Michael Feinberg - From Where We Came

November 18, 2020

Label: SteepleChase, 2020

Personnel - Noah Preminger: tenor saxophone; Dave Liebman: soprano saxophone; Gary Versace: piano; Michael Feinberg: bass; Ian Froman: drums.

The seventh outing as a leader from rising star bassist/composer Michael Feinberg offers an accomplished set of tunes and features a well-versed lineup that includes multi-generational saxophonists - veteran master Dave Liebman and today’s revitalizing force Noah Preminger - plus a cohesive rhythm section in which he links up with Gary Versace on piano and Ian Froman on drums.

A notorious swinger, Feinberg demonstrates to have a warm and easily appealing bass playing that sparks with a lovely glow, while composition-wise, he melds tradition and modern jazz sensibilities with an organic disposition.

The leadoff track “Louisville”, named after the city where the boxer Muhammad Ali was born, is the perfect example, sliding between epic modal jazz and blithe Latin-tinged passages. The rhythmically tense melodies unleashed by Liebman propose an avant-garde coating, while Preminger, no less explorative, appraises idioms loaded with verbal elasticity and quick-wit. For his part, Versace, who has a gift for spontaneous melody, sequences rhythmic figures with nimble fingering.

“Cairo”, besides boasting a catchy theme, provides engrossing improvisations, while the ballad “Tyron”, honoring Nina Simone, features the saxophonists and the pianist in a reciprocal relationship.

Bouncing and bopping with optimism, “Pontiac” is illustrated with a ravishing unison melody in the head and sinewy solos. Whereas Preminger cites Mingus’ famous intro of “All the Things You Are”, Liebman goes fully Coltrane here with only drums as a support. Less extravagantly, Versace goes with super-articulated moves. Later, all three improvisers take part in energizing trade offs with Froman, who often evokes Elvin Jones’ phraseology in the course of his bold pronouncements.

In "Hamlet", the frenzied horns are on the loose again, embarking on stunning, sometimes brusque solo turns. This is a seductive piece that refers to the birthplace of John Coltrane and where it’s impossible not to go with the leisurely swinging flow provided by the rhythm team. The idea repeats on the magnetic closing cut, “Nogales”, a tribute to Charles Mingus, whose bravado and danceability reinforce the album’s sense of triumph. The vivid debate between the pair of saxophonists is impregnated with steep diagonals and unending tangents.

Feinberg’s music is as much straightforward as it is extraordinarily appealing. From Where We Came leaves an indelible impression.

Favorite Tracks:
01 - Louisville ► 02 - Cairo ► 04 - Pontiac

The Kaleidoscope Quintet - Dancing on the Edge

November 17, 2020

Label: Dot Time Records, 2020

Personnel - Joe Lovano: tenor saxophone; Dave Liebman: tenor and soprano saxophones; Judi Silvano: voice; Tony Marino: bass; Michael Stephans: drums.

The Kaleidoscope Quintet, a stellar collaborative project co-led by master saxophonists Dave Liebman and Joe Lovano (also co-leaders of Saxophone Summit), includes vocalist Judi Silvano, bassist Tony Marino and drummer Michael Stephans. A memorable, effusive live performance occurred at Pennsylvania's Deer Head Inn in 2013 is immortalized by Dancing on the Edge, a recording comprising five exciting compositions - two from each saxophonist and one beloved jazz standard - delivered in celebratory mode.

The enthusiastic enjoyment of the group is on display in Lovano’s “Topsy Turvy”, a wonderful piece culled from his 1995 album Rush Hour. Silvano’s vocal integration with the reeds definitely adds extra melodic fuel to the fire, in a piece that relies on the post-bop expertise of Lovano, the ebullient note sequences of Liebman, and stuttering rhythmic figures approved by these three soloists. They trade fours with the drummer, before joining again with the purpose of re-establishing the theme.

Their majestic on-the-fly creativity comes to our attention again on “Blackwell’s Message”, another Lovano composition (written for the late drummer Ed Blackwell in 1993) that starts off with communicative flutes in consonance before exposing rich unisons over a simple bass pedal. There’s an excellent vocal solo, a change of pace suggested by Lovano, and curious punctuations in Liebman’s expressionistic shrieks. All delivered with a phenomenal energy.

The set’s only standard here is “There Is No Greater Love”, a trio effort with Liebman leaning on the avant-garde side over the typical progression laid down by Marino and rhythmically uphold by Stephans. However, “Day and Night” is in fact a Liebman-penned contrafact of “Night and Day”. Wielding his soprano, the saxophonist revolves around the melody while the rhythm section encourages him to expand with well-coordinated movements and occasional arrhythmic provocations. For a while, we have Lovano’s tenor over bass only, and it’s Stephans who finishes things off with elaborate drum sketches.

The conclusion comes with Liebman’s “Get Me Back to the Apple”, an old tune that serves as a glorious display for the reedmen’s soloing skills. Lovano suggests the melody of “Sentimental Journey” in his discourse, and during the animated conversation with Liebman, a jaw-dropping show of multiphonics and powerful intonations occur.

Providing such pleasurable moments, this live recording carries that exhilaration present in the old classics, and is to be cherished.

Favorite Tracks:
01 - Topsy Turvy ► 03 - Blackwell’s Message ► 05 - Get Me Back to the Apple

Ensemble C - Small World

November 16, 2020

Label: self released, 2020

Personnel - Claire Cope: piano, synths; Brigitte Beraha: vocals; Rob Cope: saxophone; Jack Davies: trumpet; Tom Varrall: guitar; Ed Babar: electric and double basses; Jon Ormston: drums.

British pianist/composer Claire Cope, a graduate from the Royal Northern College of Music, makes her recording debut as a leader at the helm of Ensemble C, a septet of London-based jazz musicians she very much admires. Each of the nine tunes on Small World tells its own story, whether inspired by traveling, human connection or common hopes.

The freshness and radiance of the pieces are instantly felt as soon as we begin this journey, but there are special pieces that take us to special places. That's the case of “A Day in a Life”, which emits an energizing, positive light a-la Pat Metheny. The piece develops under an astute 11/8 meter with a strong guitar figure, opportune chromatic shifts in tone, soul-stirring harmonic fluidity, and the superb vocals of Brigitte Beraha, who is backed up by the horn section. Claire’s husband, the saxophonist Rob Cope, delivers an arresting improvisation, working dynamics with passion and authority.

“The Time is Now” and “Spirited” are also memorable episodes. The former moves forward with affectionate graciousness at the same time that boasts a glowing melody, while the latter shows the bandleader’s eclectic vision as the group embarks on a soft dance in six, mainly inspired by the slums of Kibera in Nairobi, Kenya. The diligent work of bassist Ed Babar stands out on this one.

“Small World” advocates for a more tolerant world, expressing it through a tango-ish vibe with propulsive snare drum in the back and pulsing piano chops in assistance to a finely calibrated texture. The vocals are spot-on and trumpeter Jack Davies joins the bandleader as featured soloists.

Piloting the ship with discernment, Cope achieves some moments of glory on “Sea of Tranquility”, an auspicious attempt to sonically depict the lunar stillness in Damien Chazelle’s First Man, a biographical drama film about the American astronaut Neil Armstrong.

Before the brief “Outro”, which takes the record to a conclusion, “Travelling Again” features the words of Chinese poet Du Fu, which find a vehicle of beautiful expression in the voice of Beraha.

Ensemble C’s debut album forecasts a promising future for Cope as a composer, concretizing a versatile vision of contemporary jazz that never loses direction.

Favorite Tracks:
02 - A Day in a Life ► 04 - Small World ► 07 - The Time is Now

Xander Naylor - Continuum

November 12, 2020

Label: Chant Records, 2020

Personnel - Xander Naylor: guitar, synths; Elijah Shiffer: alto sax; Nicholas Jozwiak: bass; Raphael Pannier: drums; Angelica Bess: vocals; Sarah Pedinotti: vocals; Alex Asher: trombone; Cole Kamen-Green: trumpet; Alec Spiegelman: baritone sax, bass clarinet.

Brooklyn-based guitarist and improviser Xander Naylor studied Western and Eastern traditions, a relevant detail underlining his multi-genre compositions. The bandleader gathers a cast of competent and well-traveled musicians to join him in Continuum, a body of work that reveals an expansive side of his musical self.

Rhythmically unbridled, “Lunar Acropolis” creates unexpected effects through fragmented rhythms, solid and compact drones in the back and the guitar at the leading. This fluid sonic journey relies on an adaptable framework whose toppings move from electronica-inspired patterns to temperamental post-rock attitudes to danceable jazz infiltrations. Naylor’s vast musical vistas are also noticeable on other acrobatic numbers such as “Pursuit”, a frenetic dance permeated with punk rock and free jazz elements, as well as “Surrender”, in which the group toggles from passive to aggressive while drawing inspiration from avant-garde jazz and noise-rock. Here, you’ll also find an engaging solo from alto saxophonist Elijah Shiffer and Indian music influences in Naylor’s guitar sound and language. These Indian flavors come off with a meditative quality on “Who Laughs First?”, where chromatic notes and bends make for a more spiritual exploration.

“Export For Screens” and “Riddlin’” are two intense distinct exercises in sound. The former, suitable for a David Lynch flick, waves darkly with fat, round bass lines and mysterious guitar, getting further stabilization when the drums switch from torpid to steadfast routines, joining an inexorable guitar figure to offer rhythmic support to the three-horn activity. The latter piece, instead, dives into a simmering prog-metal procedure with scattered focuses on noise. There’s a passage where the vocals of Angelica Bess and Sarah Pedinotti are in strict communication with Naylor’s guitar, while in another, the raw, industrious rhythm laid down by electric bassist Nicholas Jozwiak and drummer Raphael Pannier serves Shiffer’s soloing ferocity.

The group builds a triumphant conclusion with “Leverage”, an electro-avant-pop piece rhythmically exacerbated by the circularity of Alec Spiegelman’s baritone saxophone and where concurrent alto sax and guitar statements ultimately harmonize.

Controlling the density of the ideas being tossed into the swirl, Naylor manages to create a satisfying work that should resonate with anyone interested in eclectic contemporary jazz.

Favorite Tracks:
02 - Export For Screens ► 03 - Surrender ► 06 - Riddlin’

Edward Simon - 25 Years

November 11, 2020

Label: Ridgeway Records, 2020

Personnel includes - Edward Simon: piano; David Binney: alto sax; Mark Turner: tenor sax; Adam Rogers: guitar; Luciana Souza: vocals; Gretchen Parlato: vocals; Avishai Cohen: bass; John Patitucci: bass; Scott Colley: bass; Larry Grenadier: bass; Brian Blade: drums; Adam Cruz: drums; Eric Harland: drums; and more.

Venezuelan-born pianist/composer Edward Simon has long established a successful career in the US with collaborative associations with saxophonists David Binney and Mark Turner, bassists John Patitucci and Scott Colley, drummers Brian Blade and Adam Cruz, among others. For this double-album, a conscientious compilation of his busy 25-year activity, 17 tracks were culled from his discography in order to represent his artistic path throughout the years.

His hybrid sound conceptions, perfectly blending contemporary post-bop and Latin American tradition, are on full display in cuts like “Fiestas” and “Pere”. In the latter piece, we find excellent improvisation from Simon and Binney in addition to sharp parallel melody and a gorgeous rhythmic atmosphere. The vertiginous episodes triggered by the alto saxophonist are strongly felt on other pieces like “Aguantando”, persuasively introduced by Adam Rogers’ acoustic guitar; “Uninvited Thoughts”, whose melody embraces Arabian flavors over a bass pedal; and the live-recorded “Venezuela Unida”, whose metric flexibility and arrangement (with four horns on board) are marvelous.

There’s also “Barinas”, an animated world fusion effort that incorporates harp, flute, bass clarinet and cuatro, a Latin American stringed instrument that confers it a flamenco-like impression.

One of my favorite pieces is “Pathless Path”, an indefatigable trio exploration with bassist John Patitucci and drummer Brian Blade, which is gradually magnified in terms of emotion and intensity. Patitucci is also featured on “Navigator”, another trio effort with intricate rhythmic punches. On this one, he teams up with drummer Eric Harland.

Saxophonist Mark Turner displays his soloing talents on “Ericka”, a Keith Jarrett-influenced song composed by Simon’s older brother, Marlon; as well as on two folk-imbued compositions culled from Simon’s debut work: “Alma Llanera” and “Caballo Viejo”, a Venezuelan joropo written by Pedro Elias Gutierrez and a ballad, respectively.

“Govinda”, a zen inspiration delivered in a pure 5/4 relaxation, features the vocal aptitudes of Luciana Souza over the methodically arpeggiated piano and subtle guitar flourishes.

This enjoyable musical portrait serves as a representative sampler not only for listeners who are already familiar with Simon’s music, but also those who are willing to discover his work.

Favorite Tracks:
06 - Pathless Path (CD1) ► 07 - Pere (CD1) ► 07 - Venezuela Unida (CD2)

The Nels Cline Singers - Share the Wealth

November 10, 2020

Label: Blue Note Records, 2020

Personnel - Nels Cline: guitars; Skerik: saxophone; Brian Marsella; piano, keyboards; Trevor Dunn: bass; Scott Amendola: drums; Cyro Baptista: percussion.

The spunky music of farsighted American guitarist Nels Cline glitters with jagged detail and unfolds with a progressive attitude. Following-up on Microscope (Mack Avenue, 2014), his previous work with the squad The Singers, Share the Wealth is a grippingly disorienting double album that results from a two-day recording of spontaneous music.

The current formation - a sextet - allows Cline to merge stylistic currents with complexity and sophistication, and the fantastic opener, Caetano Veloso’s “Segunda” is a case in point. A visceral folk dance working within a more conventional song format and delivered with irresistible rock and Brazilian flavors, shows that Cline not only is unafraid to step into risky musical forays, but also does it successfully. The rich percussive spectacle is co-credited to experienced West Coast drummer Scott Amendola and Brazilian percussionist Cyro Baptista, while the impetuous saxophone lines by saxophonics-pioneer Skerik draws, by turns, responsive reactions from Cline and keyboardist Brian Marsella. Epic stuff.

The jazzy guitar chords that introduce the luxuriant “Beam/Spiral” can be misleading in the direction the group will take. A balanced suspension is achieved through electronics, hi-hat routine and thin clouds of synth topped by saxophone. Yet, at some point, that impalpable state of abstraction is pulled into the earth by the power of Trevor Dunn’s bass lines, with everything ending up in an indie rock sphere. The pinnacle of the song occurs by the end, when a distorted guitar layer sustains a delirious conjoint moment headed by an outgoing saxophone and synths.

Having light intensities in common, “Nightstand” is a spacious, slow-dance number, while “Headdress” gets its dreamy tones through a mix of ambient dub and neo-soul. In turn, “Princess Phone” boasts a punk-ish attitude with a groove that allows wah-wah-infused guitar, rapid bass runs, jittery drumming and vibey Rhodes propagations; whereas “The Pleather Patrol” progresses into an unannounced EDM episode that will make you move your feet.

Clocking in at 17 minutes, the polychromatic, transgressive and genre-defying “Stump the Panel” is the paradigm of an eclectic doctrine that is never predictable. Under mesmerizing electronic undercurrents and percussive slapbacks, the cutting noise and riotous patterns cut in for an aggressive punk-rock-meets-avant-jazz aesthetic that later morphs into experimental ambient, free funk, and murmured electronica sequences loaded with bassy-beat hooks and catchy ostinatos . The group ends things with a heavy metal vibe.

An then we are disarmed again by the acoustic folk appeal of “Passed Down”, a piece written by Cline as a consequence of a friend’s suicide.

Touting nearly telepathic interplay, this thought-provoking record is an absolute joy for the ears and a must listen for all lovers of modern music. Indisputably, one of my favorites of 2020.

Favorite Tracks:
01 - Segunda ► 04 - Stump the Panel ► 06 - Princess Phone

JD Allen - Toys / Die Dreaming

November 9, 2020

Label: Savant, 2020

Personnel - JD Allen: tenor saxophone; Ian Kenselaar: bass; Nic Cacioppo: drums.

Throughout a triumphant career, saxophonist JD Allen has taken the time to refine his sound and develop his language, carving out a unique place for himself in the jazz spectrum. On his new trio outing, Toys / Die Dreaming, he summons for the second time bassist Ian Kenselaar and drummer Nic Cacioppo, two young musicians who find here a pragmatic compromise between the robust, the adventurous, and the polished.

Peppering the proceedings, the trio opens with a standard; “You’re My Thrill” gets a fresh reworking from minute one, when Kenselaar and Cacioppo create the ideal ambiance for Allen’s advanced melodic recital. The theme, stated with smart and subtle punctuation, is followed by improvised tenor run-ups embellished with blues and gospel licks. Allen’s engrossing intonation - incisive, dark and compact - is on full display here, providing unexpected muscularity to a supposedly soft tune.

In opposition to the first track, “The G Thing” feels like a standard without being one. It displays a solid mid-tempo swing after a theme statement conducted with beseeching sax melodies and cymbal legato.

Written by trombonist Peter Lin, “Red Label” is a typical 12-bar blues that gets a special vibe in the hands of the trio, while “Toys” denotes a very peculiar mood, being upgraded with an interesting bass/drums dialogue.

“Die Dreaming” is also delivered with precision and sonic might. It’s aligned by an agile bass riff and fleshed out by extroverted sax lines with pertinent multiphonic incursions that brings Chick Corea's "Samba Yantra" to mind. The swinging drive is an invitation to exploration, including a potent, rock-ish bass solo.

The set-closing, “Elegua (The Trickster)” is pleased with its groovy spirit and hard-bop stamina. It kicks off with a declamatory drum solo, and then Allen, evoking Coltrane and Rollins, plumbs the outer reaches of traditional post-bop with elegant sophistication. His bold, consecutive inside/outside attacks are breathtaking.

Not as muscled as Barracoon, its predecessor, Toys/Die Dreaming features Allen as we know him: in superb form.

Favorite Tracks:
01 - You’re My Thrill ► 03 - Die Dreaming ► 07 - Elegua (The Trickster)

Craig Taborn's Junk Magic - Compass Confusion

November 5, 2020

Label: Pyroclastic Records, 2020

Personnel - Craig Taborn: piano, keyboards; Mat Maneri: viola; Chris Speed: tenor saxophone, clarinet; Erik Fratzke: electric bass; Dave King: acoustic and electric drums.

Pianist/keyboardist/composer Craig Taborn, one of the most interesting improvisers and innovators out there, formed Junk Magic in 2004. At that time, this quartet featured saxophonist Aaron Stewart, violist Mat Maneri and drummer Dave King. This pioneering electro-jazz group dare to merge electronics and elements unburdened by genres, enclosing written parts and free improvisation in its creative process. 16 years later, Taborn returns to the project (now a quintet), welcoming saxophonist Chris Speed to take the place of Stewart and adding bassist Erik Fratzke, while Maneri and King maintain their respective roles in the project.

Stamped with pure individuality, “Laser Beaming Hearts” opens the record with a cerebral collage of intriguing droning effects, hip-hop beat, and iterative rhythmic figures. One can think of an EDM conspiracy between 808 State and Aphex Twin.

The group sets up a much more intriguing atmosphere on “Dreams and Guess”. Enigmatic ambient tones, an odd pulsation, viola and piano unisons, and gently chiming effects happen to occur in the right space at the right time. There's an inconsolable feeling left by this track.

Surrounded by gongs, chimes and repetitive notes, “Sargasso” features both unison and free lines, developing with a beat that goes from lurching to routine before returning to its initial state. Maneri and Speed work together to push us into newly discovered places, while the unconventional rhythm section assures a viscous ambient soundscape.

If the shifting passages of “Compass Confusion / Little Love Gods” embrace icy-synth-driven textures with a polyrhythmic feel, then the way “The Night Land” is designed inspires darkly veiled atmospheres and stirs up an oppressive sense of foreboding.

The adventurous “The Science of Why Devils Smell Like Sulfur” is the most absorbing piece on the album. Boasting an aggressive, rock-like posture in its inception, the piece soon enters in a vague yet peaceful grey zone, which changes gradually through clever alternations of mood. The hypnotic shifts include a deconstructive beat framework turned into run-of-the-mill rhythmic flux, explorative piano lines narrowed to steady ostinatos, and rambling violin stretches that resolve into steady cries. All of this happens under the effect of hallucinogenic electronic vibes.

Even staying a few steps behind in regard to Junk Magic's 2004 debut album, Compass Confusion is a risk-laden piece of work that will find its audience in those able to find beauty in the abstract worlds of sound design, experimental electronica and improv. This is not a comeback, it’s rather a new path with all its challenges.

Favorite Tracks:
02 - Dreams and Guess ► 04 - The Science of Why Devils Smell Like Sulfur ► 06 - Sargasso

Ben Wendel - High Heart

November 4, 2020

Label: edition Records, 2020

Personnel - Ben Wendel: tenor saxophone, EFX, piano, Wurlitzer, bassoon; Michael Mayo: vocals; Shai Maestro: piano and Fender Rhodes; Gerald Clayton: piano and Fender Rhodes; Joe Sanders: double bass; Nate Wood: drums.

Saxophonist Ben Wendel boasts a robust yet soulful style that speaks to contemporary jazz avoiding predictable settings. After obtaining universal acclaim with the unforgettable The Seasons (Motema, 2018), Wendel reinforces his credentials as a deft composer and killer soloist with a new outing, High Heart, his fifth as a leader and first on the Edition Records. The canny arrangements inflicted to the eight original compositions on the record show his sense of sound exploration and a refined taste in the instrumental choices. This work is a personal reflection about the purpose and meaning of an artist in today’s overloaded music-making.

The lyrical title track kicks off with Michael Mayo’s beautiful voice at the fore, floating atop the soft harmonic tapestry weaved by arpeggiated piano and organic bass-drums synthesis. The tails of the saxophone melodies are modulated by synth effect and Wendel’s solo coincides with the tune’s dramatic pinnacle. Even if Donny McCaslin (early 2000s phase), Theo Bleckmann and Mark Guiliana (without the broken beat) are names that may pop up in your minds when listening to this music, there’s a unique, personal touch at every turn.

With a lovable near-electronic rhythm and insane unisons, “Burning Bright”, whose title derived from William Blake’s poem The Tyger, vouches for freedom while presenting taut, gloriously liberating exchanges between Wendel, Mayo, and keyboardists Shai Maestro and Gerald Clayton. The rare level of intuition between the musicians is on display, and a momentary euphoria is implanted on the busy finale, where written lines mix with improvisation.

“Kindly” accomplishes Wendel’s purpose to express deep appreciation for human connectedness, support and kindness. It’s done through clever modulation and outstanding melodicism, with Mayo and Wendel excelling in their respective solos. If the saxophonist, blowing with inside/outside ingenuity, creates astounding melodies here, Mayo totally grabs the spotlight on the meditative, prayer-like “Less”, where we find Wendel adorning on the bassoon.

“Drawn Away” is implemented with odd-meter and loquacious daring, reaching a very special state when Maestro scampers through with a mix of jazz, blues, R&B and gospelish elements into his stunning improvisation. Moments later, we have a dialogue between Wendel and Clayton, while bassist Joe Sanders and drummer Nate Wood maintain the tenacious rhythmic grip alive.

Delivered in five, the atmospherically static “Fearsome” is painted with darker hues and propelled by a gorgeous syncopated beat, whereas “Traveler”, which puts an end to this exciting sonic trip, provides ambiance and suggests downtempo as it mirrors and inverts material from the title cut.

Venturing into the present and future, this is a thought-provoking album that gives continuity to the brilliant job Wendel has been doing in recent times.

Favorite Tracks:
02 - Burning Bright ► 03 - Kindly ► 05 - Drawn Away

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.