Picks of the Week, April 7, 2008
Vijay Iyer
“Tragicomic”
(Sunnyside, 2008)
Vijay Iyer
(p), Rudresh Mahanthappa (as), Stephan Crump (b), Marcus Gilmore (dr)
In his
debut with Sunnyside Records, pianist Vijay Iyer continues to conceive a style
and sound deserving of recent high critical acclaim. Iyer, who has been recognized with top honors
as a rising star according to Down Beat,
demonstrates a unique and highly personal understanding of the jazz language
that could only be hampered by overly simplistic categorization. Iyer’s playing style combines the
uncompromising energy of Bud Powell with the intense yet graceful inwardness of
Matthew Shipp, while his composition touches on Vandermark-like levels of
complexity. Iyer aside, the quartet,
also including saxophonist Rudresh Mahanthappa, bassist Stephan Crump, and
drummer Marcus Gilmore, is intently focused throughout – the tightness
displayed here is uncanny, and indicative of unquestionable dedication and
effort. Iyer’s latest release is
triumphant in many facets.
- Mike Szajewski, WNUR Jazz
Picks of the Week, March 31, 2008
Heath Watts/Dan Pell
“Breathe if
You Can” (Leo, 2008)
Heath Watts
(ss), Dan Pell (dr)
“Breath if
You Can” is a stunning surprise from the Philadelphia based duo of
Montana-native soprano saxophonist Heath Watts and Norwegian-born drummer Dan
Pell. This series of nine freely
improvised pieces is injected with Watt’s musical philosophy, namely a method
he calls NODOT, or Non-Objective Dynamically Ordered Tones, which focuses on
the creation of pure sound rather than tangible representation and rejects structure. The result is a masterfully dynamic
accomplishment, which, as the title suggests, is rarely relenting. Watts lists his major influences as folks
like Steve Lacy, Evan Parker, Coltrane, and Monk, but he also displays a subtle
knack for angular melody in the vein of Ayler, or, more recently, Trevor Watts,
and a Peter Brotzmann-like understanding of rhythm.
- Mike Szajewski, WNUR Jazz
The Aardvark Jazz Orchestra
“American
Agonisties” (Leo, 2008)
In their 5th
album released on Leo, the Aardvark Jazz Orchestra demonstrates a unique knack
for multifariousness. The genius behind
the group’s sound is conductor/composer/pianist/trumpeter Mark Harvey whose
musical ideas draw influence from a broad variation of interpretations of the
large music ensemble; included in this spectrum are orchestral, concert band,
ensemble jazz, and experimental big band sounds, along with an electric touch
brought about by electric bassist Jerry Edwards and guitarists Larry Carsman
and Richard Nelson. Particularly strong
are the woodwinds, led by Peter Bloom and Arni Cheatham on flute, whose
graceful flights contribute to the delicate sonic balance of Harvey’s
vision. The sturdy tone of trumpeters KC
Dunbar, Taylor Ho Bynum, and Jeanne Snodgrass is also elemental in the establishment
of Harvey’s musical fabric.
- Mike Szajewski, WNUR Jazz
Picks of the Week, March 10, 2008
Garrison Fewell/Eric Hofbauer
“The Lady
of Khartoum” (Creative Nation, 2007)
Garrison
Fewell (g, perc), Eric Hofbauer (g, perc)
From
Creative Nation Music, a rising big name in the free jazz world, comes “The
Lady of Khartoum,” featuring a duo of Boston-based guitarists Eric Hofbauer and
Garrison Fewell, both of whom also contribute on percussion. Combining a broad range of influences,
including West African and Middle Eastern music along with an angular take on
the blues, playing original pieces and interpreting ones from Thelonious Monk
and John Tchicai, Hofbauer and Fewell create a subtly flowing set of music.
- Mike Szajewski, WNUR Jazz
Rob Brown Ensemble
“Crown
Trunk Root Funk” (AUM Fidelity, 2008)
Rob Brown
(as), Craig Taborn (p, elec), William Parker (b), Gerald Cleaver (dr)
In what is
certain to be a career landmark recording for altoist Rob Brown, “Crown Trunk
Root Funk,” the New Yorker leads a tight, driven ensemble, bold in both its
sound and flexibility. With years of
experience playing as a sideman with bassist William Parker and the giants of
the New York scene, Brown has now has established himself as a crucial vanguard
voice, and this truth can be heard in Brown’s music here. Supported by a rock solid rhythmic duo of
Parker and drummer Gerald Cleaver, Brown grooves on pieces like “Rocking Horse”
and wails away on free-jazz blowouts like “Exuberance,” two of the highlights
of a set of seven original Rob Brown pieces.
And the mystical explorations of “Sonic Ecosystem,” demonstrate the yearning
creativity of group, specifically of pianist and electronic artist Craig
Taborn.
Picks of the Week, March 3, 2008
Bob James Trio
“Explosions”
(ESP Disk, 2008)
Bob James
(p, elections), Barre Phillips (b), Robert Pozar (dr), Bob Ashley
(electronics), Gordon Mumma (electronics)
Bob James Trio’s “Explosion,” recently release on ESP Disk, is a baffling piece of music for two reasons. Firstly, after hearing the music, one would hardly guess that the music was generated in 1965, as it sounds more like a modern day fusion of rock, noise, free improv, and jazz. Pianist Bob James, joined by Barre Phillips on bass and Robert Pozar on drums with Bob Ashley and Gordon contributing an electronic tape collage, concocts a fascinatingly visionary sound which seems eerily ahead of its time. Aside from the use of electronics on this album, (it is believed that this is the first time that a combined use of electronic music and free improve was documented) the music is remarkably similar to the style of improvisation that would develop in the UK several years later, and considerably unlike the sound one might expect from an experimental jazz group in New York in the mid 1960’s. Even more unusual is the path that James’ career took after this session was recorded. From the mid 1970’s onward, James took up a drastically more mainstream sound, releasing a slough of crossover jazz/pop albums for labels like Columbia and Warner Brothers. A fascinating oddity of a recording, “Explosions” gives listeners a preview into what could have been but was never advanced.
- Mike Szajewski, WNUR Jazz
Never Enough Hope
“The Gift
Economy” (Contraphonic Music, 2008)
Yet another
truly unorthodox and fascinating album, this release features the compositions
of Chicagoan Tobin Summerfield, known for his work with Crush Kill Destroy and
Detroit’s Larval. Summerfield creates a
remarkable sound, mixing an avant-rock/post-punk sound with a big band set
up. Furthermore, the project features
some Chicago jazz stalwarts, including Jamie Branch, Aram Shelton, Dave Rempis,
Jason Ajemian, and Frank Rosaly. Big
names or not, Summerfield deserves significant attention as a
creative, unclassifiable musical mind.
- Mike Szajewski, WNUR Jazz
The Giants of Gender
“The Giants
of Gender” (Edgetone, 2007)
Andy Meyer
(reeds), Kyle Farell (vibes, perc), Jenna Barvitski (violin, viola)
In a developing nation-wide scene of young, ambitious, and radical free improvisers, The Giants of Gender, with their unusual instrumentation and deeply philosophical approach, have clearly made a definitive first step. Recorded in May and October of ’07, this eponymous release from Edgetone Records demonstrates the trio’s acute sense for intricate interplay as they create subtle music that can both dizzy and numb the mind. Reed player Andy Meyer and string player Jenna Barvitski speak an impeccably intertwined language on these pieces, as the two continuously compliment each other in new and unexpected ways. Look for this group to make a serious splash in the genre of improvised music in the years to come.
- Mike Szajewski, WNUR Jazz
Pick of the Week, February 18, 2008
Bill Dixon w/ Exploding Star
Orchestra
“Bill Dixon
w/ Exploding Star Orchestra” (Thrill Jockey, 2008)
The latest release from Rob Mazurek’s Exploding Star Orchestra is by no means your typical supergroup album, not even by a long shot. Firstly, it was inspired by a duel leadership of Mazurek and legendary trumpeter Bill Dixon, a pairing that is as fascinating as it is unlikely, bringing together the latest in Chicago jazz with one of the few remaining vanguard leaders of the early New York movement. But it is the visionary nature of the music that outshines the curiosity of the circumstances. Dixon and Mazurek’s pieces radiate an air of majestic brilliance, both chaotic and calculated. Jeff Parker’s artistry on the guitar beautifully cuts through the dense layers of sound. Most interesting is the work of Jason Adasiewicz, playing both vibraphone and tubular bells on the three long tracks featured in this album, and the unique decision to include the latter in the instrumentation produces a sound rarely heard in creative jazz music.
- Mike Szajewski, WNUR Jazz
Picks of the Week, February 11, 2008
Marc Hannaford
“The Garden
of Forking Paths” (Extreme, 2007)
Marc
Hannaford (p), Scott Tinkler (tp), Ken Edie (dr), Philip Rex (b)
Exploring a vivacious improvisational style, young Australian pianist Marc Hannaford, along with three fellow countrymen in Scott Tinkler, Ken Edie, and Philip Rex, will surely catch the ear of jazz listeners worldwide with this new release, “The Garden of Forking Paths.” Mastering a refined sense of controlled intensity, the young Hannaford shines as the leader of this quartet, craftily guiding the group without being dominating or overpowering in his choices. It is this approach that sets the manner of communication between the four players as they put forth an ideal blend of swirling sound. A relative newcomer to the jazz scene, having only begun playing professionally in 2001, Hannaford has now, if not yet before, proven himself to be a creative force. Tinkler’s confident, sturdy voice also adds an extra air of assurance to the overall feel.
- Mike Szajewski, WNUR Jazz
Kali. Z Fasteau/Kidd Jordan/Newman
Taylor Baker
“Live at
the Kerava Jazz Festival: Finland” (Flying Note)
Kali. Z.
Fasteau (p, fl, cello, synth, voice, violin, perc, ss), Kidd Jordan (ts),
Newman Taylor Barker (dr)
Demonstrating
a remarkable breadth in her multinstrumentalism, Kali. Z Fasteau demonstrates a
fascinatingly diverse style in her new release with Kidd Jordan and Newman
Taylor Baker, featuring music from the trio’s performance from the Kerava Jazz
festival in June of 2007. While Jordan’s
bold sax serves as the canvas, it is Fasteau’s playing the adds a brilliant mix
of texture and color to the recording, injecting an enchanting sense of
mysticism and exoticness into every piece.
Playing the Arabic double-reed mizmar, a piano harp, a nai flute, a
cello, a synthesizer, as well as some more conventional instruments, Fasteau
more than masters many trades.
- Mike Szajewski, WNUR Jazz
Picks of the Week: January 28, 2008
Peter Brotzmann/Peeter Uuskyla
“Born
Broke” (Atavistic, 2007)
Peter
Brotzmann (ts, cl), Peeter Uuskyla (dr)
With his distinguished husky, gut wrenching tone and exceptionally masterful command over the blues in all its most radical interpretations, reed master Peter Brotzmann continues to push forward the vanguard of groundbreaking jazz with this duo 2 CD release, joined here by Swedish drummer Peeter Uuskyla. The two make a perfect match, as each provides the perfect combination of focus and fluctuation; and, like all truly great free jazz performances, the intangible energy of the music is present in every note. And, given the use of 2 CD’s for only 4 pieces, Brotzmann and Uuskyla are given the space needed to fully explore the communicative potential of the duo. The emotionality of the album is established immediately by Uuskyla, whose command over a hypnotically driving rhythm elevates Brotzmann’s potential for intensity to an even higher level.
- Mike Szajewski, WNUR Jazz
The JoAnne Pow!ers Trio
‘Food for
Thought” (Unofficial Records, 2007)
JoAnne Pow!ers
(saxes, cornet), Jennifer Pendur (b), Paul Baker (dr)
Leading a blistering sonic attack nearly 80 minutes long, fire-blowing saxophonist JoAnne Pow!ers has certainly made a raw, powerful statement with her new trio release from Unofficial Records. Citing influences from the early vanguard of free jazz saxophone to underground radicals like Japan’s Kaoru Abe, Pow!ers unbridled approach combined with her acute sense of rhythm and flow make provide for a remarkably executed outing as leader of this focused and inspired trio. Furthermore, her improvisational approach is also based on Middle Eastern and Indian modality, a fact which subtly adds depth to her voice. Drummer Paul Baker understated performance also gives Pow!ers the freedom to carry out her improvisation without the erratic sonic bombardment of many similar free jazz sessions. Food for Thought will certainly serve as an eye-opener for many fans of the genre, as Pow!ers puts forth a delightfully unpredictable trio sound.
- Mike Szajewski, WNUR Jazz
Picks of the Week: January 14, 2007
Keefe Jackson’s Project Project
“Just Like
This” (Delmark, 2007)
In yet another Chicago-based free jazz super group, reed player and composer Keefe Jackson leads this 12-person ensemble, the Project Project, on an impassioned musical voyage. The pieces here feel more like movements than mere songs or improvisations, as Jackson’s ensemble takes its listeners through a whirlwind of changing feels, attitudes, and moods with purpose, meaning, and carefully considered artistry. Celebrating both the group dynamic and the capabilities of the group’s individual voices, the Project Project, which Jackson founded in 2005, will wail away in an energy-filled shout section one minute, and then proceed to give its individual members a chance to explore the direction of the piece on a personal level. The performance of drummer Frank Rosaly will immediately strike you here, as his style is sharp and his sense of rhythm is infectious. The trombone duo of Jeb Bishop and Nick Broste also adds considerable texturally complex excitement.
- Mike Szajewski, WNUR Jazz
Alberto Braida/Wilbert de Joode
“Reg Erg”
(Red Toucan, 2007)
Alberto
Braida (p), Wilbert de Joode (b)
In this new piano/bass duo album from Red Toucan, 41-year-old Italian pianist Alberto Braida proves himself to be a powerfully creative force. While he can lightly and inquisitively dance about the keys, Braida can also lead a powerfully barrage of playing, demonstrating, most notably, his remarkable rhythmic vision. Always fresh and unexpected, Braida leads this duo through a set of both short and medium length pieces with veteran bassist Wilbert de Joode. The lesser-known Braida has performed with international greats including Wadada Leo Smith, Peter Kowald, and Gino Robair. Currently, he is involved in small-group projects with the likes of John Butcher and Jack Wright.
- Mike Szajewski, WNUR Jazz
Picks of the Week: January 7, 2007
Vandermark 5
“Beat
Reader” (Atavistic, 2007)
Ken
Vandermark (reeds), Dave Rempis (as, ts), Fred Lonberg-Holm (cello,
electronics), Kent Kessler (b), Tim Daisy (dr)
With their 12th release on Atavistic Records, the legendary Vandermark 5 is back at it again with yet another quest to further push the boundaries of the jazz idiom. Utilizing the same quintet lineup as 2006’s A Discontinuous Line, Vandermark guides a carefully calculated yet fascinatingly diverse set of pieces. Vandermark’s tireless dedication to composition is incredibly clear on this release, providing his band with a daring course over which they are able to apply their vast improvisational capacity. And while you can expect to hear Vandermark’s love of the groove throughout the album, don’t expect a pure funk-based rhythmic workout of the Powerhouse Sound variety, as the quintet lays down a series of eight tracks which can, at times, rock, swing, and either careen about or carefully explore the musical space mapped out by Vandermark.
- Mike Szajewski, WNUR Jazz
Szilard Mezei Quintet
“Cerkno” (Leo,
2007)
Szilard
Mezei (viola), Bogdan Rankovic (b cl, as), Milan Aleksic (p), Ervin Malina (b),
Istvan Csik (perc)
Cerkno, from Szilard Mezei, featured here with his quintet, is truly a testament to the growing interest in the advancement of creative jazz throughout the world. The Serbian-born violist leads a stellar set from the quintet’s performance in May of 2006 at the Cerkno Jazz Festival. This European rising star, who cites Anthony Braxton as one of his most prominent influences, is featured here in his second release on Leo Records. With a complex mindset, the quintet’s performance here is as rousing as it is daring, taking influence from classical, freely improvised, and European folk musical styles and applying them to a swinging style of jazz, a style which is defined here by Ervin Malina’s walking bass. Reed player Bogdan Rankovich puts forth an exceptional performance as well, whaling and swinging along with Mezei’s rich viola lines.
- Mike Szajewski, WNUR Jazz
Picks of the Week: December 10, 2007
OffOnOff
“Clash”
(Smalltown Superjazz, 2007)
Massimo
Pupillo (b), Terrie Ex (g), Paal Nilssen-Love (dr)
Call it noise/jazz/rock/improve, Clash, the debut of the highly experimental trio OffOnOff, is a tour-de-force of raucousness, with only brief interludes of sparse minimalism. The sound is driven by the explosive Paal Nilssen-Love, the 32-year-old Norwegian-born percussionist/drummer extraordinaire, who has become a pivotal member of the young global free jazz scene. Clamoring on guitar is Terrie Ex, known most prominently as a member of the Dutch experimental, anarchist rock band The Ex, which was formed in 1979. In jazz settings, Ex has recorded with fellow Dutch stars like Han Bennink and Ab Baars. Rounding off the trio is bassist Massimo Pupillo, known for his work with the Italian noise-rock outfit Zu. Clash is a stellar debut from a promising musical project from a label criminally underrepresented in America.
- Mike Szajewski, WNUR Jazz
The Engines
“The
Engines” (Okka Disk, 2007)
Jeb Bishop
(tb), Dave Rempis (as, ts, bs), Nate McBride (b), Tim Daisy (dr)
In another sparkling accomplishment of Chicago’s avant-garde jazz renaissance, The Engines, a quartet of local all-stars Jeb Bishop, Dave Rempis, Nate McBride, and Tim Daisy, further contribute to the great wealth of creativity that is Chicago jazz. Originally formed as a trio in the spring of 2005, The Engines added Bishop a year later, and he has since become an integral part of the quartet’s sound. With his sometimes warbled and busy, sometimes sharp and precise sound, Bishop proves why the trombone is such a useful horn in scope of free jazz. While they don’t go for the in-your-face aggression of a group like the Rempis Percussion Quartet, the intricate complexities of the quartet interplay defines The Engines’ sound.
- Mike Szajewski, WNUR Jazz
Picks of the Week: December 3, 2007
Nicole Mitchell’s Black Earth
Ensemble
“Black
Unstoppable” (Delmark, 2007)
Nicole
Mitchell (fl), David Boykin (ts, perc), David Young (tp, flug), Jeff Parker
(g), Tomeka Reid (cello), Justin Dillard (p), Josh Abrams (b), Marcus Evans
(dr), Ugochi Nwaogwugwu (vocals)
Mixing a
blend of modern avant-garde jazz, post-bop, Sun Ra-esque mystical
improvisation, and artful, soulful vocals, Nicole Mitchell solidifies her
reputation of one of the jazz world’s most respected, innovative, and inspiring
performers. From bluesy, toe-tapping
grooves to chaotic whirlwinds of sound to gentle yet rarely predictable
explorations, Mitchell and company cover an impressive amount of territory on
this release. However, this album is
just as much about the Black Earth Ensemble as it is about Mitchell herself,
which features a blend of established and expected Chicago regulars and more
unexpected improvisational voices.
Perhaps the most noteworthy of such collaborators on this release is local
guitar stalwart Jeff Parker, who can go the “Grant Green/Wes Montgomery” or
“Sonny Sharrock/James ‘Blood’ Ulmer” route when needed.
- Mike Szajewski, WNUR Jazz
Territory Band-6 with Fred Anderson
“Collide”
(Okka Disk, 2007)
Ken
Vandermark (ts, cl), Fred Anderson (ts), Axel Doerner (tp), Per-Ake Holmlander
(tuba), Lasse Marhaug (electronics), Paul Lytton (dr), Paal Nilssen-Love
(perc), Jim Baker (piano), Fredrick Ljungkvist (bs, ts), Dave Rempis (as, ts),
Kent Kessler (b), Fred Lonberg-Holm (cello), David Stackenas (g)
In the latest recorded outing for Ken Vandermark’s supergroup project, the Territory Band, originally the product of Vandermark’s receiving the MacArthur fellowship in ’99, continues the trend of featuring a musical style drawn from American and European sounds. However, unlike previous installments of the project, Vandermark was able to achieve one of his original goals of the Territory Band, to feature and reflect the stylings of Chicago legend Fred Anderson. However, Vandermark and his band do far more than that here, creating a sound that goes beyond so-called super-groups of the past. This album applies the trademark Vandermark style to more of an experimental big-band setting, with the punchiness of the Brotzmann Chicago Tentet, the boundless cerebral creativity of a Braxton large-group ensemble, and the wide palette of sound expected from the Spontaneous Music Ensemble. Vandermark yet again breaks ground and exceeds expectations.
- Mike Szajewski, WNUR Jazz
Picks of the Week: November 26, 2007
Trevor Watts/Jamie Harris
“Ancestry”
(Entropy Stereo, 2007)
Trevor
Watts (ss, as), Jamie Harris (perc)
In a wildly jubilant blend of free jazz and world music, the duo of British veteran sax player Trevor Watts and percussionist Jamie Harris are nothing short of brilliant on this release from the small-time Entropy Stereo. Remarkable in its impeccable rhythmic tightness, this outing showcases a gamut of world music influences, from Africa and Caribbean to Middle Eastern and Asian. Jamie Harris’ invigorating performance, reminiscent of that from an impassioned Kahil El’Zabar with the Ethnic Heritage Ensemble, ranges from hypnotic medium-tempo pieces, to wild burners which put Trevor Watts’ chops to the test. For Watts, this album serves as a testament to his departure from the more minimalist approach which seems to have defined the style of many of the most active of his fellow Brits who were part of the early British avant-garde scene, as Watts rejects the sparse approaches that players like Evan Parker and John Butcher are still championing. This duo, which has been performing since 2002, has recorded an infectiously exciting set of music, which will certainly attract attention to this underappreciated label.
- Mike Szajewski, WNUR Jazz
Steve Lehman Quintet
“On
Meaning” (Pi, 2007)
Steve
Lehman (as), Jonathan Finlayson (tp), Chris Dingman (vibes), Drew Gress (b),
Tyshawn Sorey (dr)
On Meaning is the latest release from highly-acclaimed New York alto player Steve Lehman, who studied under both Jackie McLean and Anthony Braxton. On this Pi Recordings release, Lehman shows off the bop influenced playing he inherited from both of these masters, often playing at a dizzying pace, intricately interacted with the similarly-minded Jonathan Finlayson on trumpet, and the interplay between these two serves as a highlight of this release. Additionally, On Meaning provides a showcase for Lehman’s deeply textured composing style, as he serves as the primary composer. Vibraphonist Chris Dingman’s work on this album also helps accentuate the beauties of Lehman’s composition.
- Mike Szajewski, WNUR Jazz
Picks of the Week: November 12, 2007
Drake/Gahnold/Parker
“The Last
Dances” (Ayler, 2007)
William
Parker (b), Hamid Drake (dr), Anders Gahnold (as)
A short
while back, Ayler Records released a 2002 recording from Sweden including the
international trio of Chicago drummer Hamid Drake, New York bassist William
Parker, and the lesser known Swedish alto man, Anders Gahnold. Here, the label provides more cuts from the
same date, leaving nothing to be desired.
As always, Drake and Parker display a magical connection, breezily
drifting through ballad-like pieces, while treacherously navigating through
intense, swinging workouts. All the
while, the Swedish reed player sounds remarkably comfortable, playing a
powerful style without overpowering and disrupting the delicate trio
balance.
- Mike Szajewski, WNUR Jazz
Sound on Survival
“Sound on
Survival Live” (Henceforth, 2007)
Lisle Ellis
(b), Marco Eneidi (sax), Peter Valsamis (dr)
From the upstart Henceforth Records label, here’s a sax/drums/bass trio that turns the heat on early and doesn’t relent often. Grooved in to a thunderously fluttering free jazz exploration of ultra-quick bop lines, American saxophonist Marco Eneidi, known for co-founding the Creative Music Orchestra with Glenn Spearman in 1995, is greatly influenced by Jimmy Lyons, who was one of his early inspirations, as well as the avant-garde Charlie Parker side of Anthony Braxton. On drums, Oakland-based Peter Valsamis matches the intensity that Eneidi can bring to the table. Rounding out the trio is the veteran New-York bass player Lisle Ellis, whose impressive resume includes established membership in Cecil Taylor and Paul Bley lead groups.
- Mike Szajewski, WNUR Jazz
Picks of the Week: November 5, 2007
The Rejuvenation Trio
“Rejuvenation”
(Self-Release, 2007)
Hasan
Abdur-Razzaq (as, cello), Ryan Jewell (dr, perc), Tom Abbs (b, cello)
- Mike Szajewski
The Eastern Seaboard
“Relapse”
(Tigerasylum, 2007)
Brent
Bagwell (ts), Jordon Shranz (b), Seth Nanaa (dr)
This vinyl
release (given to WNUR on a promotional CDR copy) is the third overall album
from young Brooklyn-based trio The Eastern Seaboard. Just one of many New York groups releasing
music on locally owned sub-indie labels, the trio here presents a set of
screeching, stirring short pieces.
However, tenor player Brent Bagwell isn’t all lungs; his playing is both
dexterous and cerebral. The label,
Tigerasylum Records, is owned by the group’s bassist Jordon Shranz and was
formed in 2005, and has released music featuring guitarist Chris Welcome and
bassist Shayna Dulberger.
- Mike Szajewski, WNUR Jazz
Picks of the Week: October 22, 2007
Warren Smith
“Natural/Cultural
Forces” (Engine, 2007)
Warren
Smith (dr), Andrew Lamb (ts), Mark Taylor (French horn), Tom Abbs (b)
Jazz drummers and percussionists rarely get their due credit; even the most accomplished typically play second-fiddle to horn or piano giants on landmark albums. However, here on Brooklyn-based Engine records, 63-year-old percussionist extraordinaire Warren Smith has gotten this rare opportunity, both in name and in playing. In an intimately thoughtful album, Smith, who specializes in non-drum-set percussion instruments, including tympani, vibraphone and glockenspiel, uses his versatility to distinguish his creative voice. Smith, whose Studio Wis played a central role in New York’s loft scene of the 70’s and 80’s, has collaborated with the likes of Wadada Leo Smith and Oliver Lake, and has been involved with Max Roach’s M’Boom ensemble. Young New York bassist Tom Abbs compliments Smith’s style with a cerebral touch.
- Mike Szajewski, WNUR Jazz
Amir ElSaffar
“Two
Rivers” (Pi, 2007)
Amir
ElSaffar (tr, voc), Rudresh Mahanthappa (as), Tareq Abboushi (buzuq, perc),
Zaafir Tawil (oud, violin), Nasheet Waits (drums), Carlo DeRosa (b)
Two Rivers is, simply stated, a downright fascinating album from Iraqi-American trumpeter Amir ElSaffar. While many jazz artists claim their own cultural heritage as an influence on their music, only to perform a style very similar to American and European sounds, ElSaffar’s work is deeply entrenched in Arabic music. Modally speaking, the music here incorporates the musical spirit of the maqam, an Arabic musical tradition based on a unique system of modes and scales. The use of this system, which ElSaffar studied intensively throughout the Middle East, is the basis for almost all improvisation and composition on this album. Rudresh Mahathappa, a rising star in the New York scene, joins ElSaffar, but it is the trumpeter’s ideas that guide the direction of the music. Instrumentally, the incorporation of the buzuq, oud, and satoor, an Iraqi dulcimer which ElSaffar plays himself, contributes to the celebration of foreign musical tradition. However, the album still pops and swings like an American group, and the combination of these various attributes makes ElSaffar’s album a powerful listen.
- Mike Szajewski, WNUR Jazz
Picks of the Week: October 15, 2007
New Generation Quartet
“Dances”
(Ayler, 2007)
Vladimir
Timofeev (ts), Roman Stolyar (p, fl, harmonica), Dimitri Averchenkov (b),
Sergei Belichenko (dr)
Through its recent releases, Ayler records has demonstrated an astounding ability to provide its listeners with an unthinkably diverse set of albums, spanning both the globe and the history of avant-garde jazz, and this set is certainly no exception. The elder-statesman of the quartet here is drummer Sergei Belichenko, who, now in his 60’s, has been an active member of the Eastern European jazz scene for decades. Having collaborated with Ganelin Trio reed player Vladimir Chekasin, Belichenko has demonstrated a knack for both outside and inside playing throughout the years. This is evident on Dances, where, in some cases, he abandons the traditional free jazz drumming mentality, sounding more like a slightly quirky Buddy Rich than, say, Sunny Murray. Following suit is saxophonist Vladimir Timofeev, who’s a good 20 years Belichenko’s junior, showing a liking to a warm hard bop tone just as often as a gut-wrenching free jazz honk. Equally swinging and complex, the trio’s music explores a rolling landscape of musical peeks and valleys, from the frantic to the exquisitely lyric.
- Mike Szajewski, WNUR Jazz
Sunny Murray
“Sunny
Murray” (ESP Disk, 2007)
Sunny
Murray (dr), Alan Silva (b), Jacques Coursil (tr), Byard Lancaster (as), Jack
Graham (as)
Here’s a
reissue of the classic 1966 self-title Sunny Murray release, originally from
Calibre records, now from ESP Disk. If
you’re a fan of the raw, frightfully moving 60’s sound, this sonic endeavor
will provide a thoroughly satisfying listen.
The dueling alto saxes of Byard Lancatser and Jack Graham make for a
wildly chirping chorus of unbridled intensity.
As for Murray, the daring and boundless creativity demonstrated in his
drumming on the four pieces here are testament to his reputation as a pioneer
free jazz drummer.
- Mike Szajewski, WNUR Jazz
Picks of the Week: October 8, 2007
Norman Howard/Joe Phillips
“Burn Baby
Burn” (ESP Disk, 2007)
Norman
Howard (tp), Joe Phillips (as), Walter Cliff (b), Corney Millsap (d)
From the
depths of obscurity comes this ESP Disk archival session, recorded in 1968,
featuring a quartet of Cleveland musicians.
Part of Albert Ayler’s inner circle of friends and followers, trumpet
player Norman Howard’s sole noteworthy discographical contributions to this
point had been trumpet work on a couple of short Albert Ayler releases cut in
1964. Unfortunately, Howard’s mark on
these sessions left little to speak of, as most critics only mention Howard’s
to point out its general unimpressiveness.
Thankfully, Burn Baby Burn
will give jazz aficionados a more considerable body of work by which to judge
this obscure figure, who dropped out of the music world soon after recording
this session. Influenced very much by
Don Cherry, this set showcases puts forth satisfyingly raucous music without
completely losing its foundation in some sort of rhythmic basis. From eerily knotty takes on melodic ideas to
more vigorous flights, the quartet incorporates the diverse spirit of 1960’s
avant-garde music. Sharing the bill is
equally unknown altoist Joe Phillips, who changed his name to Yusef Mumin and
recorded an album with cellist Abdul Wadud in the mid-70’s. Bassist Walter Cliff and drummer Corney
Millsap, who round out the then-Cleveland-based quartet, have no other
documented playing on record.
- Mike Szajewski, WNUR Jazz
Julian Priester/Jimmy Bennington
“Portraits
and Silhouettes” (ThatSwanProductions)
Julian
Priester (tb), Jimmy Bennington (perc)
To say that
veteran trombone player Julian Priester’s career has covered a wide spectrum of
the musical world would be a great understatement. Priester, now 72, began has career as a New
York R&B player, and soon thereafter joined up with Sun Ra and his gang for
a series of recordings in the mid-late 50’s, and also played behind Dinah
Washington a handful of times on vinyl during the same period. Priester went on to collaborate with a
whirlwind of artists; playing with straight-aheads like Max Roach, Freddie
Hubbard, and Duke Ellington and more “out” players, including Eric Dolphy,
Booker Little, Sam Rivers, Andrew Hill, and on Euphonium with John Coltrane on
several early 1960’s albums. Later on,
Priester became somewhat of a regular with Herbie Hancock during the 70’s, and
later rejoined the Sun Ra as well as began frequent collaboration with Dave
Holland in the 80’s. Despite this
laundry list of greats, Priester has had little opportunity to lead a date,
claiming only a handful of releases to his name. On this release, Priester, known for a more
fiery style, explores his quieter side with a considerable more youthful
Seattle-based Jimmy Bennington on percussion.
The relaxed duo performance has almost a chamber-music-like quality to
it, heavily incorporating spacious improvisation.
- Mike Szajewski, WNUR Jazz
Picks of the Week: September 24, 2007
The Rempis Percussion Quartet
“Hunter-Gatherers”
(482 Music)
Dave Rempis
(as, ts, bs) Anton Hatwich (b), Frank Rosaly (perc), Tim Daisy (perc)
After last year’s highly praised Rip Tear Crunch, Dave Rempis and his dual-percussionist quartet had set the bar extremely high, churning out an emotionally charged level of intensity that caught the ear of critics and fans alike. One year later, Hunter-Gathers, part of 482 Music’s Document Chicago series, has proven that the Rempis Percussion Quartet is one of the most “now” groups in the scene today; they have recaptured the energy from their debut release and built upon it in a masterful 2 disc set of live music. Somewhere between the biting fury of Peter Brotzmann and the complexly swinging style of Fred Anderson, Dave Rempis has established a unique and versatile voice, that, when backed with an unprecedented set of chops, has produced some of the most satisfying playing in the genre today. Frank Rosaly and Tim Daisy are a tour-de-force, bringing soul-gripping rhythm and power and an intangible sense of cohesion. Hunter-Gatherers is one of free jazz’s most shining accomplishment this year, from a band for whom the sky is the limit.
- Mike Szajewski, WNUR Jazz
Meditations on Albert Ayler
“Live at
Glenn Miller Café (Ayler, 2007)
Luther
Thomas (as), Jair-Rohm Parker Wells (b), Tony Bianco (dr)
With a lengthy set of zealous Ayleresque improvisation, this unlikely trio presents over an hour of high powered playing. Once they get into a groove, they don’t stop the momentum whatsoever, as drummer Tony Bianco takes his drumming chops to the limit, demonstrating an ability to produce steadily furious playing over the course of two half-hour pieces. The ever unpredictable Luther Thomas, who originally came up in the St Louis scene in the early 70’s and now finds himself residing in Copenhagen, masters the Ayler folk/ballad melody style as well as the more unbridled shrill improvisational tendencies. Bassist Jair-Rohm Parker Wells and Bianco have previously collaborated as members of the electro-acoustic trio Decision Dream with guitarist Magnus Alexanderson, which also draws from the music of Albert Ayler. Rather than being an Ayler cover band, “Meditations” strives to create a sound inspired by the mentality and creativity of the visionary saxophonist. The trio’s first tune is a combination of two Ayler staples, and the second is a free jazz take on the Swedish folk song “O Store Gud.”
- Mike Szajewski, WNUR Jazz
Picks of the Week: September 17, 2007
Jeff Marx & Jeff “Seige” Siegal
“Dreamstuff”
(Ayler, 2007)
Jeff Marx
(ts), Jeff “Seige” Siegal (dr)
Recorded in
the summer and winter of 2005, here is a set of 10 relatively short pieces
which explore the more swinging, bouncy side of free jazz with a sax/drums tandem. Marx proves to be a powerful
player, more than carrying his weight as the sole tonal voice of the
album. He takes a basic idea in each
piece, and introduces a series of turns and variations, creating a lively
overall feel. Siegal’s drumming is
deceptively free; despite the absence of a traditional time signature, each phrase
seems to be perfectly in place, which speaks volumes about the communicative
ability of these two as a pair. The duo
also collaborated together on the Jeff Marx Quartet album Great Unkown, recorded in 1999, which also featured Michael Jefry
Stevens on piano and Santi Debriano on bass.
Marx, now located in Chicago, has seen his career take him through New
York, Detroit, and San Francisco as well, and most notably has collaborated frequently
with Dave Douglas and Reggie Workman. He
also released Treading Air, Breathing
Fire on Soluna Records, which was recorded in 2002. Currently the leader of his own quartet,
Siegal has more of a background in straight-ahead playing, which speaks more of
his influences than his capabilties.
- Mike Szajewski, WNUR Jazz
Rob Reddy’s Small Town
“The Book
of the Storm” (Reddy Music, 2007)
It isn’t often
that you will find a more appropriately named album then The Book of the Storm, from Rob Reddy and friends, released on the
saxophonist and composer’s personal label.
The music hear is booming and menacing, combining orchestral,
experimental big band, and electric sounds, the last of those qualities due to
the guitar work of Jon Margulies and Brandon Ross. The large ensemble also features big-name
drummers Pheeroan akLaff and Guillermo E. Brown. The former of these two was the drummer for
Reddy’s first trio in 1989. Reddy also
collaborated with Ronald Shannon Jackson in his Decoding Society ensemble, and
formed a sextet called Rob Reddy’s Honor System in the 90’s. Reddy, who claims to be most influences by an
eclectic mix of folk forms, conducts his hour-long composition on this date,
which is divided into 4 parts on this CD.
This recording showcases the first ever public performance of the piece.
- Mike Szajewski, WNUR Jazz
Picks of the Week: September 10, 2007
Paul Bley
“Solo in
Mondsee” (ECM, 2007)
Paul Bley
(p)
Although
not considered a radical of the free jazz world, pianist Paul Bley has long
established himself as a graceful, abstract player known for an airy, refined
sound. His long and winding career, which
began, as a leader, with a trio album featuring Charles Mingus and Art Blakey
recorded in 1953. Now, as Bley is well
into his 70’s, he continues to be one of the most respected names in jazz,
appealing to a wide range of musical tastes.
This release features him in a solo setting, which marks the first time
since his highly touted Open, to Love,
recorded in 1972 and considered by many to be his finest work, that Bley
recorded a solo album for ECM. Playful
yet sophisticated, this work features ten short and medium length tracks which
seamlessly work together to create a masterful album from start to finish. Furthermore, the delicately flowing feel of
the music is both curiously comforting and thought provoking.
- Mike Szajewski, WNUR Jazz
Niels Jørgen Steen’s Beatkapell
“The Ǻhus
Concert” (Ayler, 2007)
Jesper
Thilo (ts, vocals), Torben Munk (g), Niels Jørgen Steen (p), Hugo Rasmussen
(b), Ove Rex (dr), Red Mitchell (vocals)
For those of you who thought you knew the Ayler Records sound, give this album a listen. Likely catching most be surprise, this set was recorded in the summer of 1973 at the Ǻhus Jazz Festival in Sweden, known as a showcase for more straight ahead American jazz, hosting the likes of Ben Webster and Gene Ammons in the same year. Although this album doesn’t represent a landmark accomplishment in avant-garde music, it captures an irresistibly catchy day of swinging, joyous music during one of those outings when the band and the audience are completely immersed in the fun of the music (just listen to the end of the set for proof.) The leader here is Danish pianist, who was 34 at the time of the recording, and heavily featured is saxophonist and fellow Dane Jesper Thilo, who went on to record with Miles Davis and Hank Jones much later in his career. Thilo also takes the mic on a few American blues tunes, including the final piece, a tune called “Flat Foot