the rhythmic department. Both these tunes were part of Django’s repertoire.

The album gets off to a gripping start with the busy activity of “Diminishing”, a funk-fueled mesh of acoustic guitar and synth sounds where swing jazz meets psychedelic rock with a 6/8 feel. Abbasi and Alexander alternate bars, exchanging winding, knotty phrases, and, near the finale, is Sarin who unfurls percussive practices in a vamp-for-drums section. The magnetism of the main melody is impressive, totally unaffected by the trio’s ambiguous direction.

Guitarist and keyboardist also trade creative ideas on “Hungaria”, a quite danceable number with a lively spark and a familiar melody. Modernity and tradition go hand in hand, and joyful moments of thudding drum kicks interspersed with cymbal vitality takes us to the end.

“Swing 42” is turned into an engulfing fusion odyssey that serves as a vehicle for Abbasi’s ruminative guitaristic pleasures in the first instance, and then falls into a stirred-crazy rock after Alexander takes the lead. Not averse to dissonance, the latter’s asymmetric lines and jabbed clusters also create an impact on “Heavy Artillery”, a piece where a beautiful, Soundgarden-like acoustic guitar intro contrasts with a playful gypsy jazz theme delivered with hints of Monk.

Glitteringly brushed by Sarin, the atmospheric ballad “Django’s Castle” is cultivated with emotionally charged solos shaped in accordance to its laid-back ambience.

Displaying his extraordinary musicianship and specialized arranging skills, Abbasi oozes authenticity from every phrase he utters. This is a sensational tribute to Django’s compositional character and influential music.

Favorite Tracks:
01 - Diminishing ► 03 - Heavy Artillery ► 08 - Hungaria

Quinsin Nachoff - Pivotal Arc

August 27, 2020

Label: Whirlwind Recordings, 2020

Personnel includes: JC Stanford: conduction; Quinsin Nachoff: saxophone, composition; Nathalie Bonin: violin/soloist; Michael Davidson: vibraphone; Mark Helias: double bass; Satoshi Takeishi: drums, percussion; and more + Molinari String Quartet.

Toronto-raised saxophonist/composer Quinsin Nachoff’s new album, Pivotal Arc, is a modern chamber opus with three distinct long-form parts. The record, offering more than 75 minutes of music conducted by JC Sanford, consists in a Violin Concerto presented with the classically-trained violinist Nathalie Bonin as a featured soloist, a String Quartet work, and a large ensemble piece enhanced by the great rhythm section of bassist Mark Helias and drummer Satoshi Takeishi.

Carrying a contemporary feel and the influence of composers such as Bartok, Stravinsky and Ligeti, the three-movement Violin Concerto mixes cerebral written parts with the freedom of improvisation. According to Nachoff, “Movement I” is a ‘deconstructed, transfigured tango’. Its orchestration includes plucking-against-bowing string techniques in fluid motion, knitwork from Takeishi (his brushing is utterly captivating), Bonin’s deft improvisation on top of the colorful harmonic tapestry weaved by vibraphonist Michael Davidson, and interlocking combinations that showcase the sharp, intricate sonic world created for these musicians’ interplay.

The busier, Balkan-influenced “Movement III” is set in motion with a swaggering pace, suggesting that one may find moments of revelation and mystery ahead. Dabbling in chromaticism, Helias delivers an expedite bass solo that gets prompt and clever responses from Takeishi. And then it’s Davidson who entangles us in enchanting articulations.

The next four pieces are non-improvised chamber odysseys for string quartet that still exhibits a strong sense of openness. The Molinari String Quartet is enlisted for the task, driving their glissandi and segmental fixations in a permanent sonic lane marked by steady tonal colors and more-curvaceous-than-angular forms.

This is a work that requires patience from the listeners, requiring them to be in the mood to fully appreciate what’s going on. After the wide recognition obtained with the colossal Path of Totality in 2018, an album of reference in today's jazz, it’s interesting to see Nachoff working with new languages as he sharpens compositional and arranging skills. We have to wait until the last piece - the title track was written in response to the climate change - to hear the saxophonist in real action. He does it beautifully, even if the unorthodoxy of the percussive flow doesn’t really infuse extra enthusiasm.

Ambitious in its conception, Pivotal Arc is no ordinary record. Chewing up all its episodes at once is strenuous, but this music manages to carve out a space for itself.

Favorite Tracks:
01 - Movement I ► 03 - Movement III ► 08 - Pivotal Arc

Sun of Goldfinger - Congratulations to You

August 26, 2020

Label: Screwgun Records, 2020

Personnel - Tim Berne: alto and baritone saxophones; David Torn: guitars, loops, live samplings; Ches Smith: drums, electronics.

Containing three exciting tracks, Congratulations to You is the follow up to the acclaimed eponymous debut album of Sun of Goldfinger, the probing trio of saxophonist Tim Berne, guitarist David Torn and drummer Ches Smith. The musicians’ ability to conjure atmosphere while manipulating time and space is magical, and no contemporary jazz lover should be indifferent to the immensity and ruggedness of their sounds. The first two pieces were culled from their very first performance in Brooklyn in 2010, while the concluding title track was captured at the Vortex Club in London.

“Bat Tears” is not only a showcase for Berne’s echoing motifs and drifts on the alto - highly substantiated by Torn’s sampling and looping effects - but also to his grooving and popping baritone playing. The dance-like motion produced has the assistance of Torn’s rock-infested soloing and Smith’s krautrock-inspired rhythms. This initially raw and non-gratuitous chaotic incursion precedes a quieter second half, where uncompromising guitar noodling, loops and persistently ululating saxophone cries become trapped in a magnetic suspended form.

At more than 28-minutes, “Coco Tangle” is the longest ride on the album, carrying with it the possibility of dialogue and always providing us with something pleasurable to be discovered as the artists centralize their creative energies. The opening section brings out the fire within these artists, whose free expressions start to take a solid shape with the time. At some point, we have a cackling saxophone triggering digitally processed rhythmic figures, flickering flashes of powerful wah-wah guitar, and tremendous responses from Smith, who adds color and detail to every move - his actions can range from syncopated hip-hop-ish grooves to instinctive tribalistic flows to rock-infused rhythms. After delving into abstraction - a passage with some psychedelia in the mix - the trio outlines another kinetic, groove-centered concoction made of intense baritone sounds, galvanizing guitar procedures, and humanly ‘programmed’ trap-set maneuvers.

“Congratulations to You” is firstly presented as a partially blurred frame with inclinations toward experimental electronica before suddenly turn into a perfectly danceable number driven by a sparkling hip-hop beat. It reaches the climax when the trio breaks forth into a roar of sound.

Mastering texture, groove and free improv, Berne, Torn and Smith bring out the strengths in one another, and their unquestionable chemistry is on display from the very first track. Hail, Sun of Goldfinger!

Favorite Tracks:
01 - Bat Tears ► 02 - Coco Tangle

Christoph Irniger Trio with Loren Stillman - Open City

August 25, 2020

Label: Intakt Records, 2020

Personnel - Christoph Irniger: tenor saxophone; Raffaele Bossard: bass; Ziv Ravitz: drums; Loren Stillman: alto saxophone; Nils Wogram: trombone.

Formed in 2012, the trio of Swiss tenor saxophonist Christoph Irniger - featuring Raffaele Bossard on bass and Ziv Ravitz on drums - appears on Open City with an augmented frontline, a result from the addition of alto saxophonist Loren Stillman and guest trombonist Nils Wogram. The album title (alluding to New York City) was taken from the 2011 novel of the same name by Nigerian-American Teju Cole, an inspiration in some measure for a new set of music - eight compositions by Irniger and two by Bossard.

The rhythmic delineation of Ravitz introduces “My World”, which opens the session with a strong sense of ‘song’, yet mixing a bit of avant-garde elegance and rock stamina. On occasion, the two sax players create a somewhat off-center feel when blowing in parallel in certain sections of the theme statement due to the quirky intervals produced.

The title track brings fragmented angular melodic ideas in the head. The improvisations are divided in two sections: first Stillman, whose bold intervallic leaps help forming phrases of wise metric, and then a swinging shared moment where Irigner and Wogram are set adrift to chatter and exchange ideas. There are other tunes denoting a similar posture, cases of “The New Dope”, where we can indulge in a passionate saxophone duel, and Bossard’s animated “40 Years of an Old Wise Lady”, in which the group commemorates at a moderately busy pace, adding some muscle to the process.

On “Calling”, Irniger and Stillman coax the folk and the blues right out of their horns, but on the quieter pieces, “Time” and “Ballad”, it’s Wogram who shines brightly as he uses a skilled language to draw a mellow, beautiful brass sound. The latter piece in particular features all three horn players working solidly together.

The unorthodox rhythm that sets Irniger’s “Hot and Humid” captures with bracing clarity the drag and affliction associated with scalding temperatures, while Bossard’s “Mass Media Minion” is catapulted by a groove in seven and crafted with a freewheeling attitude.

Boasting a direct style that strives for sincerity, Irniger provides us with a compellingly structured avant-garde jazz session that goes down nice and easy.

Favorite Tracks:
02 - Open City ► 05 - 40 Years of an Old Wise Lady ► 07 - The New Dope

Wong Foo Jeng - Quiet Night Thoughts

August 24, 2020

Label: Self released, 2020

Personnel - Foo Jeng Wong: piano; Robert Mac Vega-Dowda: trumpet; Anton Derevyanko: tenor sax; Ethan Santos: trombone; John Koh: upright bass; Ilya Blazh: drums + string quartet.

Hailing from Malaysia, pianist Foo Jeng Wong holds a degree in Music Performance from Berklee College of Music and was recently admitted at Manhattan School of Music for the Fall 2021. His debut album, Quiet Night Thoughts, is a musical cocktail comprising six tracks limned with both compositional discipline and fetching improvisation. However, the final outcome gets slightly compromised by an imposed diversity that bombards the listener with contrasting elements in tone, not within each song, but from track to track.

“Canvas” and “Inner Monologue” have enough sustenance for our ears, becoming the most accomplished pieces on the album. The former, introduced by Ilya Blazh’s drum work and delivered in seven, is dramatized with strings and boosted by vibrant solos from trumpeter Robert Mac Vega-Dowda and tenor saxophonist Anton Derevyanko, whose zigzagging lines are unerringly backed by Wong’s sequential harmonies. Conversely, the latter piece, driven by a strong post-bop force, swings aplomb after the head as an invitation for the soloists - Wong, Vega-Dowda and Blazh in the case - to create further.

Completely disparate in the mood, “Oration” is a solemn piano-less chamber piece written for a quartet of strings - violinists Derek Song and Myra Choo, violist Jace Kim, and cellist Yi-Ming Hsu. It feels completely out of context here, even considering some relatable patterns on the closing number, “Marco”, a song written for a Berklee friend who passed, and in which Wong combines pop and classical atmospheres to achieve a dramatic effect.

If the disc’s opener, “A Prayer in Spring”, is gently stirred by the noticeable propulsive motion of the drummer and the fine brass melodies delivered by trombonist Ethan Santos, then “Blackberry Winter”, the sole non original in the lineup, places the trumpet in the lead, while piano, bass and brushed percussion keep riding gentle waves and shifting tempos with hushed sensitivity. Both pieces mix a certain invention with an air of familiarity.

Surrounded by skilled players here, Wong shows to possess his own vision and approach. Even if, in the present case, the whole isn't greater than the sum of its parts, there are pieces with particular moods/arrangements that made me want to them.

Favorite Tracks:
01 - A Prayer in Spring ► 02 - Canvas ► 03 - Inner Monologue

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