Meg Okura - Ima Ima

May 9, 2018

Label: Self produced, 2018

Personnel - Meg Okura: violin, vocals, erhu; Tom Harrell: trumpet; Sam Newsome: soprano sax; Sam Sadigursky: bass clarinet, clarinet; Anne Drummond: flutes; Riza Printup: harp; Rez Abbasi: guitar; Brian Marsella: piano, electric piano; Pablo Aslan: bass; Jared Schonig: drums.

Japanese violinist Meg Okura records for the fourth time with her Pan-Asian Chamber Ensemble, this time having first-rate improvisers Rez Abbasi and Tom Harrell in the roster, guitarist and trumpeter, respectively. Containing seven original compositions, the album Ima Ima put on view her lucid musical vision as she explores material across the world-fusion spectrum. Thus, it’s more than common to hear timeless Eastern melodies running over contemporary jazz arrangements.

“Black Rain” is one of those cases, with the Japanese pentatonic scale integrating so well with the harmonic progression of the jazz classic “Invitation”. The inaugural Oriental enchantment that stems from violin, harp, and soprano, suddenly mutates to a bolero cadence that serves the individuality of pianist Brian Marsella.

“Ima”, meaning mom in Hebrew and now in Japanese, is a phenomenal opening. The beautiful piano/flute and harp/soprano combinations create cinematic tension throughout the introductory section, which is subsequently deviated to a waltzing route varnished with sporadic swinging segments. Sopranist Sam Newsome energizes his impromptu statement with literate swoops and rhythmic focus.

Brimming contemporary vibes, “A Summer in Jerusalem” displays Israeli sounds through the self-disciplined combination of Okura’s violin and Pablo Aslan’s bowed bass. Sam Sadigursky makes you tap your feet to the cadence by wielding a powerful deep-toned groove in seven. This steams up polychromatic keyboard attacks and punchy rhythmic accents that emerge from Jared Schonig’s roiling drumming. A chamber passage, vaguely resembling “Concierto de Aranjuez”, jumps at us before the discerning improvisations from Harrell, Abbasi, and Okura, who also colors with her vocal chants. Everything is so gentle and exciting at the same time. The complex structure still encompasses a vamp that brings back the trumpeter and the violinist to the spotlight before the reinstatement of that rousing, groovy theme.

“A Night Insomnia” is a sophisticated fusion feast. The band keeps groovin’ aplomb while embarking on a journey replete with smooth soul, funk, and ever-shifting rhythms that are constantly disrupted, just like the eight note figure that accompanies the song throughout. The violinist employs swift patterns and phrases to leap between registers, whereas Harrell swings and funks with a clever choice of notes. You’ll also hear improvisations from flute, bass clarinet, and soprano sax at the very end.

Reflective strings and woodwinds bring “Birth of Shakyamuni” to life. Sandwiched by moments of contrapuntal ostinato, Abbasi speeds up a concise yet highly articulated solo à-la Larry Coryell, contrasting with Sadigursky, whose tranquil melodies lead to a classy tango passage turned classical epic. The guitarist returns afterward for another supersonic intervention before a compelling flute incursion.

With the bandleader’s classically trained voice in evidence, “Blues in Jade” seems to explore the incorporeal. Conversely, “Tomiya” feels gleefully secular as it recreates the rhythm of a taiko drum ensemble. Elements of Japanese folk merge with jazz harmonies, shaping a gracious chamber jazz that lands on an uplifting Latinized vamp dominated by Harrell’s soloing aptitude.

Ms. Okura was able to create magical crossover soundscapes with intimacy and subtlety, resorting to a pure lyricism and fascinating collective passages that never put the homogeneity of the whole into question.

Favorite Tracks:
01 – Ima ► 02 – A Night Insomnia ► 03 – A Night Insomnia

Roman Filiu - Quarteria

May 8, 2018

Label: Sunnyside Records, 2018

Personnel – Roman Filiu: alto saxophone; Ralph Alessi: trumpet; Dayna Stephens: tenor saxophone; David Virelles: piano; Matt Brewer: bass; Craig Weinrib: drums; Yusnier Sanchez: percussion.

The adventurous forms of expression by Cuban-born, New York-based alto saxophonist Roman Filiu find uppermost expression in Quarteria, a relevant project featuring Ralph Alessi on trumpet, Dayna Stephens on tenor saxophone, David Virelles on piano, Matt Brewer on bass, Craig Weinrib on drums, and Yusnier Sanchez on percussion.

Envisioning an interesting conceptual sensibility, Filiu, an honorable member of Henry Threadgill's groups, penned all the twelve compositions on the record to serve improvisation, often resorting to an out-of-the-ordinary bond between modern jazz, classical, and Cuban music.

“Fulcanelli” is an exuberant horn-driven piece with hooky textures and zig-zag melodies. The improvisation time is distributed to the bandleader, whose conversational, often motivic approach sparks with sophisticated patterns, and Virelles, owner of a distinguished language loaded with exquisite accents and chromatic melodicism.

Highlighting Weinrib’s efficient drumming, “Grass” also displays the horn section artisans working closely with Virelles. While the pianist installs an unbending tension through the combination of sparse bass motions and recurrent atonal impulses created on the higher register, the drummer perseveres in his neurotic improvisational path.

The theme of “Harina Con Arena” is rhythmically rich in every aspect. The band pulls it off flawlessly with the pronounced Cuban vibe arriving from Sanchez’ percussive flux. Grasping an arty doctrine through his clear-cut lines, Alessi speaks modern dialects, inviting Filiu to follow a similar process. Eloquently, the saxophonist injects his declamatory urgency before Virelles conclude in a sane yet quizzical crescendo.

A trio of inventive Danzas was beautifully outlined, each one capturing its own mood. “Danza #5” is a piano improvisation; “Danza #1” not only interweaves folk melodies with Messiaen’s subtle classical intonations but also puts freewheeling jazz spontaneity side by side with percolating Cuban rhythms; and “Danza #3”, which starts with a bass soliloquy, displays impressionistic improvisations, and carries considerable vertigo in its harmonic progressions. All these three numbers find a positive equilibrium between discipline and freedom.

Countervailing with a more meditative quality, we have “Choral”, “Imperator”, and also “Tursten”, one of the two pieces featuring guest tenorist Maria Grand.

The session gets completed with “Kaijufrem”, a spellbinding piece whose passages change from lustrously poetic to harmonically rockish. The energetic groundwork forged by Brewer and Weinrib serves two purposes: thrust the band forward and provide textural robustness for the improvisers’ assaults.

Filiu transpires all his innate musicality and strong dynamism, establishing sure-footed connections between musical styles with a forward-thinking posture.

Favorite Tracks:
03 – Harina Con Arena ► 06 – Danza #1 ► 12 - Kaijufrem

Jon Irabagon Quartet + Tim Hagans - Dr. Quixotic's Traveling Exotics

May 7, 2018

Label: Irabbagast Records, 2018

Personnel – Jon Irabagon: tenor saxophone; Tim Hagans: trumpet; Luis Perdomo: piano; Yasushi Nakamura: double bass; Rudy Royston: drums.

Searchers and enthusiasts of contemporary jazz will probably agree with me about the works of saxophonist Jon Irabagon being a must-listen. Let me add that his explosive new album of originals, Dr. Quixotic’s Traveling Exotics, is one of his very best. Portentous trumpeter Tim Hagans was invited to join the saxophonist’s sonically-solid quartet, which includes musicians of the highest caliber such as pianist Luis Perdomo, bassist Yasushi Nakamura, and drummer Rudy Royston. This multi-cultured, multi-perspective collective engenders giddy dynamics with the same impact they craft inventive improvisations.

“The Demon Barber of Fleet Week” kicks off with the bandleader on his own, excavating ideas from the resourceful language he has been developed throughout the years. Trenchant rock strokes lead to an effusive bass solo over a smooth funk-inflected vamp prior to accelerated circular harmonic movements swoop down on a hyperkinetic articulation of bass and drums. The occasion serves to uphold Perdomo’s fast and thunderous flurries. The earliest rock frame of mind is then regained, time when Irabagon exerts his authority on tenor.

“Emotional Psychics/The Things” invites us to another tour-de-force locomotion that rocks and swings aplomb. The well-defined structure includes concurrent logics that take into account catchy ostinatos, free rambles, galloping counterpoint, and mutable intensities and paces. Followed closely by Hagans, the saxophonist shows determination and resolve in his rhythmic ideas and melodic paths. This piece guarantees such a fun ride, swamping us in its lively extravagance.

With a natural predisposition to diversify paces and textures, the quintet digs “You Own Your Own”, a fantastic integration of written score and improvised material. A revolutionary hip-hop rhythm, sturdy bass strolls, and punchy Coltranean lines, whether delivered in unison or counterpoint, join the introductory piano with avidness. While exchanging sparkling phrases with grip and receptiveness, Hagans and Irabagon bring the house down with their vertiginous eloquence.

Carrying something gypsy or Spanish, and at the same time mixing elements of avant-garde and post-bop, “The Bo’Ness Monster” highlights not only the expeditious rides of the horn section, packed with fiery and indomitable energy, but also the remarkable piano work by Perdomo, whose melodicism gravitates between Herbie Hancock and Chick Corea. His improvisation comes suffused with delightful angularities that make us beg for more.

The group eases the rampant impetuosity with “Pretty Like North Dakota”, an emotionally driven piece that starts circumspectly and ends boldly, culminating the session with a sonic description of the “Taipei Personality”. Expect percolating rhythms and syncopation, variations in motion, tight interplay, and vibrant solos.

Nothing in this music is pointless or forced, in the same way that everything is tangible, honest and risk-taking. Irabagon shows off brilliant compositional skills and a personal tenor conception that elevates him to a superior level.

Favorite Tracks:
01 - The Demon Barber of Fleet Week ► 02 - Emotional Psychics/The Things ► 04 - The Bo’Ness Monster

Larry Goldings / Peter Bernstein / Bill Stewart - Toy Tunes

May 3, 2018

Label: Pirouet, 2018

Personnel – Larry Goldings: hammond organ; Peter Bernstein: guitar; Bill Stewart: drums.

The trio of jazz organist Larry Goldings, guitarist Peter Bernstein and drummer Bill Stewart, has started their adventures back in 1991 with the album Intimacy of the Blues, at that time led by the organist . Toy Tunes, a collective effort, is their twelfth album, and like has been happening before, includes originals penned by all the three musicians, jazz standards, and other remarkable compositions by creative minds such as Wayne Shorter and Carla Bley.

The trio opens the session with “Fagen”, an easy-going ride marked by an affable melody. Goldings dedicates it to the adult contemporary rock singer and keyboardist Donald Fagen, one of the two co-founders of Steely Dan. One can enjoy a sweet relaxation in this song, which leisurely unfolds from the smooth theme to dedicated improvisations by the organist and the guitarist.

Stewart’s “Don’t Ever Call Me Again” was first included on Scott Colley Quartet’s 1997 album Subliminal, getting the first-rate treatment here as it shapes into a sultry groovy song conform to a 6/4-meter signature. The melody, empathically expressed with playful irony by Bernstein, is placed on the top of the rich organ harmonies and contagious drumming pulse.

Bernstein is a masterful colorist, both harmonically and melodically, and his rubato introductory section of “Lullaby For B”, a waltz he wrote for his son, carries shades of Jim Hall in the chord voicings.

Both the standard “I’m In The Mood For Love” and Charles Strouse’s “Maybe”, a number from his Broadway musical Annie, follow similar structural alignments, with Goldings designing the A sections of the theme and Bernstein taking care of the Bs. The latter piece spreads a swinging perfume that favors the rounded post-bop trajectories of the guitarist. After the respective improvisations, guitarist and organist team up by alternating eight bars of logical, creative phrasing before Stewart’s tasteful attacks.

Shorter’s “Toy Tune” is presented with less 30 seconds than the original version, which dated from 1980, and comes wrapped in the same sophisticated harmonic complexity. However, I missed the sound of the saxophone and the tune didn’t touch me as much as Carla Bley’s “And Now The Queen”, a beautiful four-bar melody reiterated with a mutable expressionistic touch. This song, tackled many times by pianist Paul Bley in solo mode, loses its reflective nicety in detriment of a futuristic organ-driven experimentalism. It never loses its achingly emotional quality, though.

With an incredible facility of adaptation, the trio dynamically convenes a set of jazz compositions for all tastes, treating each note, chord, and pulsation with a fleshed-out sense of purpose.

Favorite Tracks:
01 - Fagen ► 02 - Don’t Ever Call Me Again ► 05 - And Now The Queen

McClenty Hunter Jr. - The Groove Hunter

May 2, 2018

Label: Strikezone Records, 2018

Personnel - Stacy Dillard: tenor saxophone; Eric Reed: piano; Corcoran Holt: bass; McClenty Hunter: drums + guests Eddie Henderson: trumpet; Donald Harrison: alto saxophone; Dave Stryker: guitar; Christian Sands: piano, Rhodes; Eric Wheeler: bass.

The drumming qualities of McClenty Hunter could be fully enjoyed throughout the years while performing with Kenny Garrett, Eric Reed, Jim Snidero and Dave Stryker. His faultless rhythmic drives have a special meaning now since he gathered some of the most revered heavyweights on the scene to play with him on The Groove Hunter, his debut full-length album. The guest appearances include emblematic musicians like trumpeter Eddie Henderson, altoist Donald Harrison, and guitarist Dave Stryker, but also emergent talents such as pianist Christian Sands and bassist Eric Wheeler on three tunes each. They expanded the possibilities of a tight core quartet composed of Stacy Dillard on tenor sax, Eric Reed on piano, Corcoran Holt on bass, and McClenty in the drummer’s chair.

The album, pure post-bop thrill, comprises four gentle originals and a selection of five exciting covers. It kicks off with Herbie Nichols’ “Blue Chopsticks”, delivered in a classic piano trio format and exhibiting a push-forward attitude with fascinating rhythmic accents. After demonstrating his energy while trading fours with his bandmates, Hunter eases down his tempting rudiments so that Holt’s bass may speak.

Wayne Shorter’s “The Big Push” is tremendous lush playing, having the first 16 bars defined exclusively by horns in parallel and drums. The Cookers’ members, Harrison and Henderson, contribute with their vitality as soloists, well seconded by Reed and Dillard before the reinstatement of the mesmerizing theme.

Adrenalized by Harrison’s fiery blows, “Countdown”, a Coltrane classic, starts with dynamic drums and sticks to a rhythmic locomotion that only captures the original melody in the last half minute.

The diversification also includes an interpretation of Stevie Wonder’s “That Girl”, packed as an elastic crossover jazz with improvisations by Sands and Stryker, as well as Gary McFarland’s “Sack Full Of Dreams”, a beautiful moment of brushed relaxation with the same couple of soloists opting for balmy, often bluesy melodies with deep feeling attached to their phrasings. I was struck by a joyous tranquility while listening to it.

Pleasurable were also McClenty’s original compositions, predominantly explorative of the 3/4 meter along with a contemplation of melody that doesn’t cheat or disappoint. The one touching me the most was “My Love”, where the drummer, brushing elegantly, finds a poetic meaning in the combination of bowed bass and a delicate classical-imbued piano movement à-la Franz Liszt, before veering to a spiritual waltz with much to be admired. Dillard projects his tenor prayers in a soulful way, well followed by Reed, whose note choices and phrase constructions are riveting. Both are at the height of their improvisational prowess.

The concluding piece, “Give Thanks”, exquisitely propelled by mallets for a deep-toned sound, also deserves a mention.

The Hunter Groove is a notable jazz ride whose tightness and dynamism defines the rhythmic pathos of a gifted drummer who will certainly conquer much more in the future.

Favorite Tracks:
02 - The Big Push ►05 - My Love ► 06 - Sack Full of Dreams

Jeff Swanson - Case-fitter

May 1, 2018

Label: Bace Records, 2018

Personnel – Jeff Swanson: guitar, electronics; Greg Ward: alto sax; Dustin Laurenzi: tenor, OP1; Artie Black: bass clarinet, tenor sax; Quentin Coaxum: trumpet; Paul Bedal: Fender Rhodes; Lane Beckstrom: electric bass; Greg Artry: drums.

With his debut full-length album, Case-fitter, guitarist/composer Jeff Swanson cultivates the already vibrant Chicago jazz scene with a set of seven plucky compositions. This live recording was a product of a four-week residency at The Whistler in Chicago, in which the bandleader formed a consistent rhythm section with Paul Bedal on Fender Rhodes, Lane Beckstrom on bass, and Greg Artry on drums, and had a valuable frontline of explorers with him: Greg Ward on alto saxophone, Dustin Laurenzi on tenor and OP1, Artie Black on bass clarinet and tenor, and Quentin Coaxum on trumpet.

“Graham’s” makes a very good impression, opening the recording with frontal horn manifestations within an affecting pop/rock nature that, having started with a musing posture, gets infectiously bracing over the course of the improvisational section. The first improviser that steps to the forefront is Coaxum, whose translucent melodies are transformed into high flies. Before Ward sets about a juicy narration strategy, we have the tenor explorations of Laurenzi, whose language and timbral appeal cause rhythmic reactions in his peers.

Boasting a furiously active horn section, “Two-Nineteen” covers the ground with a full-throttle rhythm and enveloping bass lines. The soloists take distinct approaches, with Ward sounding much more neurotic than Bedal or the bandleader, who crafts his first solo on the record with faded shades of sepia and gray. On the 17-minute “F-Bomb”, a composition propelled by a laid-back rhythmic flux and buoyed by the druggy expressivity of the horns in unison, he is in evidence again, this time through bluesy melodic drives. The tension comes and goes whimsically as the artists extend themselves in individualistic efforts.

Swanson and his associates are practitioners of an engaging jazz that may be burning, accessible, and more experimental. The latter case is mirrored on “MF”, a piece containing harmonics, drones, and vocal samples in an incipient electronic haze. The mood is renewed into something more probationary when the trumpeter discourses on top of chromatic bass movements and restless drumming. The rhythm section almost swings by the end, but the experimental procedures with Artry’s turbulent press rolls in the foreground, engulf this intention. This is very contrasting not only with “Little Big Run”, an Afro-funk examination, more in the style of Abdullah Ibrahim than Randy Weston, with a collective romp at the end, but also with “Let The Children Play”, where hard-rock surfaces meet jazz and folkish phrasing.

The excitement of playing live sometimes extends the improvisations a little too long. That is a fact that Swanson has to deal with. However, the band enthusiastically channels their waves of passion and driving energy to convey emotions in an ardent way. They were particularly successful in this fundamental aspect.

Favorite Tracks:
01 - Graham’s ► 04 - F-Bomb ► 05 - Little Big Run

Nik Bartsch's Ronin - Awase

April 30, 2018

Label: ECM, 2018

Personnel - Nik Bartsch: piano; Sha: bass clarinet, alto saxophone; Thomy Jordi: bass; Kaspar Rast: drums.

Swiss pianist-composer Nik Bartsch has been tracing a unique musical path with a persistent hybridization and idiosyncrasy of projects such as Mobile and Ronin. His new ECM album, Awase, features the latter band, a fascinating quartet formed in 2001, whose current members include Sha on bass clarinet and alto saxophone, Thomy Jordi on bass, and Kaspar Rast on drums. Each musician captures the essence of the composer’s gift for texture, which is usually bolstered by juxtaposing exquisite lines in the form of ostinatos.

The opening tune, “Modul 60”, follows the minimalist concept of layering simple melodic ideas by subjecting them to a broader dimension of interplay. Treading on the heels of a surreptitious piano introduction, where a half-step descendant interval prevails and recycles itself, Sha’s saxophone dreams and floats with sheer beauty. He reiterates the dose on his own composition “A”, which consists of a friendly lullaby-ish melody turned into an additive (3+4) tempo ostinato. With an impressive simplicity in the processes, the band incurs into a variation whose recalcitrant piano notes make us think of electronic music as an inspirational source.

Bartsch’s cerebral moods are all about form and texture and that is well patented on compositions such as “Modul 36”, where arpeggiated piano with sporadic pointillism work together with the mobility of the electric bass to create beautiful moments. Jordi then rebels and sets up a funk-inflected manifesto armed with piano’s sinuous melodic exclamations and extended techniques. “Modul 34” also boasts a cool funky pose launched after a serene preparatory passage. Whenever Rast exhibits his dry drum fills, he announces nuanced mutations in the intensity of the groove delivered in six.

The 18-minute “Modul 58” can be seen as a sum of all the other pieces. It starts with slowly built piano layers enlivened by occasional bass harmonics and pumps, delicate cymbal splashes, and non-intrusive sax embellishments. Obstinate high-pitched notes on the piano drive us into a hypnotic rhythm that feels half-rock, half-electronic. Afterward, the quartet goes through a percussive phase enriched by saxophone pop sounds and air notes, muted pianism, and hi-hat delineations. It all ends up in a danceable acid jazz-funk hooked up in the fine rhythmic counterpoint between sax and piano.

Terminating the session, the four slow down on the atmospheric, picturesque “Modul 59”, but only until a titillating groove is installed, quickly becoming impregnated with repetitive figures.

Bartsch’s Awase might feel easy on the ear, but, taking into account its level of musical thoroughness, is certainly an arduous work to execute. Don’t expect improvised moments in the way they are commonly associated with jazz. This is a totally different approach, where the bandleader distills contemporary musical luster with sure-footed ritualistic grooves.

Favorite Tracks:
02 - Modul 58 ► 04 - Modul 36 ► 05 – Modul 34

The Nels Cline 4 - Currents, Constellations

April 26, 2018

Label: Blue Note, 2018

Personnel – Nels Cline: guitar; Julian Lage: guitar; Scott Colley: bass; Tom Rainey: drums.

Whether digging into glam pop songs, avant-jazz routines with punk attitude, or sophisticated garage-rock episodes, impetuous guitarist Nels Cline, a creative powerhouse in small group settings, always sounds unique and fetching. Blue Note’s Currents, Constellations marks the debut of The Nels Cline 4, a quick-witted group featuring Julian Lage on guitar, Scott Colley on bass, and Tom Rainey on drums. Both guitarist and drummer had recorded with Cline before, whereas Colley is the novelty here, feeling totally comfortable in the new job.

“Furtive” kicks off with one single guitar stroke followed by an artsy drumming demonstration. 30 seconds later, an unstoppable, frantic bass ostinato glues to the drums, upholding the highly contrapuntal work of the two guitarists, whose directions occasionally converge into parallel motions. Stylish rocking riffs and fervent avant-garde moves are on full display.

That mood has nothing to do with the mutable jazz-rock jammer “Swing Ghost 59”, which swings with conviction from time to time, opening a space for Colley's improvisation before falling into a quiet guitar-driven passage. Surprisingly, the band plunges into a bluesy, retro-swing movement that seamlessly morphs into a type of Jimi Hendrix’s Foxy-Lady-rhythm for the finale.

A prolonged jarring drone opens “Imperfect 10”, a composition with a catchy theme impregnated with awesome and complementary guitar licks extracted from different octaves. Cline channels his energy through his habitual inventiveness of sound and surprising chops, while Lage, known for a more formal posture, fills the atmosphere with a bold rocking reverie.

Hauntingly beautiful, “As Close As That” was inspired by guitarist Ralph Towner and interweaves mystery and tenderness with a remarkable honesty. Like an alternative pop/rock ballad, it favors space over density, just like “River Mouth Pt.1 and 2”, where textural explorations overcome any searching or confrontational postures. The first part of this composition carries celestial non-angularities, making us wander among the stars, while the second, predominantly folk, evokes Towner once again, sounding ennobling and spontaneous.

“Amenette” was first heard on Room (Mack Avenue, 2014), the magnificent duo album by Cline and Lage, but here was re-interpreted with richly contrasting instrumental approaches. The quartet alternates between ferociously swinging and discreetly laid-back, with the soloists often taking their actions to the edge of dissonance. When the experimentation takes over, Rainey shows how masterful he is in the art of tom-toming, and everything ends in an electric fizz before the theme rings again.

On Carla Bley’s rare and temperate “Temporarily”, the melodic juxtapositions from guitar and bass are anchored by rich chord voicings, and brushed drumming patterns.

There’s a deep sense of understanding among the musicians and that reflects positively in their nimble moves and sounds. The levels of abstraction in Currents, Constellations makes it more indisputably alluring than any recent project led by Cline, who has here one of his best albums since the masterpiece New Monastery.

Favorite Tracks:
02 - Swing Ghost 59 ► 03 – Imperfect 10 ► 04 - As Close As That

WorldService Project - Serve

April 25, 2018

Label: RareNoise, 2018

Personnel – Dave Morecroft: keyboards, vocals; Tim Ower: saxophone; Raphael Clarkson: trombone, vocals; Arthur O’Hara: bass; Harry Pope: drums.

Serve, the fourth album by London-based quintet WorldService Project, is composed of eight energetic tracks whose musical irreverence derives from a blend of impactful punk rock, stimulating funk, authoritative heavy metal, and light jazz.

“Plagued With Righteousness” links passages that can go from acutely boisterous to soaringly atmospheric. The piece is a confluence of funk groove a-la Morphine and classic heavy metal with an easy melodicism, more in the line of Scorpions than Judas Priest. While the trombonist spreads energizing lines, keyboardist Dave Morecroft, the band’s principal composer, solos like if he had a guitar in his hands.

Sometimes disruptive, sometimes ultra-compact, “Dai Jo Bo” is a spunky punk exercise punctuated by a mild groove, horn ostinatos, and funky keyboard accompaniment.

Playful, brassy, and burlesque, “The Tale Of Mr.Giggles” adds a vocalized narration to the initial Charleston-style rim-clicks, intensifying the rock posture along the way with an effect-drenched trombone solo. Also, “Runner” is quite playful, hooking in a repetitive Balkan-like riff before displaying a gorgeously intense sax-over-drums discharge as if it was announcing an acrobatic circus number. The final ramp inflates the adopted celebratory posture.
Words in English, Italian, French and German play an important role on “Now This Means War”, whose heavy textures are built with predictable power chord sequences.

While “Ease” is rhythmically daring, exhibiting a singable riff at the end, “To Lose The Loved” contains naive melodies and a snare-induced marching passage with vibrant bass pumps.
“False Prophets” concludes the album as a static jazzified exercise at first that develops gradually toward a crescendo of distorted harmonies with vocals and horn outcries atop.

The rebellious attitude of the quintet is well alive, but some aspects of their sound feel a bit rigid, carrying a commercial tongue-in-cheek side that was not so attractive to me. I’m convinced this music should work better when played live.

Favorite Tracks:
04 - Ease ► 05 - Runner ► 08 - False Prophets

Mike McGinnis - Singular Awakening

April 24, 2018

Label: Sunnyside Records, 2018

Personnel – Mike McGinnis: saxophone, clarinet; Art Lande: piano; Steve Swallow: electric bass.

Rising-star clarinetist/saxophonist/composer Mike McGinnis couldn’t have had better associates to develop his musicality than pianist Art Lande and electric bassist Steve Swallow, whose experience and distinct styles provide an elegant carpet for his strides. Singular Awakening is the natural follow-up to last year’s Recurring Dream. The album comprises twelve tracks, eight of them being improvised numbers, while the bassist and the pianist contribute with two compositions each.

Swallow’s groovy jazz compositions occupy the extremities, starting and closing the album with bliss. On “Here Comes Everybody” the bassist takes a moment to fly alone, while Lande’s ideas rekindle Keith Jarrett’s folk-influenced serenity from the 70’s. In turn, “Bite Your Grandmother”, a classic from the 1994 album Real Book, swings unabashedly, exalted by a boppish bounce, positive tension, and exciting rhythmic flair. The individual work of Lande is remarkable, followed by McGinnis, whose daring lines, explored with equal ease and devotion, evoke the best of Monk and Lacy. His Monkian modes are also discernible on “Insist on Something Sometimes”, a piece brought up by a repetitive bass lick with folkloric accentuation.
This type of groove contrasts from the one adopted on “Beau Nivea”, which, flying in seven, instantly makes us harking back to Cedar Walton’s “Bolivia”. Despite the vitality of the bass flow, I found myself wishing some more adventure on top of it, something out of the convention.

The trio achieves that fruition by furnishing a subliminal textural work on “O'Flaherty Decides To Play Jazz”. Lande starts with grandiose harmonies, cleanly executed on the lower register, having the clarinet atop. Later on, with the swinging bass guaranteeing solid ground, the pianist embarks on a ruminative perspective often driven by motivic sketches.

Uncluttered exercises such as “A First Memory” and “Slow Dance In A Whisper” makes us suspended in the air with the clarinet lines unfolding with a gentle touch. The former starts with bass and piano aligned in perfect counterpoint, while the latter fluctuates with autumnal tonalities like a sonata.

“Mini's Can-Do Club” is a static and happy exertion. This time around, Swallow doesn’t lead the way, operating on a high register, whether holding a pedal or designing disciplined melodies with his signature sound. It is Lande who assumes the bass notes, resorting to percussive mutes throughout McGinnis’ solo. The pianist´s compositions unquestionably mirror his singular voice, with the classical-influenced “Shining Lights” unveiling a lyric fragility in a well-cadenced 4/4 tempo, and “For Elise” diving into stark introspection and showing a propensity for the airy and the permeable.

Both the established compositions and the collective improvisations enrich a session in which three multi-generational voices crisscross with imagination and clarity of purpose.

Favorite Tracks:
02 - Shining Lights ► 07 - O'Flaherty Decides To Play Jazz ► 12 - Bite Your Grandmother

Andrew Rathbun Large Ensemble - Atwood Suites

April 23, 2018

Label: Origin Records, 2018

Personnel – Andrew Rathbun: composer, conductor // Reeds: John O’Gallagher, Ben Kono, Quinsin Nachoff, Dan Pratt, Carl Maraghi // Trumpet and Flugelhorn: Tim Hagans (flugelhorn soloist), Seneca Black, Matt Holman, Dave Smith, Russ Johnson // Trombone: Alan Ferber, Mike Fahie, JC Stanford, Chris Olness // Vocals: Luciana Souza, Aubrey Johnson // Nate Radley: guitar; Jeremy Siskind: piano, rhodes; David Ambrosio: bass; Bill Stewart: drums; Owen Howard: drums.

The new album from Canadian saxophonist Andrew Rathbun comprises three suites. The 2-CD set Atwood Suites, co-produced by Rathbun and drummer George Schuller, features a contagious 18-piece jazz orchestra of respectful instrumentalists and renowned soloists, including saxophonists Quintin Nachoff and John O’Gallagher, trumpeters Tim Hagans (as a featured soloist on CD1) and Russ Johnson, trombonist Alan Ferber, guitarist Nate Radley, and keyboardist Jeremy Siskind, among others. As builders of the bottom foundation layer, we have David Ambrosio and Bill Stewart on bass and drums, respectively, while the verbal storytelling belongs to vocalist Luciana Souza on the first disc, while Aubrey Johnson sings wordless phrases on the second one, vocalizing more like an instrument.

The two suites on disc one, Two Islands and Power Politics have three movements each and are evocative of Margaret Atwood’s poetry. Following the relaxed chamber opening, the warming voice of Ms. Souza gets the spotlight on “Two Islands I”, initially having the piano as sole accompaniment. Ensuing Hagans’ fluent solo and a captivating orchestral passage, Ambrosio and Stewart invest in a cozy groove characterized by a smooth funky feel and adorned by Radley’s alluring stretches.

Hagans also stands out on the balladic, non-vocalized second movement, where he leads all the way through with a conciliatory attitude, and also on the suite’s last section, whose waltzing cadence is announced by a drums solo upfront. In addition to the trumpeter’s catchy phrases, which can evolve from innuendo to exaltation, Nachoff also brings in a vibrant swinging feel as he expands his tenor possibilities. Radley searches for resplendent harmonies while comping behind the soloist.

The Power Politics suite was previously played by Kenny Wheeler at Birdland but never recorded. The second movement incorporates a beautiful solo piano moment in its earliest stage, whereas the third enters directly rubato with Souza’s voice over the piano. Unisons are established with the horn section, from which O’Gallagher stands out as he makes his saxophone talk with unbridled enthusiasm. Hagans spreads his multi-pitched facility before a bass divagation leads to the final theme statement.

The disc 2 opens with the majestic “Fractured”, which follows a post-bop lineage with a groovy foundation. Horn unisons and guitar ostinatos operate in counterpoint before the arrival of phenomenal improvisations by Radley, Siskin, and Russ Johnson.

The final movements “V”, “I”, “II” are distinct and distinguished. The first of the three gives rise to an elegant if yearning chamber mood, advancing at an unhurried 4/4 with Radley decorating on top of the harmonies; the middle one has a simple phrase as inspiration and features trumpeter Matt Holman as soloist; and the last one, running at a medium tempo with a shifting additive 6+7 metered groove, showcases a spotless trombone solo by Ferber.

As a zealous conductor, Rathbun extracts the most from the cast to fulfill the arrangements. Even giving his tenor a rest, his individual stamp is noticeable through a compositional taste that portents many thrilling successes to come.

Favorite Tracks:
06 (CD1) - Power Politics III ► 01 (CD2) - Fractured ► 04 (CD2) - II

Bob Gingery - Kittyhawk

April 19, 2018

Label: Fresh Sound New Talent, 2018

Personnel - Jon Irabagon: tenor saxophone; Mike Baggetta: guitar; Bob Gingery: acoustic bass; Jeff Hirshfield: drums.

Following his debut album, Traveler (Fresh Sound New Talent, 2015), bassist Bob Gingery convenes a proficient quartet with enough credentials to astound as they wade his new compositions. Saxophonist Jon Irabagon and guitarist Mike Baggetta are kept on the roster, while the experienced Jeff Hirshfield occupies the drummer’s chair, formerly taken by Mark Ferber.

Kittyhawk, gathering all the yummy ingredients to make a great jazz dish, includes six originals by the bassist, a tranquil rendition of Pink Floyd’s “Shine On Your Crazy Diamond”, whose atmospheric experiments, plus monumental riff, allows Baggetta to shine, and a spirited Brazilian take on Monk’s “Hornin’ In”, with delicious improvisations from saxophone and bass. While soloing, Irabagon is melodically ingenious, explanatory, and utterly convincing, whereas Gingery is conciliating, articulated, and flattery in his speech.

They happen to be the soloists again on the opening piece, “Arrival”, in which the substructure is built up nicely at a 4/4 tempo by a consolidated net of bass and drums. By engraving pure, scattered impressions in the textural framework, Baggetta radiates light with a slippery counter-intuition. His sound goes through a radical transformation on “Bell Curve”, a half-refined, half-unpolished odd-metered composition. His impromptu creativity governs with winding synth effects and his harmonies produce rugged sounds with distortion, generating surprising elements and a broad sense of adventure. Irabagon also hooks you in through his well-known melodic and rhythmic sensibilities.

“Outskirts” is the type of song that John Scofield would do. Obeying a 6/4 tempo, the tune is a thrilling jazzified funk with a slicking bass groove and sax/guitar unisons driven by an exotic touch.

The quartet concludes the album with “Eighties”, a dreamy pop song with nostalgic contours. Displaying all the simpatico attributes that characterize them, each artist channels positivism into the churning as Hirshfield brushes the drums with mildness.

Providing a rich listen, Kittyhawk sounds fresh (covers inclusive), and confirms Gingery’s potential as a reliable bassist and versed composer.

Favorite Tracks:
01 – Arrival ► 02 – Bell Curve ► 07 – Hornin’ In

Daniel Levin/Chris Pitsiokos/Brandon Seabrook - Stomiidae

April 18, 2018

Label: Dark Tree Records, 2018

Personnel – Daniel Levin: cello; Chris Pitsiokos: alto saxophone; Brandon Seabrook: guitar.

Adventurous cellist Daniel Levin has been taken creativity further with bold trio projects totally lean on free improvisation. After collaborating with saxophonist Tony Malaby and violist Mat Maneri on New Artifacts (Clean Feed, 2017), he now presents us a new project co-lead by fiery altoist Chris Pitsiokos and the wildly virtuosic guitarist Brandon Seabrook.
The album title, Stomiidae, refers to a class of particularly small deep-sea ray-finned fish, and the seven tracks were named according to some of its representative species.

“Photonectes Gracilis” opens with Pitsiokos’ incessantly frantic runs, which foment prompt responses by his peers. The result is vociferous, dispersed, and convoluted, only occasionally marching toward convergence and harmony. These dynamics, bracing a collective vision, end up in another noisy stir with saxophone growls and whistles, violent guitar discharges, and corrosive cello rips.

The art of noise is not so simple as it seems, and on “Eustomias Trewavasae” the threesome structures layers of drones with shifting moods and several intensities and densities. Levin uses the cello as a percussive element through bow tapping, leading the trio into a cacophony conversation that lies between lucidity and insanity.

“Neonesthes Capensis” feels like a neo-folk extravaganza that cumulates endless circular movements, rapid-fire sprints, and provocative interjections. Its freedom and interplay make us feel alive.

Both “Chauliodus Danae” and “Photostomias Atrox” last around two minutes, embracing distinct atmospheres marked by different granularities in its microtonal textures. The former stands out through the magnetic tonalities created by the bowed cello.

We are able to picture dark and gelid aquatic habitats from the fully-tilt passages that describe “Opostomias Micripnus”, a piece whose rhythmic control combusts with raw intensity, enhancing the frisson of discovery. High-energy aggregations are spontaneously lined up through several individual actions. While the saxophonist attacks with both piercing and popping sounds along with mercurial patterned sweeps, the guitarist inflicts short distorted blows and odd fingerpicking with strong accentuation toward the epicenter of the storm, with Levin injecting ominous sawing, panting low sounds.

Even if the sonic entropies are subjected to repetition, there are captivating abstract moments on Stomiidae that will make listeners of modern creative and new music styles fully immersed in the experimental, often-opaque waters in which the trio navigates.

Favorite Tracks:
01 - Photonectes Gracilis ► 02 - Eustomias Trewavasae ► 04 – Neonesthes Capensis

Jeff Williams - Lifelike

April 17, 2018

Label: Whirlwind Recordings, 2018

Personnel – John O’Gallagher: alto saxophone; Josh Arcoleo: tenor saxophone; Gonçalo Marques: trumpet; Kit Downes: piano; Sam Lasserson: bass; Jeff Williams: drums.

jeff-williams- lifelike-album-review.jpg

Experienced American drummer Jeff Williams, who worked with Dave Liebman, Lee Konitz, Stan Getz, and Ted Curson, sports a deft rhythmic control that can make a simple tune sound brighter and invigorating. His new album, Lifelike, a feverish sextet session recorded live at Vortex Jazz Club in London, is a remarkable follow-up to Outlier (Whirlwind Records, 2016) and features a powerful frontline with saxophonists John O’Gallagher (alto) and Josh Arcoleo (tenor) plus guest Portuguese trumpeter Gonçalo Marques, and a skilled rhythm section composed of pianist Kit Downes, bassist Sam Lasserson, and himself on the drum set. Enlighten with freedom, the artists approach the tunes on their own terms within well-defined structures and song forms, proving that, in their case, merging post-bop and avant-garde jazz feels as natural breathing.

Their fresh story starts with the stimulating “Under The Radar”, a six-bar blues with a curious percussive treatment. Autonomous bass lines join the African pulse, bringing the necessary amount of groove while making a comfortable bed for the horn kicks and smooth piano maneuvers. The mood, evocative of the Andrew Hill quintet, stimulates Marques for a wonderful improvisation, which starts reflectively motivic and ends tempestuous. Downes responds to the trumpeter's attacks with discernment before embarking himself on a personal journey of creativity.

Also rhythmically rich and displaying a go-ahead melodic statement, “The Interloper” emanates the same type of energy, but more in the line of Old And New Dreams’ “Dewey’s Tune”. While Arcoleo opens the soloing section with a rollicking phrase that brings “Round Midnight” to mind, Williams, operating the drumsticks with precision, carefully tailors his actions to hold with O’Gallagher’s busy squalling alto, whose fluidity is disarming.

A bass pedal point locks the groove on the initially static “Dream Visitor”. After fire-breathing improvisations from trumpet, tenor and alto, the mood changes to colorful through a funky bass-drums flow that is a perfect vehicle for the horn interplay.

“Lament” is a beautiful composition from the 90's that cools down the impetuosity of the previous tunes in its earliest section. Introduced by a sensitive bass solo, charmingly brushed drums, and lyric pianism, the tune falls into a modal jazz that thrives with the dynamic vitality of the reedists. They invite us to a fervent finale that galvanizes the spirit and liberates.

“Borderline” displays a nearly three-minute tenor-over-drums flare-up in a fierce tonal exploration of sound and language. The elated melody has a strong African flavor, and the improvisations belong to Lasserson and Downes.

Following Marques’ “Cançao do Amolador”, a poetic declamation in the style of saxophonist Joe Farrell, the session ends with freebop license through “Double Life”, a swinging altercation fueled by racy phrases and exhilarating rhythmic impressions.

Tart yet never coarse, Lifelike is meant to be one of the hippest avant-garde jazz records of 2018; a coherent whole of tension-release, vitality, and drive.

Favorite Tunes:
01 - Under the Radar ► 03 - Dream Visitor ►04 – Lament

Andreas Varady - The Quest

April 16, 2018

Label: Resonance Records, 2018

Personnel – Andreas Varady: guitar; Radovan Tariska: alto saxophone; Benito Gonzalez: piano; Bandi Varady: bass; Adrian Varady: drums.

At the age of twenty, Slovakian-born, Ireland-based Andreas Varady is already regarded as a jazz guitar phenomenon. After catching the ear of Quincy Jones, who would become his mentor, producer, and manager, Varady signed with Verve, releasing his sophomore album with guest appearances of Gregory Porter and Roy Hargrove. On The Quest, his debut on the Californian label Resonance Records, the guitarist flies even higher in a comfortable, familiar setting with his father, bassist Bandi Varady, and younger brother, drummer Adrian Varady. Joining the family in this electrifying journey are proficient Slovakian saxophonist Radovan Tariska and Venezuelan-born pianist Benito Gonzalez.

The short exercise “Lost Memories” takes the plunge in the guise of a preamble, displaying amenable vocalized synths to better compose its verve. However, it is the following piece, “Radio Joint”, that really brings a nervy, disorienting post-bop kick, especially due to the rhythmically daring groove and vertiginous solos. Andreas gives the example, employing his fiery technique and unfolding glossy single-note patterns along with momentary yet stunning two-note dissonances in a style that mixes the soulful exuberance of George Benson, the resolved expressiveness of Wes Montgomery, and the rhythmic force of Kurt Rosenwinkel. The remaining soloists are Tariska, who steps on atonal zones with an in-and-out approach, and Gonzalez, who chooses different registers to create a private dialogue that encompasses swift lines, inviting intervals, and bouncing chords.

The group doesn’t lower their guard on tunes such as “The Time Is Now” and “The Quest”, complying with the energetic direction they have established while mounting challenging grooves and complementing them with busy improvisations. The former tune alternates between a 5/4 groove and a slower 4/4 passage. The initial meter prevails throughout the improvisational section and, following a solo piano moment, it falls into a vamp that showcases the drummer's nimble movements. In turn, and before catching fire with another groove in five, the title track exhibits an avant-garde-ish intro with the pianist in evidence.

“Her Dream” is a colorful 6/8 piece with a nice flow, chromatic gusto, and rhythmic punch, while the effusive “Radiska” steps on modal jazz, without eschewing a striking swinging passage adorned with unbending riffs. An infectious guitar solo inspires not only the saxophonist, who starts 'praying' à-la Kenny Garrett, but also the pianist, who works on both extremities of the keyboard with a McCoy Tyner’s feel.

Although totally pending toward the hard-hitting, the album includes “Follow Me”, whose initial laid-back piano evolves to a medium-tempo without losing that balladic quality in its melody. After fading out, the tune resuscitates for a minute or so through relaxed piano, funky bass (played by Andreas), and hip-hop beat.

This is a powerful achievement for the up-and-coming Varady, a resourceful guitarist whose work evinces the maturity of a true champion.

Favorite Tracks:
02 - Radio Joint ► 06 – The Quest ► 09 – Radiska

Aruan Ortiz Trio - Live in Zurich

April 12, 2018

Label: Intakt Records, 2018

Personnel – Aruan Ortiz: piano; Brad Jones: bass; Chad Taylor: drums.

On November 26th, 2016, Cuban-born pianist Aruan Ortiz showed up at unerhort!-festival in Zurich, Switzerland, for a versatile trio performance that included a mash-up of two originals, a curious interpretation of Bach's classical piece, Ornette Coleman’s music, and a jazz standard. That work is now available through Live in Zurich, a record put out by the Zurich-based label Intakt Records, which had previously released Hidden Voices (2016), with Eric Revis and Gerald Cleaver on bass and drums, respectively, and Cubanism (2017), in which he digs his Cuban roots through solo piano.

For this concert, the pianist swapped in bassist Brad Jones and drummer Chad Taylor, initiating his trance-like pulsations with a 37-minute medley that comprises “Analytical Symmetry” and “Fractal Sketches”, two coiling originals from Hidden Voices. Having toured for two weeks in Europe, the members of this trio enjoy a special hookup, wielding communication and alertness as key ingredients for their adventurous journey. This first part comes unhurriedly into being, mixing the Afro sounds of Taylor’s mbira and the muted percussive pianism of Ortiz. Whimsical bass plucks are added later, and the bassist opts for the bow before spectacular movements imbued with Cuban tradition, contemporary jazz, and modern classical take place. The passages are sometimes thoughtful and temperate, becoming tension-filled with unmistakable traces of Muhal Richard Abrams (Ortiz dedicated the record to the late free jazz pianist) from the middle point on, bursting up with creative freedom, melodic entanglement, and dazzling rhythms.

Delivering a few more thrills, the three-movement Part 2 lasts less than 18 minutes and includes a three-minute bass improvisation that is simultaneously knotty and spontaneous; an urban reimagining of Chopin’s “Etude #6 Op 10”, here subjected to a modern groovy treatment; and a collage of two compositions by Ornette Coleman: “Open or Close/The Sphinx”, an exercise in rhythmic endurance and density with a remarkable two-hand pianistic control.

The album comes to a close with “Alone Together”, tackled with an impassive caravan-like pace and tweaking harmony, and blossoming as a balladic contemplation while eschewing any swinging surge.
At the piano, and in excellent company, Ortiz skillfully blends poetic gravitas with a fearless, intense sense of rhythm.

Favorite Tracks:
01 – Part 1 ► 02 – Part 2

Dafnis Prieto Big Band - Back To The Sunset

April 11, 2018

Label: Dafnison Music, 2018

Personnel – Mike Rodriguez, Nathan Eklund, Alex Sipiagin, Josh Deutsch: trumpet/flugelhorn; Roman Filiu, Michael Thomas, Peter Apfelbaum, Joel Fraham, Chris Cheek: reeds; Tim Albright, Alan Ferber, Jacob Garchik: trombone; Jeff Nelson: bass trombone; Manuel Valera: paino; Ricky Rodriguez: bass; Roberto Quintero: percussion; Dafnis Prieto: drums + Guests – Brian Lynch: trumpet; Henry Threadgill: alto sax; Steve Coleman: alto sax.

Although I’m not a staunch fan of Latin jazz, there are a few records that stand out, whether due to its bold arrangements, vivid harmonic colors, or distinctive contagious rhythms and energy. This is the case of Back To The Sunset, a kaleidoscopic big band record by Cuban-born drummer Dafnis Prieto, who employs a roster of reed titans and rhythm experts to shape up nine original compositions, each of them dedicated to influential mentors/musicians.

“Una Vez Mas” punches up the verve with strong horn figures and a rousing rhythm. A pure Latin allure comes from typical piano movements, while the soloists - pianist Manuel Valera and guest trumpeter Brian Lynch - offer up much of their instinct musicality, both melodically and rhythmically. After their discourses, Prieto and percussionist Roberto Quintero make the temperature rise with a conjoint percussive feast.

“The Sooner The Better”, dedicated to Egberto Gismonti and Jerry Gonzalez, boasts a piano pedal while Ricky Rodriguez expresses thoughts on the double bass. After that, the bassist ensures the pedal, and discernible rhythmic shifts precede wholehearted improvisations by Peter Apfelbaum on tenor, Alex Sipiagin on flugelhorn, and Roman Filiu on alto. The soloists’ atonal diversions reflect the brilliance of their language.

Saxophonist Chris Cheek, groovin' on the baritone here, introduces “Out of the Bone”, a piece whose improvisational section is inclined to the low tonal range due to acts from Jeff Nelson on bass trombone, as well as trombonists Alan Ferber and Jacob Garchik, who duel with pertinacity.

The most grandiose moment of the record comes with the title track, coinciding with the second guest appearance. Acclaimed alto saxophonist Henry Threadgill kills it with a sensitive, sharp solo, beautifully developed outside the standard patterns while driving this ballad into his own musical realms. The tune was dedicated to him and genial pianist Andrew Hill.

The third and last guest musician is M-base pioneer Steve Coleman, who, not as edgy as in his musical odysseys, plays his alto with competence on “Song For Chico”, a tribute to Chico O’Farrill, Arturo O’Farrill, and Maria Bauzá.

“Danzomish Potpourri” kicks in with Prieto’s distinctive drumming. A pleasurable melodicism drives us to a rampant, feverish pulse that only lasts throughout Michael Thomas’ busy improvisation on soprano. The primary pace, far more relaxed, is re-established to expose Valera’s dreamy ideas and Apfelbaum’s tearful melodica sounds, which bring the song to a conclusion in a 3/4 meter signature.

Authoritative individualities emerge from “The Triumphant Journey”, where juxtaposed horn layers dance under the spell of a 6/8 time signature that suddenly mutates to a slower 4/4 to serve as a receptacle for the improvisations. The vernacular elasticity of saxist Joel Frahm stands out, together with Filiu, who finalizes with magnetic appeal.

Encompassing the worlds of Latin and jazz music, this 75-minute fusion tour is full-blooded and predominantly spirited.

Favorite Tracks:
02 - The Sooner The Better ► 04 - Back To The Sunset ► 09 - The Triumphant Journey

Edward Simon - Sorrows & Triumphs

April 10, 2018

Label: Sunnyside Records, 2018

Personnel – Edward Simon: piano, keyboards; David Binney: alto saxophone; Scott Colley: acoustic bass; Brian Blade: drums + guests Adam Rogers: guitar; Gretchen Parlato: vocals; Rogerio Boccato: percussion; Luis Quintero: percussion + Imani Winds

Venezuelan-born pianist Edward Simon recorded for the third time with his group Afinidad, a quartet co-founded in 2000 with altoist David Binney, which also includes bassist Scott Colley and drummer Brian Blade. Simon wrote the two bodies of work that comprises Sorrows & Triumphs with the musical qualities of his peers in mind, and also invited special guests to further underscore his sophisticated arrangements. You’ll hear guitarist Adam Rogers, vocalist Gretchen Parlato, percussionists Rogerio Boccato and Luis Quintero, as well as the chamber quintet Imani Winds.

Conveying a blissful relaxation, “Incessant Desires” adopts fruitful unison strategies, whether we have Parlato’s voice matching Binney’s lines, or guitar and sax designing adjacent phrases. Everything sounds beautifully harmonious. Rogers cooks up a nice improvisational recipe having Simon’s keys paving a ground already compacted by bass and drums, while Binney, as a precipitous improviser, finalizes with fervorous intricate lines in an adrenaline-inducing moment colored by top-quality instrumental fills.

The saxophonist positively assaults our ears again on “Uninvited Thoughts”, a composition that kicks in with Arab-like scales, groovy bass leisure, a driving pulse mostly oriented for hi-hat and snare drum, and a poised piano dissertation. Dynamics of distinct rhythmic quality await Binney’s solo toward a broad range of emotion.

If Ms. Parlato goes wordless on “Equanimity”, a 6/4 stream that flows serenely with a dreamlike tone, her own lyrics permeate “Chant”, a smooth exercise in ambient soul jazz, and “Rebirth”, the brittle close.

“Venezuela Unida” attempts to call the world's attention for the deplorable socio-political state of Simon’s country, but in an optimistic manner. The band doesn’t waste much time in the chamber texture of the introductory section, incurring in a pulsating Latin rhythm enhanced by Quintero’s culo'e puya, a set of three long and narrow drums with a Kongo lineage. The piece, melodically activated by the horn section, offers up another peppery improvisation by Binney on top of highly-syncopated rhythmic left turns. Before that, Simon had resolutely expressed his thoughts with unflappable assuredness.

A sagacious funk is devised on “Triangle” through a forceful bass groove, bassoon elocution, and a reputable backbeat reinforced by Boccato's Latin percussion. It feels great hearing the bandleader creating fluid descendent motions that land on the lowest register with absolute precision. The busy finale, elevated by the wind quintet, comes in the sequence of an irresistible 7/4 circular movement.

Taking a singular direction, “Triumphs” melds Brazilian rhythms with a lyrical resilience influenced by electronic music.

Simon’s persuasions, ranging from jazz to classical to African and South American music, only expedite his statute of a versatile modern musician. This is a pleasurable, integral work in which the collective’s musicianship is valiant and palpable.

Favorite Tracks:
01 - Incessant Desires ► 04 - Triangles ► 06 - Venezuela Unida

Bill Frisell - Music Is

April 9, 2018

Label: Okeh, 2018

Personnel – Bill Frisell: electric and acoustic guitars, loops, ukulele, bass, music boxes.

Venerated guitarist Bill Frisell, one of the most emblematic figures of Americana and folk-jazz, releases his long-awaited solo album, Music Is. The 16-track recording includes brand new compositions and old material irresistibly dressed with the sonic possibilities of our times. In addition to the electric and acoustic guitars, Frisell plays ukulele, electronic loops, bass, and music boxes, in a lush fusion of jazz, country, blues, and rock.

His genuine musicality is immediately foreboded on the Westerner “Pretty Stars”, a perspicacious country-folk examination cooked up with a descendent whole-step melodic interval that rings in most of the harmonic passages.

Far more adventurous is “Winslow Homer”, whose progressive posture bears audacious tones while the rhythm suggests a swinging flow that is never explicitly established. Frisell’s remarkable command of the guitar is extensible to every register and the tasteful effects aptly modernize this tune, which first appeared on the album Beautiful Dreams (Savoy Jazz) in 2010.

Other classic pieces were added such as the relaxing “Ron Carter”, the neatly layered “Monica Jane”, the entrancingly acoustic “The Pioneers”, and two compositions from his early ECM records: “In Line”, designed with a durable ostinato, ruminative electronics, and assertive attacks within an electric setting; and a chiming rendition of “Rambler”, here suffused with loops and adaptable fresh melodies, and incorporating the ukulele into the final section. An alternate version of this tune, discarded of effects, closes out the record, with the guitarist showing an incredible capacity to articulate single-notes and chords in a polished incantation.

The vulnerability and graciousness that dominate the record are shaken with a pair of short pieces: “Kentucky Derby”, a succinct statement whose stalwart rock chords feel ZZ Top-ish, and “Think About It”, where the guitarist combines strident bluesy chops with prolonged strapping chords.

Among the new songs, I would highlight “What Do You Want”, a nice, reflective exercise with drones underneath, and the darkly toned “Miss You”, a vehicle of uncertainty and a little sorrow.

Frisell is an inveterate drifter whose musicality leans toward introspection rather than spectacle. He knows how to sculpt a candid melody and make it the pounding heart of a song. Very personal, this is a novelty act of pure Frisellian atmospheres.

Favorite Tracks:
02 - Winslow Homer ► 04 - What Do You Want ► 16 – Rambler (alternate version)

Peter Erskine & The Dr. Um Band - On Call

April 5, 2018

Label: Fuzzy Music, 2018

Personnel - Bob Sheppard: saxophone; John Beasley: keyboards; Benjamin Shepherd: electric bass; Peter Erskine: drums.

Consummate drummer Peter Erskine, a former Weather Report member, has always shown an inclination for electric jazz fusion. Commanding The Dr. Um Band with metrical depth and angular vision, he releases On Call, a new double album on his own music label, Fuzzy Music.

The disc one includes brand new material recorded in the studio whereas disc two encapsulates previously recorded tunes performed live in Occhiobello, Italy. All the members of the quartet - saxophonist Bob Sheppard, keyboardist John Beasley, and electric bassist Benjamin Shepherd - penned compositions for the studio session, which opens with Erskine’s “For The Time Being”. Initially enigmatic, the piece veers to a daring, dark-toned jazz funk, with the band keeping the groovy pose on Sheppard’s “Might As Well Be”, a crossover fantasy that salutes saxophonist Jerry Bergonzi. The versatility of Beasley is perceptible through attractive attacks and strange sounds. The keyboardist contributes to the song lineup with a pair of compositions - “If So Then”, inspired by the Miles Davis Quintet, is boosted by an adventurous piano solo and exceptional collective interplay; “Silver Linings” is a respectful homage to Horace Silver whose borrowed moods adapt to the band’s style.

Penned by the bandleader, “Uncle Don” displays a ceremonious organ as the introduction and a scratching backbeat in an early stage. Afterward, the band places cool harmonic progressions on top of rock-steeped rhythms, having funky bass lines running along.

The live session, filled with enthusiasm and excitement, opens with a couple of tunes by Erskine: the cerebral, blues-based “Hipnotherapy” and the funk-inflected “Hawaii Bathing Suit”. The former thrives with woody bass grooves decorated with wha-wha effects and concordant drumming, while the latter is a playful avant fusion that captivates through gorgeous unisons, apt improvisations, and an effusive drumming with strong Latin accents.

After the soaringly atmospheric first section, Henry Mancini’s “Dreamville” combines bossa nova rhythms with balladic tones, whose silky textures result from mixing light funk, smooth jazz, and malleable R&B elements. The tune was retrieved from the album Second Opinion (Fuzzy Music, 2016), just like “Eleven Eleven”, a frenetic steeplechase with rock-solid rhythmic passages and powerful wha-wha bass lines. Although not too temperamental, the soloists opt for dazzling, straightforward approaches to express their lines of thought.

Erskine’s mutable “Northern Cross” is not a softer either, displaying influences of American music while bridging the worlds of funk, jazz, and rock. This could be a possible outcome of having Joshua Redman playing with Return To Forever.

With the live recording surpassing the studio session, On Call sparks with tremendous rhythmic engagement as it shows Erskine’s productive modus operandi.

Favorite Tracks:
03 (CD1) - If So Then ► 02 (CD2) - Hawaii Bathing Suit ► 04 (CD2) - Eleven Eleven