James Brandon Lewis Quartet - Molecular

December 9, 2020

Label: Intakt Records, 2020

Personnel - James Brandon Lewis: tenor saxophone; Aruán Ortiz: piano; Brad Jones: bass; Chad Taylor: drums.

Molecular is the new release of saxophonist/composer James Brandon Lewis, who hides a complex concept with reference to molecular biology in his 11 compositions. He fronts a sinewy quartet completed by excellent rhythm partners: pianist Aruán Ortiz, bassist Brad Jones and drummer Chad Taylor.

“A Lotus Speaks” articulates in 6/8 with charm, emphasizing less oblique angles and more epic lyricism expressed in a tactile form. Known as rhythmically defiant, Ortiz is the type of accompanist who likes to create atop the flames maintained by bass and drums, while the superbly skilled Lewis explores the tonal possibilities of the horn, ensuring that his sonic lexicon obtains the intended soulful heft to make things work.

“Helix” sucks us into the vortex of its short-lived theme before establishing an uptempo swinging urge at the bottom. All members of the quartet have the opportunity to stretch here, and they do it with tonally rich elements and flawless technique.

Understatedly grooving, “Molecular” shows the band probing an axial direction with a characteristic posture of those who explore unmapped terrains. The brilliant poise comes from the lush chords and single-note phrases that Ortiz includes in his piano statement. Lewis follows him with resolute yet amiable extroversions, and the piece ends with a dangling vamp.

“Cesaire” develops with an exotic polyrhythmic feel, but also inherits a dramatic brand of ebullience that comes from inside. It’s not as eccentric as “An Anguished Departed” though, where the group shows a robust enthusiasm for edgy Latin grooves. Both Ortiz and Lewis make the dust fly in their improvised shows.

“Breaking Code” is relatively straightforward when compared to other pieces on the album. The melody, right at the center, is delivered with a Coltrane-inspired devotion, but the pop/rock-ish substratum gives it a cerebral flow, whereas the gospel elements thrown in by Lewis contribute additional fervency.

The waltzing ballad “Of First Importance” disconnects from the modern vignettes “Per1” and “Per2”. The former evokes electronic undercurrents and employs a bouncy hip-hop language, the latter solidly combines Latin and avant-garde elements.

The quartet’s jazz, informed by myriad influences and a solid multi-cultural perspective, embraces both composed scenarios and controlled disarrays with the same merit.

Favorite Tracks:
01 - A Lotus Speaks ► 09 - Breaking Code ► 10 - An Anguished Departed

Brian Kastan 2 Trio - Avant Trance Dance

December 8, 2020

Label: self released, 2020

Personnel - Brian Kasten: electric guitar, electric fretless bass; Peter O’Brien: drums.

Brian Kastan is a New York-based experimental bassist and guitarist, who is found here in a combustible duo collaboration with New York drummer Peter O’Brien. Kastan, who plays bass and guitar simultaneously through a bass looper pedal, employs his own hybrid-finger technique, discharging substantial amounts of energy over viscously dripping grooves.

On the opener, “Continuum Vibe”, they favor a non-stopping pour of power in a frenetic machination that includes stridently noisy funk chops as a key ingredient in an alternative-rock metabolic process that is both mercurial and hefty.

“My Funky Pussy Cat” has a softer inception, relying on a sort of proto-funk flavored with a bluesy feel. Apparently more structured, the piece doesn’t take long to be deconstructed by a raw assault of explosive guitar lines and rough texture. Kastan’s ideas develop at its own pace, often creating an interesting polyrhythmic effect with O’Brien dynamics.

“For The Love of Black Sabbath” showcases the duo’s appreciation for the English metal band referred in the title. The four-bar cycle at the base of this improvisation is infused with muscularity and the music reaches acid-rock proportions.

The longest pieces on the album are the most gripping. “Soul Reveal” is set to slower speeds, having its mood carefully worked with wah-wah and other psychedelic effects. The guitarist’s shouts and cries find O’Brien’s proficient drumming filled with timely cymbal crashes. The latter’s awareness of form, in addition to his musical adaptability, is quite impressive, and after a period of time, there are playful, agitated spasms that lead to a final delirium. And the record concludes with the nearly 19-minute trip “Avant Trance Dance 2” whose title doesn’t lie. With influences of electronic music, experimental rock and free jazz, it’s like having Sonny Sharrock probing noise-punk and Jimi Hendrix diving into in a neurotic post-hardcore dance. The duo speak out their ideas and their communication is on the edge through exciting drum patterns, drone-oriented bass fluxes and guitar noise.

Systematically embracing dissonance and abstraction, this program might feel quite intense for some listeners, but it is well worth a try.

Favorite Tracks:
04 - Soul Reveal ► 05 - Avant Trance Dance 2

What Happens in a Year - Cérémonie / Musique

December 7, 2020

Label: FiP Records, 2020

Personnel - Josh Sinton: baritone saxophone, bass clarinet; Ted Neufeldt: electric guitar; Giacomo Merega: electric bass.

What Happens in a Year is a singular, experimental trio fronted by baritone saxophonist and bass clarinetist Josh Sinton. With him, and helping to create a peculiar aesthetic that they could claim as their own, are guitarist Ted Neufeldt and electric bassist Giacomo Merega. Rather than shoving us into a constant state of alert, the group opts to operate within a free-form limbo that feels at once spacious, lethargic, cinematic and eccentric. Thus, listening to these improvisations may give you the sensation of a parallel reality, and yet my ties with what’s offered here are limited by the absence of surprise and major shifts in shape. It’s all very loose and subtle after all.

The musicians dive into an offbeat introspection on the ever-ruminative “Le Politique Des Auteurs”, give “Algernon” a floating quality with atmospheric and suspended abstraction, and infuse nearly ritualistic procedures wrapped in deep tones on “Sleepwalk Digest”, which, at a certain point, is washed in full guitar chords sustained for the desired ambiance.

If “Untethered” roams with more harmonic definition, then the closing number, “Music From a Locked Room”, boasts an infrequently palpable melody, relentless bass moves and guitar tapping.

The will to create something beyond the regular that could pike our curiosity is noticeable on the noir-toned “Netherland”, which features Sinton’s bass clarinet releasing somber drones and launching resolute attacks with extended techniques. The sudden rhythmic responses from Neufeldt stimulate the dynamics, while the bass noodling of Merega is not particularly focused on resolutions or transformations.

Merega’s bass stratum sustains the fine interplay between guitar and bass clarinet on “Change of Scene”, a piece that progressively peppers the early stillness with small doses of tension and responsive attitude. It ends in a nearly swinging motion.

The trio’s musing ambiguities require tolerance and some are are not easy to digest.

Favorite Tracks:
01 - Le Politique Des Auteurs ► 06 - Netherland ► 07 - Music From a Locked Room

Flash Reviews - I Don't Hear Nothin But the Blues / Tiffany Goode / Russell Fortunato Project

December 3, 2020

IRABAGON’S I DON’T HEAR NOTHIN’ BUT THE BLUES VOL. 3 (Irabbagast, 2020)

Personnel - Jon Irabagon: tenor saxophone; Mick Barr: guitar; Ava Mendoza: guitar; Mike Pride: drums.

The project I Didn’t Hear Nothing But the Blues, originally conceived as a duo by saxophonist Jon Irabagon and drummer Mike Pride, was progressively extended to trio and quartet formats on their subsequent editions. The third volume - Anatomical Snuffbox - features the twosome alongside boisterous guitarists Ava Mendoza and Mick Barr for a cathartic sonic mayhem that might sound atrocious for a day of headache, but liberating when you’re in those energy-bursting states that make you feel alive. Dedicated to Dutch bandleader Willem Breuker, this is a wild, unstoppable, 47-minute stretch of hyperactive activities walled in by a headstrong noisy envelope. In the course of swaggering cadences and circular trajectories of free improv, we hear the insurgent slaps, pops and howls poured out of Irabagon’s tenor, as well as Pride’s thumping percussion in prevalent disarray. The guitarists, while advocating a deliberate disharmony, help keeping the music on the edge. You can test your limits of noise endurance with this unrestrained extravagance meant for unshakable free jazzers. [B]

TIFFANY GOODE - TODAY WAS A GOODE DAY (Self released, 2020)

Personnel - Tiffany Goode: trumpet; Planet Vness: keys.

This record sonically depicts a day in the life of Richmond-born, Atlanta-based trumpeter/composer Tiffany Goode. With the jazz at the center, Ms. Goode invites us to other territories she explores with effortless spontaneity such as hip-hop, smooth funk and R&B. Whereas “Goode Morning” works as a motivator, offering layers of trumpet over a snare-driven rhythm, “Catch the Sun” has a nice, breezy flow with relaxing trumpet melodies crossing the harmonic roads paved by synth-generated wah-wah and percussion. The tune is about catching dreams. Both “Forward Movement” and “Movement One” feature Atlanta keyboardist Planet Vness, with the former piece flowing in three, and the latter inviting us to a chilled out yet confident atmosphere. It’s simple cool jazz washed by calm sonic waves. Far more produced are the hip-hop numbers, “Do It For a Dollar” and “Song 4 Jon”, where deep, booming beats mix with sedative, trance-like jazz lines. The title track also brings some glee to the table with a dash of funk. Although combining different styles and moods, the connection between the concise songs is evident. [B]

THE RUSSELL FORTUNATO PROJECT - 25 YEAR ANNIVERSARY (Self released, 2020)

Personnel - John Aruda: saxophone, ocarina, flutes, voice; Christophe Bilodeau: piano, flute, voice, percussion; Russell Fortunato: bass, voice; Michael Aiello: drums, percussion; Chris Anzalone: percussion, penny whistle.

The Boston project led by bassist Russell Fortunato celebrates 25 years with a record where they fluctuate between sound worlds and explore their edges.
Fortunato’s “Resting For Wrens” boasts a propulsive, epic theme later transfigured into a smoothly swinging tapestry for the saxophone solo. Aruda intertwines hard-bop and post-bop vocabularies with pragmatism, and there’s also a persuasive piano discourse as well. Substantiating this uncompromising post-bop affinity with some crossover appeal, Bilodeau’s “The Beginning and the End” flows at a 3/4 tempo, while the collective improvisations “Tale of Gwoh” and “Lost in Tibet” get closer to the percussive avant-garde craft of The Art Ensemble of Chicago. The former piece is populated by flutes and extricate bass lines; the latter, by a mysterious droning eloquence and vocals.
The grey atmosphere of “Lost But Not Forgotten” relies on elegiac melody-laden hooks, displaying a piano stretch over a bass pedal, and a brief dialogue between sax and piano over talkative snare drum routines. By contrast, the hummable “Regression” is based on a cyclic harmonic movement and ends somewhat abruptly with drums. An enjoyable ride. [B+]

Ron Miles - Rainbow Sign

December 2, 2020

Label: Blue Note Records, 2020

Personnel - Ron Miles: cornet; Jason Moran: piano; Bill Frisell: guitar; Thomas Morgan: bass; Brian Blade: drums.

The most recent chapter in the career of cornetist/composer Ron Miles is highly influenced by his father’s passing in the summer of 2018. Each landscape of sound comprising Rainbow Sign exposes feelings, memories and emotions. For his debut on the Blue Note imprint as a leader, Miles employs exactly the same four brilliant musicians that helped him build his previous album, I Am a Man (Yellowbird, 2017). They are guitarist Bill Frisell, pianist Jason Moran, bassist Thomas Morgan and drummer Brian Blade.

The 16-minute opener, “Like Those Who Dream”, is the irresistible jewel of this recording. There’s an illuminated dissonance in the way it is set in motion, with piano minimalism and a jagged, multiphonic cornet note. Subsequently, we are presented with guitar harmonics and chiming details, thoughtful and unhurried bass lines, and the relaxed brushing skills of Blade. Moments later, Moran secures a quite charming groove while Frisell’s guitar work deserves the epithet ‘glorious’ in all its subtlety. Miles’ devoted melodicism draws emotion and his sudden tweaks are expressed with meaning measures and incredibly good taste. The song, growing in bluesier depth and having cool and modern jazz touches coloring the setting, is elevated by staggering solos.

Despite taking Ethiopian pop music as its main inspiration, “Queen of the South” reveals a satisfying country-jazz feel with an exquisite melody at the center and a popish rhythm. Denoting similar pastoral intonations, “The Rumor” fans a light breeze from its American folk devised with lots of space for the magical rhythm section.

The clever textures and forms provided in this recording include graceful swinging flows, which can be heard on the reassuring title track and “Binder”. On the former, the melody comes full of hope, pierced by rays of sunshine, while the latter implodes with boppish lines that encourage powerful, freewheeling solos from piano, bass, cornet and drums.

Distinct frames of mind define “Custodian of the New”, a light-footed post-bop number with rhythmic complexity, and the closer, “A Kind Word”, a languidly peaceful, lyrical poem whose texture gets thicker as it moves forward.

The music is at turns mournful, sweet, hopeful, and affecting. Miles conveys them clearly as he plays his own blues.

Favorite Tracks:
01 - Like Those Who Dream ► 02 - Queen of the South ► 06 - Custodian of the New

Peter Bruun's All Too Human - Because You're Worth It

December 1, 2020

Label: ILK, 2020

Personnel - Peter Bruun: drums, synth; Kasper Kranberg: trumpet; Marc Ducret: guitars; Simon Toldam: keyboards; Petter Eldh: bass, electronics; Anders Banks: flutes, bass clarinet, saxophone.

Danish percussionist Peter Bruun gives continuity to a project he started in 2017 with guitarist Marc Ducret, trumpeter Kasper Kranberg and keyboardist Simon Toldam. On the new outing, Because You’re Worth It, this quartet is extended with the addition of bassist Petter Eldh and woodwinds player Anders Banks.

The shapeshifting “All Too Disko” is impregnated with synth pop sounds, relating more to Kraftwerk’s experimentalism and Gary Numan’s synth-driven new wave than any real disco band. Displaced trancy beats populate an evocative setting that includes a fusion-inspired solo by Ducret, and a consonance of flute and synth melodies.

“The If Machine” first denotes an inclination to slacken industrial rock textures but soon becomes infested with dark washes of synthesizer that hauls it into an experimental dance style akin to Depeche Mode. Always driven by the unexpectedness of the beat, the ambiance switches from light to austere, but the final moments are given a jazz-infused treatment on the grounds of trumpet and guitar.

Less galvanic than its predecessors, the title track still provides orchestral momentum and tension, yet its relaxation only becomes slightly disturbed by the irregularities of the fractal beat.

“Tipping Points” adheres to a fearless rhythmic impetuosity that pushes it forward with the help of Eldh’s bass lines. Sharp unisons and occasional counterpoint are found with the flute layers introduced by Banks. Nonetheless, it’s Ducret’s surging electric guitar that stands out in the final segment.

The album gets better as it moves forward, and the trip-hop-ish “Dead Rock Base” is another impactful track with a heavy concentration of dark synth textures bolstering the foundation. This electronically carved jazz finds its peak when Kranberg shows off his improvisational flair.

Joyously unconventional, the tweaked trajectories of Bruun’s music are the product of a cerebral compositional style irrigated with well-programmed moves and improvisation. At least, no one can accuse him of lacking experimentation or not attempting to innovate.

Favorite Tracks:
03 - Because You’re Worth It ► 05 - Tipping Points ► 06 - Dead Rock Base

Hot Heros feat. Iro Haarla - Vodjanoi

November 30, 2020

Label: Karkia Mistika, 2020

Personnel - Sami Sippola: tenor saxophone; Ville Rauhala: bass; Janne Tuomi: drums; Iro Haarla: piano.

The Finnish trio Hot Heros was formed in 2015, and its name adopted from a sign advertising those typically overstuffed sandwiches in Brooklyn, NYC. For their fifth release, Vodjanoi, the threesome - saxophonist Sami Sippola, bassist Ville Rauhala and drummer Janne Tuomi - are joined by the adroit pianist Iro Haarla (former right-hand collaborator of the late drummer/composer Edward Vesala), and the result of that successful collaboration translates into eight compositions intimately related through a contemporary sound based on folk jazz, post-bop and pop/rock elements. These are complemented by inspirations from nature and some recent trips to Lapland.

A highly lyrical setting is promptly established in the opening piece, Sippola’s “Kuulin Suden Ulvovan”, whose catchy sights of emotionally-charged pop and folk garnish the melodic jazz for a juicy atmosphere. The harmonic contribution of Haarla is elegant and works in perfection on top of the soft rhythmic lock step of bass and drums.

Sippola also wrote the subsequent track, “Karhuntanssi”, which induces some comparisons with the adult post-bop style of Jan Garbarek. It’s touching, desolate, passionate and sensitive, all at once.

Haarla contributes a single composition to the record, “Kullankaivajan Blues”, which she introduces in solitary contemplation, creating moments of attunement to be followed by the rest of the band. The descendant movement of the bass, when first joining her, is quite something, and an interesting debate occurs from then on, featuring a fluently spoken drum solo, terse arco bass interjections, tranquil pianism, and an energetic saxophone conversation delivered with empathy.

The thrilling, absorbing and sometimes edgy tones exhaled from Sippola’s horn can also be spotted on “Niin On Kehto Tyhjillaan”, a 3/4 folk tale penned by Rauhala. This particular piece embraces the bright-yet-profound momentum of the saxophonist’s playing as well as Haarla’s piano work, a thing of glory which she keeps up with further sobriety on the closer, “Vedenneito”, a Sippola piece marked by rubato lethargy.

In comparison with the remaining numbers, Rauhala’s “Murmansk” feels feverishly dreamy, providing a window into ruminative temperaments and slightly ominous tones, mainly brought in by the strong presences of bowed bass and saxophone clamors.

Hot Heros let the melodies breathe and their relaxed grooves and textures, here elevated by Haarla’s talents, make them a trio to watch in the future.

Favorite Tracks:
01 - Kuulin Suden Ulvovan ► 03 - Kullankaivajan Blues ► 04 - Niin On Kheto Tyhjilaan

Gergory Tardy - If Time Could Stand Still

November 25, 2020

Label: WJ3 Records, 2020

Personnel - Gregory Tardy: alto saxophone; Alex Norris: trumpet; Keith Brown: piano; Alex Claffy: bass; Willie Jones III: drums.

If Time Could Stand Still is the new album from New Orleans-born saxophonist Gregory Tardy, who manifests his passion for swing and jazz tradition in a primarily quartet set with pianist Keith Brown, bassist Alex Claffy, and drummer Willie Jones III, who also takes credit for the production. On two tracks, the presence of trumpeter Alex Norris transforms the group into a two-horn quintet. The material presented here consists of originals with the exception of the ballad standard “Everything Happens To Me”.

The majestic opener, “A Great Cloud of Witnesses”, happens to be the best track on the record. Drum rhythms from Burundi were the mighty inspiration to Tardy here, who, after record them, gave the tune the aspect of a soulful modal jazz gospelized by a strong spiritual charisma. Immediately upon Brown’s resplendent improvisation devised with inside/outside expertise, the saxophonist structures an eloquent statement, expressing it with staggering agility.

Commanding the dynamics with an adequate build-and-release tension, Tardy and his crew dive headfirst into “The Message in the Miracle”, a disciplined hard-bop endeavor evoking Art Blakey and his Jazz Messengers. Under the deep swinging traction imposed by Claffy and Jones III, it’s the trumpet of Norris that stands out with a mix of speed, fluidity and articulation.

In addition to the latter piece, the ensemble proves they can generate a full head of steam when necessary, especially via unmitigated swingers like “Absolute Truth”, a 12-bar blues featuring trade offs between the soloists and the drummer, and the elated “I Swing Because I’m Happy”, a dedication to alto saxophonist Sherman Irby that evokes a spiritual from 1905. Yet, quiet moments also have a place here, like the title cut, a tearful ballad delivered as a sax/piano duet.

Another interesting piece is “Blind Gates”, whose thematic riff in six, seductive harmonization and rhythmic magnetism provide a certain sense of exuberance in spite of having been written as an objection to America’s current political state. Tardy shows the reasons why he trusts this rhythm section, not only here, but also on the closing piece, “It Is Finished”, an uncompromising post-bop assertion delivered in five.

Tardy's capacity to produce good musical ideas is undeniable, and he masterfully conjures familiar moods on this recording, which - for good and for bad - is strongly tied to the jazz tradition.

Favorite Tracks:
01 - A Great Cloud of Witnesses ► 03 - Blind Gates ► 07 - The Message in the Miracle

Alex Massa - Water Music

November 24, 2020

Label: ears&eyes Records, 2020

Personnel - Alexander Massa: trumpet; Mai Sugimoto: alto saxophone; Artie Black: tenor saxophone; Anton Hatwich: bass; Isaiah Spencer: drums, percussion.

Disappointed by the poor way our planet has been treated lately, trumpeter Alexander Massa, a native of South Dakota, engages in a musical project that aims to raise attention to the necessity of saving the environment. In this specific case, his inspiration comes from the actions of Water Protectors nationwide. Water Music comprises three pieces that put the unfettered quality of his three-horn frontline quintet on display.

The nearly 18-minute “Black Snake” sonically addresses the Dakota Access Pipeline issue through humming and alarming noises mixed with conspicuous figures delivered openly. Encouraging unpredictability, the passages shift from one time signature to another (from seven to three to six), inspiring a relaxed conversation between saxophonists Mai Sugimoto and Artie Black, which is later interrupted by raucous horn screams. Interestingly, there’s a post-bop vibe that recalls some of Jackie McLean’s albums from the 1960’s. Brief unisons evoking the theme make the bridge between Sugimoto's individual statement and Massa's - and then comes the disciplined rhythmic gymnastics of drummer Isaiah Spencer. Ensuing a more cautious passage, the tune rebuilds its grooves to grow in intensity through windswept horns in turbulence.

After the free playing in its introductory section, “The Water Thief” develops into a medium-swing bounce led by Chicago-based bassist Anton Hatwich. Even being perfectly structured, the piece conveys an untethered feel throughout.

“Suite For Flint, MI” is composed of three distinct movements addressing the harmful contamination of the water by lead in Flint, Michigan. While the first movement employs reflective chamber tones and arpeggiated classical-like sequences, the second is informed by patriotic and nationalist themes, entering into a triple-rhythm meter that soon veers to free jazz elasticity. The third movement brings a primitive, rudimentary groove to the table, over which sax and trumpet intertwine with melodic effortlessness.

Roiled and smoldered with avant-garde and post-bop undercurrents, Water Music is modeled with activist ethos and considerably sparky playing.

Favorite Tracks:
01 - Black Snake ► 03 - Suite For Flint, MI

Chris Potter - There is a Tide

November 23, 2020

Label: Edition Records, 2020

Personnel - Chris Potter: tenor and soprano saxophones, clarinet, bass clarinet, flutes, piano, keyboards, acoustic and electric guitars, bass guitar, drums, percussion, samples.

This solo album by Chris Potter, made in six weeks while in lockdown, reveals instrumental insight as he plays all the instruments in a new and challenging experience that included writing, recording and producing. It's not as thrilling as when he plays with his groups, but his known strengths are on display, especially the killer saxophone solos, the compositional eclecticism, and the ability to find color and joy in his surroundings.

The opening track, “I Had a Dream”, has all that. The piece, inspired by the Black Lives Matter movement, has a glowing Afro-folk feel to it that enhances the urgency of equality in this world.

Potter plays the guitar with a clean, exotic touch on “Like a Memory”, whose main melody is designed with affiliated layers of woodwinds. Tenor saxophone and bass clarinet were chosen for the soloing.

Referencing the Yoruba and Santeria goddess Yemoja, “Mother of Waters” flows at a 3/4 tempo, relying on a fine percussive tract and some clever chromatic shifts to succeed. Breezes of funk are efficiently mixed with African folk music. Still, deeper funk excavations can be found on “Rising Over You”, which boasts some surprising turns in the way. In turn, “Rest Your Head” waltzes gently, displaying a lovely pop melody on top of a harmonic tapestry competently textured with acoustic and electric guitars.

Also harmonically captivating, “Oh So Many Stars” shows a beautiful, contemplative side without committing to a slow pace. It contrasts with “Beneath the Waves”, whose final section, projected with a dancing quality, allows percussion and horn juxtapositions to stand out.

There is a Tide was conceptualized and arranged with imagination, insisting on the search for beauty and hope instead of focusing on the fear and despair. Although far from Potter’s foremost works, it’s hard not to be uplifted by its positive energy.

Favorite Tracks:
01 - I Had a Dream ► 03 - Mother of Waters ► 05 - Oh So Many Stars

Ingrid Laubrock - Dreamt Twice, Twice Dreamt

November 19, 2020

Label: Intakt Records, 2020

Personnel includes - Ingrid Laubrock: tenor and soprano saxophones; Sam Pluta: electronics; Cory Smythe: piano, quarter-tone keyboard; Robert Landfermann: double bass; Tom Rainey: drums; Adam Matlock: accordion; Josh Modney: violin; Zeena Parkins: electric harp + EOS Chamber Orchestra

Saxophonist Ingrid Laubrock’s latest release, Dreamt Twice, Twice Dreamt, displays her unwavering talent as not only an improviser but as a composer/arranger as well. Recently, she has been focusing more on large scale composition, with her previous outing, Contemporary Chaos Practices (Intakt, 2018) receiving general praise. Yet, this new double-album features two disparate versions of five compositions originally written for small ensemble and later re-worked and expanded for chamber orchestra. The main inspiration for the pieces was Laubrock’s dream diaries.

Disc one features the EOS Chamber Orchestra and a group of talented soloists that bring their improvisational creativity to the fore - electronics/sound artist Sam Pluta, keyboardist Cory Smythe, bassist Robert Landfermann, drummer Tom Rainey, and Laubrock herself on tenor and soprano saxophones. On the other side, disc two features a core trio with Laubrock, Pluta and Smythe plus Zeena Perkins on electric harp, Adam Matlock on accordion, and Josh Modney on violin.

“Dreamt Twice” (orchestra version) feels like a feather when compared with its wild, experimental small-ensemble version, “Twice Dreamt”. The former, benefitting from the strong presences of piano and saxophone, embraces counterpoint, rhythmic abstraction and composed atmospheres with poetic gestures and enigmatic tones alike; it ends pacifically with strings. The latter, on its side, alienates through a glacial melancholy cut by sudden serrated attacks from electric harp.

“Snorkel Cows” offers another wonderful orchestral experience, but starts with a loose jazz tapestry weaved by piano, bass and drums. The sounds of woodwinds and strings come into view for textural consistency and also adorn Smythe’s thrilling solo before a state of suspended uncanniness is established. On this section saxophone melodies are set to a slow swaying.

Note that the two dissimilar treatments applied to each composition make them totally autonomous when not stripped down to its essence. Take the case of “Drillings” (disc one), which, like a ballad, starts by spreading poignancy through a soft yet incisive orchestration receptive of modern classical and avant-garde idioms. Although considering the additional tension that erupts from the second half - you’ll find gracious tenor stunts, a persuasive cinematic appeal and well-integrated electronics - nothing can be compared to the massive, relentless drones that launch the disc-two interpretation. The unexpectedness of a folk dance brought in by Matlock’s accordion, as well as thoughtful sax lines hovering over the piano accompaniment serve to lessen the preliminary sonic commotion.

With respect to “I Never Liked That Guy”, the small-ensemble version triumphs as a result of a haunting atmosphere that keeps pushing us into dark corners with skittering soprano diagonals over prostrate piano shapes and mysterious electronic effects. It all ends in a feast of ostinatos.

This extended opus offers a substantial listening with all its transitions, integrations and innovations. Laubrock’s music can be slow-burning and quietly exploratory in one moment, combustible and antic the next. Here, she manages to keep the freshness and vibrancy for which her music is known.

Favorite Tracks:
01 (disc one) - Dreamt Twice ► 02 (disc one) - Snorkel Cows ► 03 (disc two) - I Never Liked That Guy

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