The End - Allt Ar Intet

December 28, 2020

Label: RareNoise, 2020

Personnel - Sofia Jernberg: voice; Mats Gustafsson: baritone saxophone, flute, live electronics; Kjetil Møster: tenor sax, clarinet, electronics; Anders Hana: baritone guitar, langeleik; Børge Fjordheim: drums.

The powerhouse Scandinavian ensemble The End magically orchestrates the six compositions that compose its sophomore full-length album, Allt Ar Intet (the Swedish for All is Nothingness), which comes in the footsteps of its predecessor, Svårmod Och Vemod Är Värdesinnen (RareNoise, 2018).

It's impossible to resist the diversified dynamics and ever-inventive texture as we find the group playing with light and darkness to make their sounds resonate. The intrepidly explorative saxophonists Mats Gustafsson and Kjetil Møster, vocalist Sofia Jernberg, baritone guitarist Anders Hana and drummer Borje Frodheim, who sits in for Deerhoof's Gregory Saunier, stake their ground as agitators while bringing their musical personalities into a mighty whole.

Dedicated to the Swedish pianist Per Henrik Wallin, an important figure in Gustafsson's musical formation, “Dark Wish” arrives as a sonic paraphernalia where post-jazz and noise-rock progress together without clashing. A brawny circular progression borrowed from the dark metal imperium supports the concurrent saxophones, one immersed in an ostinato and the other focused on a fiery improvisation. And then comes the amazing Jernberg who, exploring range and timbre like no other singer, battles the piercing forays of the tenor sax.

Møster’s “Intention and Release” is another colossal sculpture, a challenging epic piece that is also darkly poetic and strikingly emotional. With the baritone saxophone conducive to effusive propel, the piece offers substance alongside a hint of flamboyance, culminating with a gutsy pulse and slap tonguing saxophone.

Hana’s compositions, “Allt Ar Intet” and “Kraka Rorde Sig Aldrig Mer”, have distinct configurations. After an ethereal start, the former becomes raw and danceable, incorporating elements of new wave and post-punk in order to bolster an already empathic rock-edged groove. Conversely, the latter spirals into a frenzied metal-punk-free-jazz hymn ramped up by Jernberg’s wild screams over blazing guitar, and an unflagging baritone solo. The sort of esoteric quality found here makes absolute sense, since this piece was inspired by the literary work of British poet Ted Hughes.

Bookending the program are fresh imaginings of Karen Dalton’s “It Hurts me Too”, here featuring the droning vibes of Hana’s Norwegian zither and the plaintive Billie Holiday-esque cries of Jernberg, and Dewey Redman’s “Imani”, a piece from 1973.

Sometimes cryptic, demented on occasion, always bold and fascinating… The End keeps listeners on their toes.

Favorite Tracks:
02 - Dark Wish ► 03 - Intention and Release ► 05 - Kraka Rorde Sig Aldrig Mer

Keith Jarrett - Budapest Concert

December 23, 2020

Label: ECM

Personnel - Keith Jarrett: piano

After the sad news reporting that prolific pianist Keith Jarrett might not ever play again in public after two strokes suffered in 2018, we try to find solace in his discography. The double solo album Budapest Concert, his latest ECM release, was captured live at The Bela Bartok National Concert Hall in Budapest, Hungary, an inspiring country for him for several reasons. First of all, because of his appreciation for Bartok’s impressive music, and second because his maternal grandmother hailed from there. Following up last year’s Munich 2016, this is the second live-recording culled from his memorable 2016 tour.

Over the course of the album’s 14 tracks, we are sucked into his personal musical realm of free improvisation with classical and folk influences. At the end, he even grants us a couple of standards that are usually part of his concert repertoire - a slow-paced rubato interpretation of “It’s a Lonesome Old Town”, which also appeared on the previous recording, and a touching reading of “Answer Me My Love”, an originally German song that was recorded by Nat King Cole, Joni Mitchell and Gene Ammons.

His nimble finger movements whether interlock into pulsating cadences or separate melodic and harmonic threads, making them operate as logic juxtapositions. He does this through intense abstract commotions (Part I, Part IX), comfortable meditations with an occasional dreamy quality (Part II, Part XI), ever-moving routes (Part III), and engrossing rhythms underpinning lush textures (Part IV). “Part X” is a mix of the last two, contrasting with the endearing romantic touch of “Part V”, the unleashing tinge of bop on “Part VI”, the pop/folk coloring of “Part VII” or the inviting blues of “Part XII”.

No one expected this to be at the level of works like The Koln Concert or Solo Concerts: Bremen and Lausanne. And it’s not. Still, it’s Jarrett speaking his sophisticated language, totally immersed in his incontestable style.

Favorite Tracks:
04 - Part IV ► 07 - Part VII ► 10 - Part X

Trio Grande - Trio Grande

December 22, 2020

Label: Whirlwind Recordings, 2020

Personnel - Will Vinson: tenor and soprano saxophones; Gilad Hekselman: guitar; Antonio Sanchez: drums.

Virtuosic things are expected to be found when we hear Trio Grande, a collaborative bass-less trio of high-caliber bandleaders with different backgrounds and influences. In fact, the New York-based group co-led by British saxophonist Will Vinson, Israeli guitarist Gilad Hekselman and powerhouse Mexican drummer Antonio Sanchez, doesn’t disappoint, setting out an aesthetic stall that suits their rare flexibility and vision.

Their eponymous album kicks in with Sanchez’s “Northbound”, a marvel of a piece that slickly walks groovy avenues while blending jazz and rock physiognomies into a distinct contemporary character. Expect enthralling sax/guitar parallelism, an adventurous soprano solo and roiling drum work in due time.

The drummer also brings “Firenze”, a composition that was previously recorded with the sax player Joe Lovano and bassist John Patitucci, and in this version, ends up in a trance-like circumnavigation that invites us to dance; and “Gocta”, a rhythmic spectacle in seven that manages to knit sluggish and energetic threads together. The immensity of ‘lost’ chords infuses a spatial volubility that contrasts with the quicksilver forcefulness of the pulse and texture. Here, the group seems to explore possibilities within the rock, post-bop, dance music, and avant-garde spheres.

Hekselman’s punctilious “Elli Yeled Tov” champions Israeli folklore, yet, in a way, it brings Lionel Loueke-vibes to mind as it flourishes with a celebratory rhythm, clapping, and expressive staccato melody.

Vinson contributes two pieces to the program. Whereas “Oberkampf” soars with melancholic crispness and evocative riffs, “Upside”, retrieved from his 2016 album Perfectly Out Of Place, is gracefully grounded, shaping up as an odd-metered blues.

Both the guitarist and the drummer are responsible for the rocky backbones of each tune, and on the vibrating “Scoville”, a tribute to master guitarist John Scofield, they really funk things up, capturing the latter’s jazz-funk vibe by bombarding fuzzy sounds and preserving elasticity in the dynamics. The shifts in ambiance operated by Sanchez feel great here, and his drum fills are momentous. He and his associates have fun during the conclusive vamp, assuredly built to keep things rockin’.

The eight pieces on this record are representative of these musicians’ artistic credibility.

Favorite Tracks:
01 - Northbound ► 05 - Scoville ► 06 - Gocta

Susan Alcorn Quintet - Pedernal

December 21, 2020

Label: Relative Pitch, 2020

Personnel - Susan Alcorn: pedal steer guitar; Mary Halvorson: guitar; Michael Feldman: violin; Michael Formanek: acoustic bass; Ryan Sawyer: drums.

Cleveland-born, Baltimore-based pedal steel guitar player/composer Susan Alcorn always finds a taut balance between articulate melody and ambiguous, atmospheric ambiances. She’s usually seen playing in duo and trio formats but for her most recent outing, Pedernal, she assembled a quintet with three old collaborators - guitarist Mary Halvorson, bassist Michael Formanek and drummer Ryan Sawyer - and a new backer of her musical cause - violinist Michael Feldman. The album embraces diverse languages, moods and styles, yet, the five Alcorn compositions perfectly cohere as a whole.

The title track initiates the journey by centering guitar and bass in a spiritual communion. The group embraces folk, chamber music and country-jazz with a deep melodic sense in this charming sonic portrait of Cerro Pedernal, a narrow mesa located in northern New Mexico.

Inspired by the Anasazi dwellings in southeastern Utah’s Hovenweep National Monument, “Circular Ruins” enhances a contrasting, restless cymbal activity within the reflective mood delineated by concurrent guitars and violin countermelodies. Halvorson’s exquisite tones are wonderful during the explorative states of suspension created by Alcorn’s colorful chordal work and the lugubrious bowing of the bass and violin.

“R.U.R.”, whose title refers to Karel Capek’s 1920 science fiction play of the same name, reveals a playful nature while expressing bop-flavored lines over an elastic swinging motion. The intimate dialogues between the musicians are not averse to occasional contrapuntal agitation. And these types of episodic reaction driven by furor can be spotted again on “Night in Gdansk”, a 13-minute piece that, in spite of the balletic movements wrapped in dreamy and enigmatic tones, feels sometimes wayward without ever becoming disheveled in its pose. The first part of this composition, which Alcorn had written to be played solo, was adapted to the quintet format, and the group delivers.

The album concludes with the folk musings of “Northeast Rising Sun”, whose euphonic theme is challenged by the soloists' subsequent outside moves. This piece calls forth the Qawwali music.

Alcorn’s long-awaited debut as a leader is a promising sign regarding the work that will come in the future.

Favorite Tracks:
01 - Pedernal ► 03 - R.U.R. ► 05 - Northeast Rising Sun

Tigran Hamasyan - The Call Within

December 17, 2020

Label: Nonesuch, 2020

Personnel - Tigran Hamasyan: piano, keyboards; Evan Marien: bass; Arthur Hnatek: drums. Guest artists: Tosin Abasi: guitar; Areni Agbabian: vocals; Artyom Manukyan: cello.

After two consecutive solo albums, namely An Ancient Observer (2017) and For Gyumri (2018), Armenian pianist/composer Tigran Hamasyan returns to the trio format on The Call Within, his sixth album for Nonesuch and the most fascinating thus far. Pairing up with American electric bassist Evan Marien and Swiss drummer Arthur Hnatek, Hamasyan delves deeper into dreamlike inner states, nudging the band into uncharted realms while drawing inspiration from astrology, maps from ancient eras, geometry, divine mysteries, ancient Armenian design and folklore, and many more.

The album provides several highlights encrusted with technical acuity, and “Levitation 21” couldn’t have opened the album in a better way. Incantatory chants are set against a relaxed piano-driven background; yet, on top of that, the energetic rhythmic thrust of Marien and Hnatek creates a polyrhythmic feel that completely dazzles. It’s a beautiful piece indeed, with effortless transitions in which the ethereal moods of folk and classical contrast with the powerful dynamism of progressive jazz and rock.

The eclecticism of these pieces is tremendous, and “Vortex”, a dancing astral exaltation that starts chunky at first and then becomes fluid as water, can be described as a rich stew of avant-jazz boldness, prog-metal trappings and electronica-inflected riffs.

The visionary blast of expressionism of “Our Film” contains passages propelled by squirreling beat and some others that verge on the contemplative. Featuring a pair of guests - Areni Agbabian on vocals and Artyom Manukyan on cello - this rhythmically astute piece is arranged with loops and tenacious piano moves that lean on the heavy rock stripe.

Chordal dexterity and synth beams populate “Ara Resurrected”, where Hamasyan adheres to the textural detail created by bass and drums, packing a punch with machinelike precision while exploring variable intensities. There's a sharp focus on the pianist’s melodic and rhythmic works, proving why he is considered an innovator by many. The tempestuous drumming of Hnatek comes to prominence here, as well as on “Space of Your Existence”, where he delays tempo a bit to further hype a puzzling groove.

Featuring guitarist Tosin Abasi from progressive metal band Animals as Leaders, “37 Newlyweds” goes back to the candor of traditional folk chants with a world fusion posture, whereas the closer, “New Maps”, shoves us into a scintillating, Vijay Iyer-esque web of nu jazz where no one should be indifferent.

These expertly structured frameworks are designed with imagination and a perfect sense of direction. I hope they provide the same exhilarating listening experience for you as they provided for me.

Favorite Tracks:
01 - Levitation 21 ► 02 - Our Film ► 10 - New Maps

Artemis - Artemis

December 16, 2020

Label: Blue Note Records, 2020

Personnel - Melissa Aldana: tenor sax; Ingrid Jensen: trumpet; Anat Cohen: clarinet, bass clarinet; Cecile McLorin Salvant: vocals; Renee Rosnes: piano; Noriko Ueda: bass; Alison Miller: drums.

Artemis is an all-female supergroup whose seven members already possess deep credentials in the modern jazz world. They are not only intrepid improvisers and colorists but also true team players. Hence, Artemis’ eponymous debut album is highly demonstrative of those feats. Under the musical direction of Canadian pianist Renee Rosnes, this international ensemble proudly features New York-based jazz figures from different parts of the world, namely Israeli clarinetist Anat Cohen, Chilean saxophonist Melissa Aldana, Canadian trumpeter Ingrid Jensen, American vocalist Cecile McLorin Salvant, Japanese bassist Noriko Ueda and American drummer Alison Miller.

Artemis is the Greek goddess of the hunt and the wilderness. The opener, precisely titled “Goddess of the Hunt”, was penned by Miller, who forges an attractive rhythm with Ueda here. The tune features four distinctive soloists - Aldana, exemplary in her acrobatic movements, is effective across the whole range of the saxophone but really stuns whenever she hits the low notes; Rosnes develops fleet phrases with horn fills in the back; Jensen’s unique locution is filled with meaningful piercing notes; and Cohen brings her dulcet sound and agile imagination to the fore.

The interesting arrangement inflicted by Jensen to The Beatles’ “The Fool on the Hill” transformed the amiable pop of the British group into polished post-bop. Amidst the collective effort, it’s hard not to notice the conjoint work of the contrabass and the bass clarinet toward low-end stabilization. This tune is not as fidgety as “Big Top”, an animated swing romp with a few rhythmic variations and a deeper connection with tradition. Rosnes, who wrote it, feels at home here as she sweeps the piano keys with bravura.

Versatility is all over the album, and if the romanticism of Cohen’s “Nocturno”, inspired by Chopin’s classical warmth and wondrously propelled by Miller’s mallet and brush work, flows in a relaxed manner, Ueda’s “Step Forward” waltzes buoyantly with a confident stride. In addition to those, Lee Morgan’s 1963 gem “The Sidewinder” unfurls with a firm sense of control in a graceful, cool-jazz interpretation set at a slower tempo. Jensen, Cohen and Aldana alternate bars, sussing out the sounds and languages that better suit this conversation.

The mesmerizing voice of Salvant brightens up a pair of pieces - a deeply-felt reading of Stevie Wonder’s “If It’s Magic”, an authentic ray of light, and “Cry, Buttercup, Cry”, a composition by Rocco Accetta that was brought to life by the jazz singer Maxine Sullivan in 1948.

These remarkable jazzwomen make a point about creativity.

Favorite Tracks:
01 - Goddess of the Hunt ► 03 - The Fool on the Hill ► 05 - If It’s Magic

Rob Mazurek's Exploding Star Orchestra - Dimensional Stardust

December 15, 2020

Label: Nonesuch, 2020

Personnel - Rob Mazurek: piccolo trumpet, electronic renderings, modular synth; Damon Locks: voice, electronics; Nicole Mitchell: flutes; Macie Stewart: violin; Tomeka Reid: cello; Joel Ross: vibraphone; Jeff Parker: guitar; Jaimie Branch: trumpet; Angelica Sanchez: acoustic and electric pianos; Ingebrigt Håker Flaten: bass; Chad Taylor: drums, percussion; Mikel Patrick Avery: drums, percussion; John Herndon: drum machines.

Trumpeter/composer Rob Mazurek from Chicago wrote and arranged the 10 pieces on his rewarding new album, Dimensional Stardust, to be tackled by the remodeled Exploding Star Orchestra, whose incredibly talented members include vibraphonist Joel Ross, guitarist Jeff Parker, cellist Tomeka Reid, and flutist Nicole Mitchell, just to name a few. In preference to individuality, the work relies on a collective effort that spins a bit of Sun Ra heliocentrism, jazz-hop, modern composition via Morton Feldman influence, and sometimes traces of acid jazz, in a cross-genre approach that defies categorization.

“Sun Core Tet (Parable 99)” is served with a Sun Ra-style dressing and comes garnished with conspicuous accentuations in the melody, classical chamber overtones and motivating percussive grooves, virtue of Norwegian bassist Ingebrigt Håker Flaten and drummer Chad Taylor. Mosaics of flute overfly the balmy harmonies weaved by vibraphone and synth, aptly plucked strings coexist with muted trumpet... all lend a hand to the almost surrealistic interplay that also defines the irresistible “A Wrinkle in Time Sets Concentric Circles Reeling”.

The ghost of Sun Ra also appears on “Parable 3000”, a slightly epic journey into diversity delivered with an ancient feel, imperial shouts and a confident posture. “Galaxy 1000”, in turn, incorporates exuberant chants and makes us tap our feet to an elementary rhythm later adorned with bright hi-hat.

Unequivocally one of the best numbers on the album, “The Careening Prism Within” lends itself to hip-hop with the jazz as a close companion, in the line of Guru and Gang Starr, but upraised at some point by Parker’s dirty, dial-toned guitar sounds and ostinatos.

The penchant for sophisticated eclectic moods continues with the blissed-out “Parable of Inclusion” and the elliptical title cut, “Dimensional Stardust”. While the former shapes up as a percolating dance with circular trajectories, Eastern-tinged undercurrents and the melodic intertwining of Mazurek and Jaimie Brunch's trumpets, the latter piece is configured with moderate tension and a perfectly outlined melodic idea that repeats throughout. Before completion, Taylor’s busy snare drum gains even more significance, following a break in the rhythmic flow.

Damon Locks’ spoken word is particularly attractive on “Autumn Pleiades”, the composition that wraps up the album. Here, the regular boom-bap beat and the surrounding density marked by string instruments suggesting a mix of classical and Eastern languages serve as a launching pad for a crescendo that runs toward a suspended denouement.

Commanding the Exploding Star Orchestra with self-assurance, Mazurek casts a spell with a quietly triumphing recording that leaves its mark. This sui generis body of work deserves praise.

Favorite Tracks:
02 - A Wrinkle in Time Sets Concentric Circles Reeling ► 04 -The Careening Prism Within ► 09 - Parable 3000

Joel Ross - Who Are You?

December 14, 2020

Label: Blue Note Records, 2020

Personnel - Joel Ross: vibraphone; Immanuel Wilkins: alto saxophone; Jeremy Corren: piano; Kanoa Mendenhall: bass; Jeremy Dutton: drums + guest Brandee Younger: harp.

Only with two albums released as a leader, Joel Ross is already considered one of our era’s most brilliant and lavishly gifted vibraphonists. Following up Kingmaker - his encouraging debut on Blue Note - Who Are You? is a collection of 15 new made-to-measure instrumentals whose result is utterly rewarding. Ross, who moved to New York from Chicago, welcomes bassist Kanoa Mendenhall into the group, expanding the original quartet featuring saxophonist Immanuel Wilkins, pianist Jeremy Corren and drummer Jeremy Dutton. Proficient jazz harpist Brandee Younger is also featured on five tracks, including Coltrane’s “After the Rain”, where the sweetness of her sweeps and plucks contribute to achieve spiritual heights.

The record kicks off with “Dream”, a Dutton-penned piece that brings a certain magic spell and dramatic quality. This is followed by Mendenhall’s solo-bass “Calling”, which serves to bridge the path that takes us from the opening piece to the waltzing “Home”, a Ross composition cooled-out by an unspeakable comfort and endearment.

In addition to showcasing Dutton’s rumply drumming, “More?” generates extra excitement by featuring alternate solo segments entrusted to saxophone, piano and vibes. The mind-boggling outside inflections in Wilkins’ warm-blooded playing stand out not only here, but also on a ripe reading of Ambrose Akinmusire’s “Vartha”, in which throbbing bass notes join skittering percussive actions designed with beat-driven detail. Ross churns out a statement full of color, and Dutton concludes the piece with an expedite final stretch. Both contribute heavily to the indomitable energy and all-enveloping sound in the music.

Put forward with stimuli, “Marsheland” exalts sax-vibes unisons and thrives with the surging energy derived from exchanges between Ross and Wilkins.

In contrast with this number, some others denote a super relaxed posture with a melodic grandeur that steeps the listener into the composition with a great deal of warmth. Illustrations of what I’ve just said are “Gato’s Gift”, a dedication to the late Argentinian saxist Gato Barbieri that benefits from Younger’s pristine harp sounds, the ballad-inclined “When My Head is Cold” and “Harmonee”, and “3-1-2”, a homage to Chicago, which concludes the program with melancholy riffery and a modal jazz tradition sometimes redolent of Bobby Hutcherson.

Ross is a storyteller with an ample melodic and harmonic sense. He brings such a broad scope to the jazz vibraphone universe that his music is capable of influencing hearts and minds.

Favorite Tracks:
04 - More? ► 06 - Vartha ► 15 - 3.1.2

Aaron Burnett & The Big Machine - Jupiter Conjunct

December 10, 2020

Label: Fresh Sound Records, 2020

Personnel - Aaron Burnett: tenor saxophone; Adam O’Farrill: trumpet; Joel Ross: vibraphone; Nick Jozwiak: bass; Kush Abadey: drums + Esperanza Spalding: vocals (#3,9).

Up-and-coming saxophonist Aaron Burnett progressed from an in-demand sideman (Esperanza Spalding, Kurt Rosenwinkel, Vijay Iyer) to a respected composer and bandleader. His risk-taking approach to music translates into another interesting album with The Big Machine, an eclectic project formed in 2018 to give him a voice on topics such as corporation corruption and technology addiction. The follow-up to his debut album, Anomaly (Fresh Sound, 2018), is Jupiter Conjunct, which features nine original compositions inspired by the largest planet in the solar system. Backed by a cast of brilliant musicians, Burnett doesn't waste the chance to push the envelope, not only by blending jazz, hip-hop and electronica into gorgeous groove-laden offshoots but also making use of an expansive vocabulary that results in plenty of side-stepping improvisation.

“Color Durations” makes for a haunting opening with trumpeter Adam O’Farrill projecting piercing notes against a mysterious setting. The trumpeter and Burnett complement each other on “The Veil”, a sensational expedition whose rhythmic inventiveness relies on the strongly accented beat of drummer Kush Abadey, the decaying low notes of bassist Nick Jozwiak, and the impeccable integration of vibraphone and Fender Rhodes, responsibility of the young prodigious Joel Ross and gifted keyboardist Carlos Homs, respectively. The latter two musicians are the soloists here in addition to Burnett.

One of the highlights of the album is “Ganymede”, an immediately grabbing, if slightly cryptic jazz/hip-hop overlap with a smart neo-soul touch. It features Esperanza Spalding on vocals, who rides a psychedelic improvisational segment with powerful elasticity while enjoying terse horn ostinatos running in the background. Burnett is equally imaginative in his statement.

The dark-hued “Callisto” is dedicated to Wayne Shorter and evolves with a ponderous, measured beat and an underlying poignancy in tone that recalls Ambrose Akinmusire’s laments. This particular tune contrasts with the piece that follows, “IO”, an uplifting, busy depiction of the most volcanically active moon of Jupiter.

This body of work is built on invulnerable eclectic foundations, and “Ace of Swords” and “Ether” are chosen as phenomenal examples. The former, resolute in the groove and expedite while shifting meters, enjoys a very cool, ambient-soul vibe; while the latter, an EDM-inspired episode sustained by the drum-and-bass propulsion at its base, is reinforced with blistering sax-trumpet interactions and an emotionally intense vibraphone solo.

If anyone had doubts about Burnett’s extraordinary capabilities as a reedman and composer, this album should be sufficiently elucidative.

Favorite Tracks:
03 - Ganymede ► 06 - Ace of Swords ► 07 - Ether

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