Yaroslav Likhachev Quartet - Crumbling

June 1, 2020

Label: JazzHausMusik, 2020

Personnel - Yaroslav Likhachev: tenor saxophone; Yannis Anft: piano; Conrad Noll: bass; Moritz Baranczyk: drums.

Russian-born, Germany-based saxophonist Yaroslav Likhachev debuts with an engaging album of original music featuring a cast of young stars - pianist Yannis Anft, bassist Conrad Noll and drummer Moritz Baranczyk. The quartet was formed in 2016 and the musical rapport developed between its members is founded on a depth of artistic communication that is quite fascinating to observe.

The opening title, “November Tune”, displays an introductory section where the bass leads, confidently backed by piano and brushed drums. Moments later, the authoritative presence of Likhachev is strongly felt by the virtue of a spirited melodicism and burning improvisational flair. Catchy figures and bending notes are constituent elements of his articulated phrases, whose compelling rhythmic drive benefits from Anft’s tension-and-release logic. The pianist mitigates the energy by the end, when Noll’s arco bass interjections become tangible.

“The Fifth Mode” is a fully grooving tour de force crafted with not just individualistic perspective but also synergistic collective effect. The group’s agile maneuvers and ecstatic posture make you want to dance to it.

In contrast, introspective moments can be found on “Ballad For Eli”, which is positively touched by Baranczyk’s deft moves and cymbal glow, and “Traceless Rails, Traceless Waters”, which closes out the album with an unflappable stability. Stability is also what characterizes “Sicilian Flower”, a waltz with shades of Charles Lloyd’s spirituality and Jerry Bergonzi's eloquence.

As a result of the range in dynamics and mood, the most peculiar piece on the album is undoubtedly the title track. Anft weaves the enigmatic first section with both composed and startling actions, and a short time later, we're taken by the surprising impact of the odd-metered theme. The rhythm engine is in a trance during the piano stretch and the arrival of Likhachev brings extra strength and rock-solid attitude to the setting. When the band revisits the obscure ambience presented in the overture, Moll is given an opportunity to explore sound through extended techniques, and he does it with a beautiful aesthetic purpose.

Managing to transform the bebop language into new forms of expression, Likhachev’s bracingly fresh debut is strongly recommended.

Favorite Tracks:
01 - November Tune ► 02 - The Fifth Mode ► 04 - Crumbling

Karuna Trio - Imaginary Archipelago

May 28, 2020

Label: Meta Records, 2020

Personnel - Adam Rudolph: percussion, electronics, overtone singing, chordophones; Ralph M. Jones: woodwinds, vocals; Hamid Drake: drums, percussion, vocals.

Master percussionists Adam Rudolph and Hamid Drake are forward-thinking musicians with a penchant for experimentation. They co-lead the innovative Karuna Trio along with Ralph M. Jones, a versatile woodwinds player whose unpredictable lines and unobtrusive posture make him a great fit for the ensemble’s sonic descriptions of landscapes that consolidate the ancient and the future.

Dedicated to the eclectic saxophonist Yusef Lateef, Imaginary Archipelago marks the trio’s return, two years after their debut album, Karuna. Each of the 11 islands depicted here is spontaneously imagined with rhythmic passion and an idiosyncratic tonal palette, yet they connect one another by certain elements that make this archipelago a consistent whole.

“Okomibo” and “Dimahala” share trancing rhythms while exploring a natural freedom in its motions. The latter, for example, is marked by oscillatory electronic vibes, pounding drums subjected to opportune syncopation, and winding flute melodies.

While “Alima” is a close-to-the-nature contemplation professed with some circularity and an emphasized drum work as it moves forward, “Ibak” offers you a wonderful tour into a more jagged territory. Sounds of percussion and organic electronic manipulations come across with aesthetic intention, and its fluxes are occasionally interrupted by unusual slides and scrapes. The prayerful intonations of the soprano sax at the fore is more or less intensified as the rhythmic flow changes, and its phrases echo in the air, way above the entangling polyrhythmic tapestry. You’ll also find replicated phrases on the beautifully layered “Chandirasa”, a lament where flute and vibes collaborate closely, creating a placid mystery that is only shaken by occasional cascading streams.

“Apekweh”’s offbeat and insistent pulsation comes in waves, and on top of it rests a meditative flute abreast of esoteric vocal chants and drones. Chants and drones that get a larger proportion on the hypnotic “Vajna”.

“Madazuba” and “Suwakaba” are two lovely creations. Incorporating different pitches in its sonic architecture, the former evolves with a three time feel until a tribalistic march is imposed by Drake. The latter piece, in turn, gets closer to the avant-garde practices we are familiar with. Yet, still out of its standardized forms. Soaked in flickering effect, Jones’ saxophone is punchier than ever here, but the piece ends calmly brushed and nearly whispered.

In spectacular form, the trio takes their irresistible pulsing rhythms and close-to-the-nature auras to the next level.

Favorite Tracks:
03 - Ibak ► 06 - Madazuba ► 08 - 09 -

Ricardo Grilli - 1962

May 27, 2020

Label: Tone Rogue Records, 2020

Personnel - Mark Turner: tenor sax; Ricardo Grilli: guitar; Kevin Hays: piano; Joe Martin: double bass; Eric Harland: drums.

Brazilian-born, New York-based guitarist/composer Ricardo Grilli has been conquering the scene, playing alongside top-notch musicians. If on his previous outing, 1954 (Tone Rogue, 2016), the narrative began in his father’s year of birth, now with 1962, he shifts the starting point to his mother’s. The group format was augmented from quartet to quintet, with Grilli keeping the foundational structure of the rhythm section with bassist Joe Martin and drummer Eric Harland, and offering the piano chair, previously entrusted to Aaron Parks, to Kevin Hays. The group is rounded out by the incredible saxophonist Mark Turner.

The latter burned a hole in my brain with a vibrant solo filled with intervallic awe on the gorgeous “Mars”, a 7/4 inspiration that deftly combines melodic illumination and harmonic openness. Grilli follows him, employing a highly articulated flowrate of notes in a torrent of sweeping emotion. Before this one, he had opened the session with “1954-1964”, an effects-drenched solo guitar intro that bridges the two records.

More polished in tone and with a bass groove that brings Coltrane’s “Acknowledgement” to mind, “Signs”, pays tribute to guitar hero Peter Bernstein, asking for both bop and post-bop interventions from piano, sax and guitar. A slick melody and bluesy feel are part of the process, but the band also swings with feeling. They return to the swinging motion on “ERP”, another bopish verve with sax-guitar unisons. Grilli opts to explore with stimulus, occasionally sliding figures with chromatic tension, whereas Turner glimpses at “Giant Steps” in his inner thoughts, developing ideas with flexibility.

The vibrancy of New York is very much on display on both “Lunatico”, a tribute to the Brooklyn’s bar mentioned in the title, which takes the form of a melodic pop-inflected exercise with hints of maracatu, and “183 W 10th St”, a Lovano-infused post-bop number with ample harmonic expansion and a nod to the famous jazz club Smalls.

Although one can’t find a real ballad here, distinction in mood is easy to detect, especially when you measure tunes such as “The Sea and the Night”, a hard-hitting evocation of Rosenwinkel’s best years in jazz; the Brazilian flavored “Coyote”, which reflects the bandleader’s native influence; and “Voyager”, a rhythmic steeplechase in five where Harland shines through.

Grilli sticks to traditional forms and these new compositions provide room to stretch. Surrounded by great musicians, he broadens his jazz palette with a functional musical vision.

Favorite Tracks:
02 - Mars ► 06 - The Sea and the Night ► 10 - Voyager

Kaja Draksler Octet - Out For Stars

May 26, 2020

Label: Clean Feed, 2020

Personnel - Kaja Draksler: piano, kalimba, cowbells; Laura Polence: voice; Björk Níelsdóttir: voice; Ada Rave: tenor saxophone, clarinet, mouth organ; Ab Baars: clarinet, tenor saxophone, mouth organ, voice; George Dumitriu: violin, viola, mouth organ; Lennart Heyndels: double bass, voice; Onno Govaert: drums and percussion.

Boasting an admirable, inventive way of expressing herself, Amsterdam-based Slovenian pianist Kaja Draksler continues the poetry-inspired musical work she has been developing for her singular octet. Out for Stars is the much anticipated follow up to Gledalec (Clean Feed, 2017) and comes sealed with her unique signature sound. The inspiration arose from poems by Robert Frost, whose excerpts are passionately intoned by singers Laura Polence and Björk Níelsdóttir.

On “Danas, Jucer Sutra”, ethereal voices are set against the solemn chamber wall of cello and violin, creating a sort of ritualistic musing. The conversational exchanges between saxophonist Ada Rave and violinist George Dumitriu is preceded by the former’s occasional popping sounds and trills. At that point, we also have sparse piano raindrops and understated percussive work conferring it textural beauty.

“Acquainted With the Night” advances patiently in its poetic narrative, weaving a refined aesthetic that incorporates trio moments composed of earthy round bass, angular piano, and prismatic drumming. From there, the trio falls into cadences formed from insistent notes and bold chords, bass rambles, and a kinetic percussive flow that reinforces the propagation of energy. The ambience that follows draws some tension and jagged momentum from amidst the complex combinations of things. Down the line, the group hangs in suspension with vocals and clarinets side by side until the solo piano placidity of the final moments.

Providing one of the best moments on the record, “The Last Mowing” is the most propulsive piece and its vigorous energy gets underway as soon as the percussive chops by Onno Govaert are generated. This being said, the climax arrives with the narrow and wide magnitudes of two tenor saxophones in ecstasy. The isotropic consolidation of sounds along with the finely calibrated vocals are a total fun to listen to, and points of comparison with The Fire Orchestra! can be established.

“The Silken Tent” blends spoken word (narrators here are clarinetist/saxophonist Ab Baars and bassist Lennart Heyndels), pure classical singing with the transcription of Händel’s Dominus A Dextris Tuis, and free improvised music, whereas “Away!”, featuring a recorded declamation by Frost, adopts an art-pop lyricism and reaches its emotional pinnacle with plaintive, dissonant saxophone wails.

With a gripping pastoral atmosphere at the core, Out for Stars is given depth and breadth by the ensemble’s adroit execution. It’s not for everyday, but when the spirit asks for these moods, it’s an artistic treat.

Favorite Tracks:
02 - Acquainted With the Night ► 03 - The Last Mowing ► 06 - Away!

Flash Reviews - Sunjae Lee / Ivo Perelman & Matthew Shipp / Fredrik Lindborg

May 21, 2020

SUNJAE LEE - PULSE THEORY (GhettoAlive Records, 2020)

Personnel - Sunjae Lee: tenor sax; Eunyoung Kim: piano; Dayeon Seok: drums.

50 minutes of continuous improvisation are squeezed into a sole track in the new digital outing from South Korean saxophonist Sunjae Lee, a free jazz practitioner who is also an acupuncturist and an oriental brush painter in Seoul. Extended iterative segments eventually expand in energy and body, always under the controlled conduct of the bass-less rhythm section comprised of pianist Eunyoung Kim and drummer Dayeon Seok. The music was captured live at GhettoAlive in Seoul and was mastered by New York-based bassist, composer and producer Eivind Opsvik. The communication between the threesome feels effortless throughout and the group explores textural variety by embarking on occasional duo sections. You’ll find what is expected from a free jazz session - dedicated interplay with contrasting moments that usually evolve from stable to temperamental and from imperturbable to livelier. Freed of tempo and form concerns, the trio takes most of the time exploring circularity, fragmentation and texture with casual pointillism. Yet, the quiet lyricism of the last five minutes was what grabbed me the most. [B-]

IVO PERELMAN & MATTHEW SHIPP - AMALGAM (Mahakala Music, 2020)

Personnel - Ivo Perelman: tenor sax; Matthew Shipp: piano.

Amalgam is the latest improvisational tour from saxophonist Ivo Perelman, who celebrates 30 years of a profuse career, and pianist Matthew Shipp, his regular collaborator since 1996. This 12-track program follows their uncontrollable appetite for music created in the spur of the moment. The limitless possibilities lead to passionate, often intellectual dissertations with oneiric atmospheres (“Part 1”); motivic developments forming shapely mosaics supported by intrinsic lyrical sophistication rooted in classical music (“Part 10”); frisky avant-jazz dialogues professed with rugged textures and brave contrapuntal moves (“Part 11”); unpremeditated percussive propagations (“Part 12”); inventive delineations represented with a mix of entanglement and contemplation (“Part 4”); and introspective yet ruminative exercises - sometimes with fair doses of assimilative melody and piano strings vibrations (“Part 3”), and other times with the addition of enigmatic depth (“Part 8”). The thing is: the discography of the duo is so vast that it's hard to say if this recording is better or worse than its predecessors. It’s certainly authentic. Question: will their unstoppable creativity come to a halt with the current pandemic crisis? [B+]

FREDRIK LINDBORG - A SWEDISH PORTRAIT (Prophone Records, 2020)

Personnel - Fredrik Lindborg: baritone, tenor and soprano saxophones; Martin Sjöstedt: bass; Daniel Fredriksson: drums; Daniel Migdal: violin; Henrik Naimark Meyers: violin; Yivali Zilliaous: viola; Amalie Stalheim: cello.

Saxophonist/composer Fredrik Lindborg blends mainstream jazz with melancholic folk music from Sweden, traversing genres with ease while maintaining his musical personality intact. For this record, a 14-track program with music of baritone saxophonist Lars Gullin, he incorporated a string quartet to further enrich the music of the trio he leads. I dare to describe it as a feel-good retro jazz glee with intelligently crafted string arrangements, giving the traditional a new look that is not devoid of eclectic essence. The opener, “Mazurka”, was arranged exclusively for strings (by Gullin himself) and carries poignant classical tones; “Har Nagon Sett/Baritonome” boasts a gentle Latinized percussion to be mixed with efficient swinging passages and chamber jazz sections; “Decent Eyes” forced me to imagine George Gershwin dancing the tango; while the wildly swing of “Galium Verum” evokes Mulligan and Webster’s unforgettable collaboration. The cheerfulness of “I Min Small Sang” brings to mind the standard “How About You”, while “Igloo” conjures up “Caravan”. You’ll also find malleable waltzes and heartfelt ballads. Lindborg blows soulfully and deserves wider recognition. [A-]

Big Heart Machine - Live at The Jazz Gallery

May 19, 2020

Label: Toof Records, 2020

Personnel - Brian Krock: conductor; Charlotte Greve: alto saxophone, flute; Caroline Davis: alto saxophone, soprano saxophone, flute; Timo Vollbrecht: tenor saxophone, soprano saxophone, clarinet; Anna Webber: tenor saxophone, alto flute, flute; Jay Rattman: baritone saxophone, bass clarinet; John Lake: trumpet, flugelhorn; Kenny Warren: trumpet, flugelhorn; Chloe Rowlands: trumpet, flugelhorn; Dave Adewumi: trumpet, flugelhorn; Nick Grinder: trombone; Sam Blakeslee: trombone; Isaac Kaplan: trombone; Jen Wharton: bass trombone; Olli Hirvonen: guitar; Arcoiris Sandoval: piano; Marty Kenney: bass; Nathan Ellman-Bell: drum set.

After an acclaimed eponymous debut, the 18-piece Big Heart Machine, led by saxophonist/composer/arranger Brian Krock, returns with a live recording captured at The Jazz Gallery in New York. It was great to see that the ensemble, even without Paul Jones, thrives with the talents of saxophonists Anna Webber and Caroline Davis on its lineup.

“Unblock the Stoppage” opens the session, bringing a sense of orchestral freedom in a way but sounding perhaps a bit more cerebral than other Machine’s efforts. A dialogue between the saxophones of Anna Webber and Timo Volllbrecht is emphasized while, down the road, the immensely adaptable drumming from Nathan Ellman-Bell keeps shifting in texture, density and color. The drummer has the spotlight exclusively turned on him on the percussive section that introduces “Recessive”, whose asymmetric meter doesn’t discourage a fleshed out alto solo from Caroline Davis, with winning orchestral passages bridging segments. Bassist Marty Kenney also makes his point with a discourse over a lugubrious harmonic sequence delivered by pianist Arcoiris Sandoval.

Krock penned the two aforementioned compositions, as well as “Poreidoliac”, an avant-garde fantasy made of contractions and expansions and bold individual statements. Webber's flute stands out, and there are considerably more oblique angles in its puzzle of interlocking configurations than on “Glow On”, a love song written by Krock’s fiancée, the singer/songwriter Molly McAdoo. The light-filled tune immerses the listener in tender, expressive melodies while exuding a quietly ravishing quality. Guitar, trombone and trumpet occupy the center spots.

The group delves into Gyorgi Ligeti’s “Fanfares” with classical insight and contemporary chamber-jazz posture, but also an inner swinging sense. Stimulated by brushed drums and delicately spiraling horns and flutes, the piece is carried out with a constant effervescence without pouring things over too soon.

Orchestrated with modernistic splendor, this big-band music is nicely done.

Favorite tracks:
02 - Recessive ► 04 - Glow On ► 05 - Pareidoliac

Tomchess & Zach Swanson - Ghost Narratives

May 18, 2020

Label: Self released, 2020

Personnel - Tomchess: oud, ney, morsing; Zach Swanson: upright bass.

Ghost Narratives is a collaborative work between multi-instrumentalist Tomchess and bassist Zach Swanson. Having played together in different contexts, these two improvisers first met when Tomchess was searching for a bassist to play in Nima Farzeneh's No-Lands Band.

The music on this recording results from their duo sessions at Tomchess’s apartment between 2018 and 2019, and combines traditional Arab music and free improvisation. The gorgeous melding of their instruments can be heard throughout and, while tones can easily change from smooth to barbed, the intensities keep ranging according to their whims.

“If Going Again” opens the record by probing experimental ways that are also very communicative. The sparseness of the bass plucks contrasts to the oud requests before settling into a more specific groove, becoming percussive by the end. The erratic gravity exerted by the oud is also noticeable on “Liberation of the Mirror”, where shades of light and dark coexist. Swanson sets the mood, which doesn't hamper him from exploring new routes in the accompaniment, while Tomchess, in certain passages, nearly evokes the eloquence of flamenco through flurries of notes sequenced with chromatic invention.

However, my favorite pieces are “Tapestry of Evidence”, where the duo drops down into a dark shimmer before leading their instruments into a contrapuntal dance, and the title cut, a flexible conjugation of Eastern classical moods where the musicians alternate roles as the leading voice and accompanist. Amidst pensive reflections and racing progressions, there are well-defined cadences.

The main problem with this album is the extended length of the tunes, with the monochromatic soundscapes lingering in the same state for too long. Nonetheless, each piece reflects the enthusiasm of these musicians for improvisation and free form. The nearly 19-minute “The Innocent River” is more cinematic and no less tense either. Tomchess plays ney, a typical flute from the Middle East, as well as morsing, an instrument commonly associated with Carnatic Indian music. Vocals are also added as a percussive element.

Ney also appears at the center of “Wilderness Harmony”, where Tomchess takes the bulk of the lead by throwing beseeching chants. Yet, Swanson’s woody bass plucks stand out, complemented with feathery harmonics, robust two-note intervals, and keening arco laments.

It’s a long road, but totally rideable for lovers of improvised music and alternative sonorities.

Favorite Tracks:
02 - Liberation of the Mirror ► 05 - Tapestry of Evidence ► 07 - Ghost Narratives

Gard Nilssen's Supersonic Orchestra - If You Listen Carefully This Music Is Yours

May 15, 2020

Label: Odin Records, 2020

André Roligheten: saxophones, bass clarinet, percussion; Kjetil Møster: saxophones, percussion; Maciej Obara: alto saxophone, percussion; Per “Texas” Johanson: tenor saxophone, clarinets, percussion; Hanna Paulsberg: tenor saxophone, percussion; Mette Rasmussen: alto saxophone, percussion; Eirik Hegdal: saxophones, clarinet, percussion; Thomas Johanson: trumpet, percussion; Goran Kajfes: trumpet, percussion; Erik Johannesen: trombone, percussion; Petter Eldh: double bass, percussion; Ingebrigt Flaten: double bass, percussion; Ole Morten Vågan: double bass, percussion; Hans Hulbækmo: drums, percussion; Håkon Mjåset Johansen: drums, percussion; Gard Nilssen: drums, percussion.

A record that will definitely conquer the praise of avant-gardists, free jazzers, and modern orchestral surfers is Gard Nilssen’s If You Listen Carefully the Music is Yours. In this sonically lush venture, the ingenious Norwegian drummer leads the 16-piece Supersonic Orchestra with cutting-edge fashion, and the results are incredibly revealing. All six compositions and respective arrangements (distinguished by the presence of three core drummers and three bassists) had the precious contribution of saxophonist Andre Roligheten, Nilssen's co-worker in the Acoustic Unity project.

Dynamism is immediately manifest on the opening piece, “Premium Processing Fee”, in which an impelling rhythmic drive is bolstered by pungent accentuations. The solos - from altoist Maiej Obara and trumpeter Thomas Johansson - take place under a groovier, Sun Ra-esque atmosphere often populated by horn juxtapositions and interjectional fills. This fantastic, resolute, and brilliantly controlled turbulence is appeased on the next track, “Botteknott/Elastic Circle”, a triumphant mashup marked by clear melody and tangible form. While immersed in its symphonic developments, I thought of a progressive western film score suffused with compelling, inflamed discourses and a Latin-inspired groove that precedes the floating lightness of a finale with clarinet and saxophone at the center.

The effortless range of motion and varicolored moods traverse many territories, and “Teppen-Dance” offers a groovy, spiritual, and magnetic modal practice introduced by a more-than-four-minute bass intro suffused with incisive percussive plucks. And Mingus big band recordings came to mind…

With Roligheten in the foreground, “Jack” combines euphoria and imagination to generate a danceable get-up-and-go, while both “The City of Roses” and “Bytta Bort Kua Fykk” emanate beautifully textured timbres by virtue of the drummer’s solo introductory sections. Whereas the former includes horn-driven unisons, a bass solo and a progressive compactness in the orchestration, the latter - a hardcore blast of enthusiastic African percussion - boasts efficient rhythmic transitions, a fine trumpet solo and an unaccompanied trombone expedition propitious to timbral exploration.

The sophistication and freedom provided by Nilssen’s music, make him a key figure in the modern creative sphere of jazz. If you listen carefully… you’ll find it thoroughly worth experiencing.

Favorite Tracks:
01 - Premium Processing Fee ► 02 - Botteknott/Elastic Circle ► 04 - Teppen Dance

Brian Landrus - For Now

May 14, 2020

Label: BlueLand Records, 2020

Personnel - Brian Landrus: baritone saxophone, bass clarinet, flutes; Fred Hersch: piano; Drew Gress: double bass; Billy Hart: drums + Mike Rodriguez: trumpet; Sara Caswell: violin;

Low woodwinds virtuoso Brian Landrus explores his romantic side on From Now, his 10th album as a leader, which features him in a stellar core quartet with pianist Fred Hersch, bassist Drew Gress and drummer Billy Hart. The album comprises ten sharp originals from Landrus and three fresh renditions of jazz standards, including two from Monk. On selected numbers, there’s a quartet of strings coping with arrangements provided by Landrus and opera composer Robert Aldridge.

My favorite track of the album happens to be the opener, “The Signs”, a post-bop spectacle with a luxurious sound. Guest trumpeter Mike Rodriguez divides the melodic chores with Landrus, being the first to forge ahead into improvisation. He is immediately followed by the highly emotional drive of Hersch’s melodies. The pianist’s far-sighted comping involves us all deeply and Landrus' sinuous baritone promenade is not excluded from this blessing.

“The Second Time” offers a feel-good experience with strings, gorgeous modulations, and stimulating baritone-trumpet interplay over a vamp, whereas “JJ” is a more evocative piece with a stark finale.

Hart adds occasional rapid hi-hat tickling and in-time ride cymbal pulsation to “The Wait”, a waltzing tune where Grass also has his individual moment to shine. 3/4 is also the time reference on “The Miss”, which flows gently at a moderate pace, and “The Night of Change”, a melodious flute-driven piece.

Polished from major protuberances, both “Clarity in Time” and the title cut are ballads enriched by the strong symphonic presence of violins, viola and cello. And then comes the standards: a solo bass clarinet reading of Monk’s “Round Midnight” is poured out with an extensive range and earthy tone; also penned by Monk, “Ruby My Dear” becomes tremendously velvety during this singular sax-piano version; and “Invitation”, which acquires a swinging propulsion and dramatic saturated colors whenever the melody stands out from the lower registers.

Leaning on straight-ahead jazz but handled with an authentic new feel and inner instinct, Landrus proves that low reeds, besides groovy, can also be melodically intense.

Favorite Tracks:
01 - The Signs ► 05 - For Now ► 07 - Invitation

Walter Smith III / Matthew Stevens - In Common 2

May 12, 2020

Label: Whirlwind Recordings, 2020

Personnel - Walter Smith III: tenor saxophone; Matthew Stevens: guitar; Micah Thomas: piano; Linda May Han Oh: double bass; Nate Smith: drums.

Saxophonist Walter Smith III reappears side by side with guitarist Matthew Stevens in the revived In Common group, two years after the release of its eponymous album. In Common 2 remains a quintet but features a reformed rhythm team with emerging pianist Micah Thomas, bassist Linda May Han Oh and drummer Nate Smith on board. Yet, the concept behind the project remains intact: inelaborate forms, direct and concise melodies, short durations, and a straightforward approach.

The late trumpeter Roy Hargrove penned the opener “Roy Allan”, originally a funky modal song that here takes the shape of a miniature sax-guitar duet. The next track, “Lotto”, was the piece that buoyed me most. Harmonically special and rhythmically captivating, this collective improvisation based on a theme by Stevens has the melody bouncing into view with a laid-back feel. Things evolve into a colorful exploratory practice before ending up in a groovy vamp.

“Cowboy” exudes a beautiful folk charisma and the group delivers it with the help of Ms. Oh’s sly rhythmic drive. Stevens takes the lead during the first section and then it’s Thomas who shines with a highly engaging discourse that expresses his first-rate pianistic qualities.

Both Smith III’s “Clem” and Stevens’ “Provinces” share a taste for pastoral chords and sympathetic melody, and yet they feel modern.. The former, inspired by a character of the video game Walking Dead, is deftly brushed by Nate, whereas the latter, evoking memories of its author's childhood in Canada, nearly falls into a marching cadence as per nimble snare maneuvers.

Written in 5/4, “Van Der Linde” is another video game-inspired piece by Smith III, whose warm individual language can be largely enjoyed on the riff-based “General George Washington”. The exploration goes further with “Opera”, a polyrhythmic effort that creates contrasting tones by setting serene melodies against a brisk electronica-like pulsation, and “Type Rider”, whose dialoguing sax-guitar rendezvous finds extra groove in an expedient club/dance-like piano ostinato.

Smith III and Stevens culled inspiration from their own imagination as well as from the comprehensive musical universe that inspire their work. Hence, In Common 2 is replete with magnificent ideas.

Favorite Tracks:
02 - Lotto ► 03 - Cowboy ► 09 - Opera

Lucian Ban / John Surman / Mat Maneri - Transylvanian Folk Songs

May 11, 2020

Label: Sunnyside Records, 2020

Personnel - Lucian Ban: piano; John Surman: baritone and soprano saxophones, bass clarinet; Mat Maneri: viola.

The new explorative trio co-led by Romanian pianist Lucian Ban, American violist Mat Maneri and British multi-reedist John Surman focuses on interpretations of Romanian folk tunes recorded and transcribed by Hungarian pianist/composer Béla Bartók in the early 1900’s. The latter, a pioneer ethnomusicologist, travelled the Romanian countryside for eight years to collect peasant songs, some of which appear here with special arrangements by the trio. Ban and Maneri's musical affinities with Bartok's work compelled them to point out Surman as the third member of the ensemble due to his strong folk background and erudite sound development.

“The Dowry Song” is a wonderful piece that develops with unflinching purpose. With Ban providing a solid base in 5/4 time, Maneri inserts some percussive substance by gently plucking the strings, while the unmistakable, astonishing sound of Surman on baritone gets on top of everything. Before the crescendo that anticipates the finale, saxophone and viola embark on melodic parallels underpinned by a dramatic piano accompaniment that becomes tonally richer whenever Ban hits the lower registers.

“Up There” features Surman on bass clarinet, an instrument from which he draws mesmeric melodies with a magic touch. Maneri contributes to this asymmetric sculptural exploration with an appealingly tenuous asperity, benefitting from Ban’s textural creativity. The pianist improvises on this number over an ostinato equally shared by sax and viola.

The dynamic “Violin Song” exudes the freedom of an avant-folk experiment. There’s muted piano pedals and bold harmonies, fast elliptical soprano trajectories alternating with carefully paced folk melodies, angular viola cries, and heartfelt unisons capable of creating a strong emotional effect on the listener.

From this point on, the trio concentrates more on profound, introvert, sometimes mournful meditations such as “The Return”, “What a Great Night This Is, a Messenger Was Born”, “Carol” and “Bitter Love Song”, an icy yet translucent exercise where a frank dialogue between bass clarinet and viola occurs briefly with an absence of harmony.

The coherently calibrated layering of these three instruments never ceases, and considerably more light can be found on “The Mighty Sun”, a motivic classical tone poem, and on the closing piece, “Transylvanian Dance”, a Garbarek-esque folktale with repeating rhythmic cadences and dexterous chordal work.

Following a structured course of action, Transylvanian Folk Songs manages to be at once freewheeling and languidly pastoral.

Favorite Tracks:
01 - The Dowry Song ► 03 - Violin Song ► 08 - Bitter Love Song

Shabaka and the Ancestors - We Are Sent Here By History

May 7, 2020

Label: Impulse! Records, 2020

Personnel - Shabaka Hutchings: tenor sax, clarinet; Siyabonga Mthembu: vocals; Mthunzi Mvubu: alto sax; Ariel Zamonsky: acoustic bass; Gontse Makhene: percussion; Tumi Mogorosi : drums; Nduduzo Makhathini: Fender Rhodes; Thandi Ntuli: piano; Mandla Mlangeni: trumpet.

On cusp of fame, saxophonist Shabaka Hutchings, who also leads Sons of Kemet and The Comet is Coming, brings us stimulating rhythmic chops and haunting sounds with this new hyper-creative work with the Ancestors. We Are Sent Here By History is the long-awaited follow up to Wisdom of Elders (Brownswood Recordings, 2016). This recording gets even more enticing in its African chants, eloquent whispers, alternative sounds, tribal pulses, and pithy saxophone phrases. Hutchings defined it as a meditation on topics such as our own extinction as a species, forever lost cultures, greedy capitalism and white supremacist hegemony.

The Afro-centric jazz practiced by the ensemble is as much rooted in tradition as it sounds contemporary, alternating phases of light and darkness over the course of 11 hypnotic tracks.

The band infuses high energy on numbers such as “They Who Must Die”, delivered with a confident attitude and liberated through agile drumming, propulsive bass lines, psychedelic Fender Rhodes passages and a saxophone on fire; “Behold, The Deceiver”, a powerful exertion with Coltrane evocations in a forward-thrusting 6/8 time; and “The Coming of the Strange Ones”, a trippy and ecstatic ride where Shabaka’s reed provides the spark. However, it’s the collective’s rhythmic flair that keeps the flame burning.

“You’ve Been Called” has jazzy piano harmonies and well-sculpted sax riffs accompanying the always expressive vocals from Siyabonga Mthemba. An analogous situation is found on the extraordinary “Til’ The Freedom Comes Home”, in which bass, saxophone and effective multi-vocal lines produce a diligent, wonderfully synchronized Rastafari work song. Exerting the color and shading of The Ancestors singular world, these pieces are, by turns, mystic, aggressive, spiritual, and grim.

Still sonically feverish, “Go Heart, Go to Heaven” feels more melodic, bouncing as a celebratory distillation of jazz and African tradition. This tune is based on a South African church song, which happens to be the favorite of Siyabonga’s father.

Brimming with stunning musical freedom and delivered in 3/4 time, “We Will Work (On Redefining Manhood)” addresses toxic masculinity through a poem in Zulu and features a dynamic flute that resembles Pharaoh Sanders. In turn, “Run, The Darkness Will Pass” is a slick, luxurious, danceable nu jazz exercise with horns and vocals in counterpoint and a deep bass pattern flooding the road.

With a singular cross-disciplinary taste in the approach, this group thrives with such a great force, and another proof of this is “Beasts Too Spoke of Suffering”, where Shabaka’s groaning cries fall over a busy rhythmic tapestry. This sonic account is pure fascination and, consequently, a must-have.

Favorite Tracks:
01 - They Who Must Die ► 04 - Behold, The Deceiver 06 - ► 09 - Til The Freedom Comes Home

Ferdinando Romano - Totem

May 6, 2020

Label: Losen Records, 2020

Personnel - Ralph Alessi: trumpet; Tommaso Iacoviell: flugelhorn; Simone Alessandrini: alto and soprano saxophones; Nazareno Caputo: vibraphone, marimba; Manuel Magrini: piano; Ferdinando Romano: double bass; Giovanni Paolo Liguori: drums.

The music of Italian bassist Ferdinando Romano beautifully captures the melodicism and relaxation so characteristic of the Italian jazz scene, but also ventures outside this scope at some point. On Totem, a collection of eight original compositions, Romano’s base quintet is augmented by American trumpeter Ralph Alessi, an esteemed ECM artist and improviser to be reckoned with, and flugelhorn player Tommaso Iacoviello, on six and three selections, respectively.

Helming the ensemble with personality, Romano devises the opener, “The Gecko”, with an uncluttered aesthetic. His bass pedal, a laid-back projection of the rhythm team’s simpatico support, sets a cool pace with Alessi bringing more light into the setting, whether through brisk phrases full of rhythmic intention, whether through the injection of dulcet melody. This number also counts on the soloing capabilities of vibist Nazareno Caputo and pianist Manuel Magrini.

“Evocation” works as a bass prelude to “Wolf Totem”, an odd-metered piece inspired on the novel of the same name by Jiang Rong. You may enjoy the soprano-trumpet unisons as part of the theme, seamless modulations, and absorbing improvisations - Magrini’s refined rhythmic touch is complemented with underlying harmonic fits, while Alessi shows off a sophisticated language with a great sound and extended pitch range.

On the ballad “Curly”, a bass solo emerges right after the main statement, and then Alessi conjures up Miles Davis during his muted trumpet improv. Also utterly relaxing, “Memories Reprise” is an evocative brushed waltz introduced by arco bass and enriched by resplendent melodies shaped by Iacoviello. Yusef Lateef, Enrico Pieranunzi and Kenny Wheeler are some of the names that popped up into my head while listening to this old Romano tune, rewrote and rearranged for this album.

“Sea Crossing”, probably inspired by the immigration problem that Italy keeps facing over the years, is divided into two parts, the first of which denoting a funny cadence with horns and vibes in complete communion with the piano, which ends the piece unaccompanied and in a melancholic way. In between, my attention turned to Paolo Liguori’s conspicuous drumming, especially during the trumpet solo, and Simone Alessandrini’s saxophone stretch, here placed on top of a noisier accompaniment.

“Mirrors”, one of the most absorbing pieces on the album, has the band performing curious mutations within a dedicated interplay. Probing other territories, the ensemble’s procedures flow from relative introspection into layers of shape-shifting energy.

Investing in the collective’s unity, Romano does a pretty competent job.

Favorite Tracks:
03 - Wolf Totem ► 07 - Memories Reprise ► 08 - Mirrors

Fiil Free - Under Overfladen

May 5, 2020

Label: Fiil Free Records, 2020

Personnel - Henrik Pultz Melbye: saxophone, clarinet; Tomasz Dabrowski: trumpet; Henrik Olsson: guitar; Martin Fabricius: vibraphone; Lars Fiil: piano; Casper Nyvang Rask: double bass; Bjørn Heebøll: drums.

The sophomore outing from Copenhagen-based septet Fiil Free, an avant project led by Danish pianist/composer/improviser Lars Fiil, is called Under Overfladen, which translates into ‘beneath the surface’. The whole thing flows with consistency, and the title track, launching the session, remains in a quiet state of suspension with vibes underpinning everything with a one-note pedal before an avant-garde foray is ordered.

The pendulous “12-6” also relies on a bass pedal (not devoid of rhythmic groove) around which many things revolve. Fiil strolls uncompromisingly while the horn section blows with a clever sense of integration, allowing the simplicity of the process to be converted into an efficient outcome.

Following a methodical course in which instrumental layers are gradually added, “Stille Undren” alternates between the rugged and the contemplative, often underlining an off-centered bass that refuses to go with the flow, which I like.

Undoubtedly a highlight, the exciting “Omvendtom” fans the flames of the ensemble’s explosive soundworld, here composed of avant-jazz freedom and rock with a subtle anthemic flair. The fiery saxophone outbursts and dense guitar noise are gratifying, envisioning changes in the dynamics that pique our curiosity for what comes after. It’s a captivating excursion that culminates with tumultuous piano and crotchety saxophone.

Set to conclude the album is “Largo Con Moto”, which making reference to tempo in its title, starts like an organic, serene experimentation that gets closer to an exercise in mood than a standardly structured composition. The combination of inconsolable melodies, air sounds and a rattling continuum with occasional cymbal color is deeply rewarding.

Balancing the lyrical and the inharmonious as well as the thought and the unexpected, Fiil gifts us with a refreshing record that should bring rapturous joy to jazz aficionados with a progressive ear.

Favorite Tracks:
01 - Under Overfladen ► 02 - Stille Undren ► 05 - Omvendtom

Sasha Mashin - Happy Synapse

May 4, 2020

Label: Rainy Days Records, 2020

Personnel - Rosario Giuliani: alto saxophone; Dmitry Mospan: tenor saxophone; Josh Evans: trumpet; Benito Gonzalez: piano; Makar Novikov: bass; Sasha Mashin: drums.

Happy Synapse is the sophomore album from St.Petersburg-native drummer Sasha Mashin, leader of a sextet featuring recent accomplices Dmitry Mospan on tenor, Josh Evans on trumpet, and Benito Gonzalez on piano. Rounding out the group are altoist Rosario Giuliani and bassist Makar Novikov, who had participated in the drummer’s debut CD.

The amalgamation of joy and spirituality conveyed by the eight tracks on this album hides the depressive state that Mashin lived while growing up in Russia. The drummer struggled with stigmatization and with his own mental health, but also experienced happy synapses that brought him hope. Hence the title.

The writing credits belong to Evans, Gonzalez, Mospan and Giuliani, who contribute two pieces each. The CD opens and closes with the latter’s compositions, two of the strongest. “The Hidden Voices” has the liveliness of the drum intro announcing a wild ride prepared with Coltrane-McCoy modal instinct and complementary up-tempo swinging sections. Solos by Gonzalez and Giuliani make it a highlight. “The Hidden Face of Stars” finds fluidity and elegance at every move. It’s brought to a simmer during the theme statement, where Gonzalez fills the gaps left by the horns’ sluggish melodies, but completely boils and bubbles with the advanced, straight-ahead improvisatory command of Evans and Giuliani. The former blows with vivid color and wide range, while the latter aligns torrents of notes to form logical phrases. Both reveal eloquence and sophistication in their vocabulary.

Evans’ “Sulieman Saud” opens with gorgeous piano melodies before starting to explore modal sequences that serve to underpin bright unisons. At this point, Herbie Hancock’s “Maiden Voyage” comes to mind, but then it’s Gonzalez who deservedly claims the spotlight. The trumpeter also penned “Sim Card”, a scorching hard-bop infiltration that musically describes how his friendship with Mashin began. He inaugurates the soloing department by dropping notes with astonishing precision and Freddie Hubbard-like intensity.

Also hard-bop-influenced is Mospan’s “Inner News”, whose layout relies on a deep swinging, hard-driving style. It differs from the tenorist’s other tune, “Incantation”, a soul-stirring exercise introduced and propelled by bass. Mashin’s talking drums appear confidently, closing out an improvisational section deeply etched by tenor, trumpet, and piano.

“Night Melody” and “Flowing” are both creations of Gonzalez’s musical sensibility. Rhythmically driven by mallets, the former piece lives in a permanent state of suspension, while the latter is a Latin jazz brew packed with jazz history - lick suggestions go from Coltrane’s “Giant Steps” and “Acknowledgement” to Cedar Walton’s “Bolivia”.

People whose musical taste leans on tradition won’t regret buying this one, while modernists can also enjoy pure moments of jazz expansion.

Favorite Tracks:
01 - The Hidden Voices ► 02 - 05 - Sulieman Saud ► 08 - The Hidden Face of Stars

James Brandon Lewis / Chad Taylor - Live in Willisau

April 29, 2020

Label: Intakt Records, 2020

Personnel - James Brandon Lewis: tenor saxophone; Chad Taylor: drums, mbira.

Following up the highly successful Radiant Imprints album, hailed by JazzTrail as one of the best of 2018, the dynamic duo of saxophonist James Brandon Lewis and drummer Chad Taylor is back with Live in Willisau, an eight-track session captured in 2019 at the 45th Willisau Jazz Festival, Switzerland.

The first two pieces, “Twenty Four” and “Radiance”, were drawn from their debut album. Integrating Coltrane’s “Giant Steps” and “26-2”, the former sparkles with the energy of Lewis’ propagative rhythmic figures and Taylor’s percolating sounds, which includes wildly active snare, rolling thunder toms and cymbal scintillation. At some point, both musicians express their thoughts alone. This piece segues into the next one without interruption. It's a sort of work song introduced by Coltrane’s “Seraphic Light” and containing gospel elements in the melody and beneficial changes of beat along the way. It bears some similarity in tone with Mal Waldron’s relentless “Watakushi No Sekai”, heightened here by a flawless rhythmic sense and undulating fervor.

The contemplative “Come Sunday” by Duke Ellington, stripped down to its bear essentials, along with the duo’s “With Sorrow Lonnie”, feel more spacious and relaxing as they are rhythmically conducted by the chimelike timbres of the African mbira.

Elasticity and robustness are essential factors in the unfiltered approach adopted by these creative minds. Take, for example, “Imprints”, whose sinewy start highlights an empowering tenor that etches sinuous figures and zigzagging lines on the entangling percussive tapestries. It's great to see Lewis chaining elliptical phrases and pinning them down with low-pitched notes for stabilization. Also, Dewey Redman’s “Willisee”, my favorite track on the album, carries musical farsightedness. We find them excavating confrontational, urgent sounds - Coltrane invocations, blues tones, free bop discharges, and an auspicious mix of funk and hip-hop by the end.

Delivered raw, the music of Lewis and Taylor is an impressive communion of technique, pure energy and sound, with both musicians orchestrating ideas not only with vitality but also with a refined taste. Recently, I’ve no idea of a better horn that mingles so beautifully with lyrical, mindful rhythms.

Favorite Tracks:
05 - Imprints ► 06 - Watakushi No Sekai ► 08 - Willisee

Ohad Talmor Newsreel - Long Forms

April 28, 2020

Label: Intakt Records, 2020

Personnel - Ohad Talmor: tenor saxophone; Shane Endsley: trumpet; Miles Okazaki: guitar; Jacob Sacks: piano; Matt Pavolka: acoustic bass; Dan Weiss: drums.

Brooklyn-based saxophonist Ohad Talmor is a leading voice among the most ambitious composers/arrangers working in New York. For this new album - a collection of long form tunes based on single ideas that keep evolving en route - he reconvened the reputable Newsreel group, nine years after its debut. The current formation features the same trustworthy long-time collaborators that joined him in 2011 - Jacob Sacks on piano, Shane Endsley on trumpet, Matt Pavolka on bass and Dan Weiss on drums - plus the forward-thinking guitarist Miles Okazaki, who whets the listeners' appetite with extra sonic spice.

Talmor’s compositional vein translates into a fresh contemporary style that is pretty much evident on the opening tune, “Layas Lines”. This energy-infused piece grew out of the third movement of Layas, a piano-drums concerto written for Jason Moran and Dan Weiss. The layout includes both unisons and constellating polyphony, impressive synchronous movements and an off-center inclination that bewilders and paralyzes such is its cohesion. Talmor unleashes lines with high fluidity, enjoying both lush piano chords in support of his cause and single-note guitar phrasing delivered in parallel. Endsley also takes his game beyond expectation, and then it’s Okazaki who shapes the vamp over which Weiss demonstrates his unlimited creativity.

The invigorating “Kayeda” is based on the Hindustani heritage and finds Talmor’s eclectic ideas booming with a postmodern aesthetic. By combining sturdy chordal practices and melodic agility, Sacks deconstructs in waves, while Endsley operates under the fabulous rhythm designed by Pavolka and Weiss. The bandleader closes out the improv section with uncluttered authority and a commanding presence that perfectly consolidates pitch control, articulation and dynamics.

The waltzing ballad “Casado” is further enriched with the incandescence of Sacks’ intro and denotes influences of both Lee Konitz (Talmor’s mentor), Bill Evans, and classical music. In turn, the three-part “Scent” goes in a distinct direction. Hints of vulnerability are detected in the graceful arches and corridors of the first and third parts, while the second, preceded by the liquidity of a dreamy piano interlude, takes the form of a propulsive rock machine.

The mighty presence of Weiss behind the drum kit is not only difficult to understate on the latter track but also on the closer, “Musique Anodine”, where he infuses ingenious syncopation, especially during Okazaki’s crescent solo. Simultaneously glamorous and delicate in texture, this particular number features improvisations from all members of the group while advancing gradually and methodically toward a crescendo.

The musicians' powerful chemistry spreads out, translating into a superb sound and facility of communication.

Favorite Tracks:
01 - Layas Lines ► 03 - Kayeda ► 06 - Musique Anodine

Gilfema - Three

April 27, 2020

Label: Sounderscore Records, 2020

Personnel - Lionel Loueke: guitar; Massimo Biolcati: bass; Ferenc Nemeth: drums.

The cooperative trio Gilfema features the same musicians of Lionel Loueke Trio, with the particularity that the recorded material is penned by all the three members. This world jazz collective, which besides the acclaimed Benin-born guitarist also includes Swedish-Italian bassist Massimo Biolcati and Hungarian drummer Ferenc Nemeth, hadn't released an album since 2008, returning now with 13 cuts filled with rhythmic panache and eclectic crosscurrents.

Fronting the operations, Loueke is an inimitable force of nature, whose musicality benefits from the sometimes cool, sometimes animated lyricism of his partners. Highly rhythmic titles such as “Lé”, “Brio” and “Aflao” are very much representative of the West African music tradition, here fused with contemporary jazz elements. The opener, “Têkê”, also falls into this category, but it’s a quite special one, boasting peculiar nylon-stringed guitar sounds wrapped in marvelous effects, in conjunction with strong hi-hat manifestations and snappy bass moves.

All the aforementioned compositions have the signature of Loueke, with the exception of “Brio”, which he co-penned with Biolcati. The pair collaborated in three other, but the highlight is the odd-metered “13th Floor to Heaven”, a.more jazzified, deliberately paced oddity devised with a relaxing mood, intervallic patterns of great quality and noteworthy vocals forming dulcet unisons with the guitar.

Equally navigating through undisturbed waters, Loueke’s “Dear JL” and Nemeth’s “Requiem For a Soul” are synonyms of a hybrid jazz sophistication. The former, aligned in 5/4 time, has tight brushwork and malleable bass maneuvers underpinning Loueke’s inspired guitar work, whereas the latter, pulsating in seven, showcases the group’s infallible communication. Nemeth also composed “Happiness”, a Fela Kuti-like exercise whose blend of wah-wah funk and afrobeat supports synth-laden melodies and improvisatory segments alike.

Loueke’s fantastic expressionism has the ability to hypnotize, and his peerless vision catches the ear again on a superlative acoustic rendition of Jimi Hendrix’s ballad “Little Wing”, a piece to listen over and over again.

Embracing interesting and viable musical forms, Gilfema is the artistic expression of world jazz sculptors gifted with varied talents and enjoying full maturity.

Favorite Tracks:
01 - Têkê ► 02 - Little Wing ► 12 - Requiem For a Soul

Charles Pillow Ensemble - Chamber Jazz

April 23, 2020

Label: Summit Records, 2020

Personnel - Charles Pillow: flute, alto flute, clarinet, alto sax; soprano sax, oboe, english horn; Scott Wendholt: trumpet; Alan Ferber: trombone; Chris Komer: french horn; Marcus Rojas: tuba; Todd Groves: bass clarinet, clarinet, flute; Vic Juris: guitar; Gary Versace: piano, accordion; Jeff Campbell: bass; Jay Anderson: bass; Mark Ferber: drums; Rich Thompson: drums; Rogerio Boccato: percussion + string ensemble - Hiroko Taguchi: violin; Whitney Lagrange: violin Lisa Matricardi: violin; Todd Low: viola; Orlando Wells: viola; Alisa Horn: cello; Allison Seidner: cello.

Even if Charles Pillow’s name doesn’t immediately ring a bell, you have probably heard him playing with central jazz figures as Maria Schneider, Dave Liebman, John Scofield, and more recently Brad Mehldau. Outside the jazz scope, the list of collaborations is equally vast and includes Paul Simon, Bruce Springsteen, Chaka Khan, and Jay-Z, among others.

Following Electric Miles (Summit, 2018), a tribute to the early electric phase of giant trumpeter Miles Davis, the woodwinds player gathers his dedicated large ensemble, concentrating on the orchestral chamber jazz genre. Here, he delivers a repertory with an equal share of originals and covers.

As expected, the classical intonations, enhanced by the presence of strings, are a bit all over the place. The opening piece, “While Pass Manchac” paints scenic landscapes with warm colors, mixing suave classical sonorities with the persuasion of jazz. The improvisers are trumpeter Scott Wendholt and Pillow on alto saxophone.

Classical impressions are even stronger on “Charlotte and Evan”. This composition, dedicated to Pillow’s children, brims with cellos and violins in harmonious communion. Resourceful pianist Gary Versace stands out on this one, and he shows his multifaceted skills by switching to accordion on Hermeto Pascoal’s “Bebe”. He embarks on a decorous conversation with Pillow, who blows the clarinet with lucidity, with the complementary percussion of Rogerio Boccatto and Rich Thompson fully manifesting underneath.

Pillow puts a lot of heart in the arrangements and Monk’s less-familiar composition “Oska T” is explored with bold counterpoint, reaching high peaks during the improvisations from tuba player Marcus Rojas and trombonist Alan Ferber.

Another magic moment occurs when the late guitarist Vic Juris brings his beautiful sound to Billie Holiday/Arthur Herzog Jr.’s plaintive song “Don’t Explain”. A docile flute accompanies him here, as well as on “Pee Wee”, a placatory medium-tempo waltz penned by drummer extraordinaire Tony Williams and immortalized by the Miles Davis quintet.

Equipoising the venerable and the thrilling, “Atchafalaya Fiction” sonically depicts the Atchafalaya basin, the largest wetland and swamp in the US, which is located in Louisiana. Driving us through subtle shadings, the ensemble puts the spotlight on Ferber and he doesn’t pass up the chance to shine with wonderful melodies expressed across several registers.

The competence of Pillow’s big band is indisputable.

Favorite Tracks:
03 - Don’t Explain ► 06 - Oska T ► 08 - Atchafalaya Fiction

Simon Nabatov - Plain

April 22, 2020

Label: Clean Feed, 2020

Personnel - Simon Nabatov: piano; Chris Speed: tenor saxophone, clarinet; Herb Robertson: trumpet, vocals; John Hébert: double bass; Tom Rainey: drums.

Signaling the third appearance of Russian-born pianist Simon Nabatov on Clean Feed, Plain is his second consecutive quintet effort and the follow up to Last Minute Theory (2019). However, none of the musicians that joined him on the latter has performed in this new work. The bandleader put together another A-list group with bassist John Hébert and drummer Tom Rainey constituting a sturdy foundation, and with saxophonist Chris Speed and trumpeter Herb Robertson assuring a nimble frontline. The latter contributes one short piece called “Ramblin’ On”, a quite intense stretch where he literally vociferates with a distorted effect in the company of Speed’s punchy attacks and the insane entanglement weaved by the rhythm section.

From the five Nabatov originals on the album, I elect “Plain” and “Break” as highlights. The former begins with an elegant piano-clarinet recital that conjures up the most refined classical music. A sultry Arabic feel mixes with the sound of czars and an avant-jazz boldness is inevitably thrown in the mix. Speed shows off his burnished sound and expressive vocabulary, and things get tenser with Robertson’s continuous flux of terse notes, during which Nabatov colors with sophistication in the accompaniment. The pianist’s penchant for improvisation is amply demonstrated throughout the record, but he truly excels here, before the beautifully melodic conclusion. For its part, “Break” is mounted with deftness and delivered with tact, displaying bouts of excellent playing. At first, we have sax and trumpet working together, having a cerebral arco bass as a supportive factor. Sudden bursts of energy are injected by the rhythm team, and Nabatov’s ingenious pianism comes to the fore once again as he improvises with a sure sense of time and phrasing over a groovy tapestry.

The moody “Copy That” intersperses mystifying and cacophonous moments with dexterity, working the low-end sounds with a serious-minded posture. It contrasts with “Cry From Hell”, which despite the title may suggest, feels much more relaxed in the way that it consolidates the numerous musical vistas acquired by Nabatov throughout the years. It’s a mixed bag of Monk’s angular swing, Brazilian elements, jazz tradition, and a dash of Herbie Nichols’ musical temper. It’s exactly with a classic piece of the aforementioned pianist - “House Party Starting” - that the group concludes this session.

The musicians involved in this project channel their contagious energies with a common sense of direction, facilitating Nabatov's musical personality to come through loud and clear.

Favorite Tracks:
01 - Plain ► 04 - Break ► 07 - House Party Starting