Miho Hazama - Imaginary Visions

September 20, 2021

Label: Edition Records, 2021

Personnel - Miho Hazama: composition, conduction + Danish Radio Big Band (soloists) - Karl-Martin Almqvist: tenor saxophone; Hans Ulrik: tenor saxophone; Peter Fuglsang: alto saxophone; Anders Gaardmand: baritone saxophone; Mads la Cour: trumpet, flugelhorn; Mårten Lundgren: trumpet; Petter Hängsel: trombone; Peter Dahlgren: trombone; Nicolai Schultz: flute; Henrik Gunde piano; Per Gade guitar; Kaspar Vadsholt: double bass; Søren Frost: drums.

A phenomenal presence in the orchestral world of modern jazz, Tokyo-born New York-based Miho Hazama composes and arranges with insight and extremely good taste. Her incredible talent, which got her a Grammy nomination with the chamber ensemble m_unit, is again on display throughout this new album recorded with the acclaimed Danish Radio Big Band, and whose program consists of seven tracks that shift from one colorful mode to the next.

Hazama was invited to join the cited European Big Band as a chief conductor, following the steps of trumpeter Thad Jones, trombonist Bob Brookmeyer and pianist Jim McNeely, and she actually takes the ensemble into a new gleam. The sumptuous arrangement and deft execution of the opener “I Said Cool, You Said…What?”, which is directly related to the invitation, immediately confirms that as it shines with a venturous 13/8 meter signature, a melodic swirl that challenges and charms, and central statements by Nicolai Schultz on flute, Henrik Gunde on piano and guitarist Per Gade, who scorches the scenario with fuzz chops.

Serene but with a feel-good posture, “Your Scenery Story” probes different signature meters, presenting individual manifestations from trumpet and saxophone as well as impeccably layered collective passages.

“Mingle-Mangle Goody Bag” swings lavishly with a Mingus-like vibe, becoming affiliated with the melodic contours à-la Henry Mancini displayed on the thoroughly simpatico “Mimi’s March”. In the latter, we have some gravitational trombone waves and meaty lines fleshed out by Anders Gaardmand's baritone sax, but the beginning seems to join the traits of a small rock group with a jazz big band, while grooving aplomb.

The galvanizing “On That Side” opens with a bass solo before establishing an urgent, vigorous forward motion in 7/8 tempo. Adapting to the musical contexts suggested, the band embarks on captivating explorations of sound and texture as well as improvisations that develop with extemporary freedom. The album concludes by balancing lush orchestration with some balladic pop undercurrents on “Green”.

With an extraordinary amount of clarity and virtuosity, this recording provides both punchy and sensitive moments that will make it stand the test of time.

Favorite Tracks:
01 - I Said Cool, You Said…What? ► 05 - Mimi’s March ► 06 - On That Side

Henry Threadgill Zooid - Poof

September 16, 2021

Label: Pi Recordings, 2021

Personnel - Henry Threadgill: alto saxophone, flutes; Liberty Ellman: acoustic guitar; Jose Davila: tuba, trombone; Christopher Hoffman: cello; Elliot Humberto Kavee: drums.

The unparalleled saxophonist Henry Threadgill, a primary figure in the modern creative and avant-garde jazz worlds for years, returns with his Zooid project. As per usual, the musical personalities of the musicians involved in Poof - guitarist Liberty Ellman, tubist/trombonist Jose Davila, cellist Christopher Hoffman and drummer Elliot Humberto Kavee - contribute plenty of exoticism and lyricism to the uniquely developed compositional forms of the bandleader, in a quirky confluence of sounds that create engrossing paths of inquiry.

Take the example of the opener, “Come and Go”, which assumes the shape of an atypical marching procession embracing hopping tuba groove, quizzical cello melody, folksier guitar pointillism, conversational alto sax fluency, and an unobtrusive rhythmic layout on the drum kit. It might seem disjointed at a first glance, but rest assured that all coheres with gorgeous effulgence.

The title track gets the ball rolling with a busy dialogue, which is put on halt, firstly when Ellman plays unaccompanied, and then when Threadgill’s alto takes the lead with irresistible pathos. Hoffmann then follows them, talking brightly.

“Beneath the Bottom” probes interesting tones with the contrast created by trombone, cello, flute and guitar. It remains within a nebulous sonic cloud until the appearance of an elegant groove. Also interesting is “Happenstance”, which counterpoints calmness and tension through cello shrieks and unflappable acoustic guitar. In the course of his magical solo, Ellman demonstrates why his sound and approach are distinctive, and later on, it’s Kavee who reminds us that he has a beat of his own. The final section brings both in-sync and contrapuntal movements.

Pushing the pulse with wry pleasure, the incisive and sophisticated “Now and Then” wraps up the album with genuine group cooperation and an outstanding multiphonic finale.

This is a great return from Threadgill, who showcases the poetic puzzlement of his compositions and that magical style that leaves us marveled.

Favorite Tracks:
01 - Come and Go ► 02 - Poof ► 05 - Now and Then

Tumi Arnason - Hlynun

September 15, 2021

Label: Reykjavík Record Shop, 2021

Personnel - Tumi Árnason: tenor saxophone; Magnús Jóhann Ragnarsson: piano, Rhodes, farfisa; Skúli Sverrisson: electric bass; Magnús Trygvason Eliassen: drums.

The saxophonist Tumi Árnason, a native of Reykjavik, releases a unified, fully realized six-part opus envisioned as a reflection on climate change and its devastating consequences. Hlýnun, which means warming, reveals a compelling narrative where each track pours into the next with rivulets of sound that wash you over as if you were in the middle of a lucid, foreboding dream. The quartet is deeply attuned to this approach, creating an imaginary ecosystem that first comes to life with “I - Lungu”, where Árnason’s saxophone wails are in fine cooperation with the relentless cymbals of Magnús Trygvason Eliassen, the sustained bass expressions of Skuli Sverrisson and the intangible, mergeable keyboard sounds of Magnús Jóhann Ragnarsson. Together, they immerse themselves in a still, if tense, lake of mists. Things are softened up without discarding any experimental parameters, and we have spontaneous bass moves, cymbal screeches and scratches, and high-pitched sax laments cohabiting the final section.

The peculiarly titled “II - ‘Ō‘ō‘ā‘ā” shows the saxophonist assuming the lead via tessellated rhythmic figures and eruptive runs that transpire some Coltrane influence whether by intonation or expression. The avant-garde foray is given extra color with the arresting tonal shifts and curious sounds that stem from Ragnarsson’s keyboardic incursions.

“III - Svart Haf” is initially given some context by Sverrisson, who brings crystal harmonics into his enigmatic playing. His work is later complemented with brushed drums and piano remarks. At the time the bandleader interpolates his lines, we are already involved in this mysterious bubble of sound. The tones are lugubrious, and Eliassen makes a statement on top of this menacing demeanor, followed by the dark, clamant timbres of the tenor. The final section sounds eerily monastic on account of the organ, and things are really pushed to the dark side here.

“IV - Söngur úr svartholinu” evolves in a serene way, patiently morphing dynamics and textures with both surprise and precision. Some classical overtones are detected, also in the loop-like phrases delivered by Árnason, which happen right before an intermission that changes the group’s direction for the initial melodic path but with the piano at the center.

The last combined movements, “V - Um heimsslit; VI - Suð" address the end of the world, first through an airy ballad that momentarily clears the dark clouds out of the sky, and then by delivering an electronic-designed conclusion.

Árnason deserves credit for this project, cementing he’s not only a meritorious composer/saxophonist but also a conscientious citizen whose music mirrors his concern for a topic that needs urgent attention.

Favorite Tracks:
02 - ‘Ō’ō‘ā‘ā ► 03 - Svart Haf ► 04 - Söngur úr svartholinu

Arturo O'Farrill and the Afro Latin Jazz Ensemble - Dreaming in Lions

September 14, 2021

Label: Blue Note Records, 2021

Personnel - Arturo O’Farrill: piano, composition; Adam O'Farrill: trumpet, flugelhorn; Rafi Malkiel: euphonium, trombone; Alejandro Aviles: flute, saxophones; Travis Reuter: guitar; Vince Cherico: African percussion, drums; Carlos "Carly" Maldonado: maracas, marimba; Victor Pablo Garcia Gaetan: conga, cuica, dumbeq; Bam Bam Rodriguez: bass; Zack O'Farrill: drums.

Pianist, composer and bandleader Arturo O’Farrill became widely known for giving the Latin jazz genre a relevant contemporary dimension, often in command of his Afro Latin Jazz Orchestra. For Dreaming in Lions, his latest record and debut on the iconic Blue Note Records, he shortened the big band into a 10-piece ensemble that performs two suites while trading the traditional Latin luster for something more sophisticated and steeped in modernity.

Combining poignancy, irreverent warmth and explosions of spontaneous color, these orchestrations have their inception with “Del Mar”, the first of five movements that compose the Despedida suite, a reflection on farewells. The piece is impeccably layered with polyrhythmic sumptuousness and spiced up by brass and woodwind ostinatos. There's also a magnetic piano solo delivered with inside-outside dexterity and perfectly positioned accents.

If “Beauty Cocoon” and “La Llorona” (not to be mistaken with the folk Mexican song) feel very Cuban at their core, then “Intruso” and “Ensayo Silencio” plunge into different currents of fusion. The former, funkified by an amazing groove, includes horn counterpoint, block chords deftly intertwined with winning piano runs, and a swinging dixie-inflected blues passage over which Alejandro Aviles shines in a flurry of pithy soprano sounds. In opposition, the latter piece falls into something you can dance to, an inspired marriage of funk, jazz, disco and R&B. Here, we can also enjoy ad-lib volleys between the horn players.

All these eclectic elements return in “Struggles and Strugglets”, the sixth movement of the Dreaming in Lions suite, whose inspiration came from Ernest Hemingway’s short novel The Old Man and the Sea. Other highlights are “Scalular”, an eloquent collage of sunny rhythms that buoys up the euphoric three-time-feel dynamics, “How I Love You”, whose gauzy romanticism wafts like a soft breeze, and the effusive “Blood in the Water”, whose dramatic piano foray gives place to a colorful Latin funk where the rock-fueled guitar of Travis Reuter stands out. The session wraps with a solo piano piece performed by O’Farrill’s wife, the classical pianist Alison Deane.

This is a cohesive and coherent record that points to jazz’s ever evolving fusion of rhythms and sounds tied to a rich cultural history.

Favorite Tracks:
02 - Intruso ► 11 - Struggles and Strugglets ► 13 - Blood in the Water

Nate Smith - Kinfolk 2: See the Birds

September 13, 2021

Label: Edition Records, 2021

Personnel - Jaleel Shaw: alto saxophone; Jon Cowherd: keys; Brad Allen Williams: guitar; Fima Ephrom: electric bass; Nate Smith: drums // Guests - Vernon Reid: guitar; Kokayi: vocals; Regina Carter: violin; Brittany Howard: vocals; Joel Ross: vibraphone; Amma Whatt: vocals; Stokley: vocals.

The second installment of the Kinfolk trilogy by Nate Smith - a two-time Grammy nominee who played with Dave Holland, Chris Potter and Pat Metheny - demonstrates his abilities behind the drum kit and his penchant for compositions that are versatile and eclectic. For Kinfolk 2: See the Birds, he hooks up with altoist Jaleel Shaw, keyboardist Jon Cowherd, electric bassist Fima Ephrom and guitarist Brad Allen Williams - and invites a few guest artists to further color the material.

The soaring blitheness of “Attitude” is substantiated by an additive {3+5} metric and resourceful solos from Cowherd and two guests: the vibraphonist Joel Ross and the vocalist Michael Mayo. Both latter musicians are also featured on “See the Birds”, which effectively blends R&B and jazz idioms.

The multifaceted rapper Kokayi, who boasts past collaborations with trumpeter Ambrose Akinmusire and saxophonist Steve Coleman, contributes to two pieces steeped in hip-hop. On “Square Wheel”, which veers to a suave R&B atmosphere on the chorus (with vocals by Mayo) and then to a ripe jazz-funk (over which Shaw flies high), he has the support of Smith’s slick odd-meter beat and Williams’ brash guitar, whereas on “Band Room”, he engages in a freestyle rap with nerve and confidence.

An undeniable highlight is “Rambo: The Vigilante”, which, dabbling in a powerful hard rock, features fiery guest guitar by Living Colour’s Vernon Reid. An expedite beat-making by Smith and another kinetic improvisation by Shaw do the rest.

“Street Lamp” seems like a crossing between the indie-rock of Courtney Bartnett and the smooth post-bop of Marquis Hill; on “Collision”, the violinist Regina Carter is in full command of the melody; and “Fly (for Mike)”, featuring the former frontman of Alabama Shakes, Brittany Howard, flows balladically between a jazz standard and the country soul of Ray Charles.

A wise composer, Smith creates grooves on the kit that attracts and connects. He is found here in top form while enjoying the artistic qualities of his talented associates.

Favorite Tracks:
01 - Attitude ► 03 - Band Room ► 08 - Rambo: The Vigilante

Amir ElSaffar Rivers of Sound- The Other Shore

September 9, 2021

Label: Outnote Records, 2021

Personnel - Amir ElSaffar: trumpet, vocals; Fabrizio Cassol: alto saxophone; Ole Mathisen: tenor and soprano saxophone; JD Parran: bass saxophone, clarinet; Mohamed Saleh: oboe, English horn; Miles Okazaki: guitar; Tareq Abboushi: buzuq; Tim Moore: dumbek, naqqarat, frame drums; Jason Adasiewicz: vibraphone; Zafer Tawil: oud, nay; Dana ElSaffar: joza, violin, viola; John Escreet: piano; Naseem Alatrash: cello; Rajna Swaminathan: mridangam; George Ziadeh: oud; Carlo De Rosa: acoustic bass; Nasheet Waits: drums.

Trumpeter, composer and bandleader Amir ElSaffar has been expressing his Iraqi-American heritage and artistic identity through successful albums that blend the traditional Iraqi maqam and modern jazz. The Other Shore, the highly anticipated follow-up to Not Two (New Amsterdam, 2017), marks the second time on record he's in the command of the 17-piece Rivers of Sound Orchestra, an extension of the Two Rivers Ensemble. There was one single change in its workforce - John Escreet sits in the piano chair that previously belonged to Craig Taborn.

The imaginative cross-cultural mysticism of “Dhuha” floats with ElSaffar chants and an exotic instrumentation where a robust versatility lurks behind the apparent languidness. This is materialized in a passage prodded by a groove in five where ostinatos serve as a filling during a saxophone solo. The trumpet detaches from its counterparts in the last section, and then the movement is slowed down until fading quietly.

“Transformations” boasts an initial 12-beat cycle bass-oud groove before juxtaposing full-fledged rhythms with a dancing perspective in mind; “Lightning Flash” adjusts the density of its passages by giving it a simultaneously elegant and brazenly energizing feel; and “Medmi” terminates the session in calm waves.

“Reaching Upward” is one of my favorite pieces, and its magic erupts with West classical splendor as the stringed instruments (oud, violin, buzuk) come to the fore. After that, a percolating rhythmic flux in five finds its way, welcoming the inside/outside maneuvers from Belgian altoist Fabrizio Cassol, the intricate chromaticism of guitarist Miles Okazaki, and the microtonal pitches of ElSaffar on trumpet. Just as exciting is the breezily asymmetric {17+16} “Ashaa”, whose arresting rhythm patterns help to create moments of rare beauty. The lutes stand out ahead of a nearly-funkified fusion. Bassist Carlo DeRosa shares his thoughts, and the piece ends brightly in five after a Middle Eastern dance where ElSaffar interacts with another horn player.

Imbued with passionate lyricism, this music feels both cerebral and freewheeling. Composition and improvisation play an equally important role and there’s plenty of good, hybrid sonorities for one’s listening pleasure.

Favorite Tracks:
01 - Dhuha ► 03 - Reaching Upward ► 04 - Ashaa

Kirk Lightsey - I Will Never Stop Loving You

September 8, 2021

Label: Jojo Records, 2021

Personnel - Kirk Lightsey: piano.

The veteran Detroit-born pianist Kirk Lightsey who played with the legendary trumpeter Chet Baker and saxophonist Dexter Gordon, among many others, returns to the solo format with greater adherence to affection. Here, he devours not only post-bop tunes from Wayne Shorter and Tony Williams, but also an iconic hard-bop piece by Coltrane, a ballad penned by Phil Woods and another one he wrote himself and whose name gave this album its title. It’s worth to mention that all seven tunes were previously recorded by the pianist, most of them solo.

His sole composition to appear on this recording, the ballad “I’Will Never Stop Loving You”, can also be found on the 1993 reissue of his Isotope album (Criss Cross Jazz). Here, Lightsey shapes it with profound tenderness while exploring the timbral richness of his instrument.

The passion for the music of Wayne Shorter was evident in the early stages of his career, and he gives new interpretations to “Fee-Fi-Fo-Fum”, tackled with plenty of staccato moves as well as nimble phrasing and bluesy bends, “Infant Eyes”, whose interpretive soulfulness and abandon underscore his affinity for space and presence, and “Wild Flower”, which concludes the album with pulchritude and heart.

Coltrane’s “Giant Step” is not exceptional, and Tony Williams’ “Pee Wee” carries that type of disorienting harmonies that lets us afloat. Yet, “Goodbye Mr. Evans”, written by the versatile altoist Phil Woods in 1981 after the death of pianist Bill Evans, takes us from the haunting bass note that opens the tune to the harmonic webs traced by Lightsey with such a tactful sympathy.

Despite having in mind that every rendition brings something new to the setting, this work gives the impression to be a surplus addition to the reliable pianist’s discography.

Favorite Tracks:
02 - Fee-Fi-Fo-Fum ► 04 - Infant Eyes ► 05 - Goodbye Mr. Evans

Kenny Garrett - Sounds From the Ancestors

September 7, 2021

Label: Mack Avenue Records, 2021

Personnel - Kenny Garrett: alto saxophone, electric piano, piano; Vernell Brown Jr.: piano; Corcoran Holt: bass; Ronald Bruner Jr.: drums; Rudy Bird: percussion, snare + Guests - Dwight Trible, Jean Baylor, Linny Smith, Sheherazade Holman, Chris Ashley Anthony: vocals; Maurice Brown: trumpet; Dreiser Durruthy: bata, vocals; Johnny Mercier: piano, organ, Fender Rhodes; Lenny White: snare; Pedrito Martinez: vocals and conga.

From the creative mind of Detroit-born altoist and composer Kenny Garrett comes a tremendously impactful album that, pulling from some deep ancestral West African sources, fuses elements of different genres and negotiates its inner contrasts. Garrett, who led memorable ensembles in the past, is backed here by the same core group that appeared on his previous work, Do Your Dance! (Mack Avenue, 2016). Sounds From the Ancestors is his 20th album as a leader.

Composed in 2019, “It’s Time to Come Home” opens the program with an Afro-Cuban tinge that is simultaneously propulsive and soothing. With the tune advancing at a waltzing pace, the saxophonist adopts a less expansive posture in terms of soloing but a more percussive and textural one in comparison with other pieces. Beautiful vocals by Jean Baylor and batá percussionist Dreiser Durruthy.

“Hargrove” is a soulful earworm, a groovy dedication to the late trumpeter Roy Hargrove, in which Garrett luxuriates in starry unisons and conversational exchanges with guest trumpeter Maurice Brown. He also nods to Coltrane’s spiritual hymn “A Love Supreme” via the vocal work of Linny Smith, Sheherazade Holman and Chris Ashley Anthony. More Coltrane is evoked on “What Was That?”, a post-bop illumination that serves as a perfect showcase for Garrett’s finely honed inside/outside playing.

As a lighted-up gospel proclamation, “When the Days Were Different” is enhanced by organ and vocals, while “For Art’s Sake”, a tribute to the drummers Art Blakey and Tony Allen, occurs under the Nigerian spell of Ronald Bruner’s syncopated Afrobeat. Before the final vamp, where drums and percussion intensify their playing, you may indulge in the deconstructive wallops that come out of the electric piano.

The exciting trajectory doesn’t stop here, and “Soldiers of the Fields/Soldats Des Champs”, composed for the musicians who fought to keep jazz alive and the Haitian soldiers who fought the French, contextualizes that revolutionary posture with a marching flow reinforced by the snares of Rudy Bird and Lenny White, rhythms from Guadeloupe as well as an otherworldly sax solo laid on top of a modal chord progression.

The title track is introduced with despondent balladic tones by Garrett on the piano, veering into an enthralling Yoruban rhythm that supports the chants of conguero Pedro Martinez and singer Dwight Trible. The piece ends as it began.

Carrying Garrett’s unmistakable signature and unique energy, Sounds From the Ancestors is unmissable, already deserving to be called ‘one of the best jazz records of the year’.

Favorite Tracks:
02 - Hargrove ► 05 - What Was That? ► 06 - Soldiers of the Fields/Soldats Des Champs

Frank Kimbrough - Ancestors

September 2, 2021

Label: Sunnyside Records, 2021

Personnel - Frank Kimbrough: piano; Kirk Knuffke: cornet; Masa kamaguchi: bass.

American pianist/composer Frank Kimbrough passed away in December 2020, leaving the jazz scene missing not just his music but also his pedagogy and charisma. This posthumously released album recorded with the cornetist Kirk Knuffke and the bassist Masa Kamaguchi in 2017, leans toward the introspective and comprises seven of his original compositions, three improvised duos (two with Knuffke and one with Kamaguchi), and a piece written by his wife, the singer/pianist Maryanne de Prophetis.

“Waiting in Santander” gets off the ground in a transcendental suspension where everything feels very musical. Kimbrough actually wrote it in the Spanish city referred in the title while patiently waiting for a piano to arrive, but that frustration acquired a pacific temper here. This is the first of three numbers culled from his 2006 album Play (with Kamaguchi and the influential late drummer Paul Motian). The others are “Beginning”, a beautiful ballad whose enlightening melodies and harmonic movement recalls the drummer’s music, and “Jimmy G”, a poised blues written for clarinetist/saxophonist Jimmy Giuffre, which flows overtly with a disarming composure.

The delicate “November”, a highlight, reveals lyrical pianism and tender chords, woody sprawling bass notes and the warm brass sounds sliding over the harmonic tapestry. Taking into account that this was the first musical connection between the bassist and the cornetist, the natural playing between the threesome is excellent. “Over”, which takes the piquant flavors of Herbie Nichols’ style all over the place is a good example, as well as “Ancestors”, an old piece that celebrates Kimbrough’s deep Southern roots.

Following the haunting piano/cornet duo “Solid”, the record comes to an end with de Prophetis’ wistfully harmonized “All These Years”, a piece she wrote for her father.

Kimbrough’s sonic universe is tremendous. Considering he was a musician of rare touch and substance, that’s not surprising.

Favorite Tracks:
03 - November ► 07 - Beginning ► 09 - Over

Petter Eldh - Projekt Drums Vol. 1

August 31, 2021

Label: Edition Records, 2021

Personnel - Peter Eldh: acoustic and electric bass, guitars, synth, piano, Rhodes; Wanja Slavin: alto sax, flutes; Otis Sandsjo: tenor sax, clarinet; Johannes Lauer: trombone; Kit Downes: piano; Per Texas Johansson: flute; Jonas Kullhammer: flute; Kathrin Pechlof: harp; Mascha Juno: marimba, vibraphone, percussion; Niels Broos: keyboards, Rhodes; David Byrd Marrow: French horn; Reinier Baas: guitar + guest drummers Nate Wood, Eric Harland, Savannah Harris, Gard Nilssen, Richard Spaven and James Maddren.

Berlin-based Swedish bassist Petter Eldh has gained notoriety in the modern creative trio Punkt Vrt. Plastik, Django Bates Belovèd and Gard Nilssen’s Acoustic Unity. Perhaps less known are his skills as a producer, which stand out on this auspicious debut album called Projekt Drums Vol. 1. Each track features a particular drummer whose modern takes on rhythm and complex beats are at the epicenter of an extraordinary patchwork of genre-defying sounds created to show his love for drums and rhythm.

“Lorimer” kicks off with epic unisons but veers to stuttering melody, which is later challenged by countermelodies and prolonged synth-shimmer. The beat of guest drummer Savannah Harris is something. It pulsates with deft intricacy underneath the grid of heavy bass reverberation and the floating notes of flutist Per Texas Johansson. The perplexing collages denote many influences that include jazz, hip-hop, electronic and Brazilian music.

My favorite track is “Hawk Mountain”, whose left-field hip-hop strut is brought by Eric Harland. In addition to the concise yet exciting solos from German altoist Wanja Slavin and British pianist Kit Downes, there’s this catchy 21-beat-cycle melodic figure tossed off by Eldh on keyboard that puts a smile on our faces. He finishes the ride with a guitar and a gentle bossanova feel.

The incredible Nate Wood (from Kneebody) infuses lots of gravity on “Green Street” by virtue of elastic beat-laden fluxes that fluctuate tempo with mastery. His prog-rock and progressive jazz tendencies are corroborated by Otis Sandsjo on tenor saxophone and Slavin on flute.

The experimental aspect is always present and the simpatico “Gimsøy”, with master Gard Nilssen in absolute command of the drum set, brings that sense to the setting by exploring gracious sonorities with an interesting combination of harp, vibes, acoustic guitar and bowed bass. This melodious piece, occasionally disrupted by warped and psychedelic interjections, was inspired by the indie electronic sounds of Daedelus.

With an uneven pavement and stringent rhythmic skitter laid down by Richard Spaven, “Goods Yard” combines elements of neo-soul, funk and electronica, whereas “East Croydon” concludes the record with Reinier Baas’s guitar at the center of a playful composite of R&B, post-disco and a dollop of acid jazz redolent of Jamiroquai. The drummer on the job here is James Maddren.

Eldh assures stylistic variety and consistent energy throughout this multi-tiered creative project with a lot to be explored and discovered.

Favorite Tracks:
01 - Lorimer ► 02 - Hawk Mountain ► 04 - Green Street

Kevin Sun - <3 Bird

August 30, 2021

Label: Endectomorph Music, 2021

Personnel - Kevin Sun: tenor saxophone, clarinet, sheng; Walter Stinson: bass; Matt Honor: drums + Adam O’Farrill: trumpet (#1,10-13); Max Light: guitar (#5,8,15); Christian Li: piano, Fender Rhodes (#2-4,6,9,13).

Saxophonist/composer Kevin Sun puts out his third album, reverentially paying tribute to Charlie Parker, a masterful jazz innovator and inevitable influence, in a dynamic work with ensemble sections that burst with contemporary life. Here, he fractures Parker’s bop ways with creativity, straying from the obvious paths of Bird’s original tunes by challenging them in several ways (pace, metric variation, new melody) but maintaining some aspects recognizable. The idea, which came up while in lockdown, allows spotlight features for the musicians - his habitual rhythm section of rising stars - bassist Walter Stinson and drummer Matt Honor - and three excellent guests that spice things up, expanding the timbral spectrum in a few tunes. They are trumpeter Adam O’Farrill, guitarist Max Light and pianist/keyboardist Christian Li.

Borrowing the harmony of “Confirmation”, “Greenlit” boasts fresh melodic lines and launches an impromptu folk-swing dance between tenor and trumpet. The attractive arrangement of “Adroitness Part II”, designed in virtue of the rhythm of “Dexterity”, has Li contributing to both the abstract and swinging parts, while Sun’s saxophone curls out in smoky breaths. The pianist’s work is further emphasized and got our appreciation on the exquisitely sculpted “Dovetail”, where juxtapositions of timbre create mysterious moods that go beyond Parker, even if the inspiration comes from his two studio improvisations on “Yardbird Suite”. Sun switches from clarinet to tenor for his solo, returning to the former for the head out.

In “Onomatopoeia”, an integration of Dizzy Gillespie’s “Be-Bop” and Parker’s “Segment”, guitarist Max Light joins Sun in parallel lines imbued with a clear bop feel, while on “Du Yi’s Choir” - a reimagination of “Dewey Square” - we feel their tensile presences in communication. This piece opens and closes with guitar and sheng (a Chinese polyphonic reed instrument), flowing breezily in between while probing fascinating rhythmic possibilities.

Rhythmic variations are all over the map, and whereas “Bigfoot” gets groovy with an exotic and polyrhythmic feel, “Schaaple From the Appel” prefers a more temperate, cool version with snappy brushwork by Honor and a tightly muted trumpet solo by O’Farrill. Everything sounds natural, never mechanic.

Knowing well the amounts of definition and intensity he wants for his music, Sun demonstrates his tremendous compositional acuity and flawless execution.

Favorite Tracks:
03 - Adroitness Part II ► 06 - Dovetail ► 08 - Du Yi’s Choir

Marc Johnson - Overpass

August 26, 2021

Label: ECM Records, 2021

Personnel - Marc Johnson: double bass.

Marc Johnson is a virtuoso of the bass whose immersive touch and tone are remarkable. The beauty and intensity of his playing made him a first-call sideman in projects of Stan Getz, Bill Evans, Peter Erskine, Gary Burton, John Abercrombie, Paul Motian, Joe Lovano and John Scofield, just to name a few. His peak as a leader was reached in the mid-1980s with the super quartet Bass Desires, but now he reaches new heights with his first solo album, Overpass, recorded in São Paulo in 2018.

Of the eight compositions that define the program, five are originals by the bassist and three are interpretations of classic jazz tunes. Johnson opens the record with two covers: Eddie Harris’ “Freedom Jazz Dance” is rendered with the sheer propulsion of its buoyant pedal-groove and the flawless articulation of the theme plus improvised segments. It is immediately followed by Miles Davis’ “Nardis”, a special tune for Johnson who played it with Bill Evans in the early 80s. Here, he explores the poetic possibilities of his instrument, finding an edgy refinement to the song that is completely engrossing.

There’s also a sublime take on “Love Theme From Spartacus”, whose slow, rubato tempo increases its weightlessness and deeply felt lyricism. But before that, the Eastern-tinged “Samurai Fly” creates impact with the timbre-filled appeal of arco bass overdubbing on top of a sturdy pizzicato. This is a rework of “Samurai Hee-Haw”, one of his most known compositions and opener of his tour-de-force 1986 ECM album Bass Desires.

“Life of Pai” is simultaneously reflective and majestic in the moves, whereas “Yin and Yang” combines languid, lush pizzicato and arco techniques that erupt from another Eastern modal center. Both the attacks and decaying sounds are set with a purpose.

Also fantastic is “And Strike Each Tuneful String”, a technically flawless primal dance inspired by a field recording from the 60s with music from Burundi. The bassist lets himself go and follow his natural instincts in this improvised piece with a short reprise of “Prayer Beads”, which originally lives on the second album of the Bass Desires quartet, Second Sight.

Johnson combines warmth, scope, melody and rhythm, sustaining plenty of interest in the course of eight pieces where his creative vision and maturity are on display.

Favorite Tracks:
02 - Nardis ► 03 - Samurai Fly ► 04 - Love Theme From Spartacus

Brandee Younger - Somewhere Different

August 24, 2021

Label: Impulse! Records, 2021

Personnel - Brandee Younger: harp; Rashaan Carter: electric and acoustic bass; Allan Mednard: drums, percussion; Marcus Gilmore: drums, drum programming; Tarriona “Tank” Ball: vocals; Dezron Douglas: electric bass (#1); Ron Carter: acoustic bass (#6,7); Maurice Brown: trumpet (#2); Chelsea Baratz: saxophone (#1); Anne Drummond: flute (#1).

The extremely gifted harpist Brandee Younger reaches a broad spectrum of emotions with Somewhere Different, a collection of eight new tunes featuring a strong supporting group and notable guests. The album - produced by the bassist Dezron Douglas, who also plays in the opening track - pacifies the spirit and stimulates the senses.

The follow-up to Soul Awakening, hailed as one of the best albums of 2019 for many outlets (including JazzTrail), marks her debut release on the emblematic Impulse! Records. It begins with “Reclamation”, which incorporates the groove of funk and the muscularity of rock in distinct sections. The melodies of saxophonist Chelsea Baratz and flutist Anne Drummond fly in glowing consonance during the theme, and both of them stretch with eloquence after Younger, who navigates the lush backdrop designed by Douglas and drummer Allan Mednard with ease and grace.

Penned by Douglas, “Spirit U Will” is a free-spirited ode to Alice Coltrane and an undisturbed source of light. While the vamping bass groove delivered by Rahsaan Carter flows according to the harmonic progression, the guest trumpeter Maurice Brown is called to action, adhering to the general spirituality and joy with a synthesizing effect.

Douglas and Younger joined compositional forces during Covid lockdown and the result was not only the stylized title track, where a Latin vitality coexists with jazz and classical idioms and a hip-hop beat, but also “Olivia Benson”, a colorful fusion of R&B and jazz named after the TV series Law & Order’s character. Creativity flows through Younger and the listener is pulled in by the bass groove of Ron Carter, who also puts his mark on the ballad “Beautiful is Black”. Younger composed the latter tune with him in mind, influenced by Alice Coltrane’s masterpiece Ptah The El Daoud, and taking in consideration the unfounded white prejudice that oppresses Black people.

A phenomenal smoothness is achieved with “Pretend”, which is elevated by the vocals and romance-related lyrics of Tarriona Ball from the New Orleans-based R&B group Tank And The Bangas.

Somewhere Different provides a sweeping, trance-like listening experience.

Favorite Tracks:
01 - Reclamation ► 02 - Spirit U Will ► 06 - Black is Beautiful

Caroline Davis - Portals, Volume 1: Mourning

August 23, 2021

Label: Sunnyside Records, 2021

Personnel - Caroline Davis: alto saxophone; Marquis Hill: trumpet; Julian Shore: piano; Chris Tordini: bass; Allan Mednard: drums; Mazz Swift: violin; Josh Henderson; violin; Joanna Mattrey: viola; Mariel Roberts: cello.

Alto saxophonist and composer Caroline Davis has emerged in recent years as one of the most sharply focused musicians. After investing in the fabulous trio Alula in 2019 - featuring keyboardist Matt Mitchell and drummer Greg Saunier - she returns with an excellent roster of players. Intertwining a jazz quintet with a pliant quartet of strings, they work through Davis’ 11 original cuts, which resulted from the mournful period after the passing of her often absent, workaholic father. The assessment of their difficult relationship, the recovering from the effects of trauma, and the process of healing are present throughout.

Taking inspiration from the rhythm of a quatrain from Omar Khayyam’s poem Rubáiyát, “Yesterday’s Seven Thousand Years” quickly assimilates a vibrant post-bop loaded with melodic ethos. The rhythm section - composed of pianist Julian Shore, bassist Chris Tordini and drummer Allan Mednard - is utterly supportive, but it’s the latter that lets us feel the burn of his chops during the piano solo. Before reinstating the theme, the quintet vamps to incorporate unisons from Davis and trumpeter Marquis Hill. Their brilliant tone and controlled attacks are also on display in the polyrhythmic “Acephalous Placebo”, which lucidly juxtaposes elements in 5/6 and 4/4 time.

The strings become salient on “Hop On Hop Off”, whose counterpoint, texture and color - especially during the tricky-metered theme - calls to mind some chamber music works. There’s a slower passage in five showcasing beautiful cello bowing from Mariel Roberts, who is later joined by a more optimistic violin pizzicato. In due course, we have exchanges between trumpet and saxophone. Similarly to this piece, “Highlighter Hearts” reflects memories of Davis’ father, shrouding the listeners in a mix of rapture and heartache. This number ends with a different atmosphere as if the saxophonist wants to look forward and move on.

If “How to Stop a Drop of Water from Evaporating” shudders with vast passion, then “Left” glints with sharp-edged observation. The former kicks off with violin on top of groovy drums, leading us to a matured orchestration that occurs in zippy fashion. Conversely, the latter focuses on the anxiety from being abandoned as a child, catalyzing those emotions via continual string fluxes, accents and turns in the rhythm, angular melody and deft interplay.

The record ends peacefully with “Wordliness and Non-Duality”, which is delicately woven by the combo with soft and warm layers in a perfect balance of colors.

This poignant, sometimes-riveting, well-orchestrated album shows how Davis uses her musical skills as tools for illustrating emotion.

Favorite Tracks:
01 - Yesterday’s Seven Thousand Years ► 02 - Hop On Hop Off ► 08 - Left

Andrew Cyrille Quartet - The News

August 19, 2021

Label: ECM Records, 2021

Personnel - Bill Frisell: guitar; David Virelles: piano, synth; Ben Street: double bass; Andrew Cyrille: drums.

The News, the second platter offered by a quartet led by accomplished drummer/composer Andrew Cyrille, encompasses different flavors and spices that should be tried. There's one change in the group's lineup with the addition of Cuban pianist David Virelles, a logical replacement for the late Richard Teitelbaum, who died last year at the age of 80. Virelles had never played with guitarist Bill Frisell before but had enlisted Cyrille and bassist Ben Street to support him on his 2012 album Continuum.

The album opens with the imperturbable composure of Bill Frisell’s “Mountain”, which brings a sheen-polished dose of Americana to the table. Virelles opts for a deep and dark sonority here, but not on “Leaving East of Java”, a piece by pianist Adegoke Steve Colson where his adventuresome choices include an instinctive Latin tinge and a captivating avant-jazz nimbleness. The tune, previously tackled by Cyrille in the company of his Trio 3 partners - saxist Oliver Lake and bassist Reggie Workman - starts with a long intro before entering in that soft groove that gradually increases in speed while inviting to improvisation.

In addition to the album's aforementioned opener, Frisell contributes two other pieces: “Go Happy Lucky”, a blues where his mellow guitar licks go beautifully with the piano accompaniment that emerges from the low register, and “Baby”, whose genuine sense of bonhomie makes us rest in a clear sea of tranquility. At this spot, Cyrille’s just-right brushwork shows how poetically expressive his art form can be.

The bandleader encourages interpretive freedom with “The News”, an electronic-fueled avant-garde piece he wrote that favors collective interaction, and also “Dance of the Nuances”, in which he shared compositional efforts with Virelles, straddling genres through an amalgam of elements drawn from ambient, avant-garde, experimental and electronic music.

I couldn’t leave Virelles’ “Incienso” without a mention because those poignant piano chords laid over a sensuous rhythm caught my ear immediately. Not only the interplay between Frisell and Virelles provides a wider, often polyphonic scope, but also Street’s sense of restraint and Cyrille’s impeccable rhythmic embellishments become preponderant so that everything sounds pleasantly organic as it is.

Cyrille’s specialty was always free and avant-garde jazz but this quartet opens further possibilities, making his musical menu diversified. It’s also a perfect fit for the known ECM sound.

Favorite Tracks:
03 - Go Happy Lucky ► 06 - Baby ► 07 - Dance of the Nuances

Terence Blanchard - Absence

August 17, 2021

Label: Blue Note Records, 2021

Personnel - Terence Blanchard: trumpet, synth; Fabian Almazan: piano, keyboards; Charles Altura; guitar; David Ginyard: bass; Oscar Seaton: drums + Turtle Island Quartet [David Balakirshnan: violin; Gabe Terracciano: violin; Benjamin von Gutzeit: viola; Malcom Parson: cello].

American trumpeter/composer Terence Blanchard emerged in the mid 80s as a fresh face on the scene with collaborative albums with saxophonist Donald Harrison. He is widely known for his work for film (Harriet, Inside Man, Da 5 Bloods), noteworthy post-bop albums (Wandering Moon, 2000; Bounce, 2003) and for his visionary E-Collective band with which he releases now his third outing - following up Breathless (2015) and Live (2018) - on Blue Note. The current lineup includes the longtime collaborator pianist Fabian Almazan, guitarist Charles Altura, bassist David Ginyard (replacing Donald Ramsey) and drummer Oscar Seaton. On this record, they are joined by an efficient quartet of strings led by violinist David Balakirshnan.

At once challenging and accessible, Absence is a shining salute to saxophonist Wayne Shorter, including readings of five of his tunes with formidable arrangements from Blanchard and Almazan. The latter did a great job on two Weather Report classics - “The Elders”, which, layered with modernist conviction, denotes enthusiastic exchanges of phrases, figures and details between trumpet, piano and guitar; and “When It Was Now” where a curious, sweet-sounding jazz-funk is revealed. The string quartet is impeccably integrated and even stretches by itself on the suite-like “The Second Wave”, brought with vivid expression and references to other songs.

Ginyard contributes the title track, whose sensationally pictorial expression resonates with punchy beauty, as well as the peculiar “Envisioned Reflections”, which confers a pneumatic experience with a slack beat. In turn, Altura’s “Dark Horse” promotes variety by flowing liquidly with absence of strings.

Blanchard’s soulful, bold brass (always infused with synth effect) yearns for the sky on his intoxicating “I Dare You”, a heavier, more aggressive and perfectly accented piece where energetic post-bop meets rock posture. It comes loaded with prismatic synth ostinatos and tinged with acid lines. The title of this track was culled from a phrase by Shorter: “jazz means I dare you”. Furthermore, the Collective’s takes on Shorter’s harmonically rich ballads “Fall” and “Diana” are comforting, reassuring and generously tender.

The groove of the rhythm section permeates an album cresting with cosmic melodies. Blanchard’s new album rewards those who look for modern-sounding contexts.

Favorite Tracks:
01 - Absence ► 02 - The Elders ► 05 - I Dare You

David Leon - Aire de Agua

August 16, 2021

Label: Out of Your Head Records, 2021

Personnel - David Leon: alto saxophone; Sonya Belaya: piano; Florian Herzog: bass; Stephen Boegehold: drums.

Aire de Agua, the exciting debut album from the Brooklyn-based Cuban-American saxophonist David Leon, showcases a collection of interesting original pieces presented alongside pianist Sonya Belaya, bassist Florian Herzog and drummer Stephen Boegehold. The quartet transpires youth but also sounds experienced, probing a variety of possibilities within the creative trio aesthetics.

The opening track, “Strange and Charmed”, has an explosive start, bringing a powerful saxophone figure that skids across an inventive tapestry weaved by the rhythm team. Stringing along with accents, silences and multiple color in their stable interplay, this piano-bass-drums fellowship creates moments of pure connection, taking advantage of Leon’s microtonality and hyper-articulated phrases. The intonation of some of them reminded me of the saxophonist Steve Lehman.

While “Horrible, Horrible Service” employs swinging mechanisms to ease the tension initially created, the title cut implies a slight Latin feel, incorporating flux breaks and then metamorphosing into something new. There’s an enthusiastic bass solo before the reflective stillness imposed by a passage with bowed bass and spectral pianism.

If “First You Must Learn the Grip” goes from the bop-influenced lines of the theme to an off-kilter improvised section in which Leon’s fearless blows ensure timbral allure (Darius Jones appears as a possible reference), then “Expressive Jargon II”, involving motivic call-and-response, doesn’t shroud the classical and chamber music influences.

The group strives to create different shapes and forms, and “Pina”, inspired by the German dancer and choreographer Pina Bausch, has a special tone. Evolving in a more delicate and poetic avant-jazz setting, it showcases Leon’s command of slap tonguing technique, here curiously matched in sound by the cross-stick snare bumps. It prompts us to accept a more breathable, airy feel.

Aire de Agua is a splendid debut from a young saxophone player who, starting with the right foot, promises to make a name for himself in the creative jazz scene.

Favorite Tracks:
01 - Strange and Charmed ► 03 - Pina ► 05 - First You Must Learn the Grip

Gerry Gibbs - Songs From My Father

August 12, 2021

Label: Whaling City Sound, 2021

Personnel - Gerry Gibbs: drums; Kenny Barron: piano; Buster Williams: bass; Geoffrey Keezer: piano; Christian McBride: bass; Larry Goldings: organ; Patrice Rushen: piano; Kyeshie Gibbs: percussion.

The American drummer and bandleader Gerry Gibbs honors his 96-year-old father, the bebop vibraphonist Terry Gibbs, on Songs From My Father, a double-disc record of swinging jazz with no horns involved. The program consists of the latter’s catchier tunes plus one piece by the late pianist Chick Corea, whose appearance here marks his final recording.

Corea pays a wonderful tribute to Gibbs with “Tango for Terry”, which, mixing 4/4 and 3/4 tempos, has that unmistakable Corea imprint in it. But the pianist is also honored here with “Hey Chick”, which is nothing else than Gibbs’ “Hey Jim” retitled and performed by everyone on the record with the exception of Corea himself. This piece has the particularity of featuring the original audio from 1961, which joined Terry with the pianist Pat Moran, bassist Max Bennett and drummer Mike Romero.

Disc one opens with “Kick Those Feet”, a 1964 gem that bursts with joie de vivre in the hands of pianist Kenny Barron, whose inventive language is always spot-on, bassist Buster Williams, whose deep underpinning quality remains impressive, and Gerry, who is consistently competent throughout.

The exuberant straight ahead jazz continues with “Obstacle Course”, a sunny ray of brilliant bop infused with snare rolls and featuring Corea and the bassist Ron Carter. This same trio explores Latin grooves on “Sweet Young Song of Love”, and more rhythms can be enjoyed on “The Fat Man”, which, instead, features pianist Geoffrey Keezer, who does a stride piano demonstration at the end, and bassist Christian McBride, who bows creatively before trading fours with the drummer. This same trio also delivers the uptempo “Nutty Notes” and the pleasingly exultant “Gibberish”, both picking up steam in their uppermost swing.

The trio of Gibbs with the organist Larry Goldings and pianist Patrice Rushen is featured on “Smoke ‘em Up”, a lustrous jazz funk, and “Townhouse 3”, which boasts a rip-roaring bossa groove. Playing his own arrangement, Corea comes to the fore once more on “Waltz for My Children”.

Enthusiasts of the straight ahead jazz have here a great opportunity to hear a few jazz giants of gutsy fluency stretching together. They keep the bebop alive in a transparent disc with no place for obscurities or complex meters.

Favorite Tracks:
01 (disc one) - Kick Those Feet ► 09 (disc one) - Hey Chick ► 10 (disc two) - Tango For Terry

Paulo Santo - Agueda

August 11, 2021

Label: Robalo Music, 2021

Personnel - Paulo Santo: vibraphone; João Mortágua: alto and soprano saxophone; Luís Cunha: trumpet; Francisco Brito: bass; João Lopes Pereira: drums.

The album Águeda finds the Portuguese vibist Paulo Santo paying tribute to his maternal grandmother while working in challenging territory. He is seen at the helm of an aesthetically rigorous quintet that includes João Mortágua on alto and soprano saxophones, Luís Cunha on trumpet, Francisco Brito on double bass and João Lopes Pereira on drums.

Nicely programmed, this well-rounded set of contemporary music captivates the listeners with magnetic atmospheres. The group’s cohesive palette of sounds starts to gain expression with the opening track, “As She Swings, As a Po(o)p Song”, where the trumpet kicks off unaccompanied, and then welcomes the saxophone into the folk melody . This is before the rhythm section lays down an unaggressive, groovy tapestry that invites Santo and Mortágua to expose their soloing resourcefulness.

Admirable tone drawings are rendered in “Tomate Com Óculos”, a post-bop stunner inspired by Santo's dog and where the horn players and the bandleader alternate statements over an arresting odd-meter groove. “Hover It”, in five, is another airy piece that touts relaxation, with the men in the frontline cooly blowing in unison. However, it was “Wishing” - a tone poem slowed to a crawl - that impressed me the most with its hypnotic, haunting and ethereal reflections of light.

Santo’s musings are never overpowering, even when it comes to slightly brisker settings. “Freefall” follows a colorful framework in which a Bobby Hutcherson-fueled post-bop mutates into an avant-gardish ambiance à-la Dave Holland Quintet, whereas “Pow” has Santo free to flow everywhere with proper shadings when sax and trumpet are concurrently active in the conversation. He also projects his mallet playing forward when required. The album closes out with the waltzing pop-song pulse of “The First Time I Sang You”.

Águeda is full of inspiring chops and agreeable moods. That fact will certainly contribute to put Paulo Santo on the map as a bandleader.

Favorite Tracks:
02 - Tomate Com Óculos ► 03 - Wishing ► 04 - Freefall

Gordon Grdina / Jim Black - Martian Kitties

August 9, 2021

Label: Astral Spirits, 2021

Personnel - Gordon Grdina: guitar, oud; Jim Black: drums, electronics.

This outstanding set of improvised pieces by the guitarist/oud player Gordon Grdina and the drummer Jim Black, bristles with multi-genre paradoxes and incredible articulations. Recording together for the second time (after Grdina’s Nomad Trio’s debut album), these lads bring lots to the table with their faultless synergy and love for the avant-jazz, prog-rock, indie electronic and world music.

Things get down to business immediately with “Martian Kitties”, the track that gave the album its title, which pairs down an incisive krautrock rhythm with noise-rock, two ingredients that always go well together. The density is momentarily decongested through spacious effects before the reinstatement of the zest via torqued high-pitched ostinatos and walloping drumming.

The next piece, “A Monkey Could Do It”, changes dialects into an avant-fusion where an extraordinary oud rhythm functions properly over the mutating abrasions of wood on metal and skin provided by Black, an authentic guru of the rhythm.

“Buggy Whip” is dark and sinister, with heavy electric guitar and taut drum in a confluence that seems to join the doom metal of Paradise Lost and the noise-rock of Lightning Bolt. Totally different is “Conservative Conservation”, which takes us into a journey crystallized by beauty and tension alike. This is created by Black’s unpredictable and highly syncopated fluxes and Grdina’s full-of-feeling oud peregrination.

Pieces that are short in duration (clocking in at less than two minutes) provide a panoply of otherworldly atmospheres - “Black Lodge” exudes a classical-inspired etherealness; “Weird Funk” is made of unhinged smears of odd beat, crushing guitar and sampling; “Social Scene 1 and 2” trench on ambient electronic while adding some wistful tones; “Short Scale” has visceral oud playing laid atop a muscular rhythm; and “Fuzzy Goats” takes you to a psychedelic trip.

The creativity of both is discernible, and “Abercrombie” exemplifies that in perfection during its two phases - firstly, by sporting bowed cries over a dark, noisy electronic texture, and then by underscoring the narrative with a menacing rumble that comes from offbeat drum gushes and cyclic guitar lines.

This is adventurous music by two idiosyncratic players who have excellent results by joining their own visions.