Charlie Rumback - Seven Bridges

Label: Astral Spirits Records, 2021

Personnel - Charles Rumback: drums, guitar; Ron Miles: cornet; Greg Ward: alto saxophone; Jason Stein: bass clarinet; Jim Baker: analogue synthesizer; John Hughes: electronics; Nick Macri: bass; Krystle Warren: voice; Sima Cunningham: voice; Macie Stewart: violin, voice; John Tate: bass.

On his 7th album as a leader, Chicago drummer Charles Rumback explores the many ambiances that comprise his musical territory, leading a combo with serious improvisers such as cornetist Ron Miles, alto saxophonist Greg Ward and bass clarinetist Jason Stein. 

Seven Bridges begins with the atmospheric tide of “Whatever It Takes”, a less-than-a-minute horn-infused exercise that almost plays like a free-form understatement. It leads to the pop song “Fall Dog Bombs the Moon”, sung by Sima Cunningham and Krystle Warren, where we have trumpet, violin and bass clarinet dancing around their words. Both singers are also featured on “Regina”, a warm, leaping 3/4 song that would fit into the repertoires of The Beautiful South and Tom Waits alike.

“K10” and “Fast Shadows” work well as improvisational interactions but could have been shortened since they don’t bring much into the fold after a while. The former is paved with a walking bass figure and brushed drums, having untangled rumbles and responsive dialogues atop; the latter carries a sense of freedom that is first authenticated by Rumback’s introductory drum work, being extended to the ever-grooving bass and electronics.

Embracing a tranquil state of grace, “Hometown Heroes” flows with guitar, bass, muted trumpet and violin, which at some point shifts from screechy repetitive bows to pizzicato melodies. In a similar spirit, “Three Ruminations” dances lightly with composed brushwork and neat melodies provided by Miles and Ward. The cornetist shapes his statements sculpturally on the poignant “Reno County”, where he is followed by Macie Stewart’s creative individuality. He then joins her for a final accented ostinato.

The hypnotic “Storybook Skyline” is a bonus track only available in the digital format, and Miles' consistent ideas stand out once again.

Rumback probes new directions here, and he has ample room to expand them and improve in the future.   

B

Favorite Tracks:
03 - Hometown Heroes ► 08 - Reno County ► 11 - Storybook Skyline

Whit Dickey / William Parker / Matthew Shipp - Village Mothership

Label: Tao Forms Records, 2021

Personnel - Whit Dickey: drums; William Parker: bass; Matthew Shipp: piano.

In a tribute to New York City’s Lower East Side and 30 years of musical collaboration and friendship, the trio co-led by drummer Whit Dickey, bassist William Parker and pianist Matthew Shipp puts out Village Mothership, a collection of six improvised pieces that explores many shapes and forms, both abstract and tangible. 

The album begins with “A Thing & Nothing”, whose initial reflective mood soon develops and expands. The piano goes from fluidly atmospheric to sparse (with incisive low notes) to pressurized mechanical motions. The bass lines feel like delicate, abstract brushstrokes that trail a path on a colored canvas but are not averse to casual vigorous plucks. The drum playing can shift from understated polishment to a bright swinging pulse. These indefatigable artists work on these fluxes and dynamics with a rapport enhanced by their broad history in the avant-garde and free jazz movements.

“Whirling in the Void” is cosmic jazz that starts almost with no gravity. We are gradually pushed into the earth through a mix of jazz radiance, contemporary classical mesmerism, folksy melodies and a concluding avant-rock pulsation.

“Nothingness” arrives with a sheer melodicism that condone with silences and occasional brisk attacks. It gets playful at times, then serious again, and then reflective before reversing this order. The trio is fond of experimentation in a freewheeling fashion but sometimes we are mislead to think the opposite, such is the cohesiveness and ease they play with each other’s ideas and sounds.

One of my favorite pieces is the title cut, “Village Mothership”, which, introduced by Dickey, soon acquires a bare bass pavement that helps to sustain exhilarating piano rides and chordal explosions. Shortly after Parker's bass walks begin on top of an insistent hi-hat route, it all becomes lushly jazzy and swinging with the return of Shipp. The piece fades with active bass and quiet drums.

The cinematic tension of “Down Void Way” toggles between eerie and dramatic, with Parker employing his bowing attributes, giving the piece its best possible mood.

Shipp, Parker and Dickey are constantly searching. They possess a range of resources in their playing that many musicians would like to have. This also applies to their unblemished teamwork.

B+

Favorite Tracks:
01 - A Thing & Nothing ► 04 - Village Mothership ► 05 - Down Void Way

Fred Frith Trio - Road

Label: Intakt Records, 2021

Personnel - Fred Frith: electric guitar, voice; Jason Hoopes: electric bass; Jordan Glenn: drums; Susana Santos Silva: trumpet (CD2 - #1,4); Lotte Anker: saxophones (CD2 - #2,3).

The 72-year-old British multi-instrumentalist and composer Fred Frith has been a prolific stalwart in the avant-garde scene for many decades. Road is a double disc release in which he comes up with a seven-movement suite performed live at the Week-End Fest in Germany with his long-time Bay Area trio - featuring Jason Hoopes on electric bass and Jordan Glenn on drums. If the Disc One demonstrates his ability to create freely without being concerned with any particular genre, then Disc Two is an excellent avant-jazz odyssey where the trio is augmented with the presences of the Portuguese trumpeter Susana Santos Silva and the Danish saxophonist Lotte Anker. These two distinguished soloists had played with the trio on a number of occasions before.

Assembling and molding abstract shapes through a fusion of idioms, the suite works with the low and high-pressure atmospheres of its surroundings. One can spot noir metal-like guitar demeanors and free funk bass hints (“Lost Weekend 1”); polished jazzy outfits with rhythmic inclinations for world music (“Lost Weekend 3”); electronics-drenched sounds, drones and primitive rhythmic patterns (“Lost Weekend 6”) in contrast with a synth-infused guitar liquidity that collide with furious sudden discharges (“Lost Weekend 4”); as well as diffuse funk-rock infiltration (“Lost Weekend 7”).

Disc Two begins with the 18-minute “Color of Heat”, where Frith and Silva dish out guitar washes and uncannily pristine brushstrokes, respectively, with a hankering for something in the vein of Don Cherry fusion experiments. Things darken considerably in tone, only to radiate light moments later, right before being electrified again in the last segment. Silva’s trumpet also crisscrosses the rhythmic flux of “Color of Heart”, which starts off with nuanced bass runs, guitar staccatos and immersive drum work. There are seamless shifts in mood here, with ethereal chants, trumpet’s air techniques, vocals, and electronic ostinatos being added.

“The Trees Speak” is definitely a favorite. Set in motion by woody bass plucks, synth-guitar harmonies and a tropicalia-like rhythm, the energy of this piece is vividly amplified by Anker’s tenor saxophone. She moves from the lower registers to the higher when the intensity slows down, seeking timbral allurement in the company of Frith’s oblique guitar. One can smell exoticism for a while, before the wind blows vehemently against a final robust texture.

Expressing his undeniable passion for sounds and moods, Frith, in such a good company, turns Road into a triumph of emphatic expectations.

A-

Favorite Tracks:
03 (CD1) - Lost Weekend 3 ► 01 (CD2) - Color of Heat ► 02 (CD2) - The Trees Speak

Family Plan - Family Plan

Label: Endoctomorph Records, 2021

Personnel - Andrew Boudreau: piano; Simón Wilson: bass; Vicente Hansen: drums; Kevin Sun: tenor saxophone (#10).

Formed in 2018 in Brooklyn, Family Plan is a modern trio composed of Canadian pianist Andrew Boudreau and two Chileans, the bassist Simón Wilson and the drummer Vicente Hansen. Their eponymous debut album was conceived with risk-taking spirit, showcasing the three young cats in stimulating conversation and stressing both their individual talents and cohesive interplay.

The first two selections are among their finest tracks, demonstrating how they shift from powerhouse virtuosos to sensitive painters open to diverse coloristic possibilities. “Celebratory” opens the record with an effortless sense of synchronicity and rhythmic astuteness, leading to a circular rock muscularity sustained by free-burning piano and drums, while the bassist bows spontaneously. Quite the opposite, “Life is Good” spreads a staggering melody over a rich harmonic progression, making sure that every gesture means something.

There are other highlights such as “Reptilian”, a spasmodically kinetic trip equipped with odd groove and a solo piano passage; “Touch”, which relies on a repetitive figure subjected to curious adjustments (from a Paul Bley-like jazz ambiguity to a Radiohead-inspired rock context); and “What’s Your Fee”, which, grooving and rocking with an off-centered pulse, has an excellent spot for guest saxophonist Kevin Sun.

Besides the well-worked dynamics, “Scam Likely” comes with crisp piano jabs and rhythmic accuracy, whereas “Who’s Your Copilot” finds the sweet spot between sophisticated pop and nifty post-bop.

This is a forward-thinking trio that deserves to be heard.

B

Favorite Tracks:
01 - Celebratory ► 02 - Life is Good ► 10 - What’s Your Fee

Makaya McCraven - Deciphering the Message

Label: Blue Note Records, 2021

Personnel - Makaya McCraven: drums; De’Sean Jones: tenor saxophone, flute; Greg Ward: alto saxophone; Marquis Hill: trumpet; Joel Ross: vibraphone: Jeff Parker: guitar; Matt Gold: guitar; Junius Paul: bass.

There’s a trademark sense of groove and rhythm to French-born drummer/composer/beatmaker Makaya McCraven, who reached a distinguished place in the modern jazz sphere as a result of his own merit.

His debut on the Blue Note Records is no less than stunning, fusing past and present by expertly providing new outfits to sampled jazz classics. It's a beautiful tribute to the golden era of Blue Note (50s and 60s) and the Birdland jazz club - here represented by the voice of his former master of celebrations Pee Wee Marquette. In order to create a patchwork of elegant hard-bop/hip-hop hybridity, he enlists some serious peers who rise to the challenge with aplomb, helping him lacquering lovely jazz tunes with an updated rhythmic sheen. 

Introduced by Marquette’s effusive announcement, “A Slice of the Top” opens the record with levitating powers, featuring the original horns of Hank Mobley and Lee Morgan (fetched from Art Blakey’s album A Night at Birdland vol.1) crossing over a gorgeously simpatico drum-and-bass rhythm that goes into your skin.

Kenny Dorham’s “Sunset” adapts the familiar hard-bop luxury to the new groovy era defined by McCraven and his accomplices - vibraphonist Joel Ross, guitarist Jeff Parker and bassist Junius Paul. The standard “When Your Lover Has Gone” is transformed into a bright and breezy concoction of jazz, soul and funk. Horace Silver’s “Ecaroh” comes infused with prismatic, liquid patterns and a vibing happiness (with Ross at his coolest). And “Autumn in New York” suggests the theme without following it completely, relying on the melodies of trumpeter Marquis Hill and saxophonist/flutist De’Sean Jones. 

Irrefutable highlights are: Wayne Shorter’s “Mr. Jin”, whose immensity of sound is so liberating that you well might think it’s possible to fly on the wings of its harmonic splendor, and Bobby Hutcherson’s “Tranquility”, presented here as a collage of the harmonic relaxation that stems from the original and the skittish new rhythm pulled off by McCraven.

The variety of textures and moods is on display, and you can easily find the differences between the sly bopper “Coppin’ the Haven”, written by pianist Kenny Drew and taken from saxophonist Dexter Gordon’s 1965 album One Flight Up, and “Frank’s Tune”, which agilely riffs on funk while featuring alternate statements by Parker (operating in a smooth George Benson mode) and Jones on flute. The record comes to an end with the Eddie Gale-penned “Black Rhythm Happening”, a funk-infused piece with celebratory chants and reverb-drenched saxophone coils.

McCraven’s artfulness is to be taken seriously, and Deciphering the Message can be heard as a continuous suite of splendorous narratives and vignettes that bridge two different eras with two fantastic group sounds. It’s a gem with a special eclectic vibe.

A

Favorite Tracks:
01 - A Slice of the Top ► 03 - When Your Lover Has Gone ► 11 - Mr. Jin

Adam O'Farrill - Visions of Your Other

Label: Biophilia Records, 2021

Personnel - Adam O’Farrill: trumpet; Xavier Del Castillo: tenor saxophone; Walter Stinson: bass; Zack O’Farrill: drums.

Hailed by many as one of the most compelling and adaptable contemporary jazz trumpets of our times, Adam O’Farrill is found in his prime on Visions of Your Other, his third album at the helm of his quartet Stranger Days and the second on the Biophilia Records.

This album pairs him with the group’s regular rhythm team - bassist Walter Stinson and brother drummer Zack - as well as with s new addition: the saxophonist Xavier Del Castillo, who replaced Chad Lefkowitz-Brown in the frontline.

The opening number, “Stakra”, borrows a fragment of Ryuichi Sakamoto’s song of the same name, gliding with odd tempo in an airy, graceful delight of accomplished playing. The next piece, the Stinson-penned “Kurosawa at Berghain”, defies the previous soaring atmosphere with the right amount of swagger, displaying an antsy trumpet flying over a spasmodic rhythm that fits the bill of both alternative funk and EDM genres.

Equally intense is “Inner War”, which derived from Adam’s experience of having to bring chickens to be slaughtered while working at a farm in Maine. The trio reinforces its alliance with contrasting timbres, parallel moves, rhythmic consistency and melodic meaning. There’s a fervent statement by Del Castillo, infused with slippery rhythm figures that relocate easily in new spots. Always responsive to their surroundings, he and O’Farrill show off a suppleness with their instruments that motivates. This piece ends beautifully.

Whereas “Hopeful Heart” flows intimately in seven and aims to the senses with a soft groove, the cerebral “Blackening Skies” is awe-striking in both control and intensity, denoting nearly epic contours, striking counterpoint and agility. Adam wrote the latter peace with climate change concerns in mind.

O’Farrill puts a fresh, elegant spin on this chord-less jazz, whose emotional angles are a pleasure to discover. This new body of work is a triumphant artistic showcase of his capabilities both as a modern trumpeter and neat composer.

A

Favorite Tracks:
01 - Stakra ► 02 - Kurosawa at Berghain ► 03 - Inner War

Ben Allison - Moments Inside

Label: Sonic Camera Records, 2021

Personnel - Steve Cardenas: electric and acoustic guitar; Chico Pinheiro: electric and acoustic guitar; Ben Allison: acoustic and electric bass; Allan Mednard: drums, percussion.

First-rate bassist/composer Ben Allison consistently makes good records and he’s been doing it since the mid 90s with diverse ensembles (Medicine Wheel, Think Free, Herbie Nichols Project). For this new outing, the founder of the Jazz Composers Collective changed things up, venturing into new sounds inspired by MPB (Popular Brazilian Music) and Tropicalia, an artistic Brazilian movement that took place in the 60s. With those sounds in mind, he enlisted the reliable guitarists Steve Cardenas, a long-time collaborator, and the Brazilian Chico Pinheiro, a new associate that fits here like a glove. Rounding out the group is the drummer Allan Mednard, who had contributed to his previous recording, Layers of the City (Sonic Camera Records, 2017). They work their way through seven Allison originals and a reworking of Herbie Nichols’ “House Party Starting”, which, glimmering with its recognizable haunting melodicism, emerges here coated with a gracious bossanova feel.

“Safe Passage ” opens the album with catchy electric bass and the adroit sound of brushed skins and cymbals for a soft but steady pavement. On top of it, the guitarists control both harmony and melody with such clarity and such generosity, evoking the lyricism of Gilberto Gil and the easygoing fluidity of Os Mutantes.

The rhythmic magnetism keeps pulling us in, albeit from a different angle on “The Chase”, which recalls Edu Lobo yet with a refined jazzified sensibility. This number is marked by a solid electric bass solo and thrilling drumming, with Cardenas and Pinheiro combining their sounds to perfection. The latter’s improvisation on “Milton” - a celebration of the traditional folk trails and specific sonority of Milton Nascimento (the author of the iconic album Clube da Esquina and the noteworthy song “Miracle of the Fishes”) - is a reassuring wonder of well-chosen notes. This tune ends percussively luxuriant.

“Voyage of the Nautilus” also receives an outstanding percussion treatment by Mednard as it keeps grooving in 5/4 time thru a funkified pulse, whereas “Breakfast with Eric” speaks the blues idiom without sacrificing the album’s aesthetic.

Amidst the chaos and sorrow lived at the time he was working on these compositions, Allison came to the conclusion that he penned the music he needed - filled with beauty, optimism and tranquility. Moments Inside provides an awe-inspiring listening experience for everyone with an eclectic ear.

A-

Favorite Tracks:
01 - Safe Passage ► 02 - The Chase ► 04 - Voyage of the Nautilus

Michael Feinberg - Hard Times

Label: Fresh Sound New Talent, 2021

Personnel - Godwin Louis: alto saxophone; Noah Preminger: tenor saxophone; Billy Buss: trumpet; Orrin Evans: piano; Leo Genovese: synth, keyboards, organ; Michael Feinberg: acoustic and electric bass; Jeff Tain Watts: drums; Gabriel Globus-Hoenish: percussion. Guest appearance by Randy Brecker: trumpet (#9)

Bassist/composer Michael Feinberg releases his eight album as a leader, a successful culmination of the challenges and opportunities imposed by the pandemic. He hired a fantastic group of musicians to play some of his own tunes plus four covers, with Miles Davis’ “Nardis” being the most distinguished of them. His rhythmically defiant arrangement of the latter piece, initially handled with a groovy bass figure and hip-hop color in the rhythm, plays with tempo, moods and styles, including hard-swinging passages and sumptuous Latin segments. Besides the energy of Jeff Tain Watts, for whom Feinberg partly wrote his music, there’s also trumpeter Billy Buss’ elegant muted sound.

Feinberg favors a very eclectic writing, and if “Introduction” carries a slick R&B feel with Orrin Evans and Leo Genovese handling the keyboard chores on piano and synths, respectively, “The Husafell Stone” plunges into bouncy tradition while bringing to mind the music of Freddie Hubbard, Blue Mitchell and Hank Mobley. On the latter tune, Watts stretches at the outset, and I admire how Evans handles his improvisation.

While hard-bop is mixed with pronounced gospel tinge to shape the optimistic “Hard Times” (penned by saxophonist David ‘Fathead’ Newman), it’s a Stevie Wonder-esque funky vibe that animates “Janky in the Middle”, where Buss shows his glossy melodic side in opposition to Godwin Louis, whose zigzagging alto arrives with plenty of accentuation and timbral allurement. Both musicians end up having a lively discussion.

Two McCoy Tyner compositions were selected to be included on the track list, with “Walk Spirit, Talk Spirit” standing out through a Latin jazz-meets-rock that suggests Carlos Santana. It features Gabriel Globus-Hoenish’ well-tuned percussion throughout, and a blistering drum solo by Watts at the end. 

Boasting propulsive licks in its melodic vocabulary, the synth-infused “Monkeys Never Cramp” provides the most exciting playing of the set. Playful, busy and elastic, the piece features guest trumpeter Randy Brecker.

The music has that enthralling appeal and easygoing vibe that satisfies with aplomb. A positive, energetic response to the hard times.

B+

Favorite Tracks:
02 - Nardis ► 03 - The Husafell Stone ► 09 - Monkeys Never Cramp

Ohad Talmor Trio - Mise En Place

Label: Intakt Records, 2021

Personnel - Ohad Talmor: tenor saxophone; Miles Okazaki: guitar; Dan Weiss: drums.

There are many facets to saxophonist Ohad Talmor’s oeuvre. His interest in and devotion to currents like Hindustani and contemporary classical music make him speak with idioms that captivate and intrigue, demonstrating his virtuosic compositional abilities within structurally compelling music.

Mise En Place explores new directions in jazz by making use of the cited influences with cleverness, and finds him fronting a trio with two other cats - guitarist Miles Okazaki and drummer Dan Weiss - both members of another project he leads, the Newsreel Sextet.

The influence of Indian classical music and its rhythmic cycles appear in full bloom not only on “Kamali” - whose intriguing form develops with intersections of Eastern vernacular, contemporary jazz and rock overtones for a first-class piece of fusion - but also on “Shymal Bose Chakradar”, in which accessible melodic parts are quickly reformulated into new patterns and grooves (the rhythm section is simply brilliant here), and also “Rupak Tukra”, a complex concoction of Monk accents and Indian flavors that never loses direction.

Also intermixing the Western and Eastern musical worlds with incessant rhythmic upheaval, “Mixo Mode 19” sometimes resembles Henry Threadgill as it straddles between rigorous composition and searing improvisation. This piece contradicts sharply the rocking spirit of “Back of the Plane”, presented with groove and power and chromatic modulation, and sounding like a postmodern version of Rage Against the Machine. 

The fancifully accented “Theme and Variations” has a funky rhythm undergirding the parallel lines agreed by Okazaki and Talmor in a more familiar avant-garde setting. Subsequently, we have the former delving into post-rock guitar textures, while the latter blows the tenor with a throaty quality and multiphonic conviction. 

The inclusion of two beautiful pieces by John Coltrane confirms the respect nurtured for this quintessential saxophonist. Breaking the intricate rhythmic currents of the preceding five tracks, “Wise One” finds space to breathe, taking us from a context with highly melodic saxophone, scintillating (guitar/chords/texture) and cymbal washes to a rich Brazilian meditation. And “After the Rain” concludes the record with that irresistible peace of mind that all Coltrane lovers search from time to time.

This is a work of pure dedication and focus, impressive in its sheer physicality and complexion. This trio, a new favorite and one of the strongest of 2021, should not be overlooked, demonstrating to have a rapport as tremendous as its musicianship.

A

Favorite Tracks:
01 - Kamali ► 05 - Theme and Variations ► 06 - Wise One

James Brandon Lewis Quartet - Code of Being

Label: Intakt Records, 2021

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

Despite the challenges we all know, this is definitely the year of James Brandon Lewis, who is ranked well up among the most creative saxophone players working today. On the heels of the incredible Jesup Wagon (Tao Forms, 2021), comes Code of Being, a quartet effort that largely plays by the same rules defined in Molecular (Intakt, 2020), as he continues to invigorate spiritual and conceptual sonic crusades in jazz. Having penned all eight selections on this album, Lewis not only shines individually but also achieves a highly inviting group sound in the company of pianist Aruan Ortiz, bassist Brad Jones and drummer Chad Taylor.

“Resonance” starts off as a splendid jazz waltz turned into a groove that wafts along in quintuple meter. Lewis’ lines are passionate and rhythmically intense. And then it’s Ortiz, who first seats a peculiar harmonic tapestry on top of the rhythmic foundation as he prepares for an individual statement with coiled figures. It all funnels into an enlightened finale.

There are three dedications on the album: the intimate “Every Atom Glows” is for painter Norman Lewis - a figure of the abstract expressionism who mainly focused on black urban life - and features Taylor’s classy manipulation of cymbals and toms as well as Jones’ thoughtful bass deliberations; the slightly romanticized “Where is Hela” is dedicated to Henrietta Lacks, the African-American woman associated to the first immortalized human cell line; and the lyrical, sometimes prayerful “Tessera” finds its ways to champion the abstraction of American painter/sculptor Jack Whitten. 

The innate spirituality that erupts from “Archimedean” draws inspiration from the civil rights movement and the African-American artistic collective named Spiral (1963-1965). The tune is set in motion by a polyrhythmic bass-piano texture before fixating in a modal flux delivered at a medium 6/4 tempo. Lewis conjures Coltrane and his A Love Supreme here.

A trio of compositions resulted from Lewis’ molecular systematic music concept. One of them, “Per 4”, kicks off with unaccompanied swinging tenor, proceeding with polyrhythmic detail via the tribal force of Taylor’s drumming and the pianism of Ortiz, who also reacts spontaneously to the saxophone expressions. This avant-garde irreverence is also felt in the maniacally infectious “Per 5”. The title track is infused with rhythmic glare and inside/outside flexibility, revealing qualities of Americana and modal jazz. It’s natural to think of Archie Shepp and McCoy Tyner at some point due to the transcendental mood and nature of sound.

This is another stunning offering from a brilliant saxophonist still in his thirties and fated to be a jazz giant.

A

Favorite Tracks:
01 - Resonance ► 02 - Archimedean ► 05 - Code of Being

Andre Carvalho - Lost in Translation

Label: Outside in Music, 2021

Personnel - André Carvalho: double bass; José Soares: alto saxophone; André Matos: guitar.
Guest - João Almeida : trumpet

André Carvalho, a clever composer and sturdy bassist originally from Lisbon, has been based in New York for seven years now. After getting critical acclaim with his previous album, The Garden of Earthly Delights, he blazes a new trail in a record mostly performed in the trio format - alongside saxophonist José Soares and NY-based guitarist André Matos, and with guest appearances by trumpeter João Almeida. Comprising 12 tracks, Lost in Translation channels the bassist’s interest for untranslatable words, an inspiration for the sounds and moods conveyed on the album.

“Luftmensch” (meaning dreamer in Yiddish) and “Kilig” (a Tagalog word related to when something romantic or idealistic occurs) set the tone as the group creates certain ambiances that walk the tightrope between modern composition and spontaneous exploration. The former number invests in tranquility but doesn’t stop from searching via nuanced ostinatos, texture-minded guitar work with polyphonic intention, saxophone trills, and impeccably synced movements. In turn, the latter selection has its peaceful tones disturbed by Matos’ wired clustered chords while the bowed bass and the saxophone perform side by side. 

This conscious avant-garde setting is extended to “Goya”, which explores further oblique angles and leans harder into jagged edges through distorted guitar and the interaction between Soares and Almeida. Their horns join forces again on “Karelu”, a piece brimming with melodic exclamations and whose static foundational overture is reshaped into a definitive celebratory dance. The ruggedness that comes from Matos’ electronic effects are turned into chiming and ringing tones on “Resfebar”, which he fills with excellent guitar voicings. This composition displays a strong central melodic idea to express the mixture of anxiety and anticipation (of a traveler) that the Swedish word in question refers to. Also based on a Swedish word, “Mangata” embraces a more defined song format as it uses folk and modern classical tinges to depict the road-like reflection of the moon in the water.  

Carvalho employs his poignant, well-developed arco sound here, which also entirely shapes “Boketto” and introduces “Uitwaaien”. The latter flows with a nice, levitating pulse before being slightly rockified by monstrous bass plucks in its final section.

Although not every track touches us deeply, Carvalho’s new trio has its own musical vernacular, binding sounds with a cultivated purpose and non-obvious directions.

B+

Favorite Tracks:
02 - Kilig ► 07 - Karelu ► 11 - Resfebar

Artifacts - … And Then There’s This

Label: Astral Spirits Records, 2021

Personnel - Mike Reed: drums; Tomeka Reid: cello; Nicole Mitchell: flute, electronics.

Artifacts is a trio of front-rank modernists and respected bandleaders - drummer Mike Reed, flutist Nicole Mitchell and cellist Tomeka Reid - who dive deeper into groove on their sophomore album, …And Then There’s This. As members of the prestigious Chicago institution AACM (Association for the Advancement of Creative Musicians), the threesome carries its legacy forward and pay tribute to a few of its influential figures, living and departed. In contrast to their self-titled debut (482 Music, 2015), this strengthened followup includes originals by all members of the trio.

Reed’s elated “Pleasure Palace” evokes the Afro sounds of the Art Ensemble of Chicago by means of a grooving pulsation, furtive cello attacks and fluttering flute deliberations. Two founders of the cited avant-garde jazz group are referred in different ways. Penned by the saxophonist Roscoe Mitchell, “No Side Effects” is put forward with a mix of hip-hop and reggae influences, having the raspy cello interacting with the ever-dancing flute. Mitchell and Reid are also busy during the collectively built “Song for Joseph Jarman”, likely the most abstract and ponderous piece on the record.

Another spontaneous trio effort, “Dedicated to Alvin Fielder”, eulogizes the late drummer with Eastern-flavored chromaticism, flutter-tonguing flute, slow-motion groove and tickling percussion. Mitchell, who explores the upper and lower registers of her instrument with both stability and abandon, also employs cute electronic effects on Reid’s “In Response To”, which swings and rocks with unfailing energy. Also composed by the cellist, “Song For Helena” dawns with solemnity before embracing a waltzing delicacy where the melody is crucial.

“Soprano Song”, composed by the AACM co-founder and pianist Muhal Richard Abrams (he first recorded it in 1987 on the album Colors In Thirty-Third) gets a bracing interpretation here, where an elastic backdrop is guaranteed through apt rhythmic mutations provided by cello and drums. Its contrasting tones and textures immediately hit you.

The combination of primitive energy and charming up-to-date aesthetics sweeps the whole album, and Mitchell’s “Blessed” is not an exception, bringing a straight 4/4 backbeat into a pop/rock-inspired scenario that also contemplates a fine cello solo.

Patching together elements that fully cohere, the Artifacts trio experiences synergistic forces guiding their instrumental proficiency. 

B+

Favorite Tracks:
01 - Pleasure Palace ► 04 - In Response To ► 07 - Soprano Song

Pedro Melo Alves Omniae Large Ensemble - Lumina

Label: Clean Feed Records, 2021

Personnel - Pedro Carneiro: maestro; Pedro Melo Alves: drums, percussion; José Soares: alto saxophone; João Pedro Brandão: alto saxophone, flute; Albert Cirera: tenor and soprano saxophone; Frederic Cardoso: clarinets; Álvaro Machado: bassoon; Gileno Santana: trumpet; Xavi Sousa: trombone; Ricardo Pereira: trombone; Fábio Rodrigues: tuba; Clara Saleiro: flutes; José Diogo Martins: piano; Mané Fernandes: electric guitar; Luís José Martins: classical guitar; Luís André Ferreira: cello; Pablo Moledo: double bass; Alvaro Rosso: double bass; Mariana Dionísio: voice; Nazaré da Silva: voice; Diogo Ferreira: voice; João Miguel Braga Simões: percussion; João Carlos Pinto: eletronics.

Channeling his progressive inclinations into a 75-minute opus conceived for an enlarged version of the Omniae Ensemble, the Portuguese drummer/composer Pedro Melo Alves works with 21 like-minded cohorts to give the intended shape to his through-composed creation. The three selections on this record had been included in the previous 2017 installment, but on Lumina they are put together with singers, stringed instruments, brass, woodwinds, electronics and a pivotal rhythm section. These landscapes of sound unearth several energies and moods that are a challenge worth meeting.

Schematized with chained up sequences, “Obi” kicks off with dark-hued, low-pitched sounds that, later on, are defied by piercing flutes, electronic noise, rattling percussion, and both wailing and howling vocals. The singers become courageous in the darkly epic, quite cinematic progression that follows, and then a temporary suspension serves the quirkiness of guitarist Mané Fernandes before the ensemble digs into an open-minded texture over which a sax solo takes place. There are denser, pushing-forward movements contrasting with ethereal chants and pacific horn playing in all its transcendent glory. 

“Phelia” is introduced by the poised piano playing of Jose Diogo Martins , which, blending tradition and avant-garde abrasiveness, emerges from an indistinct cloud of noise. Vocal and instrumental elements shade in careful moderation, and a somber mood results from the mixture of exotic and hapless vibes, here reinforced by bowed bass and cello. Subsequently, we have a thumping cadenced rhythm with vocal counterpoint leading to impetuous orchestral concentrations that gradually dissolve for a serene finale.

Backdropped with an angst-ridden texture, “Onírea” displays an authoritative tuba resonating closer to the buzzing torment created by irregular drum pluses, electronic disruptions and noise discharges. Rhythmic accentuations, swarming fluxes and soloing opportunities are provided, and everyone leans into the musical idea, contributing to the synergistic power of the experience. Meanwhile, the bandleader emerges from behind the drum kit fanning the fancy textures with precise articulation.

Lumina is clearly a winning step with respect to the previous Omniae installment, brimming with avant forays, challenging foundations and plenty of surfacing interjections and combinations.

A-

Favorite Tracks:
01 - Ubi ► 03 - Onírea

Sigmar Matthiasson - Meridian Metaphor

Label: Reykjavík Record Shop, 2021

Personnel - Sigmar Matthiasson: double bass; Ásgeir Ásgeirsson: oud, tamboura; Haukur Gröndal: clarinet; Ingi Bjarni Skúlason: piano; Matthías Hemstock: drums + guests Ayman Boujlida: konnakol, percussion (#5); Taulant Mehmeti: çifteli (#).

The Icelandic bassist, composer and arranger Sigmar Matthiasson fronts a dynamic ensemble that perfectly serves his compositional abilities in merging Eastern and Western influences. Reflecting his musical personality, Meridian Metaphor, seamlessly integrates the jazz idiom with sounds of the world (mostly Balkan and Arabic), combining different hues and emotions in a pleasant, organic way.

The opening piece, “Don”, flows in three and transports us to a picturesque Eastern landscape that I personally imagine with high mountains and clear, starry skies. If looking for a point of comparison, I could mention the jazz fusion in the collaborative duo Dave Holland/Zakir Hussein, but this music flows with its own voice. Some rock stamina is brought by an 11-beat cycle passage before returning to the central theme, and the transitions from one solo to another are smooth and efficient.

Boasting an additive meter (6+5), “Fordómalausir” thrives with the sophistication of its melody, which also conveys some mystery. The oud gives it a special touch in the texture, and its player, Ásgeir Ásgeirsson, also shines in an improvisation over a bass pedal.

Rhythms intersect with envelope-pushing aesthetics in “East River” and “Karthago”, which are both warmly celebratory and folk-induced in nature. The latter piece features guest percussion from Ayman Boujlida and spotlights pianist Ingi Bjarni Skúlason who dishes out some ascendant phrases ascertained by chromatic splendor.

The amiable balladic side and lounging qualities of “Stinningskaldi” contrast with the excitement of “Nu Rock”, which starts in slow motion with bowed bass and oud but ends in fractured avant-garde mode.

“Mehmetaphor” closes out the album with a Middle Eastern temperament that evolves from a deliberate introductory section to a sumptuous dance in six over which the clarinetist Haukur Gröndal shines. The group eventually returns to the initial pulsation, and one can detect the çifteli and the oud working together.

Matthiasson’s facility to establish lovely moods with a nice empathy is noticeable and his bandmates certainly haven’t let him down with their dedicated work. This disc contains imaginative sonic worlds ready to be discovered.

A-

Favorite Tracks:
01 - Don ► 03 - Fordómalausir ► 08 - Mehmetaphor

Sylvie Courvoisier / Mary Halvorson - Searching For the Disappeared Hour

Label: Pyroclastic Records, 2021

Personnel - Mary Halvorson: guitar; Sylvie Courvoisier: piano.

Displaying seriously brilliant musicianship, guitarist Mary Halvorson and pianist Sylvie Courvoisier are two singular voices united in a powerful duo to explore notions of time. The result of their collaboration is Searching For the Disappeared Hour, a record that reflects the colorful sounds and inventive textures that populate their minds.

Three of the twelve tracks are credited to the duo, including “Four-Point Interplay”, where the prepared piano takes a percussive role and the ruminative guitar threatens to morph into indie rock behavior. 

Albeit catchy, the cited tune can’t be compared in terms of sonic pleasure with Halvorson’s “Golden Proportion” and Courvoisier’s “Lulu’s Second Theorem”. The former - a collage of vignettes with an Erik Satie feel - opens the record by enlacing classical and avant-jazz ambiances through dissonant, pitch-distorted guitar in strategic balance with the ebbs and flows of the piano; in turn, the latter song grooves with highly rhythmic ostinatos, odd-metered passages and expeditious melodic anatomies before shifting halfway to more reflective and abstract zones.

Two other Courvoisier compositions had an incredibly positive effect on me. One of them is “Moonbow”, which, after being playfully set in motion, segues into a serene 4/4 pop progression whose textural base is alternately provided by each musician. After that, we have a more accelerated section where the guitar whoops with timbres that recall slot machines, video games and robotic language. The other song is “Mind Out of Time”, a poignant, dark aural experience that seems to want to unravel secrets in the depths of our souls. By the end, compelling unison lines are briefly incorporated without losing a bit of the texture.

Halvorson penned “Bent Yellow”, a bluesy plunge that feels bold in the interaction, angular in the theme and resolute in the proceedings, as well as “Gates & Passes”, a sad, shimmering ballad sunk in a myriad of interesting effects.

The guitar playing and pianism of these amazing musicians are so rich and satisfying that the album catches our senses with striking assurance.

A-

Favorite Tracks:
01 - Golden Proportion ► 02 - Lulu’s Second Theorem ► 07 - Mind Out of Time

Javier Subatin - Mountains

Label: Habitable Records, 2021

Personnel - Javier Subatin: guitar; Demian Cabaud: bass; Pedro Melo Alves: drums. Guests - João Mortágua: alto saxophone; Samuel Gapp: piano; Ricardo Jacinto: cello.

Javier Subatin, a versatile Argentinian guitarist based in Lisbon, gathered with fellow countryman bassist Demian Cabaud and Portuguese drummer Pedro Melo Alves for a stimulating new album. Guest performers appear on six of the 12 tracks.

The central pieces on this record - Subatin’s ‘Mountain’ compositions - are interspersed with more abstract collective improvisations that can go from avant-garde settings with constant restless motions (“Birds”) and controlled tension (“Shadows”) to slightly eerie episodes with a percussive emphasis (“Caves”). 

The opener, “Mountain#1”, is among my favorites, showing the trio in absolute command of multiple meter signatures. Before the final straight-to-the-gut rock muscularity limned by Alves’ drum work, there’s a strident improvisation by Subatin. He makes an impact by engaging in rhythmic ideas that shifts chromatically. 

The polyrhythmic “Mountain#3” brings us discernible, emotionally charged harmonic movements in 13/8 before opting for a symmetric jazz rock groove with hints of funk. This is celebrated by the enthusiastic interplay between Subatin and guest pianist Samuel Gapp. 

Also featuring an ostinato-driven passage in 13, “Mountain #5” is atmospherically drafted for freedom but also includes thoroughly composed parts. The tension grows and the peak is reached halfway, during the bandleader’s revved-up soloing process. Yet, all ends pacifically with the bowed bass orienting us toward a circular trajectory. 

Diversity is an asset here, and if “Mountain#4” blossoms like a folk dance and shows signs of fusion, then “Mountain#2” suggests chamber classical music with appropriate counterpoint, for which much contributes the cellist Ricardo Jacinto. By contrast, “Mountain#6”, which starts breezily in seven, features the suppleness of altoist João Mortágua and a solo dissertation by Cabaud in a well-paced ride. As a conclusion, all guests take part in “Solo#5”, a melodic and beautifully textured piece with a flowing sense of pop song.

The contemporary aural descriptions of these ‘mountains’ make us want to climb them to the top. Moreover, the telepathic camaraderie between the musicians is noticeable and the ambitious musical experiment wins.

B+

Favorite Tracks:
01 - Mountain#1 ► 05 - Mountain#3 ► 10 - Mountain#6

Jones / Skolnick / Grohowski / Motzer - Pakt

Label: Moonjune Records, 2021

Personnel - Tim Mother: guitar, electronics; Alex Skolnick: guitar; Percy Jones: bass guitar; Kenny Grohowski: drums.

Pakt consists of four experienced fusion practitioners and progheads who gathered last year at Brooklyn’s ShapeShifter Lab for two sets (two discs) of totally improvised music grounded with a fierce sense of exploration. While fearless guitarists Alex Skolnick (Testament) and Tim Motzer (David Sylvian, Burnt Friedman) form a powerful frontline, Percy Jones (Brand X, Brian Eno) and Kenny Grohowski (Simulacrum/John Zorn, Imperial Triumphant) conserve their firm bass-and-drum hook up from start to finish.

The first disc is divided into five parts, and the opening track, “Emergence”, emerges as an ample lane of crocheted bass and stunning drum work, over which the two guitarists cut across with personality. Motzer stands out on the electro-acoustic guitar while Skolnick delivers suspended ambient chords on the electric, before the show grows energetically polyrhythmic. They stop for a relaxed dialogue that revolves around a certain melodic idea and then conclude atmospherically, surrounded by electronic sounds.

“Brothers of Energy” is an avant-prog alchemy that feels prayerful and tense, pictorial and hypnotic. It becomes delirious in its rhythmic drive, a friction turned ecstasy with the communicative guitars atop.

Geared for dealing effectively with density and dynamics, “Over Strange Lands” leaves some funk-rock perfume in the air, whereas “The Mystery” escalates to a pulse-pounding wash of funk and rock virility after flirting with ambient. While in transit, we detect guitar harmonics and tremolos, phrases with delay effect, wah-wah-infused chords, softly fingerpicked sequences and voltage-charged solos. And of course, with Jones’ fluttering bass conductivity and Grohowski’s mercurial temperament guaranteeing an excellent foundation.

The group’s grayish patchwork of progressive rock and experimental jazz continues on the second disc, whose highlights are “The Sacred Ladder” and “The Great Spirit”. The former goes bluesy and groovy in its athletic rock spiral, whereas the latter includes measured pointillism and cyclic progressions, putting on display some interesting ideas by the blistering guitarists.

Pakt’s creative energy and quality of sound can be acknowledged on this stout double album.

B

Favorite Tracks:
01 (Disc1) - Emergence ► 05 (Disc1) - Brothers of Energy ► 02 (Disc2) - The Sacred Ladder

Gulfh of Berlin - Gulfh of Berlin

Label: Esp Disk’, 2021

Personnel - Gebhard Ullmann: tenor saxophone, bass clarinet; Gerhard Gschlossl: sousaphone, trombone; Johannes Fink: bass, cello; Jan Leipnitz: drums, objects; Michael Haves: live sound processing.

This chord-less German ensemble called Gulfh of Berlin is composed of musicians with an incredible capacity of adaptation to different settings. Their approach actually goes places as they boast a strong reeds/brass frontline with Gebhard Ullmann and Gerhard Gschlossl in command, and a quirky rhythm section made of bassist/cellist Johannes Fink and drummer Jan Leipnitz. Rounding out the group here is Michael Haves, invited to be at the wheel of the live processing.

The rhythmically interesting “Nether” touts a drifting flow, going along with a fresh beat-making that occasionally verges on dark industrial rock. With the conspicuous sousaphone vaulting the texture with its special tone, we also have a bass statement that ends up in a pitched murmur.

“K3” remains in a perpetual ambiguity and suspension regardless Leipnitz’s intentional sizzling cymbals, whereas “Serenade” adopts a swinging posture, exhibiting the horn players in animated conversation before focusing on a long, one-note drone with noisy electronics atop.

“Tellus” brings Ullmann to the fore. At some point, he switches the acrobatic tenor sounds for a timid, multiphonic bass clarinet, being followed closely by octave-modulated brass and the measured fragmentation of the drums. Although enjoying total freedom, the bass ends up with a regular pulsation.

The highly experimental “Joja Romp” probes uncharted territories with a visionary multi-genre approach, revealing vague Eastern connotations in the melody before inhabiting a transitory darker space that leads to a ‘batucada’ cadence. Tropical bass flavors are added to connect the eclectic contemporary dots.

The eruptive “Mann Aus Dem Himmel” and the squirrelly improvised “5 Elements” fall into more traditional avant-garde territory. The former, marked by kinetic drumming and sturdy tenor, progressively emphasizes the electronics; the latter bears the energy of rock, which is complemented with croaking cello and Ullmann’s defiant attitude on tenor in opposition to a more meditative and melodic course taken by Gschlossl on the trombone.

These musicians take absolute control of their instruments, making music that you’ve probably never heard before.

B+

Favorite Tracks:
01 - Nether ► 03 - Joja Romp ► 09 - 5 Elements

Craig Taborn - Shadow Plays

Label: ECM Records, 2021

Personnel - Craig Taborn: piano.

craig-taborn-shadow-plays.jpeg

Extremely skilled in the way he explores his instrument, the modern creative pianist Craig Taborn involves us in a drape of sounds and textures that range from literate to empowering and from rigorous to freewheeling. 

Fully improvised and recorded live, his second ECM solo piano effort, Shadow Plays, starts with the 17-minute “Bird Templars”, where an ostinato-driven flux coalesces with deliberate bass notes, implying, by turns, electronic music build-ups, modern classical streams and pop music progressions. Avoiding to clutter the music by carefully weighing every element, Taborn remains wedded to music in all its forms, exploring calm waves and juxtaposed rhythms with the same dedicated passion.

“Conspiracy of Things” evolves expeditiously, presenting a different kind of swing that only visionary pianists can achieve. In “A Code With Spells”, he lets the power of the harmony shine through, exploring several patterns with odd meter, while on “Shadow Play”, the epic tones at the very beginning twist into heavy, maniac dollops of fierce energy before forming an amazing map of sounds that engulf dancing folk lines, asymmetric groove and repetition of ideas.

If the sonic games of “Discordia Concors” and “Concordia Discors” can be tricky to follow in their expansions, contractions, convergences and divergences, then the concluding “Now in Hope” wraps up every tension, whether by waltzing with a delicate melody or flowing rubato with amiable temper. It sounds very jazzy in both cases.

This recording illustrates what Taborn is capable of when his extravagant imagination comes alive. The more you revisit it, the more you take pleasure from what’s being offered.

B+

B+

Favorite Tracks:
03 - Conspiracy of Things ► 06 - Shadow Play ► 07 - Now in Hope

Johnathan Blake - Homeward Bound

Label: Blue Note Records, 2021

Personnel - Immanuel Wilkins: alto saxophone; Joel Ross: vibraphone; David Virelles: piano; Dezron Douglas: bass; Jonathan Blake: drums.

Jonathan Blake, one of the most respected and sought-after jazz drummers on the scene, carved a path through the contemporary jazz with some powerful albums released under his name (The Eleventh Hour; Trion) as well as fruitful collaborations with Tom Harrell, Kenny Barron and Dave Holland, Dr. Lonnie Smith, Jaleel Shaw and Maria Schneider.

For Homeward Bound, the fourth entry in his personal discography and his debut on the Blue Note Records, he convenes a freshly formed quintet, Pentad, which features prodigious musicians such as saxophonist Immanuel Wilkins, vibist Joel Ross, bassist Dezron Douglas and pianist David Virelles.

A one-minute drum intro prepares the terrain for the title track, a beautiful theme that Blake composed for saxophonist Jimmy Greene's daughter, Ana Grace, whose life was taken at the age of six during the Sandy Hook elementary school shooting in 2012. Marvelously expressed with odd meter signature, the piece is illuminated by a slick harmonic progression and radiant melodic insight. It also encapsulates mesmerizing improvisation from Ross and Wilkins, who alternate bars with a focused sense of direction, and then Virelles, who scrumptiously blurs the picture with impeccable note choices. Blake also shines, becoming lyrically busy over a vamp marked by contrapuntal adorn. 

Boasting a silky synth-soaked texture, “Rivers & Parks” has everyone swinging and grooving, but it’s Wilkins who leaps out, exploring outside boundaries and heating his vocabulary with fervid figures. His mesmeric improvised flights also come into view during the extroverted reworking (in six) of Joe Jackson’s 1982 electropop hit “Steppin’ Out”. Virelles, who enters the stage alone on this one, provides wonderful comping throughout while bass and drums embrace this delicious state of ecstasy. 

The two other tunes that didn’t come from the pen of Blake are “Shakin’ the Biscuits”, a bouncy, funkified, bopish frolic written by Douglas that will put you in a great mood, and “Abiyoyo”, a traditional South African children’s song in sextuple meter whose lullabyish melody runs in circles.

Blake’s “LLL”, a dedication to the late drummer Lawrence 'Lo' Leathers, is a stirring post-bop number that gives Ross plenty of time to showcase his progressive mallet prowess.

The elegant drumming of Blake permeates the album. His accomplishment here is not just a direct result of an accumulated experience throughout the years, but also the refined taste that shows up in everything he does.

A

A

Favorite Tracks:
02 - Homeward Bound ► 04 - Shakin’ the Biscuits ► 08 - Steppin’ Out