Jay Anderson - Deepscape

April 30, 2019

Label: SteepleChase, 2019

Personnel - Billy Drewes: saxophones, bass clarinet; Kirk Knuffke: cornet; Frank Kimbrough: harmonium; Jay Anderson: bass, Tibetan singing bowl; Matt Wilson: drums; Rogerio Boccato: percussion.

Maneuvering his instrument with certitude, American bassist Jay Anderson spotlights a shifting cast of expert musicians in varied configurations on Deepscape, his first SteepleChase outing as a leader. Besides two original compositions that reflect his rare relationship with melody, the bassist selected two standards and some off-the-beaten-track tunes by composers with disparate personalities such as Morton Feldman, Keith Jarrett, Gil Evans, Billy Joel, Branford Marsalis, and Jim Pepper. With this wide stylistic range in mind, he convened a fabulous ensemble whose format keeps varying throughout the record - Billy Drewes on saxophones, Kirk Knuffke on cornet, Frank Kimbrough on harmonium, Matt Wilson on drums, and Rogerio Boccato on percussion.

On the title track, Anderson exhibits that big, round, and soulful sound that characterizes his playing over a pre-created drone. This solo piece exhibits a shimmering meditative nature that is also perceptible on the fifth movement of Morton Feldman’s “Rothko Chapel”, a relaxing exercise containing tuneful soprano/arco bass unisons, a Tibetan singing bowl cadence carried out with clock precision, subdued drumming and cymbal color, and salient harmonium interjections and echoing melodies. Kimbrough, who is an excellent pianist, is found here exclusively playing the latter instrument, including a duo with the bandleader on the closing piece, “Tennessee Waltz”.

A chordless approach was picked out to tackle a couple of tunes by pianist Keith Jarrett, listed on his 1976 quartet album Shades. “Shades of Jazz” shows the band immersed in bop-ish happiness, whilst “Southern Smiles” is cooked up with fine post-bop ingredients and generous dashes of folk and gospel. Both tunes feature Drewes and Knuffke throwing enough zest to force the listener to pay attention. On the latter piece, they have the bassist making them company as a soloist.

If Billy Joel’s “And So It Goes” is rendered solo, Gil Evans’ “Time of the Barracudas” has its block chords re-orchestrated for the collective in a daring 12/8 tempo. Boccato’s percussive routines are not only befitting but also infuse liveliness.

Anderson’s melody-centric “Momentum” goes well with the rest of the material, just like Jim Pepper’s “Witchi-Tai-To”, a beautiful piece that was notably interpreted by Oregon and Jan Garbarek in the past. Here, it is harmoniously introduced by the bassist and features the declarative force of Drewes on soprano.

Anderson’s low-toned charms permeate the album consistently, giving rise to appealing musical moments that freshen a wonderful repertoire.

Favorite Tracks:
04 - Southern Smiles ► 06 - Time of the Barracudas ► 09 - Witchi-Tai-To

Michael Eaton - Dialogical

April 29, 2019

Label: Destiny Records, 2019

Personnel - Michael Eaton: tenor and soprano saxophones; Lionel Loueke: guitar; Brad Whiteley: piano; Brittany Anjou: vibraphone, balafon; Cheryl Pyle: flute; James Brandon Lewis: tenor saxophone; Sean Sonderegger: tenor saxophone; Jon Crowley: trumpet; Dorian Wallace: piano; Sarah Mullins: marimba, triangles; Enrique Haneine: udu; Daniel Ori: bass and gimbri; Shareef Taher: drums.

Brooklyn-based saxophonist Michael Eaton creates absorbing narrative tapestries on Dialogical, the long-desired follow-up to Individuation (Destiny Records, 2014). Inspired by dialogical thinking and multiplicity, this solid body of work evinces high levels of maturity mirrored in eight brave compositions, where he shines alongside members of his Individual Quartet - pianist Brad Whiteley, bassist/gimbrist Daniel Ori, and drummer Shareef Taher - plus vibraphonist Brittany Anjou, flutist Cheryl Pyle, udu player Enrique Haneine, and guest guitarist Lionel Loueke, who lends his voice to two of the four tracks he participates in. There’s also the four-part “Temporalities” suite, where the instrumentation is augmented with the inclusion of trumpet, piano, and marimba. The first three segments promote enduring chamber circularity, whereas the last part thrives with clashing chords and prepared piano sounds. They compete with silences and other quietly atmospheric textures.

While exploring possibilities within his own sound, Eaton blurs genre boundaries and that is put on display on predominantly African jazz numbers like the title track, which boasts a balafon solo by Anjou, and the opener, “Juno”. The latter, inspired by Chris Potter’s writing on the albums Gratitude and Traveling Mercies, evolves like an African soirée, propelled by a splendid groove in seven and marked by surprising rhythmic shifts and cutting edge improvisations. Loueke vocalizes beautifully and opts for peculiar guitar effects in order to complement an adroit language that easily piques curiosity; Eaton is magnanimous in his attacks, extending stout patterns to produce quick-witted phrases wrapped in dark, earthy tones; lastly, Whiteley adds a nimble exoticism to his grooving piano playing.

“Anthropocene” boasts a seven-metered groove that shifts along the way. It also offers sax-guitar unisons over luxurious vibraphone harmonies and effusive individual statements by Eaton and Loueke, who, later, alternate bars for a hard-swinging dialogue. Their energies and creativity are on vivid display.

Centered on a funk-flavored riff, “Aphoristic” additionally brings a refreshingly cool modern groove into the game. Its ways differ from both “Cipher”, whose Latin jazz connotations feel as much sumptuous as sensuous, and the soprano-flute duets “Thanatos and Eros” and “Machinic Eros”.

Another peak moment arrives with the hybrid “I And Thou”, in which beautiful sounds of the Middle East blends with odd-metered jazz grooves and unanticipated accents. The tune, introduced by Ori’s gimbri, is a tenor feast of richly timbral commotion offered by the bandleader and his partners in the freewheeling, horn-driven quintet Tenor Triage, James Brandon Lewis and Sean Sonderegger.

Dialogical is revelatory of Eaton’s compositional capacities. It comes full of appealing ideas, including a minimalistic chamber work and mind-bending structures and variations that confer it a triumphant, fresh spirit.

Favorite Tracks:
01 - Juno ► 03 - Aphoristic ► 08 - I And Thou

Matt Brewer - Ganymede

April 25, 2019

Label: Criss Cross Records, 2019

Personnel - Mark Shim: tenor saxophone; Matt Brewer: bass; Damion Reid: drums.

First-call bassist Matt Brewer has a new outing on the Criss Cross label as a leader. It’s called Ganymede and features ten compositions, four of which he penned with an insightful perspective. On his former releases, he approached the sextet and quintet formats, but now he convenes a robust trio with Mark Shim on tenor saxophone and Damion Reid on drums.

As mentioned above, Brewer’s originals are extremely interesting with the elegant title track opening the album in a quiet mode and then transitioning to a rhythmically daring strut. The bassist’s agility is impressive and Shim’s fiery attacks are fully supported by the stout, darkening timbre of his instrument. Reid, unceasingly dynamic and responsive, undertakes a hard stomp by the end and I really dig the silent gap between his solo and the reintegration of the theme. With heftiness as a constant variable, “Triton” engages in playful unisons that eventually split up into complementary fragmented phrases. “Io” ekes out a sort of modal, rock-inflected vibe with epic tones, over which Shim speaks authority and infuse his raw, jagged language. In turn, “Psalm” is set in motion by a nearly two-minute bass solo before bringing melody to the center with a 4/4 rocking pulse running underneath. Freedom exaltation is everywhere.

Shim contributes “Don’t Wake the Violent Baby” to the setlist, but it’s on Joe Henderson’s “Afro-Centric” that we feel pure energy coming out of his fleet arpeggios, intricate phrases, and sharp pinpoints. It’s a great piece with fabulous chromatic movements to be enjoyed.

An additional array of inspirations ended up in rapturous renditions of post-bop and avant-garde tunes, including Ron Carter’s “R.J.”, which was popularized by Miles Davis and Wynton Marsalis and here burns in a fervent swinging motion, Ornette Coleman’s elated “Eos”, a showcase for the bandleader, and Dewey Redman-penned “Willisee”, a hell-bent free-bop that ramps up the temperature with some blazing Mark Shim on tenor. After the storm, nothing better than a gentle standard to appease the rugged textures and the haunting melody of “When Sunny Gets Blue” vouches for that.

You’ll find a lot of provocative sounds here. Whether if the trio is swinging or rocking, they act completely natural in these environments.

Favorite Tracks:
01 - Ganymede ► 05 - Afro Centric ► 06 - Io

The Art Ensemble Of Chicago - We Are On The Edge

April 24, 2019

Label: Pi Recordings, 2019

Personnel includes - Roscoe Mitchell: soprano and alto saxophones, sopranino; Famoudou Don Moye: drums, percussion; Moor Mother: voice, poetry; Rodolfo Cordova-Lebron: voice; Hugh Ragin: trumpet, flugelhorn; Fred Berry: trumpet, flugelhorn; Nicole Mitchell – flutes, piccolo; Christina Wheeler: voice, autoharp, electronics; Jean Cook: violin; Edward Yoon Kwon: viola; Tomeka Reid: cello; Silvia Bolognesi: bass; Jaribu Shahid: bass; Junius Paul: bass; Dudù Kouaté: percussion; Enoch Williamson: percussion; Titos Sompa: vocals, mbira, percussion.

Founded in 1969, The Art Ensemble of Chicago, champions of the Great Black Music, interrupts a studio recording hiatus of 15 years to celebrate their 50th anniversary with a two-disc set (one of them recorded live at Edgefest in Ann Arbor, Michigan). Currently with 18 members, the group appears as a completely new constellation in the creative scene, including valuable additions such as flutist/composer Nicole Mitchell, cellist Tomeka Reid, experimentalist/activist Moor Mother, trumpeter Hugh Ragin, bassists Junius Paul and Jaribu Shahid, among others. The highly anticipated record comprises new material as well as some re-orchestrations of old tunes, having two of its founders at the helm: Roscoe Mitchell and Famoudou Don Moye. It’s dedicated to the original members who already departed: Lester Bowie, Malachi Favors, and Joseph Jarman.

Disc one kicks off with the immutable chamber lyricism of “Sketches From the Bamboo Terrace”. Vocalist Rodolfo Cordova-Lebron embraces a somewhat operatic intonation while joining the strings legato. The approach is repeated on the two parts of “Jamaican Farewell”.

“Bell Song” and “Fanfare and Bell” have obviously the bells in common but are dissimilar in nature. The former, favoring more harmony than collision, is mounted with percussive chatters, whistles and hoots of flute diversion, and hushed trumpet, while the latter evinces a rhythmic decrease in favor of a pronouncedly classical temper. In turn, the closing piece, “Oasis At Dusk”, combines both the percussive and the classical practices with a contemplative beauty.

Brimming with cinematic refinement, “We Are On The Edge” boasts the inflammable spoken word by Moore Mother over a relentless vamp of pizzicato bass lines, percussion, and strings. Despite the group's energy and a great attitude, this title doesn’t match the restless Pan-African rhythms and expressionistic textures of “Chi-Congo 50”, an old piece dressed in new clothes. The primitive dance between wild, teetering, trilling flutes and a horde of sprightly horns is invigorating, producing one of those incantatory moments that no one wants to let go. From the minute three on, there’s a circular bass groove and euphoric horn interplay, reinforcing the magic and the singularity of this special ensemble.

The only problem with Lester Bowie-penned “Villa Tiamo” is its brevity, which makes us longing for the beautiful orchestration. For its part, “Saturday Morning” is a purely percussive, effervescent dance that impels us to jump and dance at the sound of cross-rhythms and syncopations. On a different note, “Mama Koko” carries a modern hip-hop feel as the collective praises Mother Africa.

Disc two is like a drop in the bucket, but brings a couple of classic tunes in the alignment: Favors’ “Tutankhamun” and Roscoe Mitchell’s “Odwalla/The Theme”, which serves to introduce the musicians.

Brewing liberating textural ambiances, the new version of The Art Ensemble of Chicago is injected fresh blood and orchestral significance, but keeps its musical roots raw and its principles well intact.

Favorite Tracks:
05 - Chi-Congo 50 ► 08 - Saturday Morning ►12 - Oasis at Dusk

Stephan Micus - White Night

April 23, 2019

Label: ECM Records, 2019

Personnel - Stephan Micus: kalimba, fourteen-string guitar, steel string guitar, duduk, bass duduk, Tibetan cymbals, sinding, dondon, nay, Indian cane whistles, vocals.

Stephan Micus is a key reference in the world music scene. His thematic albums allow us to discover new places and sounds and White Night, the 23rd solo work for ECM, takes us into another journey full of musical idiosyncrasies. Operating several quirky instruments with deep focus, Micus starts this excursion in the East with the primitive, ancient, and eternal contemplation “The Eastern Gate”, which proposes atonality and deep hollow textures, and ends in the West with the well-delineated movements and robust rhythmic cadence of “The Western Gate”. Both tunes feature five 14-string guitars (a Micus trademark), one bass duduk (Armenian drone instrument taken to another level by Micus), and Tibetan cymbals, but while the former incorporates a more conventional steel string guitar, the latter employs one sinding (West African harp with five strings made of cotton).

The ten-stage route encompasses “The Bridge”, where vocalized chants echo on top of the vibes produced by four bronze kalimbas (they come from four different African countries) and sinding, “The River”, crossed with timely percussive rattles and lovely duduk melancholy, and a “Black Hill”, whose exotic groove feels like a song of praise for mother Earth. The latter number piles up eight Indian cane whistles and a nay (ancient Egyptian hollow reed flute) and make them dance harmoniously over the raw pulse established by a couple of dondon, the ‘talking-drum’ from Ghana.

This recording was inspired by the moonlight and its special magic. Hence, the sight of “Fireflies” and the presence of the “Moon” itself are intrinsic parts of the scenario, authentic anticlimactic balms for this busy, technological world we’re immersed in. The former composition emanates a warm African breeze created by 22 layers of sound that include pitch-clear vocals, kalimba, sinding, and Indian cane whistles. In contrast, “Moon” is told in only one voice with the lonely sounds of duduk arching over the silence. This piece, together with “All The Way”, a kalimba solo, was recorded in just one take.

Micus continues his spiritual celebration of cultural diversity through imaginative, humble music.

Favorite Tracks:
01 - The Eastern Gate ► 03 - The River ► 10 - The Western Gate

Tom Rainey Trio - Combobulated

April 22, 2019

Label: Intakt Records, 2019

Personnel - Ingrid Laubrock: tenor and soprano saxophones; Mary Halvorson: guitar; Tom Rainey: drums.

Tom Rainey constantly brings new ideas to the edgier side of jazz. On Combobulated, his fourth trio album as a leader, he is joined by the frequent and indispensable collaborators, saxophonist Ingrid Laubrock and guitarist Mary Halvorson. Together, these creative minds guarantee exciting improvised scenarios worked out with abundant complexity and enchantment.

The nearly 19-minute title track sounds awesome, starting off with the ebbs and flows of an odd drum pattern and two insouciant melodic paths that, even diverging in direction, sound perfectly consistent as a whole. As the tune moves forward, they densify the texture, heading toward a stunning crescendo that overflows in effects and timbres. An unorthodox guitar groove flares up in the middle of a solo sax passage, astounding the listener with its asymmetry and irreverence. When the intensity dies out, tingling guitar chops evolve gradually into an enigmatic blend of rock chords and electronic intrusions. This was just the preparation for a cosmic journey initiated by Rainey’s unforeseen tom-tom activity and hi-hat scintillation. The episode is further pressurized with psychedelic electronics and the fiery rumination of the saxophone. Hence, a safe landing is questionable after such a boisterous agitation. At the end, repeated saxophone multiphonics scream ‘help!’ or ‘we made it!’ - it’s really up to your imagination.

“Point Reyes” is set in motion through Rainey’s delicate rudiments. In static mode, Laubrock and Halvorson embark in a sort of exotic folk dance that, feeling beautifully compact at times, ends in an indefinite state of liquidity.

A great sonic menu is offered during “Fact”. Playful interactions between sax and guitar are served as an appetizer, and then the main course: capricious drum forays with sparse bursts of distorted guitar and digital effects that go like clockwork. Brisk and coiled saxophone lines, heavy chords that tend to become patterned, and a jittery rhythm, are the main ingredients of the bittersweet dessert: a perfectly danceable prog-rock assembly. The driving propulsion, inspired and dazzling, leads to the easy conclusion that a bass player is not required in this specific context.

If the aerial suspensions of “Isn’t Mine” are temporarily disrupted by the presence of a restless soprano saxophone on top of an acerbic indie-rock progression, “Torn Road” is immersed in atmospheric clouds of mystery. Slide guitar laments join both the percussive tick-tocks and the circular saxophone blows before hitting a heavily bumpy road, whose navigation is solely entrusted to master Rainey.

“Splays Itself” is a showcase for Laubrock’s extended techniques, kinetic phrasing, and saturated timbral coloration. The inclusion of rock-imbued strokes on guitar and maniacal drum attacks emit jarring undercurrents that aggravate the urban feel of this landscape.

The trio boasts immense energy and originality, and their musical qualities are sonically enhanced by David Torn's spectacular mixing, mastering and post-production. In this particular chapter of their careers, you will find them at a peak of their musical strength.

Favorite Tracks:
01 - Combobulated ► 03 - Fact ► 05 - Splays Itself

Floris Kappeyne Trio - Synesthesia

April 18, 2019

Label: Timezone Records, 2019

Personnel – Floris Kappeyne: piano, synthesizer; Tijs Klaassen: bass; Wouter Kuhne: drums + Janneke Stoute: vocals.

Reverberating synthesizer drones and waves invite us to a mysterious trip in the outer space. That’s how the 23-year-old Dutch pianist Floris Kappeyne starts out his new trio album, Synesthesia, a title that has everything to do with sensorial stimulation and reaction. His bandmates, bassist Tijs Klaassen and drummer Wouter Kuhne, stick to that idea, working diligently to provide a skeletal structure that serves, reacts to, and interacts with the pianist’s harmonic ideas and lyrical terminology.

Throughout the 15 short original movements that compose the album, you will experience music that may be volatile or lingering, abstract or clear, vouching for unity or opting for disintegration. The course of things is unpredictable, often non-linear, and that’s where the mystery and magic of Kappeyne’s music come from.

“Prelude: I” offers occasional bass pedals and subtly rattling snare, yet, its ever-shifting textures and time feel make us constantly alert. The piano sometimes calls for the unobvious universe of Paul Bley while the vertiginous, dramatic nosedives into the lower register give it a punch that is jazzier than classical. In turn, “Prelude: II” flows with a modern, brushed, syncopated fat beat in a relaxed synth-cloud environment. Its uncompromising trajectories made me imagine Sun Ra exploring downtempo.

Communication is well patented in the three-way conversation offered on “Prelude: Va”, where the piano responds to the introductory drums and, subsequently, the bass responds to the piano. A conspicuous motif serves them as the topic and the bassist even dares to swing for a bit, pushing more and more the threshold, as he seems to exhort expansiveness. Another example of communicative effort is “Prelude Vc”. On top of the deep-seated bass, we find abstract, free-flowing piano flurries and rhythmic figures on the verge of tonality that definitely foment the boldness of jazz.

The trio shows an optimum control of suspended ambiances on “Prelude III” by incorporating deep bowed bass, hushed brushes, and single-note textural pianism. Silences don’t scare them. They play with it, in a way that is soothing and disquieting alike. On the shape-shifting “Prelude VII”, we have that weird feeling that something is about to happen on the grounds of somewhat eerie vibes. Even so, the sparkling snare and the confident piano strut, in conjunction with the bass, deviate unexpectedly into a modern classical passage whose movements are dreamy, sweeping, and splendorous.

Variety and imagination are nothing to worry about here, and the well-structured recording also incorporates two vocal tunes - “Prelude IX” features a Dutch poem meant to be turned into music by classical singer Janneke Stoute and is momentarily agitated by polyrhythmic percussion; “Prelude: X” features a 4-piece choir with synth.

While en listening route, you’ll also detect a couple of solo piano pieces and a drums-only speech, before it all ends in the playful electro vibes of “Prelude IV”, which finishes off the album with odd-metered passages and a futuristic attitude.

Incorporating tradition and novelty, Kappeyne and his trio hardly approach the music in a conventional manner. They align energies while searching for new directions and manage to get some fresh results.

Favorite Tracks:
02 - Prelude I ► 08 - Prelude VII ► 11 - Prelude Vc

Chris Potter - Circuits

April 17, 2019

Label: Edition Records, 2019

Personnel – Chris Potter: tenor and soprano saxophones, clarinets, flutes, sampler, guitars, keyboards, percussion; James Francies: keyboards; Eric Harland: drums; Linley Marthe: electric bass.

Chris Potter is one of the most influential saxophone players and composers on the scene and his new vibrant outing, Circuits, has enough energy and ample sense of adventure to blow you away. It’s a 21st-century musical journey infused with mordant M-base vibes, offering a cultivated sonic perspective based on an innovative intersection of the post-bop, funk, and electronic worlds.

Five of the nine tracks on the album are bass-less, performed by a core trio composed of Potter, who plays an array of instruments here (including guitar), prodigious keyboardist James Francies, and super drummer Eric Harland, who is better than never in this extra syncopated context. Bassist Linley Marthe joins them in the remaining tunes.

The two-minute horn-driven “Invocation” highlights the bass clarinet amidst the conductive lines that surround it. It serves as an introductory section for “Hold It”, an uplifting piece filled with a gospel-like tenor melody and impeccable accompaniment by the rhythm team. The resourceful trio not only demonstrates how far-reaching their rhythmic attacks can go but also how thoroughly they handle atmospheric passages imbued in electronics. Moreover, you can enjoy Harland’s unrestrained drumming, so rich in color and groove, and Potter’s out-of-this-world language and flawless control of the tenor saxophone.

Splendidly structured and arranged, “The Nerve” boasts spiritual Eastern sounds in its balmy embryonic phase before anchoring in a cool 5/4 groove set with Marthe’s fat bass lines, funk-rock-oriented drumming, and wonderful sweeps and voicings invented by Francies, who later shines on a solo piano passage.

Spirited vibes define both “Exclamation” - an eloquent, fast-paced, funky-oriented exercise with punchy solos from sax and keyboards - and the title track, an odd-metered delight of unmatchable fluidity, hooked in pumping basslines and featuring Francies’ expressionistic zigzags, horns, and Harland’s bursts of assertive drumming.

The dominant explosive dynamics are dropped down a bit on tunes like “Koutoume”, an urbane African dance with first-class percussive accompaniment; “Green Pastures”, which carries post-bop and R&B familiarity; and “Queen of Brooklyn”, a ballad melodically guided by soprano saxophone with backing flute and bass clarinet.

“Pressed for Time” closes out the album, placing relaxing melody over gorgeous, hip-hop-ish broken beats and quick-shifting chordal patterns prior to another explosive, incredibly bouncing affirmation by Potter.

The creative possibilities seem endless, and Circuits, providing unanticipated rhythmic tapestries, hip grooves, and blistering solos, is nothing short of a masterwork.

Favorite Track:
02 - Hold It ► 03 - The Nerve ► 09 - Pressed For Time

David Berkman Sextet - Six Of One

April 16, 2019

Label: Palmetto Records, 2019

Personnel – David Berkman: piano; Dayna Stephens: tenor saxophone, EWI; Adam Kolker: bass clarinet, soprano saxophone; Billy Drewes: alto saxophone, clarinet; Chris Lightcap: bass; Kenneth Salters: drums + guests Tim Armacost: tenor saxophone; Rogerio Boccato: percussion.

With Six of One, pianist David Berkman presents a set of ten original compositions developed over the course of five years, inviting some influential guests to join his flexible sextet. He probes two-horn and three-horn configurations in which each individual contributes fluent and very much their own ideas to the written material.

A swinging vibrancy comes attached to both the opening tune, “Blowing Smoke”, which alludes to the Smoke Jazz Club and the NY jazz scene, and the lively “Kickstopper”. If the former is luxuriously orchestrated, finishing with a bouncy solo by saxist Dayna Stephens, the latter piece enchanted me with the positive energy that kept sprouting from the interaction and casual abandon of the soloists. The saxophone players (Adam Kolker on soprano, Billy Drewes on alto, and guest tenorist Tim Armacost) alternate and ultimately share bars with splendorous enthusiasm, while Berkman’s piano work draws tension through stride-like interjections and salient left-hand chordal fluxes.

Written as a response to the current political instability, “Cynical Episodes” has Kolker traveling a safe melodic path on the bass clarinet in the company of bassist Chris Lightcap, while the remaining horns dance around them in perfect counterpoint. Several soloists make their way through the harmonic progressions, but our attention goes to Stephens, who handles the EWI with know-how, and Brazilian percussionist Rogerio Bocatto, who concludes alone with rhythmic resolve.

Most of the engagement on “Three And a Half Minutes” stems from Berkman’s free activity and complemented with the extemporaneous alliance established between Kolker and Stephens. This same trio of soloists is featured on “Restoration”, whose smoothness and folk innuendo brings it closer to the crossover jazz genre. This tune has strong connotations with Tokyo, where Berkman lived for some time, but it's not the only one since “Shitamashi” was devised with the old part of that city in mind. Exuberance and freedom abound and the feel-good kind of vibe suggests a sophisticated harmonic/rhythmic palette. There’s something epic here and Kenneth Salters’ drumming skills are called into action to amplify that feeling.

Drewes reciprocates with a fine solo on the rhythmically daring “Billy”, a song written for and dedicated to him. He does it again on “Blue Poles”, the only previously recorded tune (it appears on the album Communication Theory) where he, Kolker, and the bandleader embark on a momentary crosstalk conversation, and “Rain Rain”, a waltz spiced by the clarinets, piano, and Chris Lightcap’s bass solo.

Without discontinuing the vitality of tradition, Berkman provides well-drafted music with honesty and touches of modernity. The musical qualities of his associates, for whom the music was specifically written, make everything a lot simpler.

Favorite Tracks:
01 - Bowing Smoke ► 07 - Kickstopper ► 08 – Shitamashi

Philipp Schiepek - Golem Dance

April 15, 2019

Label: Enja, 2019

Personnel – Philipp Schiepek: guitar; Seamus Blake: saxophone; Henning Sieverts: bass; Bastian Jutte: drums.

On his debut album, Munich-based guitarist Philipp Schiepek reveals self-confidence, displaying a full grasp of his guitaristry as he leads a tight quartet. As a composer, he seeks inspiration in everyday encounters as well as characters from literature and art. However, the 10-track Golem Dance also features compositions by fellow countrymen bandmates, bassist Henning Sieverts and drummer Bastian Jutte. Rounding out the group is New York-based tenor saxophonist Seamus Blake, an invaluable first-call musician who unleashes his zealous, big-toned playing on several tunes. The most outstanding are Sieverts’ “All and More”, whose catchy passages recall the association between Chris Cheek and Rosenwinkel on the former’s album I Wish I Knew, and Schiepek’s “Flou”, where he employs multiphonics and trills and get the guitar responding appropriately in order to establish a heated dialogue. This latter piece feels open-ended, carrying some vagueness in its melodic contours and some fragmentation in the rhythmic flux that, feeling great, incites exploration.

Two other Schiepek originals elicit interest: “Ian”, whose initial bass pedal and rim activity evolve into a groove in seven that bounces with shinning post-bop coloring, and “12 Raindrops”, a Joe Henderson-type of 'blue bossa' that brings the fearlessly tractable rhythm section to the front. Expect to stumble upon playful guitar lines, an emphatic bass talk, a dazzling bop-inflected saxophone, and a somewhat timid drum talk from Jutte, who is considerably more outgoing on the uptempo “Up”, a more traditional swinging exercise.

Two of the ten pieces were recorded live at Unterfahrt in Munich, Schiepek’s “Golem Dance”, which has Blake pushing hard against the odd-metered flow granted by the rhythm team, and the jazz standard “Out of Nowhere”, which feels unessential, despite having the soloists expertly navigating the familiar chord progressions. Coincidently, these are the longest tracks on the record, clocking at 7:37 and 11:04, respectively.

With an irregular blues emerging from the center of its gravity, “Even Harder”, another Sieverts’ compositional effort, is dispatched with a warm feeling.

Schiepek’s compositions contain jolting infusions of jazz and his solid first appearance as a leader is demonstrative of the persuasive guitaristic resources he possesses.

Favorite Tracks:
01 - All and More ► 02 - Ian ► 03 - Flou

Amina Figarova - Road to the Sun

April 11, 2019

Label: AmFi Records, 2019

Personnel – Amina Figarova: piano; Wayne Escoffery: tenor and soprano saxophones; Marc Mommaas: tenor and soprano saxophones; Alex Pope Norris: trumpet; Bart Platteau: flute; Lucques Curtis: bass; Brian Richburg Jr.: drums; Jason Brown: drums; Hasan Bakr: percussion; Sara Caswell: violin; Lois Martin: viola; Jody Redhage Ferber: cello.

Classically trained pianist/composer Amina Figarova, a native of Azerbaijan who pursued her jazz ambitions in the Rotterdam Conservatory and Berklee College of Music, releases Road To The Sun, an 11-track album that celebrates the 20th anniversary of her band. Since 1998, it has been her intention to gather a smaller group that would have the same power as a big band, a wish guaranteed by the great musicians enlisted in this musical adventure.

Her compositional qualities translate in a few inviting pieces, from which I particularly highlight the title track. An immediate emotional impact emanates from the layered rhythmic figures that incorporate the lush arrangement. Combining melodic focus and speed, saxophonist Marc Mommaas creates some frisson by setting soprano maneuvers against the ritualistic 5/4 groove that cleaves with Hasan Bakr’s African drumming. Highly articulated, Figarova comfortably explores inside and outside the limits, and if her improv is short-lived here, her thoughts are extended on “All We Dance”, an unhurried piece that puts gentle snare drum rolls in evidence while blending relaxation and sensuality.

Both compositions referred above are tinted by a competent trio of strings that also actively inaugurates “Tumbling Prisms”, which transmits a sense of bliss on account of Figarova’s husband, flutist Bart Platteau.

Relying on a 4/4 swing, “On My Way” employs unison hard-bop lines with a double function: coloring the theme’s statement and serving as markers for the trio of soloists, in the case: trumpeter Alex Pope Norris, who reveals tradition insight; Platteau, whose fluid lines follow more the melodicism of Frank Wess than the leaps of Eric Dolphy; and an outgoing Wayne Escoffery, whose thrilling soprano rides are super adventurous. The latter is in the spotlight again on “Snow Mess”, blowing the tenor sax to inject shades of Joe Henderson into a cool walking groove that had decelerated the exuberant swing propulsion formerly offered to Norris.

The warm breeze of “Circles” begins in the piano ostinato that references the groove. There are Latin gestures impregnating not merely the rhythm but also the melodic outbursts of Escoffery, who delivers again on “No Time For”, a cerebral post-bop number with a fragmented melody that takes the album to an end right after inviting drummer Jason Brown to stretch out.

Figarova’s working band fairly deserves this celebration and its members give back, irrigating the bandleader’s inspired frameworks with their dedication, collective chemistry, and individuality.

Favorite Tracks:
01 - Road To The Sun ► 02 - All We Dance ► 03 - Snow Mess

Yotam Silberstein - Future Memories

April 10, 2019

Label: Jazz&People, 2019

Personnel – Yotam Silberstein: guitar, vocals; Glenn Zaleski: piano, Fender Rhodes; Vitor Gonçalves: accordion, piano, keys, percussion; John Patitucci: acoustic and electric bass; Daniel Dor: drums; Andre Mehmari: synthesizers.

Few artists are capable to blend post-bop and Latin jazz with such a class as the Tel Aviv-born guitarist Yotam Silberstein. He possesses the indispensable technique, rhythm, and lyricism to succeed in the challenging fusion genre, and Future Memories, his sixth album as a leader, is a multi-cultural voyage into his forthright musical universe. The influences come from many directions, yet there’s an emphasis on Brazilian music here, displayed in a couple of tunes by mandolin master Hamilton de Holanda and an erudite rendition of “Choro Negro” by samba/choro icon Paulinho da Viola.

Holanda’s “Capricho de Donga” is filled with rhythmic nuances, featuring extraordinary bassist John Patitucci in a pulsating solo with tons of melody, whereas the flamenco-ish vibe of “Capricho de Espanha” let us indulge not only in the brisk melodicism of the guitarist, but also in the kaleidoscopic exuberance of pianist Glenn Zaleski, an assiduous presence in the New York scene. There is also this Ravel-like sumptuosity marking the improvisational section, which is pleasantly relaxing.

Another Brazilian-influenced piece is Silberstein’s “Impedimento”, where the rapturous atmosphere of choro gains amazing propulsion with the electric bass flow and the rippling percussive groove of drummer Daniel Dor. The Brazilian accordionist Vitor Gonçalves, who doubles on piano on some other tunes, is seen in perfect union with the bandleader and both improvise on this tune. The engaging phrasing of the guitarist shows both the strong affinity with the jazz tradition and his close relationship with South American music. The fusion feast ends in rock-ish mode, though.

“Matcha” is definitely a highlight, showing how strong is the writing of Silberstein. The group, aside from intensifying the rhythm with manifest accentuations, keeps grooving under an odd tempo. There are undercurrents in the music that meet conveniently at a certain point, comparable to a big river that collects the water flow from smaller streams. Both the guitar and piano solos are worthy of attention, with Zaleski following the bandleader in his improvisational spirit, but interpolating his single-note phrases with pungent chords in the lower register. The ambiance nearly touches a dreamy state before Dor’s snare and tom-tom work come to prominence. Although revealing a complex execution, this piece sounds good to the ear.

“Future Memories” and “Wind on the Lake” are musing songs in six and three, respectively. Whereas the latter takes the form of a folk song at an early stage through the usage of acoustic guitar, the former boasts an ethereal air brought either by Silberstein’s modulated vocalizations or the silky harmonic tapestry weaved by Gonçalves’ accordion and Andre Mehmari’s synth waves.

The imaginative arrangements always find space for personal points of view, and Future Memories reinforces music as a culturally boundless celebration.

Favorite Tracks:
01 - Future Memories ► 02 - Matcha ► 04 - Impedimento

Ben Monder - Day After Day

April 9, 2019

Label: Sunnyside Records, 2019

Personnel - Ben Monder: electric and acoustic guitars; Matt Brewer: bass; Ted Poor: drums.

Guitarist Ben Monder is equally comfortable in straightforward and subversive settings. His playing is sparkling and his efficiency, remarkable. The double-album Day After Day offers a wide-ranging collection of esteemed non-original songs interpreted in solo and trio formats. Joining him in the latter context are bassist Matt Brewer and drummer Ted Poor.

Disc one features a solitary Monder in absolute control of the instrument and exhibiting unparalleled sounds fertile in bright introspective textures. The sonic propagations of “Dreamsville” are rich, relaxed, and full in color. Effortlessly operating in several octaves, the guitarist embraces fluidity, combining wise harmonic concepts with carefully built melodies.

The concurrent movements on “Emily”, a tune popularized by Bill Evans, are mesmerizing. Bringing out his classical influences, Monder integrates melody and bass lines with perspicacity, demonstrating advanced performing expertise. In this particular case, he proves that complexity is not incompatible with beauty, stressing a suggestive metronomic line with a subtle percussive touch in the last minute of the song.

The transparency and enlightenment of “O Sacrum Convivium”, a choral wonder by the 20th-century composer Olivier Messiaen, obfuscate us with warm beams of light. Yet, it’s the standard “My One And Only Love” that most clearly shows that miraculous voice-leading control, replete of surprising note choices. Monder also luxuriates in dashing sonorities on another balladic standard, “Never Let Me Go” as well as on the ever-evolving version of Burt Bacharach’s “The Windows of the World”.

Over the course of the second disc, the guitar is center-place, leading the bass and drums into adventurous paths characterized by different moods and genres. Still, two songs are bass-less: The Beatles’ “Long Long Long”, a 3/4 song that draws some ambiguity from the virtuosic fingerpicking, and the opaque experimentation on the title cut, a song from the early ’70s, whose dark waves cause a dystopian sensation. The bandleader’s relationship with hard rock music is not a novelty, and the 007 theme “Goldfinger” is a showcase for his prodigious metal technique.

The casual country pop of Jimmy Webb’s “Galveston” opens the record with a convivial posture, culminating in a speedy guitar solo pronounced with distortion. However, it’s the emotionally charged “Dust”, a great contemporary rock song by The Fleetwood Mac that strikes with awe, featuring Monder on acoustic guitar and Brewer in an inspired bass solo.

Bread’s “The Guitar Man” is a soft-rock song designed with bluesy dotted notes and carrying something of Bob Dylan, who is also paid tribute here with a suave rendition of “Just Like a Woman”.

Regardless of the nature of the songs, Monder has a personal and tasteful approach to the music. His versatility and dedication are impressive and this accessible double album invites you to experience a fraction of his immensely creative mind.

Favorite Tracks:
02 (disc1) - Emily ► 03 (disc1) - O Sacrum Convivium ► 02 (disc2) - Dust

Bill Frisell / Thomas Morgan - Epistrophy

April 8, 2019

Label: ECM Records

Personnel – Bill Frisell: guitar; Thomas Morgan: acoustic bass.

Epistrophy marks another beautiful encounter between guitarist Bill Frisell and bassist Thomas Morgan. The follow up to Small Town boasts a formidable repertoire captured live at The Village Vanguard in March 2016, having Jerome Kern’s “All is Fun” opening it in a marvelously relaxed atmosphere. Frisell’s fascinating melodicism is knee-deep in rhythmic ideas, and Morgan, who lightly swings for a while, assures not only a superior foundation but also constructs it in an interactive way.

In addition to the aforementioned opener, it was the bassist who suggested The Drifters’ “Save The Last Dance For Me”, an R&B hit from the early 60s that comes affiliated to “Wildwood Flower”, the folk song that serves it as an intro. On many occasions, Morgan communicates with Frisell by responding to his thoughtful guitar work. It’s not uncommon to hear exquisite guitar harmonics adorning the tunes and Billy Strayhorn’s sweet ballad “Lush Life” doesn’t let me lie. Another example is Monk’s “Pannonica”, which also does a great job in highlighting the instrumentalists’ soulful lyricism and sharp tonalities. It’s a joy to experience all these magnetic chords brimming with delicious extensions.

Since only top-notch musicians have the ability to make knotty passages sound simple, don’t be surprised if the rendition of Paul Motian’s whimsical “Mumbo Jumbo” surfaces natural and uncomplicated. The rubato approach invites us to freer, non-linear flights and the song is given a totally different perspective after the infusion of tasteful machinelike effects inflicted by Frisell’s sound-altering pedal.

If the duo performed “Goldfinger” in their previous outing, then they picked another James Bond theme to be part of this new work - “You Only Live Twice” is jazzified with an impressive atmospheric radiance, engrossing textures, and a dreamy sound that lingers. It’s one of the most beautiful moments on the album, which gains a tantalizing dimension with the confident gestures in the bass accompaniment.

The title track is another Monk classic whose telepathic and freewheeling interpretation includes melodic fragmentation, blues sparkle, and swinging flair. Frisell’s comping is smart and fun, and the original melody only shows up at the end in all its clarity.

In the aftermath of the traditional “Red River Valley”, an obvious folk ride, the album comes to an end in balladic gorgeousness with “In The Wee Small Hours of the Morning”.

Owners of an immeasurable musicality, Frisell and Morgan embark on impeccable narrations of well-known gems, in a clear demonstration of their interactive dexterity. It’s mind-boggling how they put such a fresh spin in so many familiar songs, and all we want to do is play them over and over.

Favorite Tracks:
03 - Mumbo Jumbo ► 04 - You Only Live Twice ► 06 - Epistrophy

Mike Baggetta / Mike Watt / Jim Keltner - Wall of Flowers

April 4, 2019

Label: Big Ego Records, 2019

Personnel - Mike Baggetta: electric and acoustic guitars, live processing; Mike Watt: electric bass; Jim Keltner: drums, percussion.

Mike Baggetta may not be as well known as his fellow guitarists Kurt Rosenwinkel and Ben Monder, but his creative playing is definitely a valuable discovery for everyone who bumps into his music. An adept of unconventional sounds and electronic effects, Baggetta was previously featured in solo, quartet, and trio sessions, and it’s precisely to the latter configuration that he returns on the album Wall of Flowers. This time, he is joined by unlikely bandmates such as veterans Mike Watt and Jim Keltner, bassist and drummer, respectively. The former co-founded the punk-rock group Minutemen and was a member of Iggy Pop’s The Stooges in the early 2000s; the latter played with the members of The Beatles plus Bob Dylan and Ry Cooder. The two had never met before, but the outcome of this one-day-only session mirrors the quality of these musicians.

“Hospital Song” has a beautiful, if dismal, acoustic guitar intro. However, the trio kicks things into high gear by channelling their energy into a livelier indie rock marked by sturdy bass lines, an unflinching straight-up 4/4 rhythm, and guitar melodies punctuated by occasional atonal detours.

“Blue Velvet”, the main theme of David Lynch’s cult film of the same name, is subjected to solo and duo treatments. Both have the rustic tones of the acoustic guitar coloring them, yet the former picks up on an undeniable ambiguity in contrast with the latter, soberly introduced by Keltner's soft brushwork.

A couple of collective improvisations reflect some of the best moments on the album. “I Am Not A Data Point” feels very experimental, relying on an intransigent, languid bass ostinato a-la Rage Against The Machine, percussive adaptability, and distorted guitar outcries that affect positively our ears with washes of capricious effects in often discordant audacity. The other impromptu experience is “Dirty Smell of Dying”, a dark, neo-psychedelic exercise carried in Sonny Sharrock-mode, and where the massive waves of sound coming toward you acquire both exciting and foreboding perspectives.

Fruit of Baggetta’s mind, the title track closes out the album as a shimmering art rock song. Musical moments like these demonstrate the trio’s rock affinity and the album is the expression of a fortunate collaboration.

Favorite Tracks:
04 - I Am Not A Data Point ► 06 - Dirty Smell of Dying ► 08 - Wall of Flowers

Assif Tsahar / William Parker / Hamid Drake - In Between The Tumbling A Stillness

April 3, 2019

Label: Hopscotch Records, 2018

Personnel - Assif Tsahar: saxophone; William Parker: double bass; Hamid Drake: drums.

Cohesive sounds and textures emerge from the transfiguring interplay of the intrepid trio composed of saxophonist Assif Tsahar, bassist William Parker, and drummer Hamid Drake. All three musicians, known for their urgency to create spontaneously, collaborated in many live sessions and festivals. However, In Between The Tumbling A Stillness marks their first recording as a trio. These intense, tight/loose musical moments were captured live in Tel Aviv at Levontin 7, a music venue opened by the saxophonist when he moved back to his native Israel in 2006.

“In Between”, the 35-minute expedition that opens up the album, sparkles in many rhythmic contexts. The group takes the plunge in a straightforward way, with Tsahar concentrating efforts in sturdy phrases limned with a brooding, casually raucous tone on the lower registers, but still with enough range to stay out of the shadow. His language comprises simple melodic ideas with explosive fast-note attacks that always find a reliable supporting net in the work of Parker, a monumental pillar in the foundation, and Drake, an independent creator who keeps his ears wide open to whatever happens around him. After rambling, they accelerate to a swinging pace, posteriorly grooving in several inventive ways. The rhythm team assures smooth yet conspicuous transitions, erecting lyrical structures with both familiar atmospheres and inspired inventions alike. It's common to see the saxophonist responding to their deliberately abstract sense of tempo with raw emotions.

Bowed bass and percussion announce tense winds for “The Tumbling”, which features Tsahar emitting waves of energy, whether through bop-ish lines or any other audacious terminology. The tune becomes infectiously hectic but terminates in a slower yet fun ragtime-derived cadence.

This is the joy of listening to imaginative creators. One minute they are galloping freely toward no particular destination, in the next minute they are running at high speed in a precise direction, and when you don’t expect them to, you’ll stumble upon them dancing the blues in a fixed position.

Closing out the album, “A Stillness” is a quiet, inner-oriented improv, effulgently propelled with the help of Drake’s cross stick beats. Grab this record, if you like your avant-jazz simultaneously raw and sophisticated.

Favorite Tracks:
01 - In Between ► 02 - The Tumbling

Michael Attias - Échos la Nuit

April 2, 2019

Label: Out of Your Head Records, 2019

Personnel – Michael Attias: alto saxophone, piano.

Saxophonist Michael Attias, a paragon of perspicacious playing and exceptional leadership, releases his first solo album, in which he plays two instruments, sometimes simultaneously. While his left hand holds the alto sax, a carrier of awe-inspiring tone colors, the right hand plays the piano, whose individual notes and chords work as melodic/harmonic pivots, promoting contextualization and, consequently, facilitating our reading of the music. Turning down overdubs, this recording takes you to a few singular places in Attias’ active musical mind. By tailoring a stripped-down aesthetic with distinctive approaches to each instrument, he proposes a sleek, sometimes undemonstrative distillation of timbres that can be more or less complicated to apprehend.

Two distinct versions of “Echoes” bookend the eleven tracks on the album. The first part, “Mauve”, enhances the beautifully contrasting colors between saxophone and piano, bright and poignant, respectively, within a cerebral mood. The second part, “Night”, offers a melodic reflection that often lands on a resolution. Still, the ambiguity of the piano and some spellbinding unison passages make us alert. The approach is low-key, unfussy and intriguing. Experimental, in a way.

“Trinité” insists in unison ideas occasionally interpolated with intervallic surprises. The piano work is not as tantalizing or emotionally charged as in the introductory section of “Fenix III”, a snappy creation whose quirky chord has a strong connotation with Attias' former collaborator, the late Japanese pianist Masabumi Kikuchi. Domineering cyclic phrases driven by pitch allure are balanced through prolonged notes replicated on the piano. Something like knotty explorations whose elements are in a permanent state of affairs.

The piano-less “Rue Oberkampf” feels like an incantatory chant brimming with slightly popping patterns inspired by saxophonist's early studies of the Schillinger technique. Great note choices are brought effortlessly with grandiose, mesmerizing shifts in timbre before three consecutive woodwind cascades bring it to an end. The reverberation is from the room and is even more noticeable over the course of “Circles”, where the intensity keeps fluctuating.

The nocturnal mood and fascination of “Sea In The Dark” are impressive, combining dark bass notes and delicate phrases for an illustrative intonation that coaxed me to search for more. Some other pieces, like the slow-moving diptych “Autumn”, justifies lethargic reactions through its vagueness and pallor.

Listening to this album was such an oddity. Each track feels like looking at perplexing pictures whose thin focus is on the closest object while the background keeps immersed in obscurity. Indistinctness means forever open and this very personal album is beyond style.

Favorite Tracks:
01 - Echoes I: Mauve ► 08 - Rue Oberkampf ► 11 - Sea In The Dark

James Brandon Lewis - An Unruly Manifesto

April 1, 2019

Label: Relative Pitch Records, 2019

Personnel – James Brandon Lewis: tenor saxophone; Jamie Branch: trumpet; Anthony Pirog: guitar; Luke Stewart: electric bass; Warren Trae Crudup III: drums.

An UnRuly Manifesto, the new album by well-versed saxophonist James Brandon Lewis, is a call into action dedicated to Charlie Haden, Ornette Coleman and Surrealism. With a quintet configuration in mind, he convened electrifying musicians to be part of the project, namely, trumpeter Jamie Branch, guitarist Anthony Pirog, and the members of his soulful trio, bassist Luke Stewart and drummer Warren Trae Crudup III.

After the amiable unison melody of “Year 59: Insurgent Imagination”, the opening one-minute prelude, the title track erupts confidently with a continual static groove in six underpinning short meet-and-greet sentences from trumpet and tenor. Smeary unison lines precede an infectious solo by Lewis, who, blowing with the force of a tornado, conveys a mix of vehement protest, inspirational spirituality, and fervid urbanity. His remarkably fiery tone calls up Pharaoh Sanders and Archie Shepp, while his language is cathartic and sharp-edged as John Coltrane and Marion Brown. Branch follows him, throwing in ideas that perfectly match the context, and the tune doesn’t finalize without the horns merging together in pure ecstasy.

“Pillar 1: A Joyful Acceptance” is a short-lived breezy interlude that announces “Sir Real Denard”, a tune enlivened by a funky rhythm, chunky riffs, and an overall sense of explosiveness. Much of the energy comes from the confrontational posture of the soloists - Stewart likes and infuses his groove with entanglement; Pirog shows that his stinging, effect-drenched guitar chops can go wild; Branch is more playful than ever, applying inventive pitches to terse remarks; and Lewis boasts a lot of muscle and perseverance in clearly accented phrases.

The musicians dig into these well-defined grooves with gusto, yet “Escape Nostalgic Prisons” is fist-pumping avant-jazz abrasiveness. Polluted guitar jolts with noise, chaotic rhythmic textures, and nervous horns in frantic activity, are constituents of a cacophonous strife that is as dense as it is rewarding. Quite the reverse is seen on “The Eleventh Hour”, where a sunny melody soars on top of the smooth groove composed of a linear guitar texture in consonance with the bass/drums articulation.

Wrapping up the session is “Haden is Beauty” (for the late bassist Charlie Haden), which allows you to sail in tranquil folk waters, gaining collateral jazz and rock intensity as it progresses.

This thoroughly engaging album integrates horn-driven articulations and timbres with a supple rhythmic section. You will feel the groove!

Favorite Tracks:
02 - An Unruly Manifesto ► 05 - The Eleventh Hour ► 07 - Escape Nostalgic Prisons

Kaja Draksler / Petter Eldh / Christian Lillinger - Punkt.Vrt.Plastik

March 28, 2019

Label: Intakt Records, 2019

Personnel - Kaja Draksler: piano; Petter Eldh: bass; Christian Lillinger: drums.

The European trio composed of Slovenian pianist Kaja Draksler, Swedish bassist Petter Eldh, and German drummer Christian Lillinger definitely deserves several listenings and wider recognition due to an urgent, empathetically modern sound that transpires focus, freedom, and craft. Their album Punkt.Vrt.Plastik is vividly recommended for the ones who love elaborate textures, rhythmic disjunctions, patterned lyricism, and maturely conspired ambiances with intelligent crosscurrents in the instrumentation.

Lillinger’s “Nuremberg Amok” opens the album as a beautiful deconstruction with a strong polyrhythmic feel and swift fragmented phases that often repeat. A nuanced sense of tempo and engrossing fluidity are constant presences.

“Evicted” is the only composition penned by Draksler, evolving in a spectacular way and conveying the uncertainty and distress that an eviction may suggest. Ambiguity and some sadness are mixed in Draksler's lines, which causes an impressive effect whenever the hair-raising low notes are blended with shrilling pointillism to form strange musical mosaics. She has this very special way to deal with space. Is the following intervallic melodicism a synonym of resignation? Ponderation, for sure! Apart from her choices, Eldh concludes with a resonant bass foray replete of pizzicato technique.

Happy and carefree, “Punkt Torso” is marked by a classical lyricism that takes a bit more reflective intonation on “Life is Transient” and an exquisite modernization on “Momentan”, achieved through additional patterned elements that seem taken from electronica.

Both “Azan” and “Plastic” appear with fidgeting, broken beats expressed with dry and wet tones. However, while the former circulates angular melody, the latter advocates lullaby-ish lines and crawling dark drones, after a nearly two-minute drum solo.

Eldh and Lillinger are members of Amok Amor, a quartet with saxophonist Wanja Slavin and trumpeter Peter Evans, and their well-established rapport is valued by the independent Draksler, who knows how to merge into their rhythmic entanglement with finesse. The shape shifting “Body Decline” is another wonderful example of brilliance, put together with assertive noir brushstrokes and that beautiful tension/resolution dichotomy. Eldh penned it.

Reinventing themselves to escape any sort of pre-determined norms, the trio crafts an aesthetically bold work that will make you dive into their music, and remain indefinitely.

Favorite Tracks:
01 - Nuremberg Amok ► 02 - Evicted ► 06 - Body Decline

Atomic - Pet Variations

March 27, 2019

Label: Odin Records, 2019

Personnel - Fredrik Ljungkvist: saxophone, clarinet; Magnus Broo: trumpet; Havard Wiik: piano; Ingebrigt Haker Flaten: bass; Hans Hulbaekmo: drums.

The jazz quintet Atomic is composed of some of the finest Swedish and Norwegian improvisers out there, namely, trumpeter Magnus Broo, saxophonist/clarinetist Fredrik Ljungkvist, pianist Havard Wiik, bassist Ingebrigt Haker Flaten, and drummer Hans Hulbaekmo. The comprehensive aesthetic range of Pet Variations, an enticing first album entirely made of covers, is one of its strongest points in addition to the cohesive interplay and competent musical conception.

The opening track, “Pet Variations/Pet Sounds”, was partly written by Wiik, patiently cooked up by the collective, and terminated with the vein-popping melody of The Beach Boys' instrumental song that lent its title to their 1966 album. Prior to a fluent solo by Broo, a flexible hornman, the ride cymbal sparkles continually and the bass draws some mystery from resolute plucks. This foundation sustains side-by-side melodic lines while marvelous piano voicings bring jazzy shades of grace to the mutating scenario. A transitory chamber passage soon slips into an agitated groove full of spirit, and the atmosphere compels Ljungkvist to explore rhythm and timbre.

A two-note piano ostinato prepares Steve Lacy’s “Art” to fall into step. Clarinet and trumpet unisons help weaving a docile texture where the arco bass infuses despondency. Marching steadily to the very end, the tune still highlights Wiik, who concentrates efforts in merging the baroque fragrances of Bach with atonal jazz currents.

Drifting and explorative, Carla Bley’s “Walking Woman” offers spontaneous dialogues from sax and piano, and then trumpet and bass. The collective becomes pretty active by the time that Hulbaekmo springs into action.

The cast of experienced musicians also breaks down a couple of contemporary classical pieces. If Varese’s “Un Grand Sommeil Noir” is a chiaroscuro musical canvas with a constant ritualistic pulse and arco bass solemnity opposing to the light-emitting clarity of the horns, Messiaen’s “Louange a L’Eternite de Jesus” is put together with devotional reverence and crescent dramatic tension.

Jimmy Giuffre’s classic “Cry Want” starts off with a trumpet monologue, later turned into a parallel dynamic with the presence of the clarinet. The piano harmonization, reminiscing Herbie Nichols, is rich and beautiful and the beseeching clarinet starts to expand horizons, initially backed by drums only, and then forming a strong improvisational alliance with the piano.

The exciting final part of the album unveils two favorites: “Inri” is an original composition by Alexander Von Schlippenbach whose fluidity and freedom are mirrored in its epic theme statement, electrifying solos, and itchy percussive angst; on its part, Jan Garbarek’s “Karin’s Mode” is an anthemic groovy tune in five, delivered with sophisticated cool.

Boasting an excellent repertoire, Atomic has great stuff to share and this borrowed material is as strong as their originals.

Favorite Tracks:
05 - Cry Want ► 07 - Inri ► 08 - Karin’s Mode