Bill Evans - Another Time

June 11, 2017

Label/Year: Resonance Records, 2017

Lineup - Bill Evans: piano; Eddie Gomez: bass; Jack DeJohnette: drums.

Iconic jazz pianist Bill Evans doesn’t need an introduction. He will have his name rolling on the jazz circuit again with the release of a new album on Resonance Records. Another Time comes in the sequence of the double-CD Some Other Time: The Lost Session from the Black Forest and was recorded live at the Netherlands Radio Unit in Hilversum on June 22, 1968, when the pianist performed with one of his many emblematic trio formations, this time featuring the amazing Eddie Gomez on bass and Jack DeJohnette on drums.

The album includes six classic standards and three scintillating originals where we can find the trio at the peak of its capabilities. Even discerning a slight static noise in the background, the sound is pretty good overall, and the swinging animosity of “You’re Gonna Hear From Me”, the opening tune, makes us forget it right away.

Evans’ first known tune, “Very Early”, was paced at mid-tempo with the usual emotional passion sprouting from mesmerizing melodies, opportune rhythmic figures, and an array of other magical ideas. Gomez’s tremendously diatonic appeal is spread through expressive individual statements, not only on this tune but also on “Who Can I Turn To?” and Miles Davis’ “Nardis”, in which he excels in the company of DeJohnette. The drummer reserves a considerable amount of time for himself, in a phenomenal demonstration of his rhythmic skills.

Evans also abdicates from the spotlight on the bass-driven “Embraceable You”, while on “Alfie” and “Turn Out the Stars” he conveys the intimate, moving, and almost tearful ambiances he got known for.

The motivic “Five” gets a more adventurous treatment, swinging hastily but not without sensitivity, to finish the recording in style.

Bill Evans is flawless and Another Time could also be called 'Another Treasure'.

Favorite Tracks:
02 – Very Early ► 08 – Turn Out the Stars ► 09 – Five

Amir ElSaffar Rivers of Sound - Not Two

June 8, 2017

Label/Year: New Amsterdam, 2017

Lineup includes – Amir ElSaffar: trumpet; Ole Mathisen: saxophone; JD Parran: saxophone; Mohamed Saleh: oboe; Miles Okazaki: guitar; Craig Taborn: piano; George Ziadeh: oud; Jason Adasiewicz: vibraphone; Tareq Abboushi: buzuq; Carlo DeRosa: bass; Nasheet Waits: drums; etc.

// this review was originally published on LondonJazz News on May 15 //

The musical capacities of Amir ElSaffar deserved wide recognition in 2007 when his acclaimed debut album entitled Two Rivers was released on Pi Recordings. Born in Chicago to an Iraqi father and an American mother, ElSaffar, a trumpeter, vocalist, composer, and bandleader, has been an enthusiastic emissary of a fusion style that blends Iraqi maqam music and contemporary jazz. His aptitude to merge both styles as an organic whole was strengthened after learning from maqam music masters in Baghdad, as well as collaborating with jazz forward-thinkers like Cecil Taylor, Rudresh Mahanthappa, Oliver Lake, and Vijay Iyer.

ElSaffar’s new double-disc album, Not Now, released on Amsterdam Records, features a closely-knit 17-piece ensemble that comprises both Western and Middle Eastern musicians of remarkable technical caliber.

The disc one opens in a surreptitious way with “Iftitah”, where layers of sound are gradually stacked up, creating mystery at first, and then gaining majestic contours with the horn section. The finale displays the saxophone players embarking on a striking collective improvisation over a racing, swinging pulse commanded by bassist Carlo DeRosa and drummer Nasheet Waits. It took me to another dimension in a rare moment of exalted ostentation. Too bad it didn't last longer!

Exotic perfumes are exhaled from “Jourjina Over Three”, which overflows with serpentine microtonal melodies delivered in unison, and “Penny Explosion”, an enchanting piece that initially dances at 3/4, but eventually shifts in tempo, still maintaining the festive tonalities.

Plaintive and hypnotic, the slow-paced “Ya Ibni, Ya Ibni (My Son, My Son)” is a burst of sentiment. It features an intensely harmonious and glowingly spiritual piano solo by Craig Taborn, who resorts to thoughtful polyphonies to impress. The latter also designs the final setting, together with vibraphonist Jason Adasiewicz, and guitarist Miles Okazaki in a juxtaposition of provocative ostinatos.

Opening the disc two, “Layl (Night)” is a levitating prayer immersed in Byzantine scales and sinuous phrases played in unison, while “Hijaz 21/8” and “Shards of Memory/B Half-Flat Fantasy” invite us to dance with their modal incursions and chromaticism. On the former, amidst several other improvisations, we can hear ElSaffar’s dissertations on trumpet, while the latter finds the perfect poise between Arabic sounds and chants, sectional classical formulas, jazz infusions, and mesmeric rhythms. Everything leads to a massive collective improvisation.

I've found soul in ElSaffar’s compositions and responsiveness in his arrangements. It’s perceptible that these tunes never close doors to exploration and new possibilities. Regardless the great individual moments, the main force of Not Two comes from the collective whose members, unselfishly and victoriously, walk in the same direction.

Favorite Tracks:
01 (CD1) – Iftitah ► 04 (CD1) – Ya Ibni, Ya Ibni ► 03 (CD2) – Shards of Memory

Linda May Han Oh - Walk Against Wind

June 7, 2017

Label/Year: Biophilia Records, 2017

Lineup - Ben Wendel: tenor saxophone; Matthew Stevens: guitar; Linda May Han Oh: bass; Justin Brown: drums.

The developed technique of Linda May Han Oh, a Malaysian-born, Australia-raised bassist/composer based in New York, translates into exciting vamps and appetizing grooves on her new album, the fourth as a leader, Walk Against Wind.

For this adventurous ride, Ms. Oh, who is a distinctive member of Dave Douglas Quintet and recently toured with Pat Metheny, has gathered saxophonist Ben Wendel, guitarist Matthew Stevens, and drummer Justin Brown. Three of the eleven tunes feature Cuban-born pianist Fabian Almazan, while Minji Park makes a single appearance, playing traditional Korean instruments.

The opening track, “Lucid Lullaby”, is simultaneously made of delicacy and effervescence, flowing with an amazing sense of tempo. Introduced by solo bass, the tune slowly builds texture with the unobtrusive addition of percussion and the assertive chords of Matthew Stevens, whose magnetic guitar sound stands between the clean and the dirty. The theme’s melody, fulfilled with rich accentuations, is partly delivered in unison by bass and saxophone before the improvisational section becomes dominated by the rhythmic agility of the bandleader and Stevens. After a final vamp where Brown intensifies his percussive chops, there’s an atmospheric finale that reminded me of Jan Garbarek.

Dotted by convulsive strokes of sax and piano in its early stage, “Firedancer” is a lesson on bass freedom. It’s a gravitational exercise that develops into a cyclic bass-piano unison phrase before Wendel and Stevens flare up an unorthodox dialogue.

The initial steady pace of “Speech Impediment” is determined by Oh, who draws warm voicings from strumming the bass strings. Controlled, beseeching, and out-of-sync sax/guitar clamors are placed on top of this foundation. The bassist also reveals her vocal aptitudes in a game of unisons with sax and guitar while holding onto an occasionally-shifting bass ostinato. Brown’s quasi-mechanical individual statement anticipates the reinstatement of the sluggish theme.

Ms. Oh plays electric bass and even sings on “Perpluzzle”, a funk-inflated groovy piece whose joyfulness and forward pull become close to Esperanza Spalding’s Emily’s D+Evolution. She plays electric again on the slightly piquant “Ikan Bilis”, but this time with no vocals adorning.

You may sing an altered-pitched ‘twinkle twinkle little star’ on the title track’s melody, which serves as an ostinato, running in the background of Oh’s full-bodied acoustic improvisation. Later on, combustible drum swipes glue on a nuanced bass pedal to receive the quick-witted expressiveness of Wendel’s discourses and Stevens’ lavish guitar discharges.

The enthralling closing number, “Midnight”, has an undeniable appeal. The quartet keeps the music tense enough underneath an apparent dreamy surface, tightening and loosing their movements in accordance with the flow.

Walk Against Wind successfully straddles the realms of post-bop and modern groove music. It’s a ruminative, unfiltered, and often sparkling album that also happens to be Ms. Oh’s finest.

Favorite Tracks:
01 – Lucid Lullaby ► 05 – Walk Against Wind ► 11 – Midnight

Cuong Vu 4tet - Ballet

June 5, 2017

Label/Year: RareNoise Records, 2017

Lineup – Cuong Vu: trumpet; Bill Frisell: guitar; Luke Bergman: bass; Ted Poor: drums.

Cuong Vu, an innovative avant-garde trumpeter who was born in Vietnam and has a knack for crossing musical boundaries in the company of mighty guitarists, provides you with plentiful of thrills on Ballet: The Music Of Michael Gibbs, a gritty new experiment that came out on RareNoise Records.

Last year, Vu and his regular trio - Stomu Takeishi on bass and Ted Poor on drums - invited the eclectic jazz guitarist Pat Metheny to participate in their alternative soundscapes, drawing positive reactions worldwide.
Now, Vu resolved to explore five pieces by Michael Gibbs, a master conductor, arranger, and composer, whose work usually blends rock elements with orchestral jazz.

Shaping Gibbs’ compositions with a strong personal charisma, Vu gathered his 4-tet composes of Luke Bergman on electric bass, longtime associate Ted Poor on drums, and the amazing Bill Frisell on guitar, who returns after the memorable It’s Almost Residual (EMI Music, 2005).

The title track romps out of the gate with meticulous abandon, holding firmly to an initial rubato that lightly pushes us into a waltzing hybridity of folk, blues, rock, and jazz. The band keeps the focus in and out through Frisell’s inventive and often atonal voicings and playful melodic lines, which work in conjunction with Vu’s elliptical, and quite breathtaking melodies. Almost unexpectedly, the tune acquires a swinging flow and an indelible bluesy feel, even if occasionally squeezing its nose on other fervid sonorities.

Folk and blues are combined once again on “Blue Comedy”, whose stable rhythm is permanently fed by Poor’s rock cadences and Bergman’s walking bass. If Frisell brings bluesy elements into his improvisational stratagem, Vu benefits with the rhythmic disruptions and subsequent change of pace. He starts slowly, accompanied by guitar and bass, but increases the sweeps when Poor re-enters with an irregular marching pulse based on snare drums.

Definitely more static but no less bracing, the sublime “Feelings and Things” floats freely and passionately. While Bergman’s subdued bass joins the comprehensive drum chops crafted by Poor, Vu chooses the best notes to garnish Frisell’s balmy harmonic narratives.

Also marked by serene tones, “Sweet Rain” invades the gray skies of a spring-blooming rainy day with the warming colors of a rainbow. The guitarist populates spacious pop/rock ambiances with constructive voicings, sharp harmonics and trills, and clever effect-drenched melodies. Totally into this mood, the trumpeter places silky melodies atop.

Probably the most engrossing track is “And On the Third Day”, a trance-like meditation turned into a noise-rock excursion. It opens with a relaxing exotic flavor penned by a nuanced bass pedal and irresistible percussion, and closes strongly electrified, fascinating along the way.

With Frisell aboard, the sound of the 4-Tet is broadly expanded, regardless where the band decides to go. Absolutely addictive and remarkably infectious, Ballet is a tour de force album that you won't regret to treat yourself with.

Favorite Tracks:
01 – Ballet ► 04 – And On the Third Day ► 05 – Sweet Rain

Gerald Clayton - Tributary Tales

June 2, 2017

Label/Year: Motema, 2017

Lineup - Logan Richardson: alto sax; Ben Wendel: tenor sax; Dayna Stephens: baritone sax; Gerald Clayton: piano; Joe Sanders: bass; Justin Brown: drums

Multifaceted pianist Gerald Clayton showed throughout all these years that he could easily adapt to any musical environment, from strictly traditional to spaciously untrammeled. His appreciated musicality has found expression in disparate projects, and we can hear him playing smooth jazz with Diana Krall and Michael Bubblé with the same enthusiasm as when he grooves with Charles Lloyd, Ambrose Akinmusire, or Roy Hargrove.

Besides this active role as a sideman, Clayton boasts a solid career as a leader and his fourth album of originals, Tributary Tales, confirms his writing talents and flair for modern post-bop. The set of creative artists that joins him here comprises a 3-horn section with saxophonists Logan Richardson, Ben Wendel, and Dayna Stephens, and a competent rhythm crew composed of bassist Joe Sanders, drummer Justin Brown and percussionists Henry Cole and Gabriel Lugo.

Hooks and thumps are distributed at full throttle in the opening piece, “Unforeseen”, whose compressed energy is expelled in great style. Clayton shows a remarkable self-sufficiency in the way his hands craft and interweave single lines and chords to build texture. The vigorous collisions of his left hand’s fingers with the piano’s lower register’s keys feel like opportune intense blows while the right hand follows the fierceness of the rhythmic pulse laid down by his bandmates. The saxophonists, flying more in parallel than oblique, also contribute for the collective commotion, which elegantly shifts from dizzying amusement to triumphant delight. A stunning first move, indeed.

Narrated with less agitation, but still steeped in a somewhat nervy stance, “Patience Patients” gains emphasis through the imaginative improvisations supplied by Clayton and Wendel.

Besides discovering poetry on the relaxing “Lovers Reverie” and “Dimensions: Interwoven” (spoken words by Carl Hancock Rux and Aja Monet), we can plunge into different musical settings like in the soul/gospel-inflected “Soul Stomp”, a fluctuating instrumentation armed with graceful moments, abundant rhythmic accentuations, and a rapturous, jovial posture.

Primarily propelled by Brown’s brushed rhythmic flux and Sanders’ spot-on bass lines, the persevering “Envisionings”, a waltz nurturing creativity, finds its emotional peak with Richardson’s authoritative improvisation.

The ebb and flow of “Are We” develops into multiple textural sections after starting a confluence of pensive poses and sparse touches delivered by piano and sax. Conversely, “Squinted” is colorfully brought by two distinct and buoyant saxophone melodies dancing on a firm percussive ground. Textural layers grow with the addition of piano, bass, and vocals, all heading toward a crescendo before a brief solo piano passage takes us to a restrained finale.

It’s noticeable how Clayton’s compositional style avoids traditional swinging grooves and bop clichés. Better than reviving dances of the past, he rather creates new ones, choreographing them with sophisticated movements. He does it unreservedly in the good company of his equally gifted peers.

Favorite Tracks:
01 – Unforeseen ► 06 – Envisionings ► 10 – Soul Stomp

Joris Teepe & Don Braden - Conversations

June 1, 2017

Label/Year: Self-produced, 2017

Lineup: Joris Teepe: bass; Don Braden: saxophone and flute; Gene Jackson: drums; Matt Wilson: drums.

Clearly sailing on the same waters, bassist Joris Teepe and saxophonist Don Braden, who first met in 1992 at a session in NYC and discovered many compatibilities in their musical processes, converse with prodigious fluency and articulated precision on their new album, Conversations. Following up the previous Pay As You Earn, the co-leaders dug both originals and jazz classics in a gratifying way.

Seven of the nine chord-less tunes feature whether Gene Jackson or Matt Wilson on drums, who help to elevate the rhythmic flux and push the music forward.

Chick Corea’s “Humpty Dumpty” arrives stylishly packed with radiant energy and brings its author’s compositional wittiness, but the truly great moment of the record happens with Elvin Jones’ “Three Card Molly”, compellingly arranged by drummer Gene Jackson, who also excels in his performance by serving up elegant beats and instinctive flurries. Everything starts with Teepe’s nuanced bass pedal, which invites Braden to expressively state the main melody with pragmatic self-assurance. The melodic and rhythmic ideas rush through the soloists’ raw tones in a sort of edgy tightrope walk between postmodern and traditional post-bop.

A comparable approach is adopted in Braden’s original, “Eddieish”, a groovy piece that sometimes seems to implore to be subjected to further Latin manipulation.

Another extremely likable piece is Mingus’ elegiac “Goodbye Pork Pie Hat” whose melody is equally dished out by Teepe and Braden. This is the first of three duets that include Kurt Weill’s “This Is New” and the closing tune, “We Take No Prisoners”, wrote by the hyperactive Teepe and embellished with Braden’s transient ascendant/descendant melodic movements.

Shorter’s “Footprints” was set up with a completely different tempo, gaining a new perspective and contrasting with Gershwin’s “Our Love Is Here To Stay”, which doesn’t get much far from what was expected. Even though, Wilson’s creative brushwork, first accentuated by hi-hat only and posteriorly adding a ride cymbal drive, gives it that special touch.

The assorted song selection is an asset and over the course of these beneficial conversations listeners can be certain to find admirable moments to indulge in.

Favorite Tracks:
01 – Humpty Dumpy ► 02 – Three Card Molly ► 03 – Goodbye Pork Pie Hat

Mat Maneri, Evan Parker, Lucian Ban - Sounding Tears

May 30, 2017

Label/Year: Clean Feed, 2017

Lineup: Mat Maneri: viola; Evan Parker: saxophones; Lucian Ban: piano.

Sounding Tears is a nebulous musical session devised by the improvisational masters Mat Maneri, Evan Parker and Lucian Ban, American violist, British saxophonist, and American pianist of Romanian descent, respectively.

While Maneri teamed up recently with saxophonist Tony Malaby and cellist Daniel Levine on New Artifacts (Clean Feed, 2017), another abstract trio work, the prolific Parker followed a similar path on the astonishingly atmospheric As The Wind (Psi, 2016), recorded with percussionist Mark Nauseff and lithophonist Toma Gouband. As for Lucian Ban, he, too, released an album called Songs From Afar (Sunnyside, 2017) with his Elevation quartet, which comprises saxophonist Abraham Burton, bassist John Hebért, and drummer Eric McPherson. Maneri also played as a guest on half of the tracks.

As expected, the music of this trio arrives on the spur of the moment, acquiring random shapes and apparently flowing without a fixed structure.

On “Blue Light”, we have Parker’s uninterrupted enunciations secured by muted viola sounds and low-pitched piano notes, both working as a percussive obbligato. A lethargic disposition embraces us in the beginning of “Da da da”, whose uncanny vibes shift into an odd dance of violin and sax while the piano remains actively involved in the discussion.

Neglecting tempo and forsaking harmony, “The Rule of Twelves” finds Maneri and Parker playing an avant-chamber duet immersed in ambiguity. Also rendered in duet, but this time featuring Ban and Parker, “This!” takes a conversational path that, despite experimental, feels more graspable than the previous compositions.
Afterward, it's Ban alone, who shines with a solo piece, “Polaris”, being also preponderant on the enigmatic “Blessed”, in which his penetrating low notes superimpose to the sparse high-pitched lines. The setting he creates is perfect for Maneri’s microtonal approach and Parker’s uncompromised strays.

The record’s two closing tracks are lenient yet contrasting in nature. If “Paralex” evolves into a compulsive manifesto of disordered small flurries and spasms, “Hymn” is the closest the band can get from a song format and the most touching and ear-pleasing tune on the record.

Sounding Tears is a one-of-a-kind experience. It can be a journey to the ends of a remote universe or a philosophical exploration about the measureless weight of some weird microorganism. It will all depend on the receptivity of your own senses.

Favorite Tracks:
04 – Blessed ► 05 –This! ► 10 – Hymn

Jason Rigby's Detroit-Cleveland Trio - One

May 29, 2017

Label/Year: Fresh Sound New Talent Records, 2017

Lineup - Jason Rigby: tenor and soprano saxophone; Cameron Brown: double bass; Gerald Cleaver: drums.

// this review was originally published on LondonJazz News on Apr 28 //

American saxophonist/composer Jason Rigby has this spontaneous capacity to adapt his way of playing to different styles and moods. He is a shape-shifter whose musical approach is a synonym of consistency regardless if he’s playing in small groups such as the quartets of Mike Baggetta and Mark Guiliana, or large ensembles like the Alan Ferber Big Band.

His work as a leader has been released on the Fresh Sound label and consists of Translucent Space (2006), Sage (2008), and this one, where we can find Rigby spearheading a trio of habitual partners: veteran bassist Cameron Brown and in-demand drummer Gerald Cleaver. The strong rapport built over the years is transferred to the recording, allowing us to indulge in tight trio maneuvers, solo stretches, dynamic interactions, and stirring improvisations.

The album opener, "Dive Bar", is an electrifying sax-drums duet of enormous force and stamina that pushes us to the particular worlds of Coltrane and David S.Ware. Playful and incisive in his phrasing, Rigby, who composed the tune, finds the required ebullience in Cleaver’s inventive drumming and methodical Afro rhythms.

Inspired by the literary work of Oscar Wilde, "Dorian Gray" is another original that kicks in with an odd-metered bass groove linked to a steady pulse. The solid ground consolidates Rigby’s adventurous verbalizations and figures of speech.

His brittle tenor makes a distinct impact on Rogers & Hart’s "You Are Too Beautiful", a sparkling ballad configured with well-resolved bop phrases and delivered with unexpected inner energy. He also digs Embraceable You, another jazz standard. However, this time he does it alone, employing lots of zig-zags and making the tune almost unrecognizable.

Interesting renditions of George Schuller’s "Newtoon", which takes an experimental path due to the trio’s unrestricted approach, and Herbie Hancock’s "Speak Like a Child", shaped by the agile cascades of notes poured out of Rigby’s soprano sax, are also part of the roster.

"Dewey", composed by the bandleader as a tribute to the late saxophonist Dewey Redman, closes the album in the best avant-garde jazz tradition. During the improvisational segment, Rigby throws in exciting rhythmic ideas, and insurgent swoops and slides, but he also caresses distinguishable melodies to balance and regulate the flow.

One is a formidable creation by a rhythmically advanced, intensely focused trio whose expansions and contractions will suit the tastes of modern creative jazz aficionados. Rigby leads with resolve, evincing an outgoing posture, compositional bravura, and a laudable flair for exploration.

Favorite Tracks:
01 – Dive Bar ► 05 – Speak Like a Child ► 08 – Dewey

Paul Dunmall Quintet - The Dreamtime Suite

May 25, 2017

Label/Year: FMR Records, 2016

Lineup - Paul Dunmall: saxophones, penny whistle, bagpipes; Percy Pursglove: trumpet, bagpipes; Steve Tromans: piano; Dave Kane: bass; Hamid Drake: drums.

English saxophonist Paul Dunmall has built a strong reputation in the European free jazz scene throughout the years. From soliloquies to large ensembles, Dunmall never ceases to surprise through his dashing improvised statements and writing skills.

Among his successful past collaborations, saxophonist Elton Dean and drummer Tony Bianco come first in the list, while the improvising quartet Mujician with pianist Keith Tippett, bassist Paul Rogers, and percussionist Tony Levin will be always remembered for their audacity.
Dunmall’s latest was conceived for quintet and released on FMR Records, consisting of an inventive collage of 6-pieces that expands and contracts with multiple colors, textures, and rhythms.

The Dreamtime Suite opens with “Dreamtime”, a happy tune that carries a flamboyant calypso touch on its head. It brings together swing, Latin, and avant-garde jazz, in an effusive cocktail of modernity and tradition that you can picture by thinking of Monk’s “Well You Needn’t” meshed together with Lou Donaldson’s “Lou’s Blues” and bolstered by Coltrane-ish sax sounds. It unfolds within a traditional structure whose improvisational blocks are dominated by Dunmall, trumpeter Percy Pursglove, and pianist Steve Tromans. A collective divagation precedes the finale in which the main melody is suggested but not assumed.

“Warning” is firstly designed through Dunmall’s discernible driving melodies paired with Pursglove’s rapid cackles. The interaction between bassist Dave Kane and drummer Hamid Drake is, by turns, uncompromised and elated. The percussionist is truly brilliant in his vivid intensifications of rhythm, followed closely by Tromans’s nimble voicings and piano trills.

Pure melody can be found on the 15-minute “Call an Elephant” where Dunmall plays penny whistle, welcoming the altruistic coexistence between tuneful trumpet and bowed bass. The layers get denser without reaching a real chaotic state, and Dunmall, switching to tenor, sounds more lyrical than ever. The last segment of the tune is left for the pliable moves of the piano-bass-drums trio formation.

“Frame Drums and Bagpipes” is not misleading in its title. It’s a noisy and percussive Scottish babble that eventually cools down as the time passes.

The last couple tunes are jaw-dropping. “It Dawned on Me” boasts an uncompromisingly gripping groove, a true joy for the horn players, who enter into dialogue before Tromans takes the lead and work on the preparations for “Sacred Hymn”. The latter is a prayer whose spiritual and modal characteristics are perfect for Dunmall’s sinuous saxophone lines and hard-as-nails sound. His observations range from devotionally resolved to rhythmically playful.

It’s a great ending indeed for an album that feels so ordered in its apparent disorder. Dunmall keeps expanding his discography with good stuff and The Dreamtime Suite is definitely worthwhile.

Favorite Tracks:
01 – Dreamtime ► 05 – It Dawned on Me ► 06 – Sacred Hymn

Meridian Trio - Triangulum

May 23, 2017

Label/Year: Clean Feed, 2017

Lineup - Nick Mazzarella: alto saxophone; Matt Ulery: bass; Jeremy Cunningham: drums.

Alto saxophonist Nick Mazzarella, an Illinois native, gains more and more prominence in the expansive Chicago jazz scene. In addition to other recent projects, which include an album in duo with cellist Tomeka Reid, Mazzarella is the composer of Meridian Trio, a sturdy triangular cohort whose bottom vortexes are occupied by bassist Matt Ulery and drummer Jeremy Cunningham. The malleable trio recently saw its debut album, Triangulum, being released on Clean Feed, a label operating within modern creative styles, which is perfect for the swinging avant-jazz adopted by the group.

The session, recorded live at the Whistler in Chicago in the beginnings of 2016, opens with “Rhododendron” a frantic ear-catcher reared on the rhythms of Africa and steeped in the ways of jazz. Irresistibly groovy, this piece boasts a very identifiable melody that feels like an evocative chant, also featuring enthusiastic improvisations by Ulery, who sports a strong driving discernment, and Mazzarella, who vitaminizes his juicy solo with in/out incursions.

Attractive rhythms of the same nature may be heard on “Ringdown”, a soulful levitation that vibrates with ecstasy and optimistic vitality. The tune, enhanced by the far-reaching timbres of Mazzarella’s alto and a pulsation à-la Art Ensemble of Chicago, embraces an uncompromising freebop that also recalls Thomas Chapin, Dewey Redman, and Henry Threadgill’s Air. Here, you're allowed to dance effusively, jump like a spring, or scream like crazy.

Engaging in an offbeat mood and fluctuating in tempo, the title track feels more connected with Ornette Coleman and Sam Rivers, starting with saxophone's sinuous ups and downs accompanied by Ulery’s deviant bass notes and Cunningham’s tom and cymbal rides. The rhythm section intensifies the flow as Mazzarella’s redoubles the fervor of his speech, before embarking on an improvised section of their own.

Consisting of two distinct passages, “Reminiscing”, is more pondered and abdicates from dancing. In the first passage, we have a slightly raucous sax expelling melancholic melodic lines with bowed bass in unison and brushed drums in the background. The second one includes a series of sax trills in a more abstract approach.

Both “Solstice 63” and “Inflection Point” are avant-garde pieces whose acerbic nature is reflected in action-reaction movements of fine quality. The former, a rock-inflated churn punctuated by idle reflections, displays strong rhythmic figures on the theme and is boosted by logical ideas and patterned outbreaks, which are natural spin-offs of Mazzarella’s musical intuition. The latter tune closes the album in a kinetic, hard-swinging rampage, featuring lofty staccatos, intricate phrases, and a climactic drum solo.

The raw energy felt on Triangulum stems from the adventurous nature of the musicians and their ability to understand the past while living in the present. This is a wholly digestive avant-garde session filled with creativity and passion for the genre.

Favorite Tracks:
01 – Rhododendron ► 03 – Ringdown ► 06 – Solstice 63

Vadim Neselovskyi Trio - Get Up and Go

May 22, 2017

Label /Year: Jazz Family, 2017

Lineup - Vadim Neselovskyi: piano, melodica; Dan Loomis: bass; Ronen Itzik: drums + Sara Serpa (guest): vocals.

The talents of Ukrainian pianist Vadim Neselovskyi were recognized at a very young age. He was admitted to the Odessa Conservatory when he was only 15, and his career enjoyed a boost when the celebrated vibraphonist Gary Burton invited him to play in one of his albums. Burton also revealed a fondness for the pianist’s undeniable disposition for composition, incorporating a couple of his charts in his 2011 album, Common Ground.

With bassist Dan Loomis and drummer Ronen Itzik working as an interactive, supporting foundation, the pianist releases Get Up and Go, his first trio project.

“On a Bicycle”, retrieved from the 2011 Music For September, conveys the incredible excitement of riding a bike for the very first time. Galloping like a fugue, the piece reveals an impressive synchronization by the three elements who conceive a knotty blend of jazz and classical music. While the pianist boasts a powerful technique dominated by nimble counterpoints, melodic diagonals, and punctuations, the bassist and drummer remain tight, with the former exhibiting a clear, woody sound, and the latter’s a mix of mechanical chops and dynamic accentuations.

Conversely, “Winter” brings the severe melancholy of the season it tries to depict. It starts like a lullaby with solo piano, gaining a progressive somber tone through the addition of Loomis’ lugubrious bowed bass and Itzik’s persistent brushing cymbal.

Predominantly folk in its intonations, the animated “San Felio”, an integral part of Vadim’s previous CDs, invites us to a compound of Mediterranean pulses plus Keith Jarrett’s eloquent post-bop and Dave Brubeck’s rondo suggestions.

Portuguese singer Sara Serpa grants wordless chants to “Station Taiga”, a true-tone poem of lyrical musing. After creating a beautiful unison layer with Neselovskyi’s melodica, the voices split in search of a congruous independence.

Both the title track, remarkably gracious in its animated pop/rock, jazz, and classical movements, and “Prelude For Vibes”, preceded by a glorious solo bass interlude and filled with subtle and shaded nuances, were recorded prior to this recording. They appeared in Gary Burton’s Next Generation, where the veteran vibraphonist joined forces with a very talented young team composed of Neselovskyi himself, guitarist Julian Lage, bassist Lucques Curtis, and drummer James Williams.

“Krai”, a solo piano effort based on an Orthodox prayer, becomes one of the most satisfying tunes on the record, starting with a belligerent intro and evolving into a dramatic, almost doctrinal middle part that intersperses thundering low-pitched notes and scorching piano voicings with the very classical incisiveness brought up by Neselovskyi’s right hand.

Pleasant sound aesthetics, robust compositional awareness, and ever-shifting ambiances can be fully enjoyed on Get Up and Go.

Favorite Tracks:
03 – San Felio ► 06 – Krai ► 09 – Get Up and Go

Jorn Swart - Malnoia

May 20, 2017

Label/Year: Brooklyn Jazz Underground, 2017

Lineup - Jorn Swart: piano; Benjamin von Gutzeit: viola; Lucas Pino: bass clarinet

New York-based pianist Jorn Swart configures an uncommon piano-viola-clarinet trio format, to interpret the ten tracks he composed for his sophomore outing, Malnoia.

Revealing a strong passion for classical music, he assumes influences from Bartok, Ravel, and Hindemith, which he maturely mingles with jazz vocabulary and improvisation. Joining him in this adventure are violist Benjamin von Gutzeit and bass clarinetist Lucas Pino, whose habitual tenor saxophone was left aside for this particular project.

Beautiful and sad, dreamy and enchanting, touching and heartfelt… “Elefante Triste” is all that and much more. Blossoming with the lyrical power of the trio, the tune relies on Swart’s harmonic textures that will serve as a stamping ground for Von Gutzeit and Pino’s soaring melodiousness.

If the opening piece feels contemporary, “Walsje” is a traditional waltz molded with robust classical intonations, even if the soloists squeeze some jazz sentences on top of the cadenced one-two-three rhythm flow.
The gloomy “Feldmania” intensifies sadness and takes us to dark, wintry landscapes.

Christmas is remembered with disenchantment on “Odd Christmas Song” where mournful and eerie vibes can be found deeply rooted in its core. “Nocturne” follows a similar melancholy, alerting our senses for the collective interplay, which includes meditative piano cuddles, long clarinet vibratos, and nostalgic viola wails.

Pure chamber classicism is delivered on “Hindemith”, a contrapuntal tune impregnated of shifting rhythms and melodic accentuations. By turns, it embraces vivacious and reflective modes, becoming buoyantly throbbing as it moves forward.

Truly impressive is “Students of the Macabre”, an inviting dance elaborated with groovy ostinatos and clever improvisations by the bandleader, who exhibits resolute spontaneity, and Pino, who delivers the best solo of the record.

“Meditation in C” falls in the same category of the tune described above, assuming a free-flowing nature and suggesting movement, while “The Return of the Snow Bunnies”, emerging like a pop ballad, aims at the heart and stirs up feelings. Its heavenly composure will certainly touch the most sensitive listeners.

The jazz genre benefits with diversity and Jorn Swart presents us alternative sounds drawn from bold approaches. Malnoia consolidates his creative voice, at the same time that sets the bar high for his next move.
To better relish this album, just give it time, enjoying several listenings.

Favorite Tracks:
01 – Elefante Triste ► 07 – Students of the Macabre ► 08 – The Return of the Snow Bunnies

Avishai Cohen - Cross My Palm With Silver

May 17, 2017

Label/Year: ECM, 2017

Lineup - Avishai Cohen: trumpet; Yonathan Avishai: piano; Barak Mori: bass; Nasheet Waits: drums.

Avishai Cohen, an intuitive Israeli trumpeter, is one of the most proficient voices of the creative jazz scene. Imagination and passion for exploration are constant aspects in his music, which also benefits from a deliberate openness and compositional adroitness.

His second recording for ECM, Cross My Palm With Silver, is a 5-track delight that shines through the impeccable effort and rapport of a quartet with Yonathan Avishai on piano, Barak Mori on double bass, and the sought-after Nasheet Waits on drums.

Pulsating at a 3/4 tempo, “Will I die Miss? Will I Die?” mixes sketches of Spain with Middle Eastern scenarios. Cohen plays the melody on a crystalline upper register, accommodating it on top of the relentless chordal arrangement of Yonathan. Nasheet appends his beautiful work on cymbals and the drumming bubbles with elegance while Mori sticks to his rhythmic task after uttering the melody. His textures, simultaneously warm and airy, are ideal for the trumpeter’s lucid laments.

Although leisurely paced, “Theme For Jimmy Greene” exemplifies how to create and release tension with exceptional acuity. It feels crushingly emotional thanks to Cohen’s long notes within beautiful short phrases.

Wandering over a path that avoids major startles, “340 Down” is a quiescent piano-less interaction. Only momentaneously, Mori comes to light with an ostinato that matches the last phrase delivered by Cohen.

“Shoot Me in the Leg” boasts an introductory piano section where Yonathan serves up punctilious melody, complex swirling phrases, exquisite chords and arpeggios, and polyphonies, before settling in a cyclic arrangement of voicings. These are combined with bass and drums to better attend to Cohen’s exultant phrasing and pitch range. At this point, the quartet fascinates through a hallucinogenic momentum that penetrates straight into our brains. Yonathan brings cool comping ideas throughout Cohen’s solo and then takes off to blur the line between melodic lines and harmonic underpinnings. The layers of sound are gradually reduced for the ending, and the bandleader ends up alone, centered on a melodic phrase that reappears cyclically.

On the closing number, “50 Years and Counting”, we find Cohen soloing with all his heart. His attacks are composed of intervallic refinement, majestic gestures, and visceral breakthroughs, entailing non-stop emotional impact. In contrast, Yonathan inflicts melodic ideas expressed with a feathery stylishness in his improvisation. This piece lets us immersed in a state of zen, from which I didn’t want to wake up.

Defying convention, Cross My Palm With Silver embraces impressionism as it explores the edges of form and freedom. This is Avishai Cohen at the top of his game.

Favorite Tracks:
01 – Will I die Miss? Will I Die? ► 04 – Shoot Me in the Leg ► 05 – 50 Years and Counting

Tomasz Stanko - December Avenue

May 16, 2017

Label/Year: ECM, 2017

Lineup - Tomasz Stanko: trumpet; David Virelles: piano; Reuben Rogers: bass; Gerald Cleaver: drums.

Polish trumpeter Tomasz Stanko already gave us enough reasons to trust his idiosyncratic music. Deeply associated with the ECM Records, Stanko, whose sonorous creativity is almost tactful, has one foot in the adventurous modern creative jazz and the other on a relaxing, sometimes-cerebral post-bop.

His Polish quartet, which included the pianist Marcin Wasliewski, was active from 2002 to 2006, being responsible for great albums such as The Soul of Things, Suspended Nights, and Lontana.
In 2013, Stanko formed his New York quartet, a stellar project that featured Cuban-born David Virelles on piano, Thomas Morgan on bass, and Gerald Cleaver on drums. They recorded the critically acclaimed double-disc CD Wislawa.

For the quartet’s new outing, December Avenue, Stanko was forced to give Morgan’s position to Reuben Rogers. The outcome remains bold and innovative, as well as immediately identifiable with the author’s compositional style.

Reflective moods and nostalgic tones characterize “Cloud”, an enduring piece whose melancholy is equally embraced in its half-twin “Blue Cloud”. In the latter, one can enjoy Virelles’ exquisite clusters and improvised discourses by Stanko and Rogers, whose disclosures were brief, explicit, and articulated.

Following approximate directions, “Ballad for Bruno Schulz” and “Young Girl in Flower” are plaintive ballads delivered with a static insouciance afloat.
The recording is not limited to this organic quietude, though. If “Bright Moon” still dwells in this buoyant sphere of serene melodies and sparse comping, “Burning Hot” really heats things up through a pulsing 4/4 groove that spreads Brazilian scents in the air. Although Virelles’ improvisation was quite salient, it was Stanko who stood out through explorative techniques and employing articulated, hasty phrases that provoke extemporaneous reactions in Cleaver’s rhythm.

Also impressively vivid is the title track, a boisterous post-bop funk that features Rogers' expressive bass solo, opening the improvisational section, and Virelles’ dazzling accompaniment.

The group’s elasticity can be verified in “Yankiels Lid”, a jubilant and emotionally charged upheaval deployed with easy confidence and featuring intermittent double-tempo passages. Fueling the already optimistic posture, we have invigorating solos by Virelles, technically remarkable in his inspired incursions, and Rogers, whose self-assuredness makes us forget Thomas Morgan.

In addition to Stanko’s compositions, one may also experience three more abstract tunes composed by all the four members of the quartet – “Conclusion”, “David and Reuben”, and “Sound Space” are consequences of musical reactions and conversations.

December Avenue is an example of honorable musicianship. The passion is invariable, whether in its sharply angled forms or silky soft curves, and the New York quartet dishes out every ingredient needed for Stanko’s delicious recipes.

Favorite Tracks:
05 – Burning Hot ► 09 – December Avenue ► 11 – Yankiels Lid

Chris Potter - The Dreamer Is The Dream

May 15, 2017

Label/Year: ECM, 2017

Lineup - Chris Potter: tenor and soprano saxophones, bass clarinet; David Virelles: piano; Joe Martin: double bass; Marcus Gilmore: drums.

Saxophonist/composer Chris Potter is a force of nature. Extra sensitive, he displays an extraordinary facility in expressing his individuality, as well as interacting with his bandmates.

Potter’s discography as a leader, which started in 1992, is replete of precious works. In recent times, his greatest showdown was Imaginary Cities (ECM, 2015), a record to cherish and listen unreservedly, but the new The Dreamer Is The Dream, also brings sumptuousness and no less absorbing sonorities.

Potter convenes a first-rate rhythm team that qualifies his writing purposes and musical vision - pianist David Virelles, bassist Joe Martin, and drummer Marcus Gilmore.

The ballad “Heart in Hand” exposes yearning and romantic elegance, starting with a peer-to-peer correspondence between Potter and Virelles. In a subdued way, Martin and Gilmore reinforce the foundation, just to let it go again moments later when the pianist embarks on an unaccompanied solo imbued with imaginary essence. The quartet’s passion is intensified prior to a finale where a shimmering intensity prevails.

“Ilimba” evokes the African continent in the title and evokes it in the rhythm. The percussive chimes of the ilimba, a lamellophone from Tanzania (it’s Potter who plays it), initiate a journey that gains texture and color with Virelles’ left-hand strokes perpetrated in a lower register. Suffused with freedom and glow, this culturally rich tune may easily get into your soul through Potter’s conversational prowess, which flames with off-kilter patterns and thrives with phenomenal melodic perspicacity. The complex swirling phrases by Virelles precede Gilmore’s multi-timbre drum solo before the reinstatement of the main theme.

This creative, forward-driving stretch can be enjoyed again on the expressionist “Yasodhara”, where its sultry post-bop is inflated with Oriental influences. Simultaneously inquisitive, vindicating, and beseeching, this adventure worths every bit of flare and fancy, and everyone is encouraged to spin around.

In order to vary tones and timbres, the title track, restrained in pace but emotionally expansive, embraces a graceful lyricism that comes out of Potter’s bass clarinet. After Martin’s solo, the composer switches to tenor sax to emphasize the finale. On the following track, “Memory and Desire”, he switches again to soprano, delivering eloquent elliptical phrasings that grow in a coruscating crescendo.

Closing the album, Martin and Gilmore boil a steady funk-tinged groove on “Sonic Anomaly”, while Virelles’ splendid comping and rhythmic blaze enliven the stylish trajectories taken by Potter.

Eschewing any sort of boredom, redundancy, or triviality, The Dreamer is the Dream is all about compositional sophistication materialized in a high-end jazz that lives from communication, balance, and authenticity.

Favorite Tracks:
02 – Ilimba ► 04 – Memory and Desire ► 05 – Yasodhara

Louis Sclavis - Asian Fields Variations

May 12, 2017

Label/Year: ECM, 2017

Lineup - Louis Sclavis: clarinets; Dominique Pifarély: violin; Vincent Courtois: cello.

French clarinetist, Louis Sclavis, emerged as a leader in the 80s, but it was during the 00s that his music got more attention with seductive records like L'affrontement des Prétendants, Dans La Nuit, Le Phare, and L'imparfait des Langues. In his voluminous musical universe, styles such as post-bop, avant-garde, and modern chamber jazz are pretty common.

His new record, Asian Fields Variations, recorded with two long-time associates, violinist Dominique Pifarély and cellist Vincent Courtois, is now available on ECM and wields interesting chamber jazz with punctual dashes of world music. It’s curious to notice that the violinist and the cellist had shared numerous musical experiences with Sclavis before, but the trio had never recorded together.

“Mont Myon” comes wrapped in amiable tones, encouraging everyone to breathe easily. The levels of tension and contrapuntal interaction are slightly increased during the middle section, but the threesome returns to literate wintry soundscapes for the finale, conjuring up memories of John Surman and Tigran Hamasyan.

The following three small pieces, “Done and Done”, “Pensée Furtive”, and “Figure Absente” were composed and played solo by Courtois, Sclavis, and Pifarély, respectively.

In “Asian Fields” we have a violin-cello ostinato in the background while Sclavis is on the loose. The cycle eventually breaks into an Oriental passage, coaxing Courtois to intervene on his own. His sounds bring the world fusion of Rabih Abou Khalil into mind, a fact that is not so strange if we think that he and Pifarély have collaborated with the Lebanese musician in the past. The initial ostinato is reframed, only this time with Pifarély and Sclavis switching positions.

On “Fifteen Weeks”, each member of the trio revolves around a melodic phrase that is brought up in a sequential way. This tune, acquiring a cheerless composure, contrasts with the vivacious avant-gardish sceneries of “Cèdre” and the more-Western-than-Eastern crusades of “Les Nuits”.

Sclavis, Pifarély, and Courtois carve their own niche of followers on the strength of clear ideas and congruous interplay. The variety of tones and styles are preponderant in the final result, which should attract devotees of modern creative jazz, as well as world and classical music.

Favorite Tracks:
01 – Mont Myon ► 05 – Asian Fields ► 09 – Cèdre

Harris Eisenstadt - Recent Developments

May 10, 2017

Label/Year: Songlines, 2017

Lineup - Harris Eisenstadt: percussion; Jeb Bishop: trombone; Dan Peck: tuba; Anna Webber: flute; Nate Wooley: trumpet; Sara Schoenbeck: bassoon; Brandon Seabrook: banjo; Eivind Opsvik: bass; Hank Roberts: cello.

Harris Eisenstadt is not only an efficacious percussionist but also a skillful composer and arranger. With 19 records already under his belt and precious collaborations with highly respected jazz figures such as Sam Rivers, Yusef Lateef, Nate Wooley, Tony Malaby, and Bennie Maupin, the Toronto native feels comfortable playing in both small and large ensembles.

His latest body of work, Recent Developments, is an appetizing feast of musical textures, timbres, and rhythmic pulses that provide a sensational experience for listeners who lean on the avant-garde jazz style. Besides the visionary concept employed on a compositional level, Eisenstadt’s creativity benefitted with the valuable rapport established within the 8-piece ensemble. The pretty talented lineup includes Jeb Bishop on trombone, Dan Peck on tuba, Anna Webber on flute, Nate Wooley on trumpet, Sara Schoenbeck on bassoon, Brandon Seabrook on banjo, Eivind Opsvik on bass, and the veteran Hank Roberts on cello.

In addition to an introduction, prologue, epilogue, and interludes delivered by variable formations, the album contains six pieces at its core that are heterogeneous in sound but deeply tied in terms of behavior and posture.

After a brief-yet-energetic woodwind intro and the following dark prologue, “Part 1” slides at mid-tempo, serving as a showcase for Wooley’s nimble crusades over a structural rhythmic foundation delineated by Opsvick, Peck, and Eisenstadt.

A light-footed bass walking, well aligned with the patterned snare-drum accents, invites Seabrook to dynamically contribute on “Part 2”. His chromatic risings are interrupted by meddling circus-like orchestrations, which, in turn, leads to the cavernous reverberations liberated by Peck’s tuba.

While “Part 3” makes bold moves within a ternary setting with Bishop as a protagonist, “Part 4” holds on to a 5/4 tuba groove bolstered by Eisenstadt’s rational drumming, which supports Webber’s trippy flute. Meanwhile, other instruments join, creating a carefree bedazzlement.
The drummer not only envisions ingratiating chamber movements to be delivered on “Part 5”, calling Schoenbeck’s bassoon to the center, but also reserves the final section for his own percussive creativity.

Right before the epilogue, gleeful melodic contortions can be heard on “Part 6”, the shortest part, where Seabrook and Roberts were given orders to create a stringed entanglement of banjo and bowed cello.

An indestructible feeling of unity reigns in Recent Developments since the abandonment of the musicians is never synonymous of disjunction but rather indefinite freedom.

Favorite Tracks:
07 – Part 3 ► 09 – Part 4 ► 11 – Part 5

Andrew Schiller Quintet - Tied Together, Not To The Ground

May 9, 2017

Label/Year: Red Piano Records, 2017

Lineup - Hery Paz: tenor saxophone; Alec Harper: tenor saxophone; Frank Carlberg: piano; Andrew Schiller: bass; Robin Baytas: drums.

Phoenix-born Brooklyn-based bassist Andrew Schiller has a knack for modern composition and his debut album, Tied Together, Not To The Ground, a 10-song collection of inventive genius, features an ensemble top-loaded with talent. The peers that follow him are tenorists Hery Paz and Alec Harper, pianist Frank Carlberg, and drummer Robin Baytas.

Enjoying the calm waters, the quintet sets sail to explore spacious regions on “Little Shoes”. The intro, built with sax and drums and later joined by a cadenced piano pointillism, is delivered in a breathable and cyclic manner. More spontaneous rather than mechanical, Schiller’s bass solo is crafted with art, as well as Paz’s saxophone lines, whose lyricism doesn’t stick to anything you might be expecting to hear but has the capacity to surprise.

The exquisite waltzing flow of “Go Get ‘Em Tiger!” carries wry fanfare tones in the unison melodies deliver by the two-horn frontline. Soloing with swampy intensity, Harper (what an entrance!) instills all his melodic and motivic richness into a tune that also counts on Carlberg’s melodies (we can hear his voice) to entice. The pianist’s expressive gestures are also strongly felt on the contagious “Head Down, Walk”, whose title could have been ‘Head up, March’ in accordance with its actual nature.

Infusing larger doses of joyfulness, the band digs the frisky “Tink Tink” with Latin and groovy vibes, in a stylistically expansive description of a rousing scenario. In addition to Schiller and Paz’s individual statements, Baytas has here an opportunity to show his flexible drum forays. The latter shines again by the end of the revolutionary “Gluckschmerz”, in which he helps to form a powerful rhythmic epicenter together with the bassist. A collective improvisation blossoms out of this adventurous stretch, bringing an avalanche of sharp angles and protuberances created by Paz and Harper.This visceral rhythmic drive and melodic entanglement emerge again on the abstract, sparse, and uncompromised “CFBDSIR-2149” and on the title track, a deeply nostalgic ballad that refrains from agitation.

Also painted with an atmospheric glow is “One That Never Was”, whose starting point is made of acerbic bass note intervals before landing on an unknotted, stable groove that instinctively combines with the dry percussive sounds engendered by Baytas.

Between the lines, the album’s title reads only the truth. The members of this quintet are closely tied to this music whose creator provides them with an abundant freedom to create, move, and interact. Moreover, instead of being tied to the ground, they are able to fly together.
Schiller’s debut is a worthy trip and his compositions reflect the blistering state of the modern jazz.

Favorite Tracks:
02 – Go Get ‘Em Tiger! ► 05 – Gluckschmerz ► 07 – Head Down, Walk

Anne Mette Iversen Quartet + 1 - Round Trip

May 8, 2017

Label/Year: Brooklyn Jazz Underground, 2017

Lineup - Anne Mette Iversen: bass; John Ellis: tenor saxophone; Peter Dahlgren: trombone; Danny Grissett: piano; Otis Brown III: drums.

Anne Mette Iversen, a modern bassist, composer, and bandleader based in Berlin, releases her seventh album on the Brooklyn Jazz Underground label with the suggestive title Round Trip. This idea of leaving and return to the same point is scattered throughout the eight original compositions whose exciting arrangements and interplay won me over.

Most of the tunes on the recording thrive with a groovy, pulsing rhythm that feels contemporary, urban, and provocative to the ear, gaining more emphasis with the addition of a two-horn frontline that thickens sound layers and infuses wider melodic solutions. Iversen added trombonist Peter Dahlgren to her long-time quartet composed of tenorist John Ellis, pianist Danny Grissett, and drummer Otis Brown III.

Round Trip opens with the debonair title track, where the contrapuntal work between the horns makes room for Grissett’s crisp pianism. After returning to the starting point, the tune advances with interspersed statements between Ellis and Dahlgren, who find a common chain of thought.

“Lines & Curves” and “The Ballad That Would Not Be” carry some classical intonations in its main melodies. The former even brings a slight Oriental flavor attached, depicting another round trip and featuring a piano-bass reciprocation before the horns come to the forefront. A collective horn-driven improvisation sets foot on the groovy road paved by the high-qualified rhythm section.

Both trombonist and drummer, in a stirring interaction, introduce the upbeat “Segue”, which, acquiring a swinging foundation, provides the freedom claimed by the soloists, Ellis and Grissett. Both deliver clear ideas through challenging executions.

With much less sharp angles, “Wiistedt’s View” creates a melancholic soundscape that works mostly in a typical piano trio formation, expanded with the inclusion of Dahlgren’s mellow trombone.

If “Scala” is an elegant, deftly orchestrated piece that gallops with a triumphant spirit and features zealous bass and piano solos, “Red Hairpins” is unmatchable in terms of post-bop panache, closing the recording in an appreciable manner. By the end, Brown’s percussive rumbles rhyme with class and enthusiasm.

Brimming with bold sounds, Round Trip is a successful achievement where no redundancy is found. This CD packs all the virtuosity and straightforwardness of these musicians whose rapport is equally laudable since they bring a cutting honesty and luxurious gravitas into the innovative jazz sphere.

Favorite Tracks:
01 – Round Trip ► 03 – Segue ► 08 – Red Hairpin

Chad Lefkowitz-Brown - Onward

May 5, 2017

Label/Year: Self-produced, 2017

Lineup - Chad Lefkowitz-Brown: saxophone; Steven Feifke: piano; Raviv Markovitz: bass; Jimmy MacBride: drums; Randy Brecker: trumpet (guest).

Chad Lefkowitz-Brown, 27, is an American saxophonist, born and based in New York, whose musical path expanded in several fronts. As a sideman, he’s been working for pop figures like Taylor Swift, Don Henley, and Phillip Phillips, and also jazz creators such as pianists Dave Brubeck and Joe Gilman, drummer Clarence Penn, and trumpeter Adam O’Farrill and his father Arturo, a Latin-jazz enthusiast and composer.
Four years ago, realizing it was time for him to move forward, he released Imagery Manifesto, a great starting point for a career as a leader.

His sophomore album, Onward, features nine tracks, which divide into five originals and four renditions of widely known pieces.
To fulfill what he had in mind, Chad enlisted pianist Steven Feifke, bassist Raviv Markovitz, and drummer Jimmy MacBride as elements of his quartet. He also borrowed the voice of giant trumpeter Randy Brecker for a couple of tunes.

The first step was taken with the title track, a soulful, expansive, and mind-blowing conference on spirituality that evokes Kenny Garrett, Joe Farrell, and John Coltrane in all their grandiosity. The bandleader’s mode of expression transpires energy and thrives through the cutting-edge timbre of his tenor sax. While Feifke astutely adopts McCoy-ish modes, Markovitz and MacBride snatch the rhythmic flow with urgency and distinction.

Coltrane is revisited once again with one of his most remarkable tunes, “Giant Steps”. Saxophone and drums determine the effervescent intro of an arrangement that asks for shifts in tempo and incites to a fiery swinging groove for the improvisational blocks.

On the winsome “Franklin St”, Randy Brecker tosses in the pungent lyricism that has always characterized him, repeating the dose on the gravitational “Blues for Randy”, wrote by the bandleader with his guest in mind. Besides the early spasmodic strokes inflicted by Feifke, the latter tune offers us vigorous solos, climaxing in a prosperous horn interplay.

“Deviation” is another Lefkowitz-Brown’s original that, despite the title, doesn’t deviate much from the style presented here. It’s a tribute to Brubeck, picturing fast, urban landscapes created through a happy-go-lucky concoction of bop, fainted crossover jazz, and post-bop.

Stevie Wonder’s popular hit “Isn’t She Lovely” is delivered with a similar feeling as the original but comes packed with a fresh rhythmic zest, while Cole Porter’s “All of You” is re-harmonized in a free-flowing way, swinging along whenever the soloists step forward.

Onward is an album as much equilibrated as dynamic, exhibiting the exceptional qualities, compositional and instrumental, of Lefkowitz-Brown.
Provided with the extra motivation drawn from his peers’ musicianship, he seems to know exactly where he has to go, and two albums are enough to realize that there’s an auspicious future coming his way.

Favorite Tracks:
01 – Onward ► 04 – Giant Steps ► 06 – Deviation