Hitra - Transparence

April 1, 2021

Label: AMP Music & Records, 2021

Personnel - Hilmar Jensson: guitar; Alessandro Sgobbio: piano; Jo Berger Myhre: bass; Øyvind Skarbø: drums.

Hidra, an European quartet assembled in Oslo, teams the notable Icelandic guitarist Hilmar Jensson (one of the four pillars in Jim Black's AlasNoAxis) with Italian pianist Alessandro Sgobbio and the Norwegian rhythm section of Jo Berger Myhre on bass and Oyvind Skarbo on drums. The name of the group stemmed from the Norwegian municipality that covers hundreds of islands, islets and skerries, and Transparence, their debut album, functions like a soundtrack depicting that natural scenery.

The two first tracks are experimental oddities with near-minimalist tonalities. Sgobbio’s “Lebtit” is a sonic imagining of the mythical lost city referred in the Arabian Nights and other literary works by Georges Perec and Jorge Luis Borges. A rusty, foreboding electronic effect is appeased by the calm waves of Jennson’s guitar, whereas the muted low notes on the piano reinforce the relentless percussive texture. “Sêtu” is initially marked by some disjointedness, relying on Sgobbio’s pianism to tie everything together. Then, all converges into a pacific jazzy ambiance that feels as much opaque as melancholy.

“Cité des Poètes” is an elegy to the recently demolished housing project of the same name in the suburbs of Paris. The group launches it with chiming subtlety and throbbing pulsation, working on top of a static framework. Jensson’s well-weighted measure of progressive rock and ambient jazz adds tonal color, while, at a later time, it’s Sgobbio who creates some frisson by interlinking staccato chordal pointillism and nervy melodic entanglement.

Whereas “The Perfect Light of Sandstad” probes darker, mysterious soundscapes, bringing Myhre’s bass slides to the center of its theme, “Labtayt” remains in a perpetual suspension whose tension is worked out through guitar figures, bass pedals and dreamlike piano. Noise and ambient cohabit the same space, here bolstered with a variety of haunting percussion.

“Kunftiges” boasts a relative metric complexity and an optimistic serenity supported by a more palpable harmonic work and structural approach. Also filled with stark beauty is the closing track, “Lebenslauf”, in which the group expertly employs tension and space while flirting with Terje Rypdal’s avant-fusion universe. Toggling between contemplative and electrifying, this piece never eschews emotion in favor of aesthetics, and counts on the phenomenal thrust created by electric bass and brushed drums to thrive.

Possessing a knack for explorative sonics, Hitra speaks a language that incorporates an interesting layering that whether causes controlled friction or soars. Despite the somewhat cold feel, the music is never boring or predictable.

Favorite Tracks:
03 - Kunftiges ► 05 - Cité des Poètes ► 08 - Lebenslauf

Punkt.Vrt.Plastik - Somit

March 31, 2021

Label: Intakt Records, 2021

Personnel - Kaja Draksler: piano; Petter Eldh: bass; Christian Lillinger: drums.

At once programmatic and free, the innovative trio Punkt.Vrt.Plastik is also known for having equal parts muscularity and flexibility woven into textures that prove to be tightropes to walk. Pianist Kaja Draksler (here playing two different upright pianos), bassist Petter Eldh and drummer Christian Lillinger draw their sounds from many sources, creating a melting pot of originality, groove and rhythmic fluidity that takes them to distinguished places in the European avant-garde scene.

Somit, the follow-up to their accomplished 2018 debut, starts off with “Helix GA”, a swift demonstration of the trio’s tenacity, rhythmic unpredictability and style. Here, quick-tempered propulsions alternate with calculated fragmentation topped by well-placed piano accents.

“If Asked” sluggishly crawls with a rhythmic cadence that finds encouragement in a piano figure that gradually merges with improvised ideas, eventually dissolving. As a matter of routine, there are pointillistic stresses and fractured surfaces.

Draksler’s bracing piano work on “Membran” is outstanding and comes with swirling figures as well as perfectly executed runs and parallels, all placed over a loose-limbed dance that swings when perhaps least expected. Another piece that swings hard after completion is “Natt Raum”, a motivic and playful electronic-inspired exercise, while “Ribosom” also experiences some of it before falling into other types of groove.

More rhythmic than melodic, the group ventures outside typical patterns without jeopardizing the organic synthesis and tonal balance that make their music so ear-catching. This extraordinary capability is revealed throughout. The short-lived title track, for instance, seems to gleam from the electro-jazz universe to remain in its state of trance. Conversely, Lillinger’s “Amnion” brings more jazz-inspired chordal work to the fore in addition to cross-rhythmic stimuli and occasional polyphonic lines that flirt with dissonance.

“Enbert Amok” and “Trboje” are both throbbing and riddling. The former conserves something primitive in the rhythm, being buckled down with compulsive, chromatic movements and a percussive statement mainly focused on the snare and bass drums. In return, the latter piece assembles a cerebral matrix filled with Monk’s lyrical acuteness and some of Stockhausen’s visionary possibilities.

This is clever, hard-to-resist modern creative music with high levels of detail and accuracy, confirming Punkt.Vrt.Plastik as one of the top jazz trios on the scene.

Favorite Tracks:
01 - Helix GA ► 02 - If Asked ► 05 - Amnion

Michael Formanek - Imperfect Measures

March 30, 2021

Label: Intakt Records, 2021

Personnel - Michael Formanek: double bass.

Michael Formanek is a a peerless genius of the rhythm, whose incredible technique and sublime ears made him one of the most respected bass players in the avant-garde jazz scene. Although he has played in all group formats, Imperfect Measures is just his second solo effort, succeeding to Am I Bothering You? (Screwgun, 1999).

Having structured this work cannily, the bassist enjoys all the freedom he wants, allowing the natural flow of his musical expression to move from track to track with inner logic. The artist/illustrator Warren Linn joined him in the recording session, creating sketches that evolved into collages/paintings that are partly featured in the CD package.

“Quickdraw” initiates this sonic journey with Formanek roaming through a fast, muscular pizzicato imbued with a thrilling melodic sense; this number is followed by “On the Skin”, which, easing up the pace, adds a dark and bluesy poignancy to the melody. The bassist completes the scenario with occasional intervals that help us situate within the harmonic context.

The excellent bowing skills brought to light on “A Maze” echo a sort of chant that becomes more ritualistic as it moves forward. Another conspicuous arco statement occurs in “Airborne”, where Formanek shows off a wide range of action and probes a multiphonic approach that intensifies the enigmatic nature of the moment.

Percussive and reverberating, “Full Frontal” is projected with crisp attacks and sonorous timbre, with some parts of the rhythm denoting rock influences that go perfectly well with the Eastern and folk impressions in the melody. Eastern undertones are also detected with plenty of chromatic wriggling on “Notice Moments”, a rhythmically interesting lament expressed with an instinctive sense of groove.

Formanek finishes off the album with “The Stand”, where a palpable riff becomes the object at the center, around which everything else revolves.

In its essence, it’s beside the point whether the inspiration comes from dance-rock or groove-centered jazz. Some dedication from the listeners will unlock any initial resistance involved in a solo bass storytelling of this nature. And the rewards will come.

Favorite Tracks:
02 - On the Skin ► 05 - Airborne ► 07 - Notice Moments

Elephant 9 - Arrival of the New Elders

March 29, 2021

Label: Rune Grammofon, 2021

Personnel - Ståle Storløkken: piano, Hammond organ, Fender Rhodes, mollotron, synth; Nikolai Hængsle: electric bass, acoustic and electric guitars; Torstein Lofthus: drums.

In the active since 2007, Elephant 9 - the Norwegian trio of keyboard wizard Ståle Storløkken (the group’s main composer), bassist Nikolai Hængsle and drummer Torstein Lofthus - releases its sixth studio album, Arrival of the New Elders, in which they explore an intersection of electric jazz and space-rock, some neo-psychedelia, and futuristic electronic concepts.

The album's title cut gets underway with a looped electronic sweep from side to side, after which the group cuts to the chase with a relaxed groovy jazz in six with the Fender Rhodes at the center. You'll also experience a tensile keyboard solo and carefully chosen synth effects that has a rise-and-float repercussion in the atmospherics.

The jazz shapes up into completely new forms on “Rite of Accession”, an orbital fusion piece moved by a tasteful rambunctious rhythm, agile bass notes, and Hængsle’s acoustic guitar sounds. The group probes different spaces and dimensions here, squeezing portions of world music, funk, rock and electronic music into a cohesive musical universe.

In equal measure, “Chasing the Hidden” is a shapeshifter that first engages in the ambient jazz clouds of the Cinematic Orchestra, passing through a Kraftwerkian segment that recalls programmable automation, and then linking it to a passage built through a Herbie Hancock’s jazz-funk lens.

Preferring laid-back edginess rather than building any pronounced peak, “Sojourn” and “Throughout the Worlds” flow along quite nicely. With a pounding bass note guiding us through a soft pavement, the former reveals a contemplative side that brings out considerable emotional weight. The latter piece, on the other hand, spins with additive meters (5+4), insinuating a smooth ride that, even aligning tempo halfway, never lessens our sense of discovery.

“Chemical Boogie” can be seen as a wildly frenetic reaction to these softer fabrics as it throws in a rousing mix of funk, hip-hop, astral jazz and psychedelia. It certainly contrasts with the slow ambient-funk of “Tale of Secrets”, which is lifted up by a rich jazz saturation, as well as with the melodious “Solar Song”, which caps the diverse program with an exhilarating dub feel and subjecting a repetitive harmonic pattern to key changes.

More than any solo, it’s the unity of the collective that commands our attention throughout the set. Elephant 9 managed to carve out a niche for itself, and this album, a strong one in terms of groove and structural framework, is a gratifying entry in their discography.

Favorite Tracks:
02 - Rite of Accession ► 05 - Throughout the Worlds ► 06 - Chasing the Hidden

Dr. Lonnie Smith - Breathe

March 25, 2021

Label: Blue Note Records, 2021

Personnel - Dr. Lonnie Smith: Hammond B-3 organ; Jonathan Kreisberg: guitar; Johnathan Blake: drums; Iggy Pop: vocals; Alicia Olatuja: vocals; John Ellis: tenor saxophone; Sean Jones: trumpet; Jason Marshall: baritone saxophone: Robin Eubanks: trombone.

The primary attraction of Dr. Lonnie Smith’s Breathe is the one-of-a-kind collaboration between the Hammond B-3 specialist and the rock monster Iggy Pop on two tracks, namely Timmy Thomas’ 1972 soul hit “Why Can’t We Live Together” and Donovan’s psychedelia pop-folk brew “Sunshine Superman”.

Immersed in chill-out vibes, the former piece features the soloing capabilities of Smith, who goes strictly bluesy here, and guitarist Jonathan Kreisberg, who showcases all his rich lyricism and phrasal fluidity. They cast a generous light on the tune, despite of Iggy’s lugubrious vocal tone, which is a better fit here than on “Sunshine Superman”, a number that Smith recorded 50 years ago for his album Move Your Hand. The aforementioned pieces bookend a live album that doesn’t reach new heights or even the energy of its predecessor, All in My Mind (Blue Note, 2018). The music on both discs was culled from 2017 performances at Jazz Standard, by the occasion of Smith’s 75th birthday.

The absence of new originals is compensated for with a solo-less and rhythmically syncopated astral-funk take on Monk’s “Epistrophy”. However, two signature Smith compositions, “Bright Eyes” (made known by George Benson) and “Track 9”, are resurrected here with inspired appeal and vivid colors, partly due to the presence of a four-horn frontline that expands the trio format into a pliant septet. “Bright Eyes” relies on a sleek blend of jazz and soul laid down with a triple-metered flow, and becomes jubilant during John Ellis’ tenor improvisation. “Track 9”, in turn, combines a rock-driven rhythm with an open funk feel, having drummer Johnathan Blake probing multiple rhythmic variations and featuring a trio of horn stretches (Ellis, trumpeter Sean Jones and baritonist Jason Marshall).

If Smith demonstrates his soulful command of the blues on “Too Damn Hot”, then on the R&B-infused ballad “Pilgrimage”, he provides vast space for the voice of Alicia Olatuja.

In no way an embarrassment, the album still doesn’t transcend other central works by the organist.

Favorite Tracks:
01 - Why Can’t We Live Together ► 02 - Bright Eyes ► 04 - Track 9

Christopher Hoffman - Asp Nimbus

March 24, 2021

Label: Out of Your Head Records, 2021

Personnel - Christopher Hoffman: cello; Bryan Carrott: vibraphone; Rashaan Carter: bass; Craig Weinrib: drums + guest David Virelles: piano.

The well-versed cellist Christopher Hoffman, known for his valuable contribution to several Henry Threadgill projects, put together a formidable ensemble to nail down his serious compositions on a more jazz-oriented effort called Asp Nimbus.

For this album, Hoffman drew inspiration from Bobby Hutcherson’s albums Oblique (1967) and Happenings (1979) as well as Threadgill’s Everybody’s Mouth a Book (2001). Thus, it’s not really a surprise to see the wonderful vibraphonist Bryan Carrott on board (he played on the latter record) as well as the exciting drummer Craig Weinrib, as he’s also a regular Threadgill pick and a member of Hoffman’s Multifariam group and Silver Cord Quintet. The bass player Rashaan Carter is the only novelty in a quartet that momentarily expands into a quintet on track 2, ”Dylan George”, with an appearance from Cuban pianist David Virelles. The pianist's creative genius incorporates in the versatile dynamics of the four through overdubbing, materializing a state-of-the-art concoction of funk, modal jazz and post-bop written for Hoffman’s late brother.

Before the cited track, the sumptuous “Discretionary” initiates this aural excursion in seven. Scratchy cello articulations reveal a lyrical eloquence, and then it’s Carrott who interlaces melody and chords through an extraordinary mallet work. The group eventually reinforces the primary 7/4 figure in a final vamp that, upon fading out, still leaves Weinrib actively engaged in the business.

If the title track plays like a vague road map, giving you a sense of immobility before jolting playfully, then the suave “Angels of Influence” provides quietly rigorous moves and inflections, yet squeezing out more assurance than fragility. And this is also by virtue of Hoffman and Carter’s soloing capabilities.

An atypical interlocking groove of bass and drums propels “Orb” as if it had no ground, but things change into a well outlined circularity on “Non-Submersible”, a somewhat relaxing call on the modern classical / chamber music hybrid genre.

Assembled with a consistent tidal pull, “The Heights of Spectacle” concludes the record with astute changing meters (from seven to four and back to seven) and aboveground unisons made of pizzicato cello and wafting vibes, revealing the breath of Hoffman’s influences and inspirations.

These inquisitive rhythmic matrixes and irresistible forward momentums derive from the constant exchange between musicians who know each other’s temperaments and intentions, intuitively.

Favorite Tracks:
01 - Discretionary ► 02 - Dylan George ► 08 - The Heights of Spectacle

Michael Thomas - Natural Habitat

March 23, 2021

Label: Sunnyside Records, 2021

Personnel - Michael Thomas: alto saxophone, bass clarinet; Julian Shore: piano, Rhodes, synth; Hans Glawischnig: bass; Johnathan Blake: drums.

Born in Florida and based in New York, Michael Thomas is a versatile alto saxophonist/bass clarinetist who studied with Jerry Bergonzi, George Garzone and Miguel Zenón. He takes all those influences and more into his new album, Natural Habitat, whose lineup includes pianist/keyboardist Julian Shore, bassist Hans Glawischnig, and drummer Johnathan Blake.

The true-to-name album reveals deep connections to the cities of Boston and New York, a point that also transpires on “Two Cities”, a grounded and yet deliciously far-reaching piece that flows with an additive meter signature (5+5+5+6). Triumphant tenor melodies slide through the tapestry formed by Shore’s chord structure and the compelling rhythmic drive of Glawischnig and Blake. This is the most powerful piece on the record.

If the ballad “Fourth” and the lengthened “Harbor” didn’t really impress me with their acoustic warmth, then the true simmer and boil of Thomas’ composing come to the fore with titles such as “Demise”, another challenging preparation highlighted by nifty improvisations from Rhodes and bass clarinet; and “Float”, an intricate post-bop excursion where dancing bass lines and responsive drumming help shaping passages in 7/4 and 5/4. On the latter piece, the theme is revived halfway, sandwiched between the piano and alto statements.

With the bass clarinet at the helm of the melody, “Different Times” relies on rich harmonic movements to create a diaphanous waltz propelled by scrupulous bass lines and sensitive brushwork. What we have here diverges from the longitudinal perspective offered in the title cut, a straight 4/4 swinging blowout carried out with dynamic interplay. The richly contoured soloing from Thomas and Blake becomes the main attraction on this one.

Buyers of the CD have access to a downloadable bonus track called “For Now”. Pity that Thomas’ outspoken solo is cut short exactly when reaching a climax. Creative spark can be found in an album that gets better and better as it progresses.

Favorite Tracks:
01 - Float ► 07 - Demise ► 09 - Two Cities

Jihye Lee Orchestra - Daring Mind

March 22, 2021

Label: Motéma Music, 2021

Personnel - Jihye Lee: conduction, compositions; Ben Kono, Quinsin Nachoff, Rob Wilkerson, Jeremy Powell, Carl Maraghi: woodwinds; Sean Jones, Brian Pareschi, John Lake, Alex Norris: trumpet; Alan Ferber, Nick Grinder, Mike Fahie, Mark Patterson (#2,5): trombone; Jennifer Wharton: bass trombone; Adam Birnbaum, Haeun Joo (#2,5,8): piano; Sebastian Noelle: guitar; Evan Gregor: bass; Mark Ferber: drums.

After plunging our ears in this recording, there’s no way to deny that former pop singer Jihye Lee composes for jazz orchestra with unbridled imagination. Daring Mind is the follow-up to her debut release, April (2017), and includes nine compositions that, reflecting the bandleader’s first four years in New York, to be performed by the tight-knit orchestra that serves her writerly ambitions.

“Relentless Mind” shows off a mighty potential at an early stage, when a reciprocal orchestral responsiveness occurs on top of a leisurely rhythm with a focus on the beat. Trumpeter Sean Jones, who was the illustrious guest soloist on Lee’s first record, is also featured here, and the singing qualities of his statement are brilliantly matched by the outstanding trombonist Alan Ferber. Upon the improvisations, the invigorating 13/8 groove from where everything blossomed out is reinstated, and the final section gets a more attractive complexion on the grounds of this elegant underlay.

Each state of mind has created a contemporary musical setting that attempts to convey the exceptional array of emotions experienced by Lee. Take the example of “Unshakable Mind”, which, boasting a persistent bass pedal and folk melody at the outset, classifies as resolute and heavy. Taking advantage of the tune's unwavering pulsation, tenor saxophonist Ben Kono delivers a brawny speech that leads to a portentous finale.

As suggested by the titles, “Revived Mind” opposes to “Dissatisfied Mind”. The former employs elated folk intonations to salute the Earth and pay tribute to the nature, while the latter is an insane ride involving stout counterpoint, a burbling trombone emphasizing dark tones via droning effects, a dynamic drum solo, and magnetic baritone blows that announce the ending.

The blustery multiphonic extroversion of saxophonist Quinsin Nachoff makes a jaw-dropping entrance on “I Dare You”, whose lively pace and lush orchestration find an adequate counterbalance not just in “Suji”, which is elevated by Adam Birnbaum’s delicate pianism and loosen up by the brushes of Mark Ferber and the contrapuntal embellishments of guitarist Sebastian Noelle, but also in “Struggle Gives You Strength”, an R&B-flavored pop ballad.

Swamped in hard-swinging variations, the bluesy “Why is That” is probably the closest to tradition you will get here. Hence, don’t expect Daring Mind to be a traditional big band jazz record. Expect something more adventurous and glowing, and still very accessible.

Favorite Tracks:
01 - Relentless Mind ► 02 - Unshakable Mind ► 08 - Dissatisfied Mind

Nik Bartsch - Entendre

March 18, 2021

Label: ECM Records, 2021

Personnel - Nik Bartsch: piano

Recording solo for the first time in 20 years, Swiss pianist/composer Nik Bartsch has here a wonderful return to his much appreciated modular pieces, which are no more, and no less than functional templates where minimal, repetitive elements are assembled in a ritualistic exploration.

A groovy framework emerges right away on the opener, “Modul 58_12”, a conjunction of two pieces previously and separately recorded with his groups Ronin and Mobile. An obsessive note is contextualized by the consistent left-hand harmonic underpinning, which later morphs into a frantic motion. At that stage, there’s a slowly-built melody coming out of his right hand, carving out an impromptu lyricism into the rhythmic structure. Some prepared piano playing contrasts in tone with dreamlike ambiances that are not averse to create suspense.

The architectural rigor in Bartsch’s sonic orbit is also found on “Modul 55”, whose sweepings across the strings of the piano push us into a stationary bubble of conscious rumination. The sound is more gracious than gloomy, and the scattered percussion gives the piece a special touch.

“Modul 26” was also tackled in the past by Ronin and Mobile, on the 2004 albums Rea and Aer, respectively. Its relentless variations find a favorable balance here through a sort of dancing choreography between harmony and melody.

Both excellent mood-shifters, “Modul 13” and “Modul 5” were retrieved from the 2002 solo album Hishiryo Piano Solo. The former boasts an airiness that becomes sequestered by mystery; the latter starts off with compulsive muted notes that lead to an undiminished hectic and near-mathematical propulsion framed with contemporary expressionism. Modern classical influences affiliate with this modernistic discipline.

With a penchant for timing and space, Bartsch makes you lean in to catch every pattern he plays. Entendre is a stirring listen.

Favorite Tracks:
01 - Modul 58_12 ► 02 - Modul 55 ► 04 - Modul 13

Brian Charette - Power From the Air

March 17, 2021

Label: Steeple Chase, 2021

Personnel - Brian Charette: organ hammond B3; Mike DiRubbo: alto saxophone; Kenny Brooks: tenor saxophone; Itai Kriss: flute; Karel Ruzicka: bass clarinet; Brian Fishler: drums.

Armed with an extended knowledge of tradition, NYC organist Brian Charette reunites his groovin' sextet to perform a selection of eight color-rich originals and two jazz standards. The group appears here reformulated with some new members - Kenny Brooks on tenor, Karel Ruzicka on bass clarinet, and Brian Fishler on drums replace Joel Frahm, John Ellis and Jochen Rueckert, respectively, while altoist Mike DiRubbo and flutist Itai Kriss remain in their positions.

Graciously melding hard-bop and soul jazz, “Fried Birds” spurs the same swinging motion and harmonic pulsation that brought fame to Lou Donaldson in the ‘60s. Working on top of a monumental groove, the soloists, one after another, explore their melodic pliability, which culminates with Fishler’s brief spread of chops over a final vamp.

Also packed with multiple stretches is the familiar “Cherokee”, one of the two covers on the album. The other one is “Harlem Nocturne”, a romanticized yet mysterious piece written by Earle Hagen in 1939 for the Ray Noble Orchestra. The screaming tremolos sustained by the Hammond B3 are supplemented with adrenaline-fueled horns in concurrent spiraling movements.

Avoiding sounding tired, the group takes a couple of pieces to a more interesting rhythmic level. While “As If to Say” is initially delivered in nine and then reshapes into a regular uptempo swing, “Silver Lining” has its main melody sliding comfortably over a groove in 11.

However, it was the eclectic aesthetics of “Power From the Air” that really grabbed me. The asymmetrical form of the theme doesn’t impede an irresistible soul jazz steam from gushing forth out of the structure’s surfaces. Other stylistic cross-pollinations include “Want”, a shifting number where the classical suggestions diverge to funk, and “Frenzy”, whose gospelized glee inspires us to dance.

This album illustrates how extremely versatile Charette is.

Favorite Tracks:
01 - Fried Birds ► 03 - Harlem Nocturne ► 06 - Power From the Air

Kuzu - The Glass Delusion

March 16, 2021

Label: Astral Spirits, 2021

Personnel - Dave Rempis: alto, tenor and baritone saxophone; Tashi Dorji: guitar; Tyler Damon: drums.

If you have a watchful eye and taste for free jazz, you’ve probably have heard of Kuzu, an experimental trio co-led by saxophonist Dave Rempis, Bhutan-born guitarist Tashi Dorji and drummer Tyler Damon.

Their abstract mechanics is right on display throughout their second Astral Spirits recording, The Glass Delusion, a proper follow-up to Hiljaisuus, released in 2018 (the year of the group's formation) on the same label, as well as Purple Dark Opal, which came out last year on Rempis’ label Aerophonic Records.

The first two improvisations are titled “It Simply Becomes Jammed”, with part one clocking in at 21-and-a-half minutes and the second at 10. During the first installment we have a buzzing effervescence gaining prevalence until being completely refracted via complex guitar noodling and pointillistic counterpoint that supports and responds to the bursts of saxophone delivered with magnetic timbral variety. The energized drumming proposed by Damon embraces primitive rhythmic states at the core, but on the surface, both chops and textures are filled with a pleasing intricacy. Spreading their sounds in every direction, the trio assembles decorative sonic mosaics using repetitive figures, droning murmurs and perceptive rhythmic cadences.

Part 2 kicks off with improvisational firepower. Guitar pollution joins the jumpy drum work, generating a chaotic feel gingered up by the herculean saxophone raids atop. Rempis, a titanic force in the Chicago free jazz scene, is a constant searcher, whose prolific ideas often ignite the spark for rhythmic reactions. Whether encouraged or backlashed by the rhythm team, his actions always stir something worthy of attention.

The third and last track on the album, “Gnash”, probes more pacific, sometimes mantric atmospheres well anchored in Dorji’s exotic guitar. With the trio united in prayer, this is like having a psychedelic stew made of free improv and Eastern patterns. The finale highlights the work of the guitarist, who explores tapped harmonies, looped sequences and piercing, chiming effects.

Bending, tugging and expanding, the music of Kuzu confirms they keep looking ahead.

Favorite Tracks:
01 - It Simply Becomes Jammed Part 1 ► 03 - Gnash

César Cardoso - Dice of Tenors

March 15, 2021

Label: Self released, 2021

Personnel - César Cardoso: tenor sax; Miguel Zenón: alto sax; Jason Palmer: trumpet; Massimo Morganti: trombone; Jeffery Davies - vibraphone; Oscar Graça: piano; Demian Cabaud: bass; Marcos Cavaleiro: drums.

Taking best advantage of his arranging skills for big band and honoring some of his musical heroes, the 39-year-old Portuguese saxophonist César Cardoso trails an arresting musical path with his newest album, Dice of Tenors. With this purpose in mind, he gathered a supple octet in which he shares the frontline with two American horn mavericks, Miguel Zenón and Jason Palmer, and the Italian trombonist Massimo Morganti. The program includes two originals and six famous tunes whether penned or made famous by titanic reedmen such as John Coltrane, Hank Mobley, Joe Henderson, Sonny Rollins, Benny Golson and Dexter Gordon.

Golson’s “Along Came Betty” arrives with an intricate reharmonization, thriving with a Latinized groove and metric adventure. It’s a wondrous jazz fantasy whose arrangement recalls the Dave Holland Quintet, in part due to the substantial presences of vibraphone and trombone. The solos come from bassist Demian Cabaud, Cardoso, and drummer Marcos Cavaleiro, whose final expansions are tinged by horn colorings.

Irving Berlin’s “Remember” evokes the high-spirited vibe of Hank Mobley’s hard-bop, which is reinforced by Palmer’s killing solo and then slightly deflected through the positive misconstruction offered by the pianist Oscar Graça.

The focus on bringing the contemporary and the tradition together is also evident on “Three O’Clock in the Morning”, here tested in seven for an enchantment other than that offered by Dexter Gordon on the album Go (1962). Another example is Coltrane’s “Giant Steps”, impeccably crafted with shifts in tempo and no interruption of the energy flow. Palmer delivers again, but it's the master Zenón who steals the show with elastic bursts of expression.

The original material, “Rafaela” and “Agueiro”, matches the spirit that Cardoso envisioned for this body of work. The former, embracing relaxation and flowing with an additive meter (3+3+3+4), allows us to experience a polyrhythmic effect as the melody takes shape; the latter sculpts a post-bop narrative with an occasional balladic touch.

Joe Henderson’s “Recorda-Me” and a curious arrangement of Sonny Rollins’ “St. Thomas” complete the session.

At the first sight, the familiarity of the track list may cause some bold listeners to turn up their noses at the disc. Yet, if that's the case, the ambitious arrangements and the apt execution are here to make them change their minds.

Favorable Tracks:
01 - Along Came Betty ► 05 - Giant Steps ► 10 - St Thomas

Dan Blake - Da Fé

March 11, 2021

Label: Sunnyside Records, 2021

Personnel - Dan Blake: soprano and tenor saxophone; Carmen Staaf: piano, Rhodes; Leo Genovese: synth, piano, Rhodes; Dmitry Ishenko: acoustic and electric bass; Jeff Williams: drums.

On his new outing, saxophonist Dan Blake ponders about climate change, poverty and hunger, at the same time that pays tribute to the spiritual leaders and activists committed to make this world a better place. Blake, who carved out his musical skills with Anthony Braxton and Julian Lage, plays exclusively originals on Da Fé, forging an empathic bond with his peers while offering us opportunities to bask in his catchy and articulate sonic imaginings.

“Prologue - A New Normal” opens the record as a beautiful solo piano work. The performer is Carmen Staaf, who combines dreamlike cascading lines and chordal sustains to create tension. What could have been round corners are bent into moderately sharp angles, and by the end, eerie electronics reinforce the sense of danger.

In “Cry of the East”, a dedication to the Palestinian people, a shifting rhythmic figure and sinewy soprano lines flow along a jazz waltz. At some point, I felt like having Yusef Lateef and John Coltrane performing on the same wavelength.

“Like Fish in Puddles”, whose title stems from Atthakavagga, a collection of Buddhist poems, features the inventive Argentinian keyboardist Leo Genovese, whose futuristic sounds were added in post-production. Identified as modal jazz, this number highlights a fervently prayerful soprano sax on top a Tyner-esque piano practice. Expansions and contractions occur with a no-frills work by the rhythm team of bassist Dmitry Ishenko and drummer Jeff Williams, and the final section welcomes well-balanced saxophone overdubs and fluttering, laser-like synth effects into a vamp.

The finely layered title track, benefitting from Eastern sounds and Genovese’s off-kilter synth moves, lashes together sluggish bass lines and energetic saxophone discharges for an interesting outcome.

Both “Doctor Armchair” and the noir “The Grifter” have one foot in the post-bop terrain and the other in the avant-garde jazz. Whereas the latter piece takes two saxophone threads to an agreement after a turmoil, the Monk-tinged “The Cliff” initially aligns them to form a kinetic chain of neo-bop caliber, and then separates them for a polyphonic aesthetic that coalesces, perplexes and connects effortlessly. The groove in seven from where everything had departed is resumed after a bass monologue.

Each piece encompasses a self-sufficient storyline with no obvious hooks, which is wonderful, and the enduring “Pain”, Blake’s emotional response to some recent losses in the family, is another good example. The bandleader shouts continuous tenor cries delivered with an extraordinary range, crisscrossing the cosmic rubato textures he might find in the way.

It’s hard not to appreciate what Blake puts together here with so much passion. The special and unique personality of Da Fé is on full display as its creator seeks for justice, truth and compassion through music.

Favorite Tracks:
03 - Like Fish in Puddles ► 04 - Pain ► 06 - The Cliff

Malnoia - Hello Future

March 10, 2021

Label: Outside in Music, 2021

Personnel - Jorn Swart; piano; Benni von Gutzeit: viola; Lucas Pino: bass clarinet.

Questioning what means to be human and the value of art in a technological age, the trio Malnoia - led by the pianist/composer Jorn Swart and featuring Benni von Gutzeit on viola and Lucas Pino on bass clarinet - releases their sophomore album, Hello Future, and fills it with carefully crafted scores that escort commissioned short stories about science fiction and the future. The trio boasts a boundary-leaping style with abundant lyricism, pointillism and contrapuntal movements, showing a masterful control over the flow of their music and its artful transitions.

“First Ocean” blends tempered folk and contemporary chamber music in a seamless, enjoyable manner. There’s a practical urgency in the harmonic accompaniment that counterbalances the poignancy of the melody. The result does justice to a story, written by Swart himself, about a space traveler who has forgotten the smell, feel and sensation of the sea.

The nature of “Paultjuh” moves the band into a lulling, shimmering space capable to create a balmy, if nostalgic, effect on the listeners. The viola cries appear to be moaning howls, while the bass clarinet validates the emotionally-driven piano harmony through patterned constellations of notes. There’s more light than darkness in this poetically profound exertion inspired on Radiohead’s “Pyramid Song”.

Whereas “The Ghost” is a slow waltz drowned in pathos, the classical-soaked “New Religion” embeds three layers of a time-shifted melody that evolve with grace, in a pure investment of uplifting Mozart-like dynamics.

Classical and Latin passages are coupled with elegance on “DemocrApp”, while “Choro Humano”, disclosing its real nature on the title, explores the Brazilian genre with the happy vibe and staggering virtuosity for what it’s known. It’s all here, with no need for bass or percussion.

“Tubifoot” brings back all that jazz, exhibiting a mainstream posture and swing language. Distant from this mood, “Prelude to Singularity” employs unwavering dreamy piano, euphonious viola scratches and ruminative woodwind sounds to sonically depict the story of a man who found out that the concert that most affected him emotionally had been created by an algorithm. The latter number precedes the suave closer, Vangelis' “Tears in Rain”, the sole non-original composition on the album, which served as an emotional intensifier of Roy Batty’s famous monologue in the sci-fi classic Blade Runner.

All contrasting stylistic elements of Hello Future are woven together with a methodically organized discipline and filtered into a unique blend of music that has its charms.

Favorite Tracks:
01 - First Ocean ► 02 - Paultjuh ► 07 - Choro Humano

Wadada Leo Smith / Douglas R. Ewart / Mike Reed - Sun Beans of Shimmering Light

March 9, 2021

Label: Astral Spirits, 2021

Personnel - Wadada Leo Smith: trumpet; Douglas R. Ewart: woodwinds; Mike Reed: drums.

Sun Beans of Shimmering Light is a fantastic set of improvised music by trumpeter Wadada Leo Smith, Jamaican-born woodwind player Douglas R. Ewart and drummer Mike Reed, all AACM musicians known for bringing a fresh perspective to any project.

This special encounter happened in 2015, but, criminally, only now is being released on the Astral Spirits label. As a true sensory catharsis, the music takes several forms, sometimes going from delightfully descriptive to energetically dynamic. The opening track, “Constellations and Conjunctional Spaces”, wields contemplative, audacious and prayerful moments in a constant exchange of energies. By plunging their instruments in tonal contrasts, Smith and Ewart create beautiful effects during a dialogue that stirs passion. While the former artist embraces infinite abstraction and multiphonic enchantment, the latter takes us to exotic places, exploring astringent cascading lines, whether on the bassoon or the sopranino. Reed’s pummeling percussion is often amorphous but well honed, cohering with whatever it’s going on at the fore.

The album’s title track displays crystal clear trumpet notes underpinned by chiming and rattling percussion at first, before evolving into a meditation with flute at the center. Near the end, this same flute probes elliptical trajectories, becoming occasionally percussive as it supports the boldness of Simth’s muted trumpet.

“Super Moon Rising” assimilates extra percussion in the aesthetics, imposing the majesty of toms, cymbals and snare drum rolls in order to grapple with the fierceness and the projection of the trumpet. Ewart then skitters around between Eastern-patterned arches before expressing his final thoughts.

Although enjoying the freedom of not having to deal with tempo, the trio suggests a three time feel on the introductory riff of the short “Dark Tango”, whose intuitive denouement is fabulous.

Each track churns with impressively cohesive ideas; all is improvised, nothing is disjointed. Hence, what Smith, Ewart and Reed do here resonates with musical assurance.

Favorite Tracks:
01 - Constellations and Conjunctional Spaces ► 03 - Super Moon Rising ► 05 - Dark Tango

Logan Richardson - Afrofuturism

March 8, 2021

Label: WAX Industry / Whirlwind Recordings, 2021

Personnel - Logan Richardson: alto saxophone; Igor Osypov: guitar; Peter Schlamb: vibraphone, keys; Laura Tagliatela; vocals; Dominique Sanders: bass; Ryan J. Lee: drums; Corey Fonville: drums; Ezgi Karakus: strings.

Afrofuturism signals the 5th album release from alto saxophonist Logan Richardson, who summoned the most recent convening of his Blues People group to play two of the 14 tracks on the album. Born in Kansas, Missouri, and having lived in New York and three different European countries, Richardson is influenced by all kinds of music, but here he pivots away from his previous albums to engage in a more encompassing style that, even if not so triumphant, comes with important social messages.

The album kicks off with the voice of vibist Stefon Harris on “Say My Name”, after which the aforementioned unit is called for “The Birth of Us”, a mid-tempo romp whose rawness is partially softened by the production. The formidable drumming of Ryan J. Lee joins a well-calibrated mass of synth and guitar. Together they spread the energy, which is given a considerable boost through Richardson’s explorations on the higher register.

There are a lot of interlude-like pieces whose broad sonic variety causes a sensation of dispersion. We have archive recordings, vocal tracks, synth-soaked soundscapes, vignettes driven by hard-hitting beats, and a solo sax piece, “For Alto”, whose familiar title discloses a tribute to the sensational living legend Anthony Braxton.

The assortment of genres continues even when the bandleader plays unaccompanied and takes full control of the instrumentation. If “Light” is a mellow ballad with reverb-drenched synth beams, “Trap” paves the balladic Southern terrain with a hip-hop rhythm. In turn, “According to You” blends playful R&B with some neo-soul and psychedelia.

With a lot of elements tossed in, the album comes off feeling more conflicting and sketchy than integral, yet the whole quintet has a positive come back for the circular “Round Up”, which tries to call attention for the police behavior during recent American protests. Here, Richardson’s lamenting riff becomes part of the base that supports Igor Osypov’s mordant guitar. Nonetheless, it was “Black Wallstreet” that impressed me the most. Remembering the Tulsa Race Riots in 1921, the latter cut not only features Ezgi Karakus' magnificent string arrangement but also motivates the alto saxophonist, who rises well above the sonic tapestry with poignancy and intervallic awe.

Decidedly not the most vital work from Richardson, the uneven Afrofuturism will still find an enthusiastic niche audience. The thing is: ample eclecticism doesn't necessarily come into a favorable outcome. And that’s the case with this record.

Favorite Tracks:
02 - The Birth of Us ► 07 - Trap ► 10 - Black Wallstreet

Benoit Delbecq - The Weight of Light

March 4, 2021

Label: Pyroclastic Records, 2021

Personnel: Benoit Delbecq: piano, prepared piano.

By curbing any conventional direction for his music, the classically-trained Paris-based pianist Benoit Delbecq takes us to uncharted territories that are sometimes challenging to explore. That’s the case with this recording, The Weight of Light, his first solo effort in more than a decade.

Motivated by movement-centric perspectives on shadow and light, Delbecq’s frameworks encapsulate prepared piano for a robust rhythmic feel, as well as improvised lines that search for a flow, whether when aimlessly digressing or tracing a calculated route.

Three pieces from the excellent jazz quartet album Spots on Stripes (Clean Feed, 2018) resurface here, obviously with completely different shapes, moods and colors. Whereas “The Loop of Chicago” concedes a space to an ancient feel that stems from the percussive left-hand work (with prepared piano) alongside the modern creative pianism, “Dripping Stones” pricks us with pungent chromaticism in the harmonic movements. In turn, “Broken World” feels less rhythmically synthetic and consequently more mellifluous and emotional.

If “Family Trees”, another previously recorded selection, increases the sense of rootiness with its mbira-like rhythmic fluxes, “Chemin Sur Le Crest” envelops us in a cloud of hypnotic rhythm and relentless melody. Like on other pieces, I kept sensing a primitive side that bonds with the bright contemporary touches.

Nevertheless, my absolute favorites on the album are “Anamorphoses” and “Pair Et Impair”. The former, organically designed and sonically captivating, combines exotic portions of melody and droning ideas with ritualistic tendencies; the latter, impeccably synchronized and erratic on the beat, has a danceable quality to it, feeling lightly skittering in the keyboard approach.

Eschewing dense textures, Delbecq delivers exactly enough. Everything is laid bare on behalf of a peculiar atmosphere.

Favorite Tracks:
06 - Anamorphoses ► 08 - Pair Et Impair ► 09 - Broken World

Matty Stecks & Persiflage - Night Cravings

March 3, 2021

Label: Self released, 2021

Personnel - Matthew Steckler: saxophones, flute; Curtis Hasselbring: trombone; Todd Neufeld: guitar; Dave Ambrosio: bass; Satoshi Takeishi: drums.

American saxophonist/flutist Matthew Steckler (aka Matty Stecks) is probably most known as the leader of the joyful reeds-infused sextet Dead Cat Bounce. Still, it’s Persiflage, one of his other projects made in New York, that immediately jumps out for its diversity, fun and energy. The band’s debut album was released in 2006, featuring New York-based jazz luminaries such as Curtis Fowlkes, Michael Cain, Lonnie Plaxico and Pheeroan akLaff. 2021 marks the return of the ensemble, totally renewed in terms of performers, in a set of potent originals recorded at the esteemed and now extinct Avatar Studios in Manhattan in 2012. The saxophonist, who was living in Brooklyn at that time, is backed here by respectable artists such as trombonist Curtis Hasselbring, guitarist Todd Neufeld, bassist Dave Ambrosio and drummer Satoshi Takeishi.

A gooey groove comes right out of the gate on “Night Cravings”, where the band luxuriates in an interesting post-bop infused with a funk-rock feel. There’s a liberating sense of freedom in how the saxophone and trombone deliver their lines before joining in unison. Cool rhythmic figures are built in an energetic saxophone statement that triggers spontaneous reactions in the guitar comp. Takeishi concludes the improvisations with a malleable percussive elongation.

“Do the Betty Rubble” makes its Eastern-tinged main theme take unexpected detours as it blossoms into an elated swing adorned with generous slices of hard rock. The solos belong to Ambrosio, Hasselbring and Steckler.

“Agriturismo” and “What Seems Eternity in Salem” are like night and day. While the former shapes up as a rollicking, good-humored fanfare taken to avant-garde territories, the latter, more subdued and sparse, reveals a romantic idealization that embraces introspection. Neufeldt’s work is particularly attractive on the acoustic guitar.

The two last tunes on the album share some tonal patterns and on-the-nose parallel movements. “Unison” leads off with a passionate, furious vibe, but then plunges into an unceremonious improvisational pool of multiple intensities; “Ant Colony” consolidates melodic sensibility and rhythm invention, affixing a lovely cycle of chords in due course for a rich guitar solo.

Night Cravings surpasses the Persiflage’s debut, having Steckler and company posing with sporty optimism and crisp musicality.

Favorite Tracks:
01 - Night Cravings ► 02 - Do the Betty Rubble ► 04 - What Seems Eternity in Salem

Charles Lloyd and The Marvels - Tone Poem

March 2, 2021

Label: Blue Note Records, 2021

Personnel - Charles Lloyd: tenor saxophone, flute; Bill Frisell: guitar; Greg Leisz: pedal steel guitar; Rueben Rogers: bass; Eric Harland; drums.

The incredible Charles Lloyd, 82, has in Tone Poem his third work with The Marvels, a piano-less ensemble composed of Bill Frisell on guitar, Greg Leisz on pedal steel guitar, Rueben Rogers on bass and Eric Harland on drums. On this recording, the sui generis sound and approach of the saxophonist are fully intact and in perfect balance with the bluesy and folk intonations of the band that supports him. The program consists of a mouth-watering selection of originals and covers, which pivoting between contemplation and ecstasy, achieve wonderful results.

Lloyd initiates this journey by stamping his personal signature in two notorious compositions by Ornette Coleman - “Peace”, which carries an offbeat avant-country vibe while embracing the spiritual side of things, and “Ramblin’”, a static delight made of hypnotic drumming, chromatic bass moves, and rock’n’roll-ish guitar continuum adorned with bluesy chops, over which cascades of lyrically kinetic tenor lines are thrown in abundance.

The group airs a folk-pop melancholy while driving Leonard Cohen’s “Anthem” with a slow yet assured pace, while on the romantic “Ay Amor”, penned by Cuban singer/pianist Bola de Nieve, Lloyd and Frisell have the power to stun and petrify, such is the beauty of their expressions. The final two-chord vamp in this piece feels like a slow motion of “Tone Poem”, a prominent Lloyd piece where the saxophonist careens off modal avenues with astonishing brilliancy. Although less fervent in comparison with that unforgettable 1985 Town Hall interpretation (in a quartet with Petrucciani, McBee and DeJohnette) for the jazz film One Night with Blue Note, this new exposition of the song oozes groove and denotes subtle nuances in the melody in addition to an introductory sax/percussion ramble.

Having been included on the previous outing - Vanished Gardens (Blue Note, 2018) - as a duet with Frisell, “Monk’s Mood” is revisited here with sculptural layers of guitar and a full rhythm section. Two other previously recorded pieces to appear on the track listing - “Lady Gabor” and “Prayer” - were tackled by the Chico Hamilton Quintet, of which Lloyd was a member in the 1960’s. The former number, ecstatically percussive, surfaces with flute articulation and guitar atmospherics with episodic rock washes; the latter emits a warm glow and features a fine arco bass statement.

A new Lloyd blues, “Dismal Swamp”, works as a dulcet yet stimulating tonic where flute-guitar unisons follow a path through the functional light-funk area defined by the rhythm.

With a consummate ability to touch our hearts and speak to all of us through his majestic music, Charles Lloyd has here his best recording with The Marvels and another timeless work to be cherished.

Favorite Tracks:
02 - Ramblin’ ► 04 - Ay Amor ► 07 - Lady Gabor

Soft Works - Abracadabra in Osaka

March 1, 2021

Label: Moonjune Records, 2020

Personnel - Elton Dean: alto saxophone, saxello, Fender Rhodes; Allan Holdsworth: guitar; Hugh Hopper: bass; John Marshall: drums.

The fusion supergroup Soft Works was born from the earliest attempt to revive the venerated experimental jazz-rock unit Soft Machine. The short life of this group generated one single album, Abracadabra, but now, drawing from a 2003 live session at Namba Hatch in Osaka, Japan, comes this double album mastered by English guitarist Mark Wingfield.

The magnetic music invites us to indulge in saxophonist Elton Dean’s sinewy inventiveness, examine the melodic precision of guitarist Allan Holdsworth while he mixes the speed of metal with rock stamina in the form of hot personal guitar licks, be intrigued by the humming roundabouts and relaxed grooves of bassist Hugh Hopper, and surrender to the rhythmic activity of drummer John Marshall.

Both the personal solos and collective interplay are consistently rewarding throughout, yet the highlights are Dean’s “Seven Formerly”, whose early atmospheric harmonization evolves calmly toward exciting realms, Holdsworth’s darkly engaging “Alphrazallan”, and Hopper’s “Abracadabra”, which carries a chromatic Spanish tinge at the core.

This tour-de-force concert was turned into a treat of a record.

Favorite Tracks:
01 - Seven Formerly ► 02 - Alphrazallan ► 07 - Abracadabra