Ralph Alessi

Ralph Alessi (trumpet)
This Against That (RKM Music)

Classically trained, Ralph Alessi is a fixture in the New York free jazz scene. He has worked with Jason Moran (pianist), Uri Caine (pianist), Charlie Haden (bass) and Ravi Coltrane (sax) to name a few. The most striking thing about Alessi that sets him apart may be his adventurous compositions. He has an ability to his style of the avant garde feel effortless and easily accessible through what are some interesting and yet still complex arrangements. With just five albums under his belt and a number of outings as a session member, Alessi is establishing himself as an in-demand trumpet. His material may be similar in vein to Dave Douglas but where Douglas tends to morph into whatever concept he is experimenting with, Ralph Alessi builds and creates new frontiers with dazzling results.

His second album, This Against That (RKM Music; 2002) (also what would become the name of his current quintet) really captures his classical training and free jazz aesthetics perfectly. From the intricate yet brief opening march of "Oversoul" and its companion piece "Haw Hee" through the lovely ballads of "Elaine" and "Expectations". My favourite track, "Telepathic Voyeur" is an awesome venture of modal blues and with some subtle touches of free bop. Alessi's playing is definitely fresh and highly inventive.

He has also circled himself with such luminaries as Don Byron (clarinet), David Gilmore (guitar), Drew Gress (bass) and Nasheet Waits (drums), all of whom feature prominently throughout the recording. This Against That is really fantastic stuff. It's a pretty easy record to find as well. Well worth checking out if you're looking for something new and very creative.

The Intersection: Alog

Alog (group; formed 1997)
Espen Sommer Eide (percussion, trumpet, electronics)
Dag-Are Haugan (guitar, electronics)
(photo: Thor Brodreskift)

A few weeks ago I downloaded an ep by Norwegian band, Alog. Only to find that when I went over to my record collection, I had two of the major tracks already. While a little gobsmacked at my lack of awareness of what was in my collection I decided to go back and listen to all my Alog records again. I was deeply moved by dark hues and resonance of the music. More so than when I originally discovered them.

For me, Alog (technically a duo) have been incorporated the electronic soundscapes, found noise, percussion and guitar for over a decade. Alog have a similar hypnotic drone vibe to Robert Fripp/Brian Eno ambient soundscapes, spaced out worldly craftiness of Can and Philip Glass technical repetition. This is for a very concentrated listener. While their is definitely a reliance on electronics both are focused on making their acoustic instruments prominent through each piece.

The group have fours albums, a compilation of unreleased tracks and various eps all of which are quite fascinating to experience. I'm not quite sure which is really my favourite since I listen to each quite often now but I would say if you haven't listened to Alog before you might want to give Red Shift Swing (Rune Grammofon; 1999) a try. Red Shift Swing is obviously the foundation for which the later albums expand the boundaries. A lovely combination of atmospherics, subtle vocals and acoustic instrumentation. Tracks like "Drifting West," "Expanded Heart" and the title track show and band experimenting with their influences while creating some intriguing new ideas within the genre. A formidable debut that would only evolve and expand as
they continued to record.

Their most recent album Amateur (Rune Grammofon; 2007) goes even further with the use of instruments that they created themselves probably even more a reference to the album title. Amateur features some stellar moments like the single "Son Of King," "Learning Curve" and "The Future Of Norwegian Wood". An all around solid session that if you've listened to the previous albums seems like the perfect next step in their development. Alog could be a tough listen for some but I think if dig exploration of new found sounds this is a great band to catch up on.

William Parker

William Parker (bass; b. 1952)

(photo: Dave Kaufman)

Probably the most creative and forward-thinking bassist since Charlie Mingus, William Parker has been a prolific recording artist for more than three decades and over 20 albums. William Parker's technique is direct and his phrasing is always well considered. His records range from avant garde to hard bop to large ensemble pieces -- all with great inventiveness. He has played with such luminaries as Charles Bracken, Rashid Ali and Don Cherry -- to name a few. All have had an influence on Parker's work to one degree or another.

A series of releases recorded with his most consistent quartet, featuring Hamid Drake (drums), Rob Brown (sax), Lewis Barnes (trumpet), include two highly recommended projects, O'Neals Porch and Sound Unity (both on Aum Fidelity). Both highlight the ability of each member to establish, develop and create thematic moods that evoke a sheer mastery of their instrument.

The themes and directions of both albums, while building toward free improvisation, actually start with a foundation that many will find accessible. The material is highly layered and the individual performances gel magnificently. At their best, they're reminiscent of Charles Mingus' releases for Impulse during the 60s, such as Black Saint and Sinner Lady.

The title tracks and "Song For Jesus" are notable for their lyrical beauty. Brown and Barnes also express themselves wonderfully throughout these sessions, making it clear that no one in this band is ever overshadowed. While many of Parker's albums are very complex with themes and textures that can be overwhelming and arching in new directions, both Sound Unity and O'Neals Porch are well suited for the uninitiated. Two must listens by far.

Thelonious Monk Live In Stockholm 1961

Thelonious Monk
Live In Stockholm 1961 (Dragon Records)
Thelonious Monk (piano)
Charlie Rouse (sax)
John Ore (bass)
Frank Dunlop (drums)

The Thelonious Monk Quartet were in midst of a European tour at the time Live In Stockholm (Dragon Records) was recorded. It is probably one of the favourite Monk concerts I own. The sound quality is excellent (originally from a Swedish radio broadcast). There's nothing new in repertoire for this tour. It takes place just a few months before Monk would sign for Columbia Records and he was really starting to become a household name among jazz lovers. He's band (Rouse, Ore and Dunlop) had been together for two years now were to prime form. The gig kicks off with a great version of the Monk standard "Jackie-ing" with some killing interplay between Rouse and Monk. At this point the two men probably had the same brain they were so in sync. Charlie Rouse really is on fire during this performance especially later on during the set on "Well You Needn't" and "Beshima Swing". Rouse also has an incredible solo on "Round Midnight" that is best heard loud. This quartet was Monk most powerful and prolific.

Monk kept this group together along with selected touring/session members for almost four years before Ben Riely took over on drums from Frank Dunlop. The evening ends with a lovely version of "Body And Soul" as only Monk could do it. While there isn't anything historic about this date it is well worth seeking out for the sound quality and pretty decent packaging. Live In Stockholm is a brilliant snapshot of Monk and his quartet in fabulous form.

Unfortunately I haven't found any footage of this performance or of this quartet together at this time period. The performance below is from the quartet Monk put together shortly after Dunlop and includes Charlie Rouse (sax), Ben Riely (drums) and Larry Gayles (bass). Still a stellar quartet and marvelous work from Monk.

Miles Davis: After Bitches Brew

Miles Davis (trumpet)

Big Fun (Columbia, 1969)

The Miles Davis cannon is showered with influential and astonishing albums, Bitches Brew being one of them. But after you've listened to Bitches Brew and you experience the "world" music vibe Miles was trying to capture, where do you go next? He would make slew of incredible live album featuring all new material during the '70s. One album that I've always felt was overlooked is entitled Big Fun (Columbia; 1969). Big Fun is awash of electric fusion but also Indian raga and hypnotic modal structures.

Big Fun actually took 4 years to complete. Miles had recorded almost every track with a different ensemble of musicians (including Herbie Hancock, Chick Corea, John McLaughlin, Billy Cobham on drums and the wonderful sitar and tambra work from Khalil Balakrishna. Balakrishna's trance-like work is evident on the opening track "Great Expectations". This really does set the tone for the proceedings. Another standout for me the duel between Chick Corea and Joe Zawinul both on electric piano (right and left channel (or speaker) respectively) on the lovely "Recollection". There's also some funky movements with "Ife" mainly provided by piano work of Lonnie Smith and Harold Williams but some infectious drum/percussion work from Al Foster, Billy Hart and Jame 'Mtume" Forman.

Big Fun is a massive cross section of styles that really only Miles could orchestra among so many musician over 4 different sessions. It's a jaw dropping experience to hear this recorded after Bitches Brew and seeing contrast the movements. There not radically different, just the emphasis is placed--jam sessions with short bits of structure--but only Miles knows that. The majority of the tracks on Big Fun were technically recorded during other sessions which is why some jazz fans may know some of the tracks from boxed sets (Bitches Brew and On The Corner) but make no mistake this is an album that Miles had in mind and its a beautiful mixture of styles that you should definitely listen to after Bitches Brew. If you have it already let us know your thoughts.

Billy Higgins: Why He's Important

Billy Higgins (drums; b.1936 - d. 2001)

The greatest and most recorded jazz drummer of all time. High praise yes but if you actually knew how many albums on which Billy Higgins plays, you would understand (and also probably be a very rich person). Billy Higgins played in R&B when he was young, coming to prominence once he joined bassist/pianist, Red Mitchell's group. This led him to apply his versatility in both complex and delicate recording sessions and live gigs. Billy Higgins had become the "artist of choice"--recording and performing with such musicians as Lee Morgan, Pat Metheny, Herbie Hancock, Ornette Coleman, Thelonious Monk, Sonny Rollins and most recently with Charles Lloyd.

His style was rhythmically understated but always precise. Billy Higgins could literally do-no-wrong when behind the kit. As a result of Billy's "in demand-ness" (at least 100 sessions as sideman) his own discography is very thin. But thinness doesn't mean lack of quality. Of the ten albums attributed to him as leader only about four are still available--just barely. I don't own all his albums but he is one of the first artists I look forward when I'm in a used record store. His recordings are beauty and each provide a small bit a variety to making them very distinct from each other. Again the understated quality combination with superb musicianship.

I would recommend The Billy Higgins Quintet (Evidence, 1997) as one of the album you should definitely seek out. Quintet includes a wonderful lineup featuring Oscar Brashear (trumpet), Harold Land (sax), David Williams (bass) and his most consistent collaborator Cedar Walton (piano), all in absolutely sublime form for this outing. Higgins was never really an original composer; his own releases contained standards and material written by his fellow musicians. But that shouldn't stop you from taking a good listen to this fabulous recording. Cedar Walton and Harold Land are legends and are really cookin' on this session as evident on the opener, "Step Right Up To The Bottom," and " The Vision" both written by Land and Walton, respectively. They almost overshadow the proceedings until you listen closely and realize who really is leading the session--Higgins. It's an awesome recording that would be worth the money to pay for.

In the last few years of his life he had recorded with saxophonist Charles Llyod, most significantly on Llyod's 2004 album Which Way Is East (ECM). Which Way Is East is phenomenal and features an array of instruments played by both musicians on this duo session. Higgins even plays guitar on a couple of tracks. This album may be only for the true jazz fan but I highly recommend it as an example of what both artists can do at the top of their game. The album was recorded just a few months before Higgins passed away.

Billy Higgins was an indelible figure and his influence will be felt for years to come. Check some of your albums you may even have Higgins in your collection and don't even know it. The word "legend" gets used allot (even by me) but in Billy Higgins case it is beyond a shadow of a doubt.

Groovin' With Benny Golson

Benny Golson (sax; b. 1929)

Benny Golson's (saxophone) new release, The Best Of Benny Golson (Concord Music Group), is a compilation of material spanning his career with the Milestones, Concord, Prestige and OJC labels. Born in Philadelphia in 1929, Golson worked in early R&B outfits in the '50s to before becoming a member in both Dizzy Gillespie's and Art Blakey's band in the late '50s. He would later go on to formed The Jazztet with Art Farmer.

He has worked with almost every major bebop musician of the era. Benny Golson's own work is powerful yet very inviting. He has written a number of now standards for jazz musicians including "Stablemates," "Along Came Betty," and "Killer Joe" to name just a few. Many people may be more familiar with his work from the film The Terminal staring Tom Hanks and directed by Steve Spielberg. Benny Golson and his band performed in lounge bar of the airport. This brought new awareness of Benny's material and he has since toured consistently again.

Whenever he performs live I try to get as many people who are new jazz to experience his shows. Benny Golson is probably the best intro for people who are unfamiliar with jazz and all its beauty. There will be songs that are very recognizable to you on this collection, including "April In Paris," "Whisper Not," and "I Didn't Know What Time It Was". If you enjoy the saxophone and want to hear a true musician at the peak of his power, check out The Best Of Benny Golson. I believe you will enjoy immensely.