Lionel Loueke - HH

November 3, 2020

Label: Edition Records, 2020

Personnel - Lionel Loueke: guitars, vocals.

The eclectic work of legendary pianist/keyboardist Herbie Hancock informs and inspires a new album from virtuoso West African guitarist Lionel Loueke, whose idiosyncratic style is not just served with a groove-oriented posture and rhythmically advanced patterns, but also emotional lyricism. He definitely puts his own stamp on fresh interpretations of selected Hancock pieces.

The magnetic jazz-funk of “Hang Up Your Hang Ups” gets a pristine acoustic treatment in Loueke’s hands, being consolidated through ornamental vocal expertise and occasional bright harmonics.

Simultaneously percussive and melodious, the vocals glide over the heady rhythm of “Driftin’”, whose complex aplomb made me think of those blues-based and Afro-bossa grooves of Brazilian Gilberto Gil. João Bosco is another Brazilian composer that came to my mind on the following track, “Tell Me a Bed Time Story”, while “Actual Proof” becomes purely percussive with the use of extended techniques for a peculiar sound.

Rendered with an effortless grooving motion, “Cantaloupe Island”, perhaps Hancock’s biggest hit, is impeccably molded to showcase the guitarist’s depth and virtuosity. Supplementing the relaxed acoustic drive, there’s an adequate wah-wah effect that gives the song an extra boost.

With imagination, Loueke permeates these songs far beneath the surface, and if he applies some wistful, balladic and classical tones to his interpretation of “Dolphin Dance”, then he dresses “Watermelon Man” with a completely renovated outfit. The lush restoration of the groove feels natural, low-key and hypnotic.

The guitarist gets to strut his stuff on “Rock It”, whose wild rhythm requires an impressive control of the bass notes in addition to a layer of dubbed guitar with delay.

Rounding out the album, there are two original compositions, “Voyage Maiden” and “Homage to HH”. Both are harmonically and melodically rich, with reflective thought and persuasive West African influence.

Boasting a firm grasp across styles and idioms, Loueke makes a wonderful homage to Hancock; from a great musician to another great musician. And he closes out the album with a rambunctious reading of “One Finger Snap”, whose original hard-swinging abandonment is discarded in favor of a relentless and hectic electronic vibe. A remarkable solo effort.

Favorite Tracks:
01 - Hang Up Your Hang Ups ► 02 - Driftin’ ► 11 - Rock It

Mary Halvorson's Code Girl - Artlessly Falling

November 2, 2020

Label: Firehouse 12 Records, 2020

Personnel - Mary Halvorson: guitar; Amirtha Kidambi: vocals; Adam O’Farrill: trumpet; Maria Grand: tenor sax, vocals; Michael Formanek: bass; Tomas Fujiwara: drums + guest Robert Wyatt: vocals (#1,3,5).

The sophomore album from Code Girl, an intrepid project led by guitarist/composer Mary Halvorson that incorporates lyrics and blends elements of jazz, rock, folk, and indie pop, offers some agreeable surprises. Artlessly Falling signals the absence of trumpeter Ambrose Akinmusire from the original roster of musicians, but welcomes Adam O’Farrill for his place, as well as saxophonist/vocalist Maria Grand and rock legend Robert Wyatt, who puts his voice on three pieces. The remaining members are bassist Michael Formanek and drummer Tomas Fujiwara - both colleagues of Halvorson in the Thumbscrew trio - and avant-garde vocalist Amirtha Kidambi. The material on this recording was inspired by many factors, but perhaps the most significant of them has to do with the challenging poetic forms picked by Halvorson to write the lyrics for each tune.

With words inspired by and dedicated to novelist Lawrence Osborne, “The Lemon Trees” is a pure delight. It kicks off with gentle waltzing steps conducted by arpeggiated guitar, brushed drums, and topped by Latin-flavored trumpet, quickly segueing into the sung part, where Wyatt’s beautiful voice - efficiently backed by Kidambi and Grand - takes us to the realms of King Crimson. The final section of O’Farrill’s wide-ranging solo has exclusively drums as accompaniment, and, afterwards, the drummer seizes the opportunity to deliver an enthusiastic statement himself.

Playing like an operatic lament, “Last-Minute Smear” features regular snare drum activity and sparse guitar chords with vocals atop. This pattern is dismantled and renewed with a view for unison melodies as well as improvisations by Grand and O’Farrill.

Both “Muzzling Unwashed” and “A Nearing” denote fleeting tempo shifts (duple to triple) and feature Kidambi’s easy, elastic vocals at the fore. If the former piece launches into pitch-bending guitar before gradually adding slippery bass and intimate drumming, the latter is introduced by Formanek’s ruminative discourse that anticipates the simple 4/4 groove.

Halvorson turns up the distortion levels on “Walls and Roses”, a noise-rock endeavor with alternation of tranquil and explosive passages. The guitarist, inventing herself in a swift improvisation crammed with sinister notes and intervals, and Wyatt, who sings it beautifully in the company of Grand, are outstanding. His mighty presence also juices up “Bigger Flames”, whose yearning tones conjure his own art-rock, the early days of Pink Floyd and the dream pop of The Flaming Lips.

“Mexican War Streets (Pittsburgh)” is a shapeshifter full of musical constellations that include an uncommon poignancy in the poetic vocal parts, a heavy rock passage, electronic disturbances, and some neo-psychedelia.

Halvorson, who always takes the jazz guitar to another dimension with such extraordinary talents, creates another powerful album. And, damn, how I loved to hear Wyatt here!

Favorite Tracks:
01 - The Lemon Trees ► 03 - Walls and Roses ► 06 - Mexican War Streets (Pittsburgh)

Thumbscrew - The Anthony Braxton Project

October 29, 2020

Label: Cuneiform Records, 2020

Personnel - Mary Halvorson: guitar; Michael Formanek: bass; Tomas Fujiwara: drums, vibraphone.

Guitarist Mary Halvorson, bassist Michael Formanek and drummer Tomas Fujiwara share responsibility for the output of Thumbscrew, a smart trio that vouches for complex polyrhythmic methodologies while seeking forward-looking perspectives in jazz. The group released five albums on the Cuneiform label, the newest of which is The Anthony Braxton Project, a collection of previously unrecorded pieces from the avant-garde/free jazz icon mentioned in the title that serves to celebrate his 75th anniversary. The work required some research and deciphering, but the trio's adaptations of Braxton’s diagrammatical scores and composition notes are presented with both innovation and inspiration.

The entry point in this enthralling sonic world is made with “Composition 52”, a paradigm for rhythmic accuracy and melodic angularity. Fujiwara’s drum fills are pretty cool, and I cannot refrain from exalting Halvorson’s chordal work here, which gives a sense of integrity between the unorthodox swinging pulse and the odd melodic excursions.

The imperious “Composition 274” advances with fragmented marching quality in a rhythm that reveals an impressive coordination of movements. These aspects are also displayed on “Composition 61”, where the accentuations and rudiments of the snare drum are even more intense.

“Composition 68” is unhurriedly introduced by bowed bass, sizzling snare brushwork and folkish guitar chops. Once again, coordination is key, and minimal expansions are added with no loss of ambiguity. The vibraphone, unexpectedly brought by Fujiwara, almost serves as an appeasing factor in a piece that, at a later stage and after stable suspensions, relies on fierce guitar exclamations and loose arco bass spasms to provide impetus.

Halvorson, who squeezes a blizzard of accentuations and rhythmic emphasis in her unique phrasing, plays slide guitar on the last track, the bouncy “Composition 79”. Racing over the supportive carpet offered by Formanek’s walking bass, her twisted melodies sometimes tag along and sometimes collide with the ones put forward by the vibraphone.

Also deserving mention, “Composition 14” is represented through a sonic triptych - solo guitar / solo bass / solo drums. While Halvorson stuns with soaring loops, quirky licks and rock-fueled strumming; Fujiwara, employing mallets, is incisive on cymbals and combative on toms. Formanek, instead, opts for a sober pizzicato statement with slides, bends and lots of space.

Fearless, Thumbscrew succeeds in its undertaking. The musicians’ talents together with their willingness to experiment generate an array of virtuoso rhythms and moods that will delight attentive listeners.

Favorite Tracks:
01 - Composition 52 ► 05 - Composition 274 ► 11 - Composition 79

Steph Richards - Supersense

October 28, 2020

Label: Northern spy Records, 2020

Personnel - Steph Richards: trumpet, flugelhorn, resonating drums/water; Jason Moran: piano; Stomu Takeishi: electric bass; Kenny Wollesen: percussion; Sean Raspet: scent design; Andrew Munsey: percussion.

Inventive trumpeter/composer Steph Richards brings a curious concept to her new album, Supersense, a multi-sensory experience involving scents and composition. Working closely with multimedia artist Sean Raspet, Richards uses his distinctively created scents as a way to stimulate improvisation within a daring sonic endeavor carried out alongside musicians of high calibre such as pianist Jason Moran, bassist Stomu Takeishi and percussion master Kenny Wollesen. The physical copies of the album include a scratch and sniff card, so listeners can experience the sensations/reactions for each track.

The utterly percussive “Underbelly” comes alive with a zany electronic-like rhythm bolstered by low-pitched piano patterns and odd trumpet timbres. Just like on “Bunker”, a loose-limbed dance in which Takeishi loosens the lowest-pitched string of his bass guitar for a peculiar effect, it shares the love for a good rhythmic stomp.

The group enjoys a synergistic interplay on both “Canopy” and “Metal Mouth”, while “Glass” and “The Gentlest Insect” are lighter, mood-oriented pieces with considerable doses of contemplation and abstraction. The latter embodies prepared piano sounds arranged with a zen quality, a variety of percussive rattles, sparse and cross-cutting bass sketches, and trumpet melodies with interesting note choices. Progressively taking the shape of a ballad, it has a soft-landing conclusion.

The timbral extension and extreme agility asserted by these musicians are remarkable, and the title track, “Supersense”, is a definite highlight spreading a cool funk-meets-hip-hop vibe. The spontaneity of Moran is on full display here as he combines unexpectedness, mutability and logic in his responsive processes. On his side, Wollesen shows off the Wollesonics, meddling in the dialogue between trumpet and piano.

Through the fragrances, the group conveys motivic relationships, probing ways to better connect their sensorial perceptions to a music that, even off-axis at times, is never deconstructionist.

Favorite Tracks:
01 - Underbelly ► 02 - Supersense ► 09 - The Gentlest Insect

Erik Friedlander - Sentinel

October 27, 2020

Label: Self released, 2020

Personnel - Erik Friedlander: cello; Ava Mendoza: guitar; Diego Espinosa: drums, percussion.

American cellist Erik Friedlander, a key figure in the New York’s Downtown scene for years, showcases his rich tones on a program where he puts an eclectic, contemporary spin on eight original compositions. Admirably assisted by the intense slabs of Ava Mendoza’s electric guitar, and the rhythmic sensibility of Mexican multi-percussionist Diego Espinosa, Friedlander managed to confer an unexpected dimension to the music. Although the members of Sentinel had never played together before, the results are at once fascinating and provocative, corroborating the bandleader’s description of the project as a ‘garage band for 2020’.

“Flash” opens the album by carrying an ostinato at its core and providing an eventful narrative mastered with thrilling edginess, powerful energy and epic contours. Subtly, the bandleader gives the listener a sense of his jazz and classical perceptions, and the elements drawn from these scopes are gracefully torqued by the liberating indie-rock muscularity of Mendoza’s distortion.

At the start, “Glow” is streamlined by chimes, jazz guitar chords with colorful extensions, and cello cries. The theme, leaning on the pop/rock genre, shapes up into a strange waltz with worthy spots for the individual creativity of the threesome.

The relaxing Americana on “Feeling You” also suggests a good-natured pop-ish feel during the proceedings. Agility, punctuation and intension come from Friedlander’s down-to-earth plucking technique, with the trio seeking to create some more frisson at a later stage through expressive rhythmic nuances that anticipate the conclusion.

Offering more than sharp concord and synchronicity, “Foozle” makes our hearts pound faster through a heavy, polyrhythmic fusion marked by robustness and elasticity. The energy of rock from the 1970s is not surprising here, if we take into account the admiration that Friedlander nurtures for the music of Jimi Hendrix, Led Zeppelin and Yes, as well as the electrifying deconstructions and experimentalism that Mendoza vouches for.

The languid “Ripleyisms” verges on the blues rock, whereas “Awake”, also unhurried yet a bit more interesting in terms of tone and ambiance, places a catchy, grungy ostinato at the center. From here, a diligent workout defines the harmony and strides alongside the pulse.

The aching lyricism and gripping cadences of the cello combine with the off-center rebelliousness of the guitar and the rhythmic pulsation of the drums to deliver structurally simple and technically superb musical moments. The quality of sound is equally remarkable.

Favorite Tracks:
01 - Flash ► 02 - Glow ► 07 - Awake

Quintopus - The Adjacent Possible

October 26, 2020

Label: ears&eyes Records, 2020

Personnel - Doug Stone: tenor saxophone; Nick Finzer: trombone; Matthew Golombisky: bass; Chris Teal: drums.

Quintopus, the five-piece ensemble led by drummer Chris Teal, releases its third full-length album, The Adjacent Possible, maintaining the initial intention of blending contemporary jazz, electro-pop and indie rock music in a genuinely improvised way. The current lineup features regular bassist Matthew Golombisky, tenor saxophonist Doug Stone, who returns after an absence of 10 years, and trombonist Nick Finzer, an absolute novelty here.

The disc features nine deftly executed pieces - five recorded in the studio and four live - tailored to the considerable strengths of the personnel involved. Transpiring a lovely sense of adventure, the group extracts steam and smoke from some ebullient numbers as a balancing point to the lighter offerings.

“Quinto, Straight Ahead” is the first stop of a journey that never stumbles into vulgarity, being presented as a feast of rhythmic figures, counterpoint and improvisation. Advancing in increments, the initial start-stop rhythmic churn relies on throbbing bass lines and razor-sharp drum patterns delivered with abandon.

Curious and explorative, “The Adjacent Possible” takes the game one step further through sax-trombone ripples of variable intensity, bass resolutions and pedals, and responsive drum work. Ramping up the temperature, there are expedite run-ups that land on roaring multiphonics and stirring call-and-response with mirroring phrases between Stone and Finzer.

The interaction between the frontline men continues on “Hooch & Eats”, this time with bluesy tones, before an indie rock rug is placed under their feet. The meaty saxophone lines join the rusty brass tones to fuel the scuzzy garage-rock energy released at the foundation.

While “Declotter” leaves us wandering around with dark drones and static abstraction, “Blue Flux Pulse” roughly push us into the earthly waves of its minimal and insistent one-note riffs. Notes are gradually added and the idea of motivic polyphony gains consistency. This temperate climate morphs into a restless, danceable electro-rock jaunt.

Teal’s smoothly cushioned rhythm stabilizes “Quedo Quatro”, which, besides Latin and electronic music tinges, features both circular and ululating phrases that stem from the horn section. It’s a distinct vibe of that offered in “Tranca Feca”, where the group burrows into an empathic alternative rock that could have been inspired by the unrefined post-punk of Joy Division, the decorous muscularity of The Breeders, or a dance-rock hit from the 80s.

Being more lighthearted than soul-searching, The Adjacent Possible is a fun ride well suited to this cutting-edge era of stylistic fusion.

Favorite Tracks:
02 - The Adjacent Possible ► 06 - Blue Flux Pulse ► 09 - Tranca Feca

Michael Formanek - Pre-Apocalyptic

October 22, 2020

Label: Out of Your Head Records, 2020

Personnel - Tim Berne: alto saxophone; Craig Taborn: piano; Michael Formanek: acoustic bass; Gerald Cleaver: drums

Immensely talented, the American bassist Michael Formanek, besides coloring the modern creative and avant-garde jazz genres with intelligent lower grooves and quirky pulses for more than three decades, is hailed as an amazing composer. The music on the digital-only album, Pre-Apocalyptic, was captured live in 2014, being now released as part of the Untamed series presented by the Out of Your Head Records. Here, Formanek surfaces with his quartet of extraordinary gifted players - Tim Berne on alto saxophone, Craig Taborn on piano and Gerald Cleaver on drums - to present seven outstanding compositions.

The unique personalities of the musicians fill the compelling compositional frameworks with peculiarities, and “Pong” opens the record like a soft carpet that soon reveals ripples and shading as its thematic riff becomes rhythmically accentuated. Berne works the dynamics of his solo with expressionistic flair and sharp hooks, while Formanek employs briefly the bow, revolving around the main rhythmic figure.

Besides the opener, three other pieces appeared on the 2012 ECM album Small Places, with the title cut bursting at the seams with the energy, endurance, tenacity and perspicuity of the quartet. The other two are “Soft Reality”, a treacle-slow, dark-hued rubato meditation, and “Rising Tensions and Awesome Light”. The latter kicks off with Formanek navigating the tonal range of his instrument with a fleet-fingered pizzicato, before laying down an awesome groove in eleven. Pairing down with Cleaver as a locomotion rhythmic engine with an aptitude to naturally convey and shift odd-meter groove, Formanek also has in Taborn a fantastic collaborator. The pianist mesmerizes on this particular piece with the incredible speed, control and ease that he manages his entangling pianism.

One of the most beautiful pieces here is “The Distance”, a fully laid-back, lyrical ballad where Berne shows a tender, more melodious side and cleaner tone, Cleaver brushes with sensitivity, and Formanek exhibits his soloing facility. The piece, written for the 18-piece Ensemble Kolossus, was subjected to a successful adaptation for the quartet format.

The 14-minute “Intro and Real Action” is the only unreleased piece on the album, featuring Cleaver in an exciting action/reaction dialogue with himself right after the circular trajectories of the head, delivered in seven, come into effect. The record concludes with “Twenty Three Neo”, whose relaxed flow is carried by another ground bass figure.

Formanek and his associates draw lyrical intensity from these modern sonic sculptures. Even when playing live, their deeply explorative musical sense remains effortless.

Favorite Tracks:
02 - Rising Tensions and Awesome Light ► 05 - The Distance ► 06 - Small Places

Luke Stewart Exposure Quintet

October 21, 2020

Label: Astral Spirits, 2020

Personnel - Ken Vandermark: reeds; Edward Wilkerson, Jr.: reeds; Jim Baker: piano; Luke Stewart: bass; Avreeayl Ra: drums.

Gifted young bassist Luke Stewart - a member of James Brandon Lewis Trio, Irreversible Entanglements and Heroes Are Gang Leaders - shows here he has a promising future as a leader/composer as he points in the right direction with the Exposure Quintet, a Chicago-based avant-garde jazz outfit featuring adventurous players such as reedmen Ken Vandermark and Edward Wilkerson Jr., pianist Jim Baker, and drummer Avreeayl Ra. For this double LP, the bandleader gathered motifs, ideas and compositional segments to be explored with freedom by these excellent musicians.

Often performed with vibrancy and dramatic tension, the music is also filled with spiritual inspiration, and the opening act, “Awakening the Masters”, shows exactly that, as a mid-tempo bass groove in seven supports languid saxophone unisons. Eventually, the reed players part ways, switching from parallel movements to juxtaposed lines where fiery improvisation professed with raspy and beefy tones meets the successive rhythmic figures thrown in as a garnishment by each counterpart. With the triangular rhythmic effort from Stewart, Ra and Baker successfully serving the revolutionary saxophone manifestations, it’s the latter who instigates musing through some reverie created in the mid and higher registers. Intrepid harmonies intermittently bolster this procedure.

If the previous piece intended to awake the masters, “Brown and Gray” evokes a bunch of them, including Monk, Ornette, Shepp, and Coltrane. Powerful drumming and fast bass walks pave the way for a blistering tenor solo. At times the sound of the group is restlessly ebullient; during others, they focus on the peaceful center of the spirit. Still, there’s a final saxophone solo that bubbles over with frenzy, leading to the reinstatement of the short theme. Favoring intensity over melody, this section burns avidly with Ra’s spanking drums and expressive cymbal crashes.

“Haarp and Concrete Silhouette” is delivered in two parts, the first of which clocking in at approximately 18 minutes and the second at 15. The former is initially explored as a steady, ritualistic abstraction with earnest arco bass, bass clarinet drones, and subdued percussion, all within a circular, motivic activity. The second part feels like a continuation of the first, ensuring that Stewart has the time to express his own thoughts. By the end, the vivid presence of Vandermark and Wilkerson, Jr. atop the expansive drum work of Ra allows this spiritual contemplation to escalate in density.

The record concludes with the 23-minute “The Scene”, where its shifting center of gravity results from the group's efficient communication, focused interplay and teamwork.

Stewart doesn’t seem the kind of player who stands still artistically. With this ensemble, he explores the unexpected with passion and intelligence.

Favorite Tracks:
01 - Awakening the Masters ► 02 - Brown and Gray ► 04 - Haarp and Concrete Silhouette Pt. II

François Houle 4 - Recoder

October 20, 2020

Label: Songlines Recordings, 2020

Personnel - François Houle: clarinet; Gordon Grdina: guitar; Mark Helias; double bass, clarinet; Gerry Hemingway: drums.

Canadian clarinetist François Houle goes deep into the compositional concept of his new outing, Recoder, a vibrant quartet effort featuring Gordon Grdina on guitar, Mark Helias on double bass and clarinet, and Gerry Hemingway on drums. The album relies on juxtaposed melodic threads that allow harmonies and structures to emerge naturally. All instruments fulfill other tasks than just their expected roles, and on the opening and closing tunes, as well as on the intercalated short interludes, we have Houle teaming up with Helias in clarinet duets.

“The Black Bird” displays a tight, uniform rhythmic net of bass and drums at the bottom over which an insane melody professed conjointly by clarinet and guitar with part angular fury, part swing-inflected disposition, finds solace. It brings to imagination the works of Steve Lacy and Anthony Braxton, both Houle’s undeniable inspirations. The interplay soon veers into a playful frenzy, but refrains from expanding before the tune’s midpoint, when a more lyrical and contemplative mood is embraced.

Grdina, a quick-witted improviser who is not swayed to gimmicks to get our attention, does a marvelous job throughout. His notable guitar work gets closer to Mary Halvorson’s type of sound on “Big Time Felter”, where adventurism with logic fits his musical ideals. After Helias turns his stunning arco bass speech into an agile pizzicato, Houle and Grdina work in tandem to create sonic vibrant energy in a gorgeous gush of amazing interplay. The latter, clearly deserves the spotlight here, delivering a superb solo initially backed by Hemingway’s perceptive drumming. The drummer is also preponderant in “Canyamel”, an avant-garde delight where he meddles with purpose on the burning conversational exchanges between the clarinetist and the guitarist.

Popping clarinet sounds on the title cut, “Recoder”, seems to coax the rhythm section to lay down an African-inspired rhythm, a strutting parade atop which elliptical trajectories are explored on different registers. The rock-inflected guitar chops have the fluttering clarinet by their side, yet both explore trails and routes individually, emphasizing kinetic curves and irregular slopes. When simultaneously in action, the two musicians employ dynamism to open up new avenues. That’s the case in “Bowen”, a piece bookended by austere unisons and enhanced by a feverish drum solo.

In great amusement, the quartet swings galore on “Baseline”, a polyphony-imbued piece that thrives with an odd-metered groove and a firm rhythmic lock.

Discipline and improvisation combine for an intricate musical aesthetic that will put a smile on the avant-gardists’ faces.

Favorite Tracks:
02 - The Black Bird ► 04 - Big Time Felter ► 06 - Canyamel

Ivo Perelman & Arcado String Trio - Deep Resonance

October 19, 2020

Label: Fundacja Sluchaj, 2020

Personnel - Ivo Perelman: tenor saxophone; Mark Feldman: violin; Hank Roberts: cello; Mark Dresser: bass.

Ivo Perelman, likely the most prolific and one of the most extroverted saxophonists working today, surfaces here with the Arcado String Trio, whose members are bassist Mark Dresser, violinist Mark Feldman and cellist Hank Roberts (here credited as William H. Roberts).

Perelman has been recording with strings lately - Strings 1-4 (Leo Records, 2019) and Strings & Voices Project (Hundred Years Gallery, 2020) - but none of these works match the classy tones in Deep Resonance, an exquisite concentration of modern classical elements, improvised chamber music and free improvisation. The four tracks on the album feature a bevy of twists and a great deal of inventiveness within the explorative group interplay. We can easily spot poetically sculpted cadences, intensive polyphony, gracious balletic movements, propulsive and effusive dances, as well as droning machinations all around.

Engaging in multifarious atmospheres, the musicians are most definitely up to something here, toggling their posture between dedicated commitment and casual dangling. Sometimes tight, sometimes loose, the music is the result of their keen musical instincts and communication. It may take you to places filled with understated charm and artful subtlety or invite you to daring itineraries marked by interesting rhythmic fluxes.

On “Resonance 2”, Perelman generates vortices of energy via animated phrases that, at times, attempt to dovetail the repeated inducements instigated by violin and cello. His attentive ears remain alert to the surroundings, with the volatile framework depending on Dresser and Roberts' architectural sculptures. On “Resonance 3”, their percussive dark tones precipitate Perelman and Feldman to discourse. They search for unity and share the same language, even though their movements are autonomous. By the end, a slightly ominous atmosphere emerges via Dresser’s deep bowed notes.

Initiating proceedings with plucked strings, “Resonance 4” elicits empathy through an elegant rhythm that sustains piercing saxophone notes and dissonant violin scratches.

Excellent participation from all four musicians throughout, and a new favorite in Perelman's massive discography.

Favorite Tracks:
03 - Resonance 3 ► 04 - Resonance 4

Dan Weiss Starebaby - Natural Selection

October 15, 2020

Label: Pi Recordings, 2020

Personnel - Matt Mitchell: piano, Prophet-6; Craig Taborn: piano, Fender Rhodes, synth; Ben Monder: guitar; Trevor Dunn: electric bass; Dan Weiss: drums, tabla, piano.

Accomplished drummer Dan Weiss quickly gained notoriety among fellow colleagues due to a tremendous versatility, musical taste and advanced technique. The second installment of his Starebaby project - an idiosyncratic blend of David Lynch’s Twin Peak’s mystery and progressive metal with suggestions of post-apocalyptic electronica - is called Natural Selection, and its tracks are deeply connected to the ones presented in the previous album by acting as tulpas (beings or objects created through spiritual or mental powers).

As an illustration, “Episode 18”, which kicks in with fast guitar licks on top a rugged texture, is a tulpa of “Episode 8”. During the start-up phase, we have abrasive surfaces that later morph into more melodic and atmospheric passages conducted by expressive cymbal texture. Some psychedelia pops up, emanated from the synths operated by Craig Taborn and Matt Mitchell. And then, there's an arcane, gothic-style doom-metal aesthetic anticipating the visceral mass of distortion and feedback placed atop the fast attacks and booming bass lines delivered by Weiss and Trevor Dunn, respectively. Virtuoso guitarist Ben Monder oozes out a violently toxic solo by the end.

A change of mood is proposed with “Dawn”, whose languid beat and folk innuendo allow the group to set one foot on the contemporary and another on the medieval milieus. Things are muscled up a bit from the tune’s midpoint on, yet, Monder opts to set an ethereal lyricism against the cyclic harmonic progression that moves toward the ending.

“The Long Diagonal” offers rhythmic stability but only after a sluggish guitar ostinato collides with a more expedite synth figure. The keyboardist continues to connect that ostinato, yet a Latin-flavored vibe soon exudes from his right-hand routines. Ratcheting up the intensity level, Weiss brings the talkative drums to the fore, while the odd-metered prog-rock mechanisms trigger guitar spasms and then an extraordinary piano solo that, most likely, is the closest to jazz you can get on this album (“Acinna” is another competitor in this aspect). “A Taste of Memory” has its meditative intro built with the help of piano and sustained synth chords. Dark and heavy textures erupt, but the keyboardist still finds room for his perpetual rumination.

The drummer's kinetic propulsions on “Bridge of Trust” would pass for a samba if it weren’t for the dismal harmonies and foreboding melodies that run across them.

With this project, Weiss has the willingness to evoke, but also to experiment in dazzling fashion. One must admit they do it wholeheartedly.

Favorite Tracks:
03 - The Long Diagonal ► 04 - A Taste of Memory ► 07 - Acinna

Terje Rypdal - Conspiracy

October 14, 2020

Label: ECM Records, 2020

Personnel - Terje Rypdal: electric guitar; Stale Storlokken: keyboards; Endre Hareide Hallre: bass; Pal Thowsen: drums.

Norwegian guitar wiz, Terje Rypdal, proceeds a well-balanced 50-plus-year career with another strong ECM outing, Conspiracy, his first studio recording in two decades. The album features a gifted crew of accompanists - Stale Storlokken on keyboards, Endre Hareide Hallre on bass and Pal Thowsen on drums and percussion. The six original compositions assembled here offer a fascinating insight into the vast reach of Rypdal’s singular ideas. With solid jazz and rock backgrounds, the guitarist/composer is a key figure in the European fusion scene who seeks compelling narratives instead of instant mercurial emotions.

The expressive, anthemic guitar melody that opens up the first selection, “As If The Ghost… Was Me?”, rests on top of embracing cymbal work and pacific synth waves. While Thowsen embraces the role of rhythmic intensifier, Hallre sports articulated bass notes with a big round sound and that sort of slickness that resembles Eberhard Webber.

Applying his tonally distinctive palette, Rypdal often glazes his notes with grief, and the melancholy exerted on “What Was I Thinking” influences the remaining members of the group, who respond with occasional toned chimes, bass inflations, and subtle cymbal crashes, among other details. Tremolo effects and distortion are part of the guitarist’s unequivocal sound throughout this rubato ballad.

Certain oppressive atmospheres may be difficult to connect with, like on the concluding title, “Dawn”, an organ-driven piece immersed in foreboding drones and chimes. However, “Baby Beautiful” almost touches the romantic side, oscillating between gleaming and lugubrious tones. Preceding an injection of hope brought by melodious solos from bass and keyboard, the musing becomes lightly stirred by crimson guitar flames modulated by overdrive and sustain effects plus glistening harmonics. Most encouragingly, the efficient drumwork of Thowsen contributes an optimistic attitude to the setting without resorting to pyrotechnics.

Taking a resolute direction toward progressive rock, the title cut boasts a steady pulse that provides solid ground for Rypdal’s electric guitar voicings and additional technical credentials. Set against the corpulent, noir rhythmic texture weaved by bass and drums, Storlokken’s burning Hammond solo is absolutely enthralling.

Solemnly unsensational yet highly addictive, Conspiracy brings back the sublime transcendency of a mood-shaper like Rypdal to the instrumental rock and fusion circles.

Favorite Tracks:
01 - As If The Ghost… Was Me? ► 03 - Conspiracy ► 05 - Baby Beautiful

Okuden Quartet - Every Dog Has Its Day...

October 13, 2020

Label: Esp Disk, 2020

Personnel - Mat Walerian: alto saxophone, bass clarinet, soprano clarinet, flute; Matt Shipp: piano; William Parker: double bass, shakuhachi, Hamid Drake: drums, percussion.

The Okuden Quartet is fronted by multifaceted woodwind player Mat Walerian, who reunites with frequent collaborators and masters in the art of rhythm and texture - pianist Matthew Shipp, bassist William Parker and drummer Hamid Drake. The word Okuden roughly translates to ‘communication of the inner arts’, and the present work, a double-album featuring eight Walerian compositions with an average time of 14 minutes, explores concepts that tend toward exploratory cadences and the spirit of the self.

With a gift for the surreal and evocative images, the record opens with “The Forest Council”, introduced by a mix of muted and woody bass sounds. The atmosphere here feels nearly alchemical, with the reverb-drenched tones of the bass clarinet sinking us more and more in mystical, enigmatic sounds. The instrument gets a special vibrancy in the hands of Walerian, who, at a certain point, relies on Shipp’s steady accompaniment - subdued until there with controlled string plucks - to draw dolorous outcries. Both Parker and Drake can perform with independence of movement; yet, their understanding of the music prevents things from going astray. The last phase is patterned like a ritualistic dance with flute in the foreground.

The raucous tone and angular finesse of the saxophonist is deeply ingrained in “Thelonious Forever”, which features Drake in a formidable drum solo. After that, Parker applies rasp dissonance in the course of his bass bowing while a saxophone ostinato lurches with abandon.

Rounding out the disc one, there's the extraordinary three-part “Magic World”. All three pieces seem taken from a generously filled bag of groove and rhythmic ideas, which can easily submerge the listeners with gripping sonics and volatile emotions. Part one - “Study” - offers a strange mix of brooding and upbeat vibes where the group seems to digress with no apparent direction in an instance, just to start swinging with method in the next. It’s a compromise between reflection and expansiveness, thrilling impetuousness and cautionary restraint. Part two - “Work” - feels like a ritualistic ceremony shrouded in low-intoned veils of sound. It’s propelled by a nice, flowing groove and has no problem attaching well-defined riffs when convenient. Part three - “Life” - boasts a funky rhythm and open posture. There are apprehensible melodies on bass clarinet and puzzling piano geometries crammed with rhythmic figures and curious accents. Walerian switches to alto saxophone, drawing melodies from the post-bop compendium, but later rejoins the groove for the conclusion, yet again wielding the bass clarinet.

Disc two is not as a strong as disc one but still provides some interesting moments. This is a long stretch, but fans will be willing to take the time to connect with the material and let these pieces sink into them.

Favorite Tracks:
03 (CD1) - Magic World Pt. 1 - Study ► 04 (CD1) - Magic World Pt. 2 - Work ► 05 (CD1) - Magic World Pt. 3 - Life

Peter Hess Quartet - Present Company

October 8, 2020

Label: Diskonife Records, 2020

Personnel - Peter Hess: tenor saxophone; Brian Drye: trombone; Adam Hopkins: double bass; Tomas Fujiwara: drums.

In parallel with his projects as a leader, American saxophonist/composer Peter Hess is a member of the Philip Glass Ensemble since 2016 and an active participant in several small jazz groups and large ensembles. On his new quartet album, Present Company, he forms a strong alliance with trombonist Brian Drye in the frontline and assures a solid foundation by picking out bassist Adam Hopkins and drummer Tomas Fujiwara for the rhythmic chores.

“Sanford Theme” - titled for saxophonist Mike McGinnis who hails from Sanford, ME - is marked by a swinging forwardness and amusing melodies articulated in unison. The open solo section is designed by Drye and Hess with melodic intention, and both become contrapuntal before ultimately switching to concordant during the theme’s final stretch.

“Ring Tone” plays pretty much in the same context of its predecessor, hewing closer to classic post-bop, which is by no means more interesting than “Echolocation”, where things start to click and engage. The piece, inspired by drummer Ed Blackwell’s free jazz albums from the 90s: What it is? and What it be Like?, kicks in with saxophone multiphonics against a trombone ostinato. An uncompromising groove in seven is established over which the soloists communicate with a natural flow.

The identity of the ensemble is forged with pertinacity but there's obviously other musical influences. “Engines”, for example, was written for the drummer Paul Motian when he passed away, giving a notion of his meditative stasis through subtler tones. Fujiwara’s complex introduction and subsequent perplexing pulse don’t remove the serenity and sense of openness deliberated for this composition, which becomes slightly more agitated before the restitution of the main theme.

Resulting from two different short pieces put organically together, “Komma” stands out with a galloping rhythm that endorses effervescent cymbal drive and rolling toms. An unceremonious soulfulness comes out of Hess’ horn with Drye providing terse interjections. At some point, we have the two juxtaposing lines and responding to deliberate provocations. Sometimes they go with each other, then they stand apart to give the ensemble more breadth. Whatever the case is, the saxophonist unfolds his phrases with perspicuity, while the trombonist shows off quick, piercing attacks.

Hopkins sets the mood of “The Net Menders” with a beautiful intro, later bowing for further emotional depth. This melody-driven ballad, inspired by a lo-fi piano recording sent to Hess by his friend Jesse Poe for a film score, precedes the last track on the album, “When to Move”, an improvised number delivering a modest punch.

Chasing both contemporary post-bop ideals and free improvisation, the musicians are apt to turn up the heat on occasion.

Favorite Tracks:
03 - Echolocation ► 05 - Komma ► 06 - The Net Menders

Matthew Shipp Trio - The Unidentifiable

October 7, 2020

Label: Esp-Disk, 2020

Personnel - Matthew Shipp: piano; Michael Bisio: double bass; Newman Taylor Baker: drums.

The phenomenal pianist Matthew Shipp leads one of the best trios currently at work. Relying on the acute, sensitive responsiveness of bassist Michael Bisio and drummer Newman Taylor Baker, Shipp creates freely with a broad aesthetic range that goes beyond the expected. The three musicians are mavericks of the rhythm and texture who cultivate an exemplary balance between discipline and abandon. Wonderful, lyrical moments are extracted from the new album, The Unidentifiable, starting with “Blue Transport System”, which, possessing that kind of slow, seductive rhythmic flow that keeps us engaged, also pulsates at a quiet boil. Bisio’s melodious bass helps to cultivate this trance-like penchant for reverie, and the lovely finale is worthy of a film-noir score.

“Phantom Journey” resonates in its own harmonic force. The bulky chords are filled with color, timely disquieted by the loud, percussive outbursts that emerge from the far left reaches of Shipp’s keyboard. It’s a thrilling, occasionally spooky ride, and yet the tune’s main rhythmic idea suggests nu-jazz vibes and a taste of Latin. Also evocative in its soundscapes, “The Unidentifiable” and “Regeneration” proves the trio atypically indulging in different moods and rhythms with magnificent results. If on the former piece the trio brings the magnetic modal jazz of the 60’s to the center, supplementing it with an uncanny ability to swing and an unaccompanied bass solo; on the latter, they embark on an engrossing calypso cruise that never ceases to surprise. The excellence of the groove is impressive and comes with a pristine melody atop.

Whereas “The Dimension” is a solitary piano ride professed with understated yet intense fervor, “Loop” is a free ramble that includes fluttery run-ups as part of the call-and-response methodology followed by the trio.

The record closes out with “New Heaven New Earth”, a tune bookended by arco bass slashes of various tones, although it’s Baker’s scintillating brushwork that really ends it. At the very center, Shipp exteriorizes with wit and irony, revolving around certain elements. Epic narratives are forged through nimble snare drum routines and piano cadences, and that disciplined sonic architecture is enriched with textural waves of improvisation.

The charm and energy are palpable throughout the album’s 11 tracks. This is such an elastic trio, whose immense resources take them wherever they want.

Favorite Tracks:
01 - Blue Transport System ► 03 - Phantom Journey ► 07 - The Unidentifiable

Gregg August - Dialogues on Race

October 6, 2020

Label: Iacuessa Records, 2020

Personnel includes - JD Allen: tenor sax; John Ellis: soprano sax; Bruce Williams: alto sax; Ken Thomson: bass clarinet; John Bailey: trumpet, flugelhorn; Rafi Malkiel: trombone, euphonium; Marcus Rojas: tuba; Luis Perdomo: piano; Gregg August: bass, composition; Donald Edwards: drums; Mauricio Herrera: congas, shekere, castanets; Frank Lacy: vocals; Shelley Washington: vocals; Forest VanDyke: vocals; Wayne Smith: narrator, and more.

Raising awareness of the racial problem in America, bassist/composer Gregg August, a fundamental pillar in the acclaimed trio led by saxophonist JD Allen and also a respected member of Arturo O’Farrill's Afro-Latin Jazz Orchestra, releases his fourth album as a leader. Featuring a 12-piece big band, Dialogues on Race Volume One is a mature two-disc jazz opus composed and premiered in 2009, that only now is released on record. Motivated by Black Lives Matter and other civil rights movements, it's a reflection that urges us to combat racism and all the injustices derived from it.

The bassist, being white, was not discouraged by black fellow musicians and friends to present a sonic meditation largely centered on Emmett Till’s cruel assassination by lynching in 1955. The titles “Your Only Child” - inspired by Marilyn Nelson’s poem and presented in three distinct parts, the second of which shaping up as a lonely arco bass dirge - and “Mother Mamie’s Reflections” - where Emmett’s mother’s poignant words resonate atop of the brooding low sounds emitted by bowed bass, tuba and bass clarinet - are powerful musical statements imbued with troubled historical context.

Based on Cornelius Eady’s poem, “Sherbet” proves to be a fabulous starting point. After a forlorn intro with arco bass and saxophone, August and drummer Donald Edwards lay down an infectiously groovy rhythm, later punctuated by the restless activity of Ken Thomson's bass clarinet. Besides helping to provide a lush backing, pianist Luis Perdomo improvises with passion after the bandleader’s discourse prompted with a loose feel. With percussionist Mauricio Herrera very active on shekere, the piece ultimately incorporates an exuberant collective passage with the horn section at the fore.

Narrated by activist and war vet Wayne Smith, “Letter to America” reflects tight unisons and a powerful orchestration in the theme, pushing the bass clarinet and the trombone to the center of the discussion. Trombonist Rafi Malkiel swaps the haunting cries heard on the latter piece with mellower phrases on “Sky”, an exercise in atmosphere mostly commanded by the sensitive melodic drive of saxophonist JD Allen.

“I Rise” initially glistens with the crossing lines thrown in by the horn players, suddenly erupting into a crescendo that leads to a cacophonous uproar immersed in blustering bravado. You’ll find clever and distinctive palette shifts here, with the band fixating on a slow groove in nine prior to dive into another jagged pool of horn clamors, and completing with an uplifting swinging motion to better serve the soloists. It’s like an infectious synthesis of everything from odd-metered post-bop to rebellious avant-garde protests to soulful and swinging environments. Conversely, “Sweet Words on Race” flows with a glamorous Afro-Cuban touch.

Equally dynamic, “The Bird Leaps” encompasses head-to-head dialogues, smooth tempo shifts and compellingly articulated statements from saxophonists John Ellis, Bruce Williams and JD Allen on soprano, alto and tenor, respectively.

August matured into a talented leader and composer; this is a quite colorful work with a lot to absorb and reflect upon.

Favorite Tracks:
01 (disc1) - Sherbet ► 04 (disc1) - I Rise ► 05 (disc2) - The Bird Leaps

Cat Toren's Human Kind - Scintillating Beauty

October 5, 2020

Label: Panoramic Recordings, 2020

Personnel - Xavier Del Castillo: sSaxophone; Yoshie Fruchter: oud; Cat Toren: piano, chimes, tuning forks, singing bowls, rattles, bells; Jake Leckie: bass; Matt Honor: drums + guest Stephanie Rooker (#1): chimes, tuning forks, singing bowls

The follow-up to Human Kind, the debut work from the Vancouver-born, Brooklyn-based pianist/composer Cat Toren, is called Scintillating Beauty. The album comprises just four tracks, which are enough to get people involved in its sound healing techniques and positive activism. The simpatico group merges the modal jazz from he 60’s with a charming touch of world music that mostly comes from the oud playing of Yoshie Fruchter, a musician proficient in many genres, including klezmer and heavy metal.

Toren’s gleaming compositions are instilled with a deep lyrical instinct, transpiring in wavelets and relying on clever instrumental passages mounted into clear structural settings. The 16-minute “Radiance in Veils” gently rises and shines in a peaceful state of innocence - the gentle percussive chimes and rattles are reinforced by guest artist Stephanie Rooker - and progresses through the subsequent stages of human life. The pianist’s inspiration here did not just come from her first born daughter but also from two phrases by Martin Luther King. Saxophonist Xavier Del Castillo and Toren testify soulfully over the modal carpet weaved by the rhythm section, the former with a clear and assertive style, and the latter with a tranquil dreamlike quality. You’ll find reflexive moments and sudden controlled eruptions filled with busy saxophone runs before a chromatically rich oud solo. Finishing the song, the propulsive drumming of Matt Honor gets some flavorful Middle-Eastern spices tossed in.

“Garment of Destiny” carries a lyrical poignancy, initiated with a heart-rending piano intro and continued with Jake Leckie’s bass pedal sustaining the ruminative oud crocheting. A slow-burning divagation is installed before a flurry of saxophone assertions surfaces above the colorful harmonic progression.

Whereas “Ignis Fatuus” swings unabashedly, incurring in a post-bop terrain that recalls pianist George Russell, “Rising Phoenix” diffuses spellbinding fascination. The soft radiance that emanates from the opening section - atmospherically driven by organ - intensifies with the beefy tone of Del Castillo’s prayerful saxophone. The group then dips in a sort of pop-folk, lightly gospelized by polished and direct chordal movements.

Although less adventurous when compared with Myra Melford, the eclecticism of Cat Toren has a lot to offer. The healing powers of her music are very much creditable.

Favorite Tracks:
01 - Radiance in Veils ► 04 - Rising Phoenix

Angelica Sanchez & Marilyn Crispell - How to Turn the Moon

October 1, 2020

Label: Pyroclastic Records, 2020

Personnel - Angelica Sanchez: piano; Marilyn Crispell: piano.

Angelica Sanchez and Marilyn Crispell, two powerful pianists and disciples of the spontaneous jazz, join forces for the first time on record. How To Turn the Moon features 10 tracks - seven short-form compositions by Sanchez, who penned them to be expanded in conjunction with Crispell, her former mentor, and three impromptu moments filled with synergistic stimulation and deep musical understanding.

The opener, “Lobe of the Fly”, accommodates both parallel and contrapuntal segments, evolving into a four-hand improvisational romp filled with chromatic developments and swift configurations that interlace splendidly. The piece was named for the intricate drawings of an optic lobe of a fly by Spanish neuroscientist Santiago Ramón y Cajal. Neuroscience was also at the base of “Calyces of Held”, whose profound introductory reflection by Sanchez falls into a nuanced arpeggiated ostinato that serves as a foil to Crispell’s harmonic dissonances and unbounded melody. An understated tension is engraved on the prevailing calmness, and a different rhythmic figure populates the final section, dissolving gradually as it is reshaped to merge with the its counterpart.

The lugubrious, well-aligned riff professed at the end of “Ceiba Portal” lingers in the mind. This piece consents convergence, but also shows off the staggering polyrhythmic adventurism of the pianists, whose circularity and interaction almost suggest a telepathic sort of connection. This is also confirmed with a trio of free improvisations - “Space Junk”, “Windfall Light” and “Rain in Web”, with the latter being the most luxuriant of them all in terms of action-reaction dynamics.

Ingenious piano layers combine on the concluding “Fires in Space” for a terrifically rhythmic effect. Under Crispell’s firmly locked balletic pulse, Sanchez’s phrasing comes in the form of strong melodic ideas and animated swoops with fair doses of abstraction.

Standing tonally apart from the rest, “Ancient Dream” provides far-ranging and detailed resonances that come from the inside of the pianos. Extended techniques with percussive purposes, silences and investigative prepared pianos create an idiosyncratic atmosphere that veers into a well-tempered classical intonation by the end.

Employing their unerring directness and showing an effortless proficiency to create in the moment, Sanchez and Crispell draw forth a range of intriguing sounds that populate this teamwork environment.

Favorite Tracks:
01 - Lobe of the Fly ► 05 - Ceiba Portal ► 09 - Rain in Web

Charles Tolliver - Connect

September 30, 2020

Label: Gearbox Records, 2020

Personnel - Charles Tolliver: trumpet; Jesse Davis: alto saxophone; Binker Golding: tenor saxophone; Keith Brown: piano; Buster Williams: double bass; Lenny White: drums.

Trumpeter/composer Charles Tolliver, an important and esteemed jazz figure from the 1960’s, continues to stylistically straddling the line between post-bop and avant-garde jazz. Returning to the small ensemble format after years dedicated to big bands, he now releases his first album in 13 years. Here Tolliver presents us with four originals, old and new, which are impeccably tackled with the help of valuable sidemen. He pairs down with alto saxist Jesse Davis in the frontline and appoints Keith Brown, Buster Williams and Lenny White to the piano, bass and drum chair, respectively. Young British tenor player Binker Golding joins them on two tracks.

“Blue Soul” brings us that special vibe of the glorious 1960’s post-bop, sporting booming, primal drums, piano pedals, and horns-driven ecstasy taken to epic crescendos. Straightforward, pristine and unprocessed, this piece features unison melodies in the theme statement and disparate soloing approaches from Davis and Tolliver.

“Emperor March”, a number that gave its title to a big band album recorded live at the Blue Note in 2008, is suffused with harmonic splendor, veering effortlessly and systematically from a modal march to a Latin dance. There’s plenty of time allocated for individual statements from the frontline players and the pianist.

“Copasetic” carries the elation of the hard-bop in its dynamically accentuated melodic lines. Still, there’s a strong modal flavor accompanying the harmonic progression, with veterans Williams and White establishing a top-notch rhythmic tandem as part of their supportive foundation for rambling solos.

The bassist denotes wonderful storytelling capacities as he introduces alone the uptempo “Suspicion”, a piece also featured on Tolliver's 2007 big band record, With Love. Spreading sheer joy while demonstrating athleticism, the group members show an innate, nearly telepathic way of communication. With plenty to discover, let yourself be sucked into a creative vortex that showcases a tantalizing bass figure occasionally matched by a low-register piano riff, an infectious Afro-Cuban rhythm, sinuous unisons, and scorching solos from both saxophonists.

Tolliver knows he doesn’t need ultra-modern aesthetics to make his music sound beautifully. With tremendous breadth and maturity, this is an album where we can reconnect with his music and rediscover his singular points of view.

Favorite Tracks:
02 - Emperor March ► 04 - Suspicion

Michael Dalgas Trio - Death of a Tree

September 29, 2020

Label: Gateway Music, 2020

Personnel - Michael Dalgas: drums; Lars Fiil: piano, Wurlitzer; Jasper Jagd: double bass.

The trio of Danish drummer/composer Michael Dalgas - with Lars Fiil on piano and Jasper Jagd on bass - releases its debut album, Death of a Tree, which comprises ten original compositions. The lingering and spacious qualities of late drummer Paul Motian's music are an inspiration here and there’s even a tribute piece to him called “Motian”, which captures the airiness and intrinsic uncertainty for what his compositions are known. Harmonic suspensions, some ambiguity within the contemplative melodic lines, and a confident, slowly cooked drum solo are some of the ingredients in this recipe.

The great majority of the tunes share a longing quality that tonally marries the lyrical to the wintry. Cuts like “The Hunguenot’s Song” and “Momento Mori” get some inducement from Dalgas’ scintillating brushwork. The melodic wistfulness of the former starts off with the piano/bass unisons that reside in the theme, while in the latter, you’ll find a reflective tranquility designed with a Michel Legrand-balladic weight in 5/4 tempo.

One of the loveliest ballads in this catalog is “Tranquillo”, an unpretentious ride that veers into straight waltz before a nice piano solo is put on display. Additionally, there’s “D.C.”, a languishingly brushed piece with a pop-jazz immediacy that would be equally suitable for Tom Waits or Frank Sinatra to sing.

The trio mounts “Postludium” with a direct approach, conferring it an immutable flow that comes from a conspicuous cross-stick beat, sparse bass imprints, and chords saturated with sustain that almost seem to bend. In turn, “Flux” flows like a bolero, emphasizing Fiil’s Wurlitzer within a romantic atmosphere.

All three musicians attempt to go beyond the brumal moods on “Rain Song”, whose pop/rock circularity recalls The Doors, and especially on “Journey”, the album's closing and longest track, which is moderately stirred by a bass groove and a Latin pulse.

Evoking panoptic views, the threesome delicately explore its boundaries. Even though it feels somewhat conservative in specific sections, this work has its moments.

Favorite Tracks:
04 - Motian ► 05 - D.C. ► 09 - Tranquillo