The Intersection: Parov Stelar

The Intersection is an occasional feature on JazzWrap that looks at artists that blend jazz with electronica (a tradition pioneered by none other than Miles Davis on such classic recordings as On The Corner).
This week's focus is Parov Stelar

Close your eyes and listen to the music of Parov Stelar, Austrian DJ, producer and head of Etage Noir Recordings, and you can easily picture yourself sitting in some posh boutique hotel lounge, sipping a pomegranate martini and thinking about that hottie you met at the club the night before. You invited him/her to join you here in the lounge this evening. Will (s)he come? Who cares... as long as you can groove to Parov's stellar blend of jazz- and swing-spiked house and breakbeat grooves.

Parov has four full-length albums (not to mention a "best of") and many EP's and singles. The most recent album is Coco, which continues to mine catchy samples from obscurity and revitalize them with modern beats and grooves.

JazzWrap caught up with Parov via email this week to find out why his grooves swing.

How did you get hooked on using jazz/swing samples?

Because the recordings from that time sound so great! You can feel the groove, and the mood is like nothing else in today's recordings. You can´t simulate it with a plug-in.

How do you select the samples?

Sometimes it feels like the samples actually select me : ) It´s not always so easy; you might already have the groove, but no sample fits. It´s a bit like picking up a woman in a bar -- it depends on whether the right one is there and wants you too.

Why jazz/swing and not something else (soundtracks, soul, rock)?

It´s more about the sound than about the genre. Not surprisingly, I love to listen to jazz, but not exclusively.

Who are your favorite classic musicians?

Well, it´s obvious, I think some musicians influence me so much that you can hear it in my music -- not always just with the sound, but with their attitude or with the mood of their work. I think Art Blakey is a great example.

Who are your favorite contemporary acts?

There are so many, but right now you can find a lot of tracks by Riva Starr in my playlist.

What makes your latest album Coco your best album so far?

Coco is a mixture of all stylistic elements I´ve been using so far. A special kind of work exhibition (as there are not old but new works), and a collage of the different moods of my soul. It sums up the whole "Parov Stelar" vibe but also leaves enough perspective for upcoming things.

What's next for Parov Stelar?

I am working on a new EP which will be released in may. And, together with the A.G. Trio, I´m working on revitalising Etage Noir Special, the electro sublabel of my label Etage Noir. Also, in the next months, there will also be a lot of concerts and DJ-sets.

Kenny Garrett: Bebop Into The Future

Kenny Garrett (sax; b. 1960)

Detroit born Kenny Garrett learned a lot as one of Miles Davis' session and touring band members during Miles' final years (1987 - 1991). He has also played with Woody Shaw (a major influence), Freddie Hubbard, Geri Allen and Art Blakey to name a few. His style has always been compared to Sonny Rollins, Sonny Stitt and definitely John Coltrane. But while the influences are there, Kenny Garrett has managed to create his own path and voice over the course of 15 albums. Garrett has shown himself to not only be a solid performer but a versatile one as well. He incorporates raw soulful grooves into his repertoire regularly, which makes many of his albums quite adventurous as well as refreshing.

There is a very solid block ('92 - '96) in which Garrett was prolific, thought-provoking and in clear grasp of his what he wanted to deliver to the public. For anyone, the albums Black Hope, Threshold, Triology and Pursuance (all on Warner Brothers) are all worth seeking out. For me these are 4 star albums of the highest order.

My personal favourite, Triology (Warner Brothers, 1995) is a fantastic record performed by a young artist that showed a myriad of ideas. The strength of his performance as well as his trio featuring Kiyoshi Kitagawa, Charnett Moffett (bass), & Brian Blade (drums) made Triology a worn out CD in my house for almost two years. The album included a nice mixture of standards and originals, all played with fresh verve and distinctive virtuosity. Standards like "Night And Day" & "Giant Steps" glide well against Garrett's own "Wayne's Thang" and "Oriental Towaway Zone" with true honour and respect to the foundations of jazz. The main thing for me has always been that some of the standards are very challenging to perform as a trio (without piano or trumpet) especially Coltrane's "Giant Steps," and towards the end of the album Dave Brubeck's "In Your Own Sweet Way," but Garrett's trio pull this off with great ease and beauty.

Triology, among the aforementioned albums, is perfect for any music lover (jazz fan or not). Hope you dig them.

Polar Bear: ...to everyone--WAKE UP!

Polar Bear (group)

Mark Lockheart (sax)

Peter Wareham (sax)

Sebastian Rochford (drums)

Tom Herbert (bass)

Leafcutter John (electronics)

If you are looking for the future of jazz, Sweden, Norway and England are places you should be right now. Polar Bear are among a long list of bands from the UK "collective" scene originating with two jazz communities, F-ire and Loop, that are truly reshaping the Jazz to come (that's me taking liberties on Ornette Coleman, sorry).

Polar Bear is the slightly calmer twin of Acoustic Ladyland (featuring two of its founding members), who released my favourtie album of 2009, Living With A Tiger. I originally discovered Polar Bear while waiting for a flight at Gatwick Airport. I was in an airport HMV store and found their first album for just 3 quid. I had read about them in a couple of magazines on my trip but couldn't find anything until I got to the airport. I decided for 3 quid, what the hell. It was the best 3 pounds I had spent on the entire trip and I have been a fan ever since.

Polar Bear may exist in a similar world as Acoustic Ladyland but they are carving out a jazz palate that is still adventurous but stays within the traditional idiom. Led by drummer Seb Rochford, the group is a formidable unit with staggering talent that grows with each record. They have recorded three critically acclaimed albums that are a must for all jazz fans. Polar Bear's first three albums Dim Lit (Babel), Held On The Tips Of Fingers (Babel) and Polar Bear (Tin Angel) all capture a young band that is inventive beyond its years but also one that wants to continue to push the envelope to see what else can be done.

Their 2008 self-titled album lays in some quiet grooves for emotional effect while still keeping their post bop adventurous edge as on as songs like "Sunshine" and "Leafcup". Then, there are great combinations of the avant garde and electronics as heard towards the end of Polar Bear with the song "Sounds Like A Train To Me". A truly original band displaying the creative tendencies you normally would see in an artist like Dave Douglas or Jason Moran, if this isn't Polar Bear's year to finally breakout in the U.S., I will be extremely pissed off.

The London based quintet, release their 4th album, Peepers (Leaf Label) on March 1 and it delivers a clear statement to the rest of the jazz community--wake up and start doing something new!

This is probably my album of the year. Yes I realize we are only two months into a new year but when you make an album like this, everyone needs to step back and take notice. Peepers moves open step ahead of their previous efforts. Peepers has a heavier sound and more descriptive elements as apparent on songs like "Drunken Pharaoh" and "A New Morning Will Come". The always reliable Polar Bear kinetic, experimental energy is still there as evident with "Scream," and "Want To Believe Everything".

With Peepers, Polar Bear have made an album that combines their distinctively British qualities, American influences and European experimentalisim into one cohesive vision that for me is absolutely phenomenal. Of the records you buy this year please, please, please make Peepers one them. HIGHLY RECOMMENDED.

Polar Bear are also offering a FREE download of the titled track, Peepers. You won't be disappointed. And finally, check out their new video for "A New Morning Will Come."

Atomic: Challenging The Nature Of Things

Atomic (band; formed 1999)

Fredrik Ljungkvst (saxophones, clarinet)

Magnus Broo (trumpet)

Paal Nilssen-Love (drums)

Ingebrigt Håker Flaten (bass)

Håvard Wiik (piano)

Swedish-Norweigan band Atomic has established itself as one leading bands in Europe. While on first listen you might think this is a free-wheeling avant garde group; you quickly notice that there is a more than just Ornette Coleman and John Coltrane influences going on here. They use these influences as a platform for even more creative explorations. The band is truly a set of equals. All the band members have a say in the writing process which makes each of their albums a solid experience from beginning to end. With 5 albums under their belt, not to mention the individual albums and studio sessions each member contributes too, Atomic are becoming one of the preeminent bands in Europe. The bands improvisational style is similar to that of The Vandermark Five. But where V5 uses sheer force to make its point, Atomic reacts with subtle yet crafty stories making their case in more cerebral form. It's an intriguing mixture of low key personalities and wide arrangement of ideas that come together beautifully.

I really don't have a favourite album. It's been really hard to choose. The last two albums (Retrograde and The Bikini Tapes (both on Jazzland Records)) are three CD sets and not for the uninitiated. If I was pressed I would say go for their debut, Feet Music (Jazzland) which will build the foundation for you. This is free jazz but with a modal structure and direction that you will find ultimately enjoyable.

Sidsel Endresen: That Nordic Voice

Sidsel Endresen (voice)

Photo: C.F. Wesenberg

Sidsel Endresen has been a fixture on the European scene for over 20 years. She has released only a few albums under her own name (eight at last count). She is definitely an artist that might define her music as world (World the genre). While aesthetically the music may be grounded in European jazz--use of sparse arrangements and electronic atmospherics and abstruse lyrics, Sisdel Endresen has created a body of work which is truly original, impressive and influential.

In recent years she has been working with the well-known pianist Bugge Wesseltoft who has surrounded her lyrics mystic with modest yet highly emotional instrumentation. Endresen's albums are more an exploration of voice as instrument than the instruments supporting her. While don't expect everyone to get her I believe she is someone more people need to know about and hear for yourselves. She has also worked with fellow Norwegian, Nils Petter Molvaer and the pairing of her hypnotic voice and Molvaer's muted/electronically tempered trumpet is truly astounding. Those of you familiar with Nusrat Fateh Ali Khan, Sheila Chandra, Diamanda Gallas and combining that with the jazz experiments of Joni Mitchell might also find Sidsel Endresen quite rewarding.

For me the most accessible album might be Out Here. In There. (Jazzland). Out Here. In There. features a nice blend of both Sidsel's folkish/jazz tinged vocal treatments and Bugge Wesseltoft's excellent electronic work as shown of tracks like "Heartbeat", "Survival Techniques" and "Hav". A moody little record that is both engaging and sophisticated.

Sidsel Endresen is an artist reaching beyond rhythmic structure and forcing the listener to view things outside of their comfort zone. This minimalistic approach has made her one of the most soft-after performers and teachers in Europe and a cult figure here in states. I won't try to explain it anymore than that. Take a listen and let me know what you think.

Thelonious Monk: Yin/Yang at the Five Spot

Thelonious Monk
Live In New York Vol. I
(Explore Records)
Charlie Rouse (sax)
Ahmed Abudl-Malik (bass)
Roy Haynes (drums)

As some jazz fans may know, the legendary Five Spot Club in New York was the center for many a historic performances from the Thelonious Monk Quartet in 1958. A ban of performing in New York City due to a previous drug charge had been completed and Monk had just finished up a date at the Newport Jazz festival the prior month. The first dates were in August with his standing trio of Ahmed Abdul-Malik (bass), Roy Haynes (drums) adding fiery saxophonist Johnny Griffin. These dates have been preserved on two great albums In Action (OJC) and Misterioso (OJC).

In late September of '58 Monk was looking for a new saxophone player as Griffin had decided to continue on with his own band. Griffin and Sonny Rollins both told Monk to hire a young cat out of Washington D.C. named Charlie Rouse. And the rest would be history. Charlie Rouse was one of most underrated saxophonists of his generation. He melded incredibly well to Monk sometimes complex compositions.

The Five Spot would be Charlie Rouse's first performance with Thelonious Monk and it is astounding. The recording, is rough from the sound quality perspective (this would really only be for the collector) but the playing is unbelievably tight and on fire. There very few miscues that many would notice during this date. The band pushes each other to reach some incredible highs throughout the night including Monk staples "Rhythm-a-nig" and "Friday The Thirteenth". While this date is historic for being the first date of Charlie Rouse it is Roy Haynes playing that also steals the show.

Fast, slow, fast. Intense, beautiful and soaring. The album feels the way a live "bootleg" should (club noise, announcements, muffle, fizzle and a lot of talking by Monks companion at the time who recorded the date) and it's great to seat and listen to loud. I always loose myself in the sound and the atmosphere whenever I listen to it. Live In New York isn't the album I would recommend to anyone that isn't a die-hard Thelonious Monk fan; but if you are it worth seeking out and its not expensive at all. A really cool document that closes out an interesting period during '58 where Monk would meet his yin to his yang--marvelous stuff.

The footage below is much later but it highlights how well Monk and Rouse sounded together.

Tomasz Stanko: In From The Shadows

Tomasz Stanko (trumpet; b. 1942)

Tomasz Stanko is one of the premier European trumpeters on the scene today. He acknowledges and relishes in his Miles Davis influence whenever he is asked. But when you listen to his albums or see him live you realize there is something much more going on here than just an appreciation of the late legend. He is truly starting break away from the comparisions.

Tomasz Stanko began his career in the apprenticeship of fellow Polish composer and musician Krzysztof Komeda, known to most of the world as the composer of many of Roman Polanski's best psychological thrillers like Rosmary's Baby and Knife in the Water. These were haunting soundtracks, but (in the case of Knife) they were also beautiful jazz albums typified by the elegance of Tomasz Stanko's trumpet.

Tomasz Staknko has released a number of albums since the late 60's. For the uninitiated I would recommend you go straight for the collection entitled Selected Recordings (ECM). Selected Recordings covers a good amount of the material he has done with his long standing relationship with ECM Records.

The new album Dark Eyes (ECM) is nothing short of brilliant. The album is highlighted by a new band that marvelously constructs Stanko's vision of sparse but evocative rhythms into an enjoyable investigation of sound and emotion. The addition of guitarists Jakob Bro has added a new element to Stanko's usually calm and consistent quartet. I had always felt that Tomasz Stanko's devotion to Miles was running into a brick wall on his last two records but Dark Eyes has a whole new voice and direction that I have been enjoying for a few months now. The title track "The Dark Eyes Of Martha Hirsch" is fantastic. It's origins stem from a painting exhibition he visited. Stanko has also included two compositions from the legendary musician/composer, Krysztof Komeda. While including Komeda material is nothing new for Stanko it is the cohesion of the band that has makes these two tracks ("Dirge For Europe" and "Etiuda Baletowa No.3") standout for me.

The fresh lineup change has really breathed new life into Tomasz Stanko's writing. The album's mixture of Stanko's excellent attention to the detail of every note as well as a fresh ideas his new band have incorporated makes Dark Eyes my favourite Tomasz Stanko album in years.

In addition, I hope you would take the time and investigate the following albums for the sublte dark beauty of Tomasz Stanko throughout the years.


Balladyna (ECM; 1975) A phenomenal album with solid production work. Quiet but still very inventive at a time when many other artists (Europe and America) were trying figure out how to combine fuse jazz and funk together into something rhythmic for the masses. This is not that type of record. Stanko's solos on this record highlight his influence as well the attention to beauty that Chet Baker always demonstrated in the studio.

Bluish (Powers Brothers; 1991) While there are a couple of albums from the 80s I could mention, the majority of that period is disappointing to me but Bluish--done with a European line up including Arlid Anderson (bass) and Jon Christensen (drums) is fantastic and moves from dark introspection to lively inspiration with tremendous precision. Each of these musicians are known as highly revered masters in the jazz community. Bluish is just one example of their great work together.

Leosia (ECM; 1996) This is one of the best jazz albums of the 90s and probably Stanko's best album. Also featuring an all European quartet including drum legend Tony Oxley. All of the album shines due to the individual performances, and it sounds like there is no true leader as Stanko allows the band to have complete freedom but you see that he is always the link that holds the session together.

Soul Of Things (ECM; 2001) After a brief three year hiatus from 98-01, Tomasz Stanko returned with a new younger quartet of Polish performers for the album that I think might be the best introduction for anyone unfamiliar with his work. This is a slow melodic session for which all the members are in complete harmony. Its an album that you have to sit down and listen to all the subtleties that wind there way through this magnificent recording. Soul Of Things is by far the album I have most recommended to my friends time and a time again. If you do get into any of these album please let me know your thoughts.

Leon Parker: The World Is A Drum

Leon Parker (drums, percussion; b. 1965)

With an idea of explore how far one can take rhythm within and outside jazz, Leon Parker has shown that imagination, creativity and aesthetic can erupt in the smallest and sparsest of places. Leon Parker use of percussion's and drums was different from the onset. To me he must have been influenced by the late, great legend, Billy Higgins. He did a great bit of gigging in the New York scene before getting a gig with Columbia records which saw him becoming one the most talked about musicians during the '90s heyday for jazz scene. At the time artists like Wynton and Branford Marsalis, Roy Hargrove, Christian McBride, Jeff "Tain" Waits, Charlie Hunter and others were stepping into the gap left by Miles, Monk, Dizzy and others.

While there were certainly a wealth of jazz drummers at the time ("Tain" being one of the most high profile) none seemed to be doing something different, original and rewarding like Parker. Leon Parker worked as a sideman with fellow artists such as Dewey Redman, Charlie Hunter, Dave Kikoski, Sam Newsome to name just a few. His albums seemed to combined the natural elements of modern jazz but his use or lack there of of most of his drum kit (using just the cymbals at times) gave the music a "world" or African atmosphere.

His debut album, Above & Below (Epicure) featured a jarring but funky versions of Monk's "Beshima Swing," "Epistrophy" and some very cool percussive work on Dizzy's "Caravan". Parker is also helped on his debut by some even more impressive work from Mark Turner, Joshua Redman and David Sanchez (sax), and the always enjoyable Jacky Terrasson (piano). This is an impressive and inventive debut that is unavailable at the moment but you may be lucky enough to find it at some better used record stores.

His next two albums, Belief (Columbia, 1996) and Awakening (Columbia, 1998) grow on the concepts from the debut but incorporate more percussion and world music themes. Belief starts is with a really cool Caribbean themed "Ray Of Light" that set a nice groove for the album. It has a nice balance of bop and world influences that take the album one step ahead from Above & Below. You can really start to hear Parker coming into his own as a leader and composer on Belief. Awakening while starting off funky levels out with another Caribbean drum tinged "It Is What It Is" and slide you into the lovely, spiritual journey of "Mother Earth". Awakening might take a few listens as it seems Parker might have been given a great deal of freedom in this recording. The emotion and ideas come alive and well worth the experience.

It would take until 2001 for Leon Parker to record another album, The Simple Life (M) which was emulates Parker's diverse talents by being recorded in various settings (live, studio, and even on the street). It includes some wonderful by Monk again as well as a few reimagined originals from the Belief album. Leon Parker's music has a rhythm and tone that is spiritual, haunting and beauty all within the short period of listening to just one album. He is a real talent that I hope starts to record more frequently. Check out the great live work with Jacky Terrasson's band.

 

Dexter Gordon: The Long Tall Legend

Dexter Gordon (sax; b. 1923 - d. 1990)

The Classic Blue Note Recordings

Dexter Gordon was raised in California and learned clarinet, alto and tenor saxophone by age 15. He got two big breaks in 1944 when he performed with the legendary Flectcher Henderson and then Louis Armstrong's band. He would also learn a great deal lyrically from saxophonist Lester Young. Gordon became a sought after musician and the technical grasp and creativity gained from Young made him one of the leading artists in the '40s and early '50s. Standing at over 6ft, Dexter Gordon loomed large on the scene (hence the nickname "Long Tall Dexter"). He would also become a major influence on Sonny Rollins and John Coltrane. His recording career was long and spanned a number of famous labels (Savoy, Dial, Prestige, Blue Note and Columbia to name a few).

The first Gordon album I heard was Our Man In Paris (Blue Note, 1963). It featured mostly standards -- as was typical of the era -- but it was the sheer confidence and forceful execution of Gordon's horn playing that captured my attention. The album is also driven by the incomparable Bud Powell on piano along with Pierre Michelot (bass) and Kenny Clarke (drums) filling out an exciting rhythm section. This was a sort of comeback album for Gordon as he was slowly rebuilding his career in Paris at the time, though he never truly lost his chops.

Gordon's career with Blue Note was stellar. There is a wealth of albums that are worth owning but I think most people should really gravitate to a great collection, entitled The Classic Blue Note Recordings. This is covers a good chunk of albums recorded between '61- '65 and includes a lot of the best known recordings. Gordon was incredibly prolific during this period. His playing was fully bodied and emotionally in tune with every note. For me its felt no clearer than on the lovely and powerful "I'm A Fool To Want You" and the one of the best versions of "Don't Explain" you'll hear (next to the original from Billie Holiday). I don't think many people could go wrong with this one.

Dexter Gordon would continue recording some very consistant and always amazing records for the next 3 decades. He made stellar comback in the late '70s with true document of jazz Homecoming: Live At The Village Vanguard (Columbia) which would send his career to yet another level of success. He would later go on to star as a jazz musician in the movie 'Round Midnight which also garnered an Academy Award nomination. A musician who has performed and influenced generations of future legends, Dexter Gordon's career is one of beauty and distinction that is almost unpararlleled. The Classic Blue Note Recordings is the perfect place for you to start to hear a legend in his prime.