BJ Jansen- Common Ground

Label/Year: Self-produced, 2017

Lineup - B.J. Jansen: baritone saxophone; Delfeayo Marsalis: trombone; Duane Eubanks: trumpet; Zaccai Curtis: piano; Dezron Douglas: bass; Ralph Peterson: drums.

Cincinnati-born B.J. Jansen, a gifted baritone saxophonist and composer with a 20-year career and a flair for traditional jazz, brings together a devoted sextet that allows him to take the vocabulary from the past into modern escapism. His tenth album, Common Ground, symbolizes what he calls of Harlem/Philadelphia connection (due to where he lived) and is probably his most accomplished work to date. 
The distinguished peers that join him here are Delfeayo Marsalis on trombone, Duane Eubanks on trumpet, Zaccai Curtis on piano, Dezron Douglas on bass, and Ralph Peterson on drums.

Stacked with hyped up tones, “Stacey’s Pace”, is a post-bop ecstasy whose energy is channeled uninterruptedly through improvisations that reveal not only rhythmic proficiency but also a strong instinct for melody. This quick-witted nature is equally audible in “Angela’s Aggravation”, an evocative piece with a hard-bop vein. If the chord progression is right up Parker’s alley, the multicolored melodic phrases recall Hank Mobley, Clifford Brown, and Jackie McLean in his early phase.

The form and sound of the blues are very present and the band digs “Brandon’s Blues” with swinging vigor, and also “Bucket Full of Soul” whose generous doses of funk and soul come close to Horace Silver. Enveloped in buoyancy and featuring a deft drum solo by master Peterson, this tune also recalls the Latin sides of Joe Henderson and Lee Morgan.

On “Street Walk”, the group dabbles in a reinvigorating 4/4-tempo dance imbued of groove and fluidity. While Jansen, who shows a powerful connection with his instrument, draws sparkling reactions from Peterson throughout his stimulating improvisation, Eubanks gets the same type of responses from Curtis when he is in control. The solid bass-drums alliance is intensified with extra freedom before the reemergence of the main theme.

Searching for more peaceful ambiances amidst such a high excitement, we have “Carol’s Dream”, whose beautiful melody is distributed by trumpet and baritone, and “Soul Loss”, a ballad enunciated by Jansen and gently quivered by Peterson’s brushwork.

The most irresistible moment of the record takes place when the title track brings the spiritual expansiveness of Coltrane into the scene. Jansen is motivically attractive in his solo, impelling the deep sounds of his baritone to hit us hard in the face. Curtis also excels through serial piano sweeps.

Common Ground is a categorical revival of the mainstream jazz and a vital step in B.J. Jansen’s career. Well adapted to the present times, it comes equipped with sufficient baits to get us stuck in its harmonious sonic net.

         Grade A-

Favorite Tracks:
01 – Stacey’s Pace 03 – Street Walk 09 – Common Ground

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Dave Liebman / Joe Lovano - Compassion: The Music of John Coltrane

Label/Year: Resonance Records, 2017

Lineup - Dave Liebman: saxophone, flute; Joe Lovano: saxophone; Phil Markowitz: piano; Ron McLure: bass; Billy Hart: drums.

We couldn’t have asked for better! Two veterans and top-notch horn masters like Dave Liebman and Joe Lovano playing together the bright music of John Coltrane in the commemoration of his 50th anniversary on Resonance Records.

Regardless their different styles, approaches, and timbres, the co-leaders seamlessly adjust their eloquent phrasing and give a new life to these iconic pieces.
Compassion: The Music of John Coltrane features the striking duo accompanied by the also experienced Phil Markowitz on piano, Ron McLure on bass, and the great Billy Hart on drums. 

“Locomotion”, an electrifying hard-bop tune first recorded in 1957 as part of the acclaimed album Blue Trane (Blue Note), immediately gets the band together for a ‘crazy motion’ as the title suggests. The vivacity that arises from the rhythm section’s coalition instigates Liebman and Lovano to draw vigorous and articulated melodic sequences full of oblique angles and action-reaction momentum.

The effervescence winds down for “Central Park West/Dear Lord”, a smooth medley where Lovano controls the first part with soulful enthusiasm while Liebman is in charge of finding benevolent melodies and take them to the second, as an ode to the Creator.
 
The mood changes once more on “Olé”, a lavish modal piece that takes us to Spanish traditions, in the present case, more exciting and less harmful than their bullfighting. Sweet flute intonations set the right tone and are quickly joined by the percussive scratches drawn by the piano strings. Moments later, McLure and Hart underpin a Latin-tinged groove that invites the horns for an urgent, magical feast à-la Coltrane. The tune ends with McLure’s bass ruminations.

Both “Reverend King” and “Equinox” bring hope into the world as true conveyers of a beneficial spiritual aura. The former, a push-pull rubato, is built with bowed bass, flute, and cymbal’s splashes; the latter, flowing at a slightly faster pace than the original, is a minor blues coated with Liebman’s rapturous soprano flights, Markowitz’s poised linkage of chords and melodies, and Lovano’s heartwarming tenor strains. 

The rhythmic sophistication of Billy Hart stands out on “Compassion”, an almost 18-minute devotion that also expands with the saxophonists’ igneous phrases, which converge into unisons and then scatter up to uproars that go in and out of focus.

Liebman/Lovano quintet strikes with ravishment and gusto, showing their reverence for Coltrane’s legacy while exhibiting their own special gifts. 
In addition to knowing inside out the territory they’re stepping into, refinement and dynamism became keys in the process. 

         Grade A-

Favorite Tracks:
01 – Locomotion ► 03 – Ole ► 06 – Compassion

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Mats Gustafsson & Craig Taborn - Ljubljana

Label/Year: Clean Feed, 2017

Lineup - Mats Gustafson: saxophone; Craig Taborn: piano.

Swedish saxophonist Mats Gustafson and American pianist Craig Taborn, two dauntless explorers with an accentuated inclination for avant-garde jazz and free improvisation, had never joined forces until the 2015 Slovenia Jazz Festival. 
That singular happening, a live duo performance completely improvised was turned into a two-long-track vinyl record, entitled Ljubljana, which is now available on the Portuguese label Clean Feed.

While this is the first move of the year for the prolific saxophonist, the highly in-demand pianist saw his magnificent album, Daylight Ghosts, coming out on the ECM label three months ago. 

“The Eyes Moving Slowly”, the opening and lengthiest track at over 20 minutes, begins with Taborn’s dark combination of bass notes while Gustafson sneaks in with a few air blows. A few minutes later, the latter unleashes the beast in him, showing us the power of his baritone saxophone through vociferous deep-toned outcries that can be tied in with pain, pleasure, or fear. At this phase, Taborn embraces the macabre scenario by creating continuous murky textures of distinct intensities. The verbal fury is gradually mitigated, opening space to a punctilious pianism supported by single-note lines rather than wider chords. Simultaneously, Gustafson plays with timbres and explores sounds of various kinds. The tune ends up in an oddly disjointed dance.

The almost-18-minute “The Ears Facing the Fantasies” starts out through (un)geometric figures engendered by Taborn, who takes in Gustafson’s attacks with a ceaseless, self-ruling posture.
The saxophonist puts into practice a variety of extended techniques - his famous slap and flutter tonguing, roars, growls, and whistles. He complements all this with rapid-fire phrases and the sound of his own voice. Moods range from dense/grotesque to minimalistic/graceful.

The liberties arise with an opulent fervency, drawing intense musical moments that could make this record a hard nut to crack, especially if taken by someone whose taste falls out of the free jazz circuit.

         Grade B+

Favorite Track:
01 – The Eyes Moving Slowly

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Kurt Rosenwinkel - Caipi

Label/Year: Razdaz Records, 2017

Lineup – Kurt Rosenwinkel: guitars, voice, bass, piano, synth, percussion; Mark Turner: tenor saxophone; Pedro Martins: voice, drums, synth; Frederika Krier: violin; Chris Komer: French horn; Alex Kozmidi: baritone guitar; Eric Clapton: guitar; Andi Haberl: drums; Amanda Brecker: voice; Zola Mennenoh: voice; Kyra Garey: voice; Antonio Loureiro: voice.

Influential American guitarist Kurt Rosenwinkel opted to radically change direction in Caipi, a Brazilian jazz fusion record whose concept and compositions had been worked on over the last ten years. 
Accompanying the virtuoso guitarist, who also sings and plays bass, keys, and percussion, are international artists of undeniable quality. The lineup includes the saxophonist Mark Turner, multi-instrumentalist Pedro Martins, and intermittent appearances of violinist Frederika Krier, French horn player Chris Komer, baritone guitarist Alex Kozmidi, drummer Andi Haberl, rock/blues guitarist Eric Clapton, and a quartet of vocalists.

A myriad of colorful confetti covers the tropical landscapes described by the title track, where typical Brazilian rhythms fuse seamlessly with the straight-ahead post-bop style that the guitarist has been plunging in. On top of the highly-colored acoustic voicings, the radiance of his effect-drenched electric guitar sound is completely identifiable with previous works, even if applied to a new context.

Both “Kama” and “Casio Vanguard” are inspiringly utopian, having Portuguese lyrics uttered with recurrent falsettos. The former is inundated with synth vibes, acquiring an R&B feel that takes us back to the 80s. In turn, the latter is encircled by a Brazilian pop-folk that combines many influences, from Gilberto Gil to Hermeto Pascoal. Rosenwinkel mesmerizes every time he expresses himself on the guitar. 

“Summer Song” is a breezy, ear-catching piece that features singable melodies over an underground dream-pop atmosphere. 

A ternary bass groove, glued to a festive samba rhythm, is laid down in “Chromatic B”, creating the ideal conditions for the guitarist’s explorative take offs. It gets us stoned of relaxation before opening a way to a double dose of indie pop with “Hold On” and “Ezra”. The latter, composed for Kurt’s son, features Mark Turner soloing in-the-rhythm. 

The saxophonist can be heard again in “Casio Escher”, a floating, feel-good tune initially driven by acoustic guitar and superiorly vocalized by Amanda Brecker and Pedro Martins. It comes recharged by the empowerment and colorful expressiveness of the soloists, Turner and Rosenwinkel, in the case.

Tinged with an Afro-Brazilian rhythm and richly harmonized, “Interscape” is another favorite of mine, and comes shaped by wordless vocals in a grateful exultation of beauty and joy. 

Fans of Kurt Rosenwinkel will certainly be surprised with the new path but don’t really have to worry. Firstly, because the compositional expertise and guitar skills of their hero remain intact and recognizable. Secondly, because this fusion sounds good, spreading blissful vibes over the blue skies.

         Grade A-

Favorite Tracks:
01 –  Caipi ► 09 – Casio Escher ►10 – Interscape

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Jim Yanda Trio - Home Road

Label/Year: Corner Store Jazz, 2017

Lineup - Jim Yanda: guitar; Drew Gress: bass; Phil Haynes: drums.

Guitarist Jim Yanda, an Iowa native whose career was partially built in Chicago, and his brave trio composed of bassist Drew Gress and drummer Phil Haynes, set off on a musical adventure that combines jazz and blues traditions with a modern flare.

The trio had already hooked up in the Americana-influenced Free Country project led by the drummer while Gress and Haynes, forming a pliable rhythm section, were precious in a couple of records from German reedist Gebhard Ullmann. Besides Home Road, the double-disc album in analysis, which works as a recipient for newly-recorded music, Yanda is also releasing Regional Cookin’, an old recording from 1987 that never saw the daylight and features the same peers. Both records are coming out on Haynes’ Corner Store Jazz label.

Opening disc one, “My Ship” is a beautiful song written by Kurt Weill and Ira Gershwin for the 1941 Broadway musical Lady in the Dark. Etched by Yanda’s serene guitar and moving with plenty of space, the trio employs sweet and mellow tones.

Several songs are deeply rooted in the blues, cases of “In-Source”, in which Yanda and Gress trade fours with the drummer after their respective solos, “Blulious”, the album’s closing tune, and “Country Mother”, a mutable, swinging piece that flourishes with a contemporary feeling and smiling affirmation.

The relaxing moods of “Sundog”, where we hear the guitarist fingerpicking with propinquity and the bassist creating amenable melodies, together with the reflective tranquility of the title track, help to balance paces. 

“Ghosthood” is perhaps the most provocative tune with its ghostly effects drawn from Yanda’s steel guitar and Haynes’ cymbals chatter, after which it acquires a titillating percussive flow.
“Earth Way” showcases the excellence of Haynes’ drumming and features fluid improvisations by Gress and the bandleader.

The easy-listening Home Road arrives with genuine moments of individuality and interplay. Those with an inclination for tradition will find here some interesting ideas well adapted to the current times.

         Grade B

Favorite tracks:
04 (cd1) – Sundog ► 05 (cd1) – Ghosthood ► 01 (cd2) – Earth Way

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Ralph Towner - My Foolish Heart

Label/Year: ECM, 2017

Lineup - Ralph Towner: guitars

Resourceful acoustic guitarist Ralph Towner has been an exemplary case of productivity and dedication since his first appearances in the early 70s. 
His virtuosity is patented in a variety of recordings whose listenings will disclose the incomparable sound and accurate technique that make him unique.

Towner was a co-founder of Oregon, a world-fusion chamber jazz group that also included the versatile experimentalists Collin Walcott, Paul McCandless, and Glen Moore. In this particular band, his instrument was not only the guitar but also the keyboards. He was also a crucial member of the new age ensemble led by the American saxophonist Paul Winter, during its early phase.

In 1973, he started a collaborative association with the record label ECM and that fruitful liaison was extended until the present time. In truth, My Foolish Heart is his 23rd album as a leader/co-leader on the cited label and is now out to prove him in top form.
On this new record, Towner returns to the solo format 11 years after Time Line (ECM, 2006). Since then, he has recorded with guitarists Slava Grigoryan and Wolfgang Muthspiel, as well as with the Italian trumpeter Paolo Fresu.

Charged with Third Stream improvisation, “Pilgrim” opens the recording with strong folk influences that are definitely not American but rather Eastern.
Through the passionate melodies of “I’ll Sing to You”, the guitarist exhibits his technical splendor translated into stylish fingerpicking, shivering trills, and modern classical lyricism. The enormous facility in combining melody and harmony in a smooth, seamless manner comes to our attention again in “Saultier”, which feels less folk and more postbop.

The title track, a bright rendition of a widely-known jazz standard, is delivered with sentimental melancholy, naturally contrasting with the stunning “Clarion Call” where the rich sounds of a 12-string guitar infuse a transcendental beauty. My soul was filled with these hypnotic, often percussive reverberations modulated with delay effect, and decisive guitar slides and harmonics. Connotations with world music and progressive jazz are easily identifiable and can be heard again in the shorter “Binding Time”. 

Different moods are those of “Dolomiti Dance”, steeply folk in its most traditional current, and “Rewind”, another compound of jazz and classical with splashes of Brazil fragrances, in the same line of Toquinho.

Another eclectic paragon is “Blue as in Bley”, a piece composed for the late pianist Paul Bley that overflows with enigmatic multi-colored tones resultant from postbop, classical, folk, and blues.

Ralph Towner has enough inventive qualities to never step on clichés. Whether extemporizing his own originals, working as a sideman, or digging selected jazz standards with circumstantial vision, Towner is always immensely vibrant in his musical approach.

         Grade A-

Favorite Tracks:
02 – I’ll Sing to You ► 06 – Clarion Call ► 11 – Blue as in Bley

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Orrin Evans - #knowingishalfthebattle

Label/Year: Smoke Sessions, 2016

Lineup - Orrin Evans: piano; Kurt Rosenwinkel: guitar; Kevin Eubanks: guitar; Lucques Curtis: bass; Mark Whitfield, Jr.: drums. Guests: Caleb Curtis: saxophone; M’Balia Singley: vocals.

American jazz pianist Orrin Evans was born in New Jersey and is based in Philadelphia, where he perseveres and takes inspiration to compose his music. He usually probes other influences such as neo-soul and hip-hop and likes to test new lineups in order to make his music sound unique each time he records.
Thus, if in 2014 he gathered a quintet with a two-horn frontline to record Liberation Blues (Smoke Sessions), in 2015 he opted for a stirring trio, featuring bassist Christian McBride and drummer Karriem Riggins, to bring The Evolution of Oneself (Smoke Sessions) into life.

His latest work, #knowingishalfthebattle, feels strongly contemporary as much in the title as in its pliable sonorities. 
This time, Evans resolved to hire two expert guitarists, Kurt Rosenwinkel and Kevin Eubanks, in order to infuse extra color in his illustrated stories. Joining them here on a regular basis are the bassist Luques Curtis and the young drummer Mark Whitfield, Jr., while the guests Caleb Curtis and M’Balia Singley, saxophonist and vocalist, respectively, have sporadic appearances.
Maintaining his habit of incorporating both originals and covers, Evans’s pianism shows an underlying feel for groove and mood.

The one-minute title track is arranged with vocal samples, electronica, and a hip-hop beat. It gives us a distorted idea of the rest of the album, and “Calls”, composed by Carla Bley, contradicts it through a keen sense of swing. The tune starts with Evans’ voice and proceeds with adventurous solos by the guest saxophonist and the bandleader whose rhythmic discernment comes accompanied of a daring in/out melodic concept. Lastly, it's Eubanks who picks up at a moment where the bass-drums rhythmic flux is catching fire, magnifying it with tortuous statements.

Rosenwinkel outlines the melody of Kenny Baker’s “When Jen Came In”, a waltz with an appealing rhythmic accentuation that discloses a gradual holding back of tempo for the finale. It features fervent improvisations by Evans, whose line of action falls between Jarrett and Monk, and Rosenwinkel, who strikes again in “Chiara”, a lyrical ballad by pianist Curtis Clark, this time by adopting trippy guitar chops wrapped in flute-like effects.

Two of the most stirring tunes are Evans' creations and reveal his compositional skills and unreserved musical nature: “You Don't Need a License to Drive” is an uptempo groovy extravaganza where he and Eubanks go flip, while “Half the Battle” is cooked with the irresistible ingredients of master Rosenwinkel. 
All this frenzy contrasts with Curtis’ atmospheric “Heavy Hangs the Head That Wears the Crown” and Evans’s “Zeni Bea”, a delicate piece named for the two-month-old daughter of Curtis and enriched with dulcet flute and vocals.
M'Balia Singley vocalizes a pair of songs: David Bowie’s “Kooks”, here dropped with a fancy groove, and “That’s All”, a product of the Great American Songbook.
 
Pumped up by motivational pulses and an elevated lyricism, #knowingishalfthebattle, is an impressive effort from a skilled pianist that deservedly claims for immediate attention.

         Grade A-

Favorite Tracks: 
02 – Calls ► 06 – You Don't Need a License to Drive  ► 07 – Half the Battle

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Dayna Stephens - Gratitude

Label/Year: Contagious Music, 2017

Lineup - Dayna Stephens: reeds; Brad Mehldau: piano; Julian Lage: guitar; Larry Grenadier: bass; Eric Harland: drums.

Dayna Stephens, a top saxophonist and bandleader with a knack for calm post-bop adventures and ballads, translates his gratitude to the world and to himself into a set of nine tunes (only one is original) that compose his eighth album as a leader.
To bring Gratitude to life, Stephens called the same illustrious musicians who had recorded Peace in 2004 - pianist Brad Mehldau, guitarist Julian Lage, bassist Larry Grenadier, and drummer Eric Harland.
After Stephens has been diagnosed with a grave disease, he started seeing life in a different manner and this recording transpires appreciation, celebration, and life itself in its most varied musical forms.

Built with warm, amiable tones, “Emilie” is gently Latinized by Mehldau’s thoughtful comping, effortlessly adhering to the rhythmic flow set by Grenadier and Harland. This version of Olivier Manchon's composition lies between a typical jazz standard and the richness of a Jobim’s tune, featuring animated sax-guitar dialogues by the end. 

A soulful approach is reserved for both “In a Garden” and “Amber Is Falling (Red and Yellow)”. While the former, composed by pianist Aaron Parks, is a languorous ballad colored by Grenadier’s enlightened bass solo, the latter, written by vocalist/composer Michelle Amador, starts slowly but becomes rapidly enveloped by a positive energy, glimmering with Stephens and Mehldau’s fluid language and improvisational creativity. Harland is particularly stimulating here, exhibiting his rhythmic potentiality all along the way.

Lage’s “Woodside Waltz” combines pop, jazz, and folk through disciplined harmonic sequences and easy melodies. 
In a sweet melancholy, “We Had a Sister” is a Pat Metheny celebrated song where Stephens plays EWI, pulling out this weird flute-synth sound of the instrument. The saxophonist switches to baritone in the drum-less version of Billy Strayhorn’s “Isfahan”, boasting a full, deep timbre over the crystalline voicings liberated by Lage’s electric guitar. 

Stephen’s only original, “The Timbre of Gratitude”, draws a laudable coordination between all the musicians involved, yet it’s “Clouds & Clouds” that creates surprise through its modern trip-hop beats and cyclic synth trajectories saturated in color. On top of it, Stephens calmly formulates unclouded melodies with a pureness of intention.

Balanced and overflowing with awesome musicality, Gratitude will engage jazz fans in general since it lives from tradition and modernity alike. Regardless of which format the group may acquire, the proximity of the musicians and their huge synergistic sensibility lead to a beautiful work in all its subtlety.

         Grade A-

Favorite Tracks:
01 – Emilie ► 03 – Amber Is Falling (Red and Yellow) ► 07 – Isfahan

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Alex Wintz - Life Cycle

Label/Year: Culture Shock Music, 2017

Lineup - Alex Wintz: guitar; Lucas Pino: tenor saxophone; Victor Gould: piano; Ben Williams: bass; Jimmy MacBride: drums.

Born in California and raised in New Jersey, Alex Wintz is an emergent young guitarist whose musical approach has been requested for ambitious projects led by Etienne Charles, Nick Finzer, Ben Williams, and Lucas Pino. With them, Wintz has developed a solid maturity that is now passed to Life Cycle, his debut album as a leader, to be released soon on Culture Shock Music.

The album consists of a set of nine tunes, seven originals and two jazz standards, outfitted with diverse colors and played in different band formats (trio, quartet, and quintet). The lineup includes Lucas Pino on tenor saxophone, Victor Gould on piano, Ben Williams on bass, and Jimmy MacBride on drums.

The opening tune, “Action-Reaction”, is an exciting ride to the 60’s and to the hard-bop guitar sounds of jazz giant Grant Green. The pulsing chord changes emanated from Gould’s piano are attached to the magnetic swinging groove provided by Williams and MacBride in order to underpin Wintz’s clear-toned phrasing and the improvisations that follow it. This lively atmosphere continued on the jazz standard “Sweet and Lovely”, a Wes Montgomery-ish bop exploration played in trio and carrying a strong Latin touch. It shows the extroverted musicality of the bandleader through a clever combination of well-delineated melodic ideas and compliant harmonic movements. The tune also features a brief bass solo by Williams, loaded by bountiful lyricism.  

Also delivered in trio, we have “I Don’t Stand a Ghost of a Chance”, a ballad standard, “The Low Road”, a soothing country-like song that also brings cool bluesy tones and energizing vibes, and “Locust Ave”, which adopts a nice melody over a consistent textural amalgam of pop/rock and modern jazz. 

The blues factor is heavily intensified in “Shared Stories”, a ternary-form tune where the guitar trio was expanded into a quartet with the addition of Gould’s piano. In opposition, “Life Cycle” and “Taking Sides” are two straightforward post-bop fantasies explored in quintet. Despite flowing at different tempos, they have pretty much identical structure and arrangements, including MacBride’s percussive exteriorization over a final vamp. The title track is boosted not only by Pino, who motivically quotes “Fascinating Rhythm” in his improvisation, but also by Wintz’s racing motions and Gould’s rich and more breathable melodic sense.

Delivered at a propulsive 3/4, “Seeing Distance” bestows a jubilant nature that calls up the famous quintet led by Dave Holland. After the solo guitar intro, it relies on an unbreakable chain of well-built harmonic movements, pompously enriched with clever interactions and improvisations atop.

Boasting a thorough command of the instrument and mature compositional skills, Alex Wintz dynamically transfers elements from the past into the modern jazz spectrum with a glitzy determination.

         Grade A-

Favorite Tracks: 
03 – Life Cycle ► 05 – Seeing Distance ► 06 – The Low Road

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Andrew Hartman - Compass

Label/Year: Self-produced, 2017

Lineup - Andrew Hartman: guitar; Chris Cheek: tenor and soprano saxophones; Ike Sturm: bass; Zach Harmon: drums.

Formerly based in London and now in New York, Andrew Hartman is a passionate guitarist/composer whose sophomore album, Compass, comes out in May. This work was recorded with a tight quartet whose members include the much-admired saxophonist Chris Cheek, bassist Ike Sturm, and drummer Zach Harmon.
The compositions were written while Hartman was still in London and reflect a period of travels and moves between cities and countries. 

“The Heights” opens the album with Hartman uttering a continuous melodic cadence on top of a steady bass-drums tandem. The trio was waiting for Cheek to join them for a well-delineated post-bop drive where guitar and sax mesh up with brightness, purpose, and instinctive intent.
 
Even with Harmon's active drum chops catching our attention, the unpretentious “Waiting” feels smooth and gentle, making room for Paul Simon’s “America”, the only cover of the record. Tuneful sax melodies and assertive guitar strokes imbued of American folk and jazz idioms help to color a canvas whose origins are rooted in the pop/rock genre.

Using a smart pun, “Chic Korea” brings neither Oriental flavors nor Chick Corea’s moves to the table. It rather spreads easygoing, bluesy vibes in a more swinging approach that ends up in lively trades between Hartman, Cheek, and Harmon, during the final section. 

If Cheek’s improvisational ideas were particularly attractive on “Devices”, Hartman’s guitar gains preponderance on the Eastern-influenced “London Blues”, a meditative multi-cultural celebration that also features Harmon’s extraordinary percussion and Sturm’s intelligible bass solo.

The quartet sets off into intimate balladry on “For Marie Elaine” and then returns to the post-bop mood with “New Day”. The former is a laid-back waltz that features solos by Sturm, Hartman, and Cheek on a lustrous soprano, while the latter, welcoming the same soloists in the opposite order, is a soaring glam that initially moves at a 7/4 tempo.
The journey ends in a crisp pop-jazz ecstasy with the absorbing “Family Tree”.

Andrew Hartman boasts musical qualities that can speak louder if he gets more exposure out there. His peers provided him solid ground, helping him stretching his sound and sharp his vision. Compass is a step forward toward the visibility and recognition that his music claims.

         Grade A-

Favorite Tracks:
04 – Devices ► 06 – London Blues ► 10 – Family Tree

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André Matos - Múquina

Label/Year: Robalo Music, 2017

Lineup - André Matos: guitar.

Portuguese guitarist André Matos has been a regular presence on the ‘scene’ since he moved to New York in 2006 after graduating from the New England Conservatory.
He thenceforth had the chance to record/perform with illustrious musicians such as Tony Malaby, Thomas Morgan, Leo Genovese, Jacob Sacks, Billy Mintz, Noah Preminger, Colin Stranahan, and Masa Kamaguchi, just to name a few.

After last year’s All the Dreams recorded in duo with his wife, the vocalist and composer Sara Serpa, he’s back with an intimate solo album entitled Múquina, released on the Portuguese label Robalo Music.

With an enveloping sound modulated by gorgeous effects, Matos begins the harmonious journey with the title track whose soft textures and pacific sound waves are comforting and moving. 
“Força da Natureza” is made of the same nature but more verbalized, showcasing the sturdy technique of the guitarist.

My favorite track, “Malé”, is a hypnotic piece that flourishes with transcendent beauty, intriguing surroundings, and a bit of sadness. The emotion rises with the ascendant harmonic movements of the incisive finale.
Five of the fourteen tracks last less than two minutes, working as interludes. “MA” is one of the strongest, feeling like a lullaby whose passionate lyricism carries pronounced folk influences. The low-pitched drones of “Baixo Alentejo” are joined by sharp melodic contours, creating uncanny vibes that feel no less cinematic than the loose “European Film Scene”. Disruptive silences widen the space and deepen the scenario.

While “Horizontais” feels like a minimalistic exploration, “Cavalos Selvagens”, an old tune that actually gallops in its start, gets a more cerebral and less experimental approach than at other times.

The homogeneous Múquina glitters with lush, slow-motion soundscapes. The airy, meditative moods take us to a lenitive universe that opposes to the tense times living in the present world. Once there, you’ll find glimpses of Bill Frisell and Terje Rypdal, as well as pure reflections of Matos’ peace of mind.

         Grade A-

Favorite Tracks:
01 – Múquina ► 04 – Malé ► 06 – Baixo Alentejo

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Elliott Sharp Aggregat - Dialectrical

Label/Year: Clean Feed, 2016

Lineup - Elliott Sharp: tenor and soprano saxophones, Bb and bass clarinets; Taylor Ho Bynum: trumpet; Terry Greene: trombone; Brad Jones: bass; Barry Altschul: drums, percussion.

Prolific multi-instrumentalist and composer, Elliott Sharp, always deserves my attention. His boundless musical universe encompasses completely different styles that include avant-garde jazz, experimental ensembles, free improvisation, noise rock, electronic, contemporary classical, and music for film and opera/theater. The 66-year-old Cleveland native studied several theoretical correlations on music and scientific algorithms that helped him to become a first-rate innovator.

Taking advantage of an explorative state of mind, he composes with fierce autonomy and unrestricted creative sense, resulting in a solid avant-jazz album entitled Dialectrical. It was recorded with his chord-less quintet Aggregat, now featuring trumpeter Taylor Ho Bynum, trombonist Terry Greene, bassist Brad Jones, and veteran drummer Barry Altschul. 
Leaving the guitar behind, the bandleader sets the tone by extracting great sounds from his clarinets and saxophones.

“Off-Objekt” is a tragicomic outburst; a disrupted cacophonous razzmatazz colored by vibrant soprano sax trills that efficiently counterpoint with trombone and less often with trumpet lines. On and off, they intersect, taking the form of impactful unisons that also serve to indicate a changing in pace/mood.

Greene’s trombone's extended pitches open “We Control the Horizontal”. He soon gets the company of Jones’ bass before the tune adopts the characteristics of a whimsical march. The bandleader, dominating through breathless attacks on bass clarinet, has the responsive percussion from Altschul, impeccable in his rhythmic incursions. The last third feels like a bizarre carnival parade whose mood shifts to playful in the concluding two minutes.

The marching pace described above finds a natural sequence in the quasi-military “Ununoctium”, a free-floating cinematic epic that favors collective extemporization. The multi-horn-aggregation principle adopted here can be heard again in “Bbb” whose theme consists of repetitions of a catchy riff. Altschul is on fire on this one, showing off his skittish stomp. 

“Oh See (for Ornette Coleman)” brings us Ornette's recognizable rhythmic/melodic patterns over a swinging groove that is inevitably interrupted to reap benefits from another reactionary collective rampage, followed by Sharp’s long and intricate tenor improv.

The array of atonal festivities reaches an end with “Tile the Plane”, a dance-friendly allure marked by variable African drumbeats, uninterrupted horn ostinatos sustained by circular breath, and tom-toms and cymbals propagation waves.

Sharp communicates freely and his jazz language stands out in this particular Aggregat’s adventure. He manages to sound fresh and warmly contemporary, making of Dialectrical a pure, disciplined, and arresting avant-garde explosion. 

          Grade A

Favorite Tracks:
01 – Off-Objekt ► 02 – We Control the Horizontal ► 07 – Tile the Plane

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Brian (Shankar) Adler - Radioactive Landscapes EP

Label/Year: Circavision Productions, 2017

Lineup - Matt Moran: vibraphone; Santiago Leibson: piano; Jonathan Goldberger: electric guitar; Rob Jost: bass; Brian (Shankar) Adler: drum set, ghatam.

Drummer/composer Brian (Shankar) Adler brings out another EP entitled Radioactive Landscapes, following up last year’s fusion doublet, Binary and Mysteries Of The Deep.
This work comprises three tunes, each of them lasting around five minutes. To shape it, Adler reunited his quintet composed of vibraphonist Matt Moran, guitarist Jonathan Goldberger, pianist Santiago Leibson, and bassist Rob Jost.

“Gowanus 40” kicks in by spreading a scent of mystery before setting foot in a groove laid down by Jost and Adler. Leibson and Moran infuse great part of the harmony and melody while Goldberger fills with stringed texture. The generated funk-rock pulse suffers occasional disruptions and variations, and Goldberger’s final breakthrough wakes us up from a sweet state of levitation and lethargy.

In “Watertown 34”, it’s possible to imagine water drops falling while listening to the synchronous intersections of Moran’s vibes and Leibson’s keys. The hypnotic ghatam's vibes introduced by the bandleader, push them into a mystic dance that gains an extra layer with Goldberger’s punctual guitar tremolos wrapped in effect. An abrupt detour leads us to a rock-inflated rhythm set up by bass and drums, triggering a distorted improvisation by the persuasive guitarist.

On the last tune, “Nuearth 49”, the quintet sets a more melancholic musical landscape, working together in an introspective commitment.
Gracious moments can be enjoyed in a confluence of diverse ambiances and influences.

Favorite Tracks:
01 – Gowanus 40 ► 02 – Watertown 34

Tony Malaby/Mat Maneri/Daniel Levin - New Artifacts

Label/year: Clean Feed, 2017

Lineup - Tony Malaby: tenor and soprano saxophones; Mat Maneri: viola; Daniel Levin: cello.

This symbiotic musical gathering between saxophonist Tony Malaby, violist Mat Maneri, and cellist Daniel Levin happened at the Three’s Brewer in Brooklyn in August 2015. This collaboration is not so surprising to me, taking into account that the members of this trio are prone to new experiments and alternative sounds.

Comprising four tunes, whose durations range from seven to thirteen minutes, New Artifacts opens with the title track, a fearless exploration of tones and textures in an innuendo of avant-jazz meets modern classical. Whether jarring or idyllic, the soundscapes are vast and sumptuous, yet the communication remains focused and alert. Despite occasional escapades, Maneri and Levin are in consonance for the most part of the time, leaving the unrestricted Malaby discoursing via tenor phrases mounted with a wide variety of timbres.

The saxophonist makes use of the soprano for “Creation Story” in which he embarks on a dissonant dialogue with Maneri. They speak frankly and only intermittently reach an agreement. At some point, Levin increases the rhythm by tapping the cello and plucking the strings to make it sound like a bass. The sounds of the instruments blend so thoroughly that sometimes it’s difficult to tell who’s playing what. The tune ends with Malaby’s high-pitched whistles over percussive sounds.

Open and atmospheric, “Freedom From the Known” starts by testing the waters through minimalistic fluctuations in order to gradually compose a wide and complex scene. Here, Maneri influences the mood by contrasting sad melodies with rugged tones.
In opposition to the previous compositions, “Joe” hauls us into a spooky musical setting, forcing us to traverse multiple obscure dimensions.

Highly conceptual, New Artifacts is everything but an easy listening and even staunch avant-gardists will have a challenge here. If you’re sufficiently courageous as a listener, go ahead and try to capture the richness of these triangular propagations.

         Grade B+

Favorite Tracks:
03 – Freedom From the Known ► 04 – Joe

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Corsano / Courvoisier / Wooley - Salt Task

Label/year: Relative Pitch Records, 2016

Lineup - Chris Corsano: percussion; Sylvie Courvoisier: piano; Nate Wooley: trumpet.

Drummer Chris Corsano, pianist Sylvie Courvoisier, and trumpeter Nate Wooley are three inveterate improvisers who joined forces in Salt Task, another hallucinating trip into arduous avant-garde galaxies.

All the members of the trio have been very active lately, participating in a variety of recordings and performing live with regularity. The versatile Corsano, whose collaborations can range from Bjork to Evan Parker, is a member of the powerhouse quartet led by the Portuguese saxophonist Rodrigo Amado, which also features American saxophonist Joe McPhee and bassist Kent Kessler. Besides recording with the avant-rock trio Rangda, he keeps on teaming up with saxophonist Paul Flaherty, a longtime collaborator.

Wooley launched great records in duo with multi-reedist Ken Vandermark and released Argonautica (Firehouse 12 Records, 2016) with a hot sextet that includes cornetist Ron Miles, pianist Cory Smythe, keyboardist Jozef Dumoulin, and drummers Rudy Royston and Devin Gray.
Last year, Courvoisier put all her musical passion in Miller’s Tales (Relative Pitch, 2016), an avant-jazz delight cooked in partnership with her violinist husband Mark Feldman and featuring saxophonist Evan Parker and electronics wiz Ikue Mori. This year, she could be heard in Crop Circle (Relative Pitch), recorded in duo with the nonconformist guitar sensation Mary Halvorson.

Salt Task opens with the revolutionary title track, a 20-minute-piece that erupts with dense contrapuntal cogitations simultaneously driven by the trio. After the opening section, the musicians usually interact two by two, exploring different sonic possibilities and moods until reaching the final section, where the trio strikes again. Depending on the setting, one may float serenely over idyllic landscapes, march at the sound of a military trumpet, startle with ominous low-pitched piano vibes, revolve around cyclic ideas, or become energized through piano-drums sweeps and thunders.

Eminently percussive, “Last Stat” displays extra alternative textures with Corsano in the spotlight. He reproduces the sound of a plastic trashcan rolling down the street while Courvoisier strums the piano strings to make it sound like a stale harp. Wooley contributes with airy sounds and rapid attacks that often uncover playful melodies.

“Tall Stalks” conveys admiration through Wooley’s muted phrases on top of Corsano’s combustible rhythm flows and Courvoisier’s unflagging textures. She creates tension by continually hitting the same key with her left hand.

The gently atmospheric “Stalled Talks” finishes the album with a circumspect narrative flow, probing techniques of meditation that feel intense on one side and tranquilizing on the other.

The inventive trio wisely plays with textural agitations and composures, arranging them with freedom, responsibility, and an evident musical insight that makes them first-rate avant-gardists. 

         Grade A-

Favorite Tracks: 
02 – Last Stat ►03 – Tall Stalks

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MEM3 - Circles

Label/Year: self-produced, 2017

Lineup - Michael Cabe: piano; Mark Lau: bass; Ernesto Cervini: drums.

MEM3 is a contemporary piano-bass-trio formation composed of American pianist Michael Cabe (Duchess), Australian bassist Mark Lau, and Canadian drummer Ernesto Cervini (Myriad3, Turboprop), whose musical and personal friendship lasts for 13 years now.
The band assumes influences by The Bad Plus, Peter Erskine Trio, and the late Swedish pianist Esbjorn Svensson, who has a song dedicated to him on this recording.

Circles, their sophomore album, is an ambitious follow-up to Pennsylvania Grey released in 2008.
The opening tune, “Centrical”, meshes dream-pop and rock music with poise. The band reserves an intermediate section to set a different groove, where Cabe doesn’t squander the chance to demonstrate his improvisational creativity.

Cabe’s “Native Dancer” is also rhythmically daring, interspersing busy rock passages with other quieter and tuneful. Motivated by Cervini’s brush technique and Lau’s bass groove, Cabe resorts to interesting rhythmic figures to adorn his solo. An energetic piano riff, proper for a guitar-driven metal band, allows Cervini to set his drums on fire.

Breaking the current, the title track takes us to the realms of electronic music through piano phrases played in a loop, synth sounds, and syncopated backbeats. Its ecstasy finds abatement with “Quiescent”, a ballad that features an expressive bass solo by Lau. Confident, he delivers again in “Shire Song”, a beautiful waltz whose lavish climax is attained with a conclusive vamp.

The threesome doesn’t vacillate when rhythmic complexities go their way, like in the progressive “Olympic”, a fertile piece in terms of variations and subtleties. Cabe’s pianistic tact, Lau’s steady pedal, and Cervini’s nimble drum fills contribute to thickening up the sonic layers by the end.

The drummer’s “4ES (for Esbjorn Svensson)”, also held by a bass pedal, has an atmospheric start where piano and xylophone notes overlap. Eventually, Cable’s piano takes the control until a weighty rock pulse drives the way, pushing us into a vigorous odd-meter groove.

Moving effortlessly between styles, MEM3 allows Circles to thrive with an exciting sound that mirrors the favorable sense of cohesiveness that reigns among the trio members.

         Grade A-

Favorite Tracks:
02 – Native Dancer ► 05 – Shire Song ► 09 – 4ES

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Matt Mitchell - Forage

Label/Year: Screwgun Records, 2017
Lineup - Matt Mitchell: piano.

Matt Mitchell is a sought-after pianist whose acerbic voice and impressionistic musical vision have been featured in works of likes such as Rudresh Mahanthappa, Dan Weiss, Greg Osby, Anna Webber, Dave Douglas, Michael Attias, and Darius Jones. If this wasn’t enough, Mitchell is a valuable and integral member of Tim Berne’s Snakeoil, a collective with plenty of creativity. 
It’s exactly in these creative contexts that Mitchell feels comfortable, however, for his third album as a leader he goes even further in his boldness.

The successor of Vista Accumulation (Pi Recordings, 2015) is a solo work entitled Forage, produced by the sound wizard David Torn and released on Screwgun Records. The album comprises inventive interpretations of seven compositions by Tim Berne, in a recognizable tribute from the pianist to the one who perceived his virtues and abilities, even during a premature stage of his career. 
The attempt of drawing something new and meaningful in this essay really paid off, and the reason is because whenever this inveterate colorist lays his fingers on the piano keys, the resultant melodies and harmonic progressions blossom with imagination, trust, and charm, regardless the intensity and pace they are played.

Even identifying Berne’s traits here and there, the whole belongs entirely to Mitchell. On one hand, we have combinations of Berne’s tunes squeezed into one; on the other, Mitchell’s approach opts for ruminative, intelligible, and reflective thoughts imbued of crystalline lyricism, which feel less hectic than Berne’s renderings.

“Paene”, “Aas”, and “Siin” exemplify well these steep dramatizations of temperate character, making us imagine a cross between Keith Jarrett and Paul Bley, pianistically speaking.

In “Cerbs”, the pianist works on a procession of chords and juxtaposed melodies to set the seductive tones that characterize the beginning and the ending. Never static, he reserves the middle section to wallowing in further rhythmic experimentation. In a similar way, “Traces” is conjured with an eruptive plot of textural melodic flurries, which play an essential part of the puzzling structure. Here, rumbling lower-register dynamics interweave with rapid-fire right-hand attacks, forming complex geometric figures of random shapes. 

As a highlight, “Cloude” is an achingly beautiful experience that never stops to mesmerize through a crescendo surrealism. The initial dreamy tones reach the climax at some point of the middle section, where Mitchell’s technique excels with tremendous emotional focus and natural spontaneity. It made me think of an intersection between Matthew Shipp’s fragmented rhythms and dusky classical music.

Boasting a sheer amount of fresh ideas, Matt Mitchell’s Forage defies any categorization beyond the word 'modern'. Tim Berne has every reason to be proud of his reliable and insightful sideman.

          Grade A

Favorite Tracks: 
01 – Paene ► 05 – Cerbs ► 06 – Cloude

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Cynthia Hilts - Lyric Fury

Label/Date: Blond Coyote, 2017

Cynthia Hilts: piano, vocals; Jack Walrath: trumpet; Lily White: alto and tenor saxophone; Lisa Parrott: baritone and soprano saxophone; Deborah Weisz: trombone; Marika Hughes: cello; Ratzo B. Harris: bass; Scott Neumann: drums.

Cynthia Hilts, a competent and underrated pianist, composer, and singer, associates creativity with a predisposition for musical activism, in her latest album Lyric Fury, released on her own label, Blond Coyote. 
The album title is also the name of the eight-piece jazz ensemble she leads, which comprises multifaceted musicians such as trumpeter Jack Walrath, saxophonists Lily White (who also produces) and Lisa Parrott, trombonist Deborah Weisz, cellist Marika Hughes, bassist Ratzo Harris, and drummer Scott Neumann.

Instigating a 5/4 reggae groove, “Those Basinites” was inspired by the residents of Basin, Montana. The improvisations succeed one after another in a typical 4/4 blues form, here and there complemented by the horn section’s joyful fills.

“Teacher” starts with solo piano, but soon develops a chamberesque aura through the classical melodies delivered by Hughes’s cello and Parrott’s soprano sax. The bandleader, finding more space to express her improvisational skills, orchestrates the piece with balladry, turning it into a gentle medieval dance.
Musical diversity is strongly encouraged. Thus, while the blues sound fresh in “Blues For the Bronchs” and the warm strokes of reggae hit us again in “Jam & Toast”, the Latin pulses of “Previously a Thing” takes us to the euphonic universe of Horace Silver.

Completely distinct in nature, “Peace Now”, is a vocalized African-tinged exultation of peace, love, truth, and justice. The song ends with the female members singing on top of Neumann’s percussive chops.
The word peace can be heard again in “Celebration”, a non-standard AABA form and a festive communion of horns and vocals that thrive at a daring 5/4 tempo and flutters with brisk, colorful improvisations by Walrath, Hilts, and Parrott on baritone. 

White’s tenor is responsible for stating the theme's melody of “Three Wishes”, an epic tune of mystical resolve that concedes an opportunity for Neumann to express his rhythmic faculties in front of the drum kit.
Painted with darker colors, “Please, Mercy” brings us beseeching trombone lines and desperate vocals over a lower-register piano ostinato. The mood changes when a victorious march imposes, commanded by Neumann’s snare-drum rolls.

Imaginative, Cynthia Hilts drives this caravan with an infallible sense of orientation, taking advantage of a wide range of musical genres and instruments’ timbres to create a conscious jazz sealed with her own signature.

         Grade A-

Favorite Tracks:
01 – Those Basinites ► 05 – Three Wishes ► 06 – Celebration

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Randy Weston - The African Nubian Suite

Label/Date: African Rhythms, 2017

Randy Weston: piano; Wayne Chandler: narrator; Billy Harper: tenor saxophone; TK Blue: alto saxophone, flute; Cecil Bridgewater: trumpet; Robert Trowers: trombone; Howard Johnson: tuba; Min Xiao Fen: pipa, vocals; Alex Blake: bass; Lewis Nash: drums; etc.

Recorded live on Easter Sunday April 8th, 2012 at NYU Skirball Center for the Performing Arts, The African Nubian Suite is an unconventional double-disc album that speaks history. 
The project was conceived by the praised pianist Randy Weston, who gathers a respectful set of musicians, habitual and new, to illustrate his deep love for Africa, the origin of all music and main source of inspiration for so many years.
Previous works like Uhuru Afrika (Roulette, 1960) and The Spirits of Our Ancestors (Verve, 1992) mirror this African spirituality with brilliance, but none of them went so deep into the roots like this one.

Before almost every musical piece, Wayne Chandler narrates about Nubia, the oldest civilization in the world and the mother of Egypt. We learn that all the other civilizations came from this one, and Weston’s music, a joyful celebration that oscillates between traditionally minimalistic and collectively exuberant, spreads all those ancient scents through the sound of fascinating instruments like the kora, ganawa, pipa, nefer, and balafon. 
They can be heard on disc one, which is more centered on the primordial roots, taking us not only to different African places, but also to China’s Shang dynasty and Sufi folklore moods.
 
“The Call”, a composition arranged by Melba Liston, features trumpeter Cecil Bridgewater's lines on top of the stylish and enigmatic textures created by Weston, who uses both lower and upper registers of the piano to enchant. The rhythm is predominately marked by the African percussion of the veteran Candido Camero of 94 years old. 

While “Spirit of Touba” evokes the holy city of Senegal through Saliou Souso’s kora and TK Blue’s flute, “The Shang” visits the Orient, flowing with the sinuous melodies of Min Xiao-Fen on pipa and vocals.

Disc two is more blues-centered, featuring acclaimed jazz leaders such as saxophonists Billy Harper and TK Blue in a head-to-head battle. They bring all their African magic into “The African Family”, which also features a trio of percussionists that include Lewis Nash, and Neil and Ayanda Clarke.

“Blues for Tricky Sam” starts with the gorgeous voicings of the bandleader and proceeds with a trombone stroll by Robert Trowers. The same principle is used with Billy Harper in “Cleanhead Blues” yet with slightly extended interaction. 
 
The real Southern heat comes from bassist Alex Blake in “Nanapa Panama Blues” where he shows off a rock‘n’roll-ish rhythmic flow through a mixed technique of slapping and plucking. 
The party ends with the tribal groove of “Love, The Mystery Of”, which exhibits a great orchestration with piano trills and saxophone fills in the background.

Despite digging into the origins of humankind and music, The African Nubian Suite lacks the charm of Weston’s past gems cited above.

         Grade B-

Favorite Tracks: 
03(CD1) – The Call ► 05(CD2) – Nanapa Panama Blues ► 11(CD2)  – The African Family Pt. II

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David Virelles - Antenna

David Virelles: piano, organ, synth, samples, computer programming; Henry Threadgill: alto saxophone; Rafiq Bhatia: guitar; Marcus Gilmore: drums; Alexander Overington: cello, electronics; Román Diaz: vocals; Etián Brebaje Man: vocals;  

Cuban-born David Virelles, a forward-thinker pianist with a luminous touch, progressively gained prominence within the modern jazz universe, not only due to his original works but also through collaborations with Chris Potter, Tomasz Stanko, Jonathan Finlayson, and Henry Threadgill.
His previous album, Mbókò, is dated from 2013 and competently fused Afro-Cuban traditions with contemporary jazz.

If Mbókò presented peculiar rhythms and dispositions, the new Antenna, a 6-track vinyl released on ECM Records that only lasts for 22 minutes, is even more absorbing and daring, innovating through a grippingly fresh Nu Jazz.
The cycle starts and ends in the same way, purely percussive with the Afro-Latin polyrhythms of “Binary” and “Text” set by a fictional percussive ensemble programmed by Virelles. In the middle, we have four electro-acoustic avant-garde explorations whose textures fluctuate from blissfully spacious to stratospherically dense.

“Water, Bird Headed Mistress“ combines ambient electronica, intriguing chamber music, and beseeching melodies tossed by the acclaimed altoist Henry Threadgill. It’s a hypnotic piece that piques our curiosity through its dazzling magnetism. 

“Threshold” is even more experimental, letting out creaky sounds and other weird noises, as well as Roman Diaz’s inflamed words over Marcus Gilmore’s understated drumming. In the last two minutes, we’re all ears for guitarist Rafiq Bhatia, who sets a distorted, quirky mood that feels simultaneously rich and obscure.

“Rumbakuá” is filled with Cuban street poetry and hip-hop grooves, featuring the rapper Etián Brebaje Man.
An interesting combination of textures is put to work in “El Toro de Bronce”, the longest track of the LP with 6:45 minutes. The bandleader starts by designing unmelodious clusters, having the uncanny arrhythmias of Gilmore as support. This climate gives place to darker chill-out vibes on top of which Virelles brings up a cerebral improvisation. All ends up in a sinister pianistic hammering.

Antenna gathers strange multi-cultural rituals that feel urban and kaleidoscopic, showcasing Virelles’s strong experimental vein and musical boldness.
Odd? Yes, I agree, but utterly satisfying. 

         Grade A-

Label: ECM
Favorite Tracks:
02 – Water, Bird Headed Mistress ► 03 – Threshold ► 05 – El Toro de Bronce

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