Satoko Fujii: Spring Storm

Satoko Fujii (piano)
Spring Storm (Libra; 2013)
Todd Nicholson (bass)
Takashi Itani (drums)

Satoko Fujii is one of the most prolific composers/pianists on the avant garde scene. I've really loss track of how many records she has in total. Even just in the last year! But what I can say is, every record is a different adventure.

On her latest, Spring Storm, with new trio featuring Itani and Nicholson, she still explores some complicated yet beautiful structures in various settings. This allows the compositions to develop very organically and shift in and out of improvisation and melody.

"Convection" slowly builds in this manner. The slow pouring of Fujii's notes and the pulsating tones from Nicholson all rubbing against the mulit-layered patterns emenating from Itani's kit--give the listener something to experience at every turn. Especially the closing moments of the piece when Fujii and Itani have some forceful exchanges that bleed right into "Fuki" which allows Nicholson and Fujii and repeat the conversation in a different mode. Once the entire trio joins in during "Fuki," it becomes feverish and fun. Nicholson's performance is terrific and energizing.

"Tremble," the most ("slightly") direct piece on the album is a soothing introspective piece that guides the listener out from the long journey of soundscapes. A perfect conclusion to a delicate and diverse story laid out brilliantly by it's composer.

Again, in just a few songs, Satoko Fujii has show why she is one of most exploratory and vital composers in the avant garde movement today. Spring Storm is excellent opening example and actually a good starting point form those not already familiar with her material. Highly Recommended.

Harris Eisenstadt's September Trio

September Trio
The Destructive Element (Clean Feed; 2013)
Harris Eisenstadt (drums)
Angelica Sanchez (piano)
Ellery Eskelin (sax)

Two years ago, I was floored by the self-titled debut session from this trio of New Yorkers, September Trio. Now with their follow up, The Destructive Element, I can say I'm not surprised by their brilliance. It's just the way they are.

The movement on The Destructive Element is more fluid and with well balanced song structure. "Swimming" is a beautiful midtempo love letter filled with solid, almost gospel influenced chords from Sanchez. While Eskelin's romantic but muscular tone feels like Sonny Rollins hovering over the session.

Eisenstadt always seems to write the pieces with his band member's freedom in mind. On "Back and Forth," and "The Destructive Element" he gives Sanchez's classical ideas the floor. And Eskelin layers a solid structure on top. Eisenstadt's brushes provide the subtle hues for a lovely, all-around experience.

Eisenstadt does allow the session to be ballad or bop driven. The trio embarks on improvisation through "Additives" and "Here Are The Samurai." Both have rolling melodies from Sanchez and crashing movements of Eisenstadt's adventurous spirit on the kit. Free-spirited yet providing structure all the way.

The Destructive Element is more developed than it's predecessor but also slightly different. Still keeping an introspective vibe but also providing more opportunities for its members to expand on their own. Harris Eisenstadt has become an excellent composer in various settings. For me, September Trio is one of his best.

Sunna Gunnlaugs: Distilled

Sunna Gunnlaugs (piano)
Distilled (Sunny Sky; 2013)
Scott McLemore (drums)
Thorgrimur Jonsson (bass)

Sunna Gunnlaugs has always brought a wonderful balance of European and American influences to her work. Her recent trio session, Long Pair Bond is a great example of her growing vision and creativity. But the new an just released, Distilled, is probably the brightest of all her releases to date. While I have compared Gunnlaugs to Jarrett and Hersch, on Distilled, her freshness reminds me of a younger Herbie Hancock, Hank Jones or even Harold Mabern.

The session is performed by the same Long Pair Bond trio of McLemore, Gunnlaugs and Thorgimur. But here, they all feel free and seem to be having a blast in the studio. I got the sense on Long Pair Bond, but with Distilled it just seems like they really felt comfortable with each composers material and have played together so long that this might have been the session they were dreaming about the night before they step into the studio.

"Momento" is the lovely late night opening that could accompany the sultry walk of your special love as you both meet for the first time. Gunnlaugs keys are playful but romantic. Thorgimur and McLemore add the soft but sensual backbeat. "Distilled" and "Switcheroo" both ballads in nature, present opportunities for the trio to stretch and extend conversations. Gunnlaugs does a sweet calculation of notes on "Distilled" which feels like a soothing llulaby. While "Switcheroo" sees each member speaking to one another in improvised tones that will make the listener laugh as well as sit in a little bit of bluesy awe at how stunning the musicianship is on the piece.

"Things You Should Know" has the authenticity and folkish quality that Gunnlaugs seems to have gained form her current tours of the East Coast of the U.S. But Gunnlaugs energy and song structures make for a perfectly constructed midtempo cross country journey. I loved the loneliness of "Opposite Side." This is very much my favourite track on the record. The conversation between Thorgimur and Gunnlaugs is sublime and is only enhanced by slow brush tones from McLemore's kit. A real delicate and beautiful display molded into a five minute love poem.

With Distilled, Sunna Gunnlaugs takes one more impressive step in solidifying her name amongst many in the jazz community, as one to watch out for. While many of my favourite pianists perform in the more free form or minimalist tradition; Gunnlaugs, like Fred Hersch, keeps the creativity of a traditionalist alive. But with a unique style and verve. Distilled is another brilliant example of that and more. Highly, highly recommended.

Filipe Felizardo: Guitar Soli For The Moa And The Frog

Filipe Felizardo (guitar, effects)
Guitar Soli For Moa And The Frog (ShhPuma/Clean Feed; 2012)

You know every guitar player doesn't have to sound like Ry Cooder, Bill Frisell, Robert Fripp or Michael Brook, to name a few of the famous modern ones (yes I'm leaving about 20 out but there's only some many lines I can write). It's when the guitarist takes the time to create and expand on their influences that really catches my eye.

That's what I found while exploring the textural soundscapes created by Filipe Felizardo on his debut, Guitar Soli For Moa And The Frog.

Notes and tones phase in like recurring dreams on the opener "Against The Day." Soft and deeply emotional, Felizardo's notes have a rustic quality. And that makes "Against The Day" echo long after its final movements have completed.

The extended suite "A Conference Of Stones And Things Previous" holds a similar inquisitive nature, with chords slowly crafting a journey that is raw and sweet. On the third movement "Obsidian", we do get a sense of a rough edge to Felizardo's playing. This is a dark poetic movement that hangs and doesn't tend to let you go.

"Of The Excrement and the Frog" posses an eastern aesthetic with a haunting blues undertone. The textures that Felizardo works through reminded me of work by the Italian duo, Zero Centigrade. Beautiful and melodic, but demands patience.

Guitar Soli For The Moa And The Frog is an impressive debut with quiet, ethereal ideas and patterns which may actually be best absorbed through headphones. Filipe Felizardo has delivered a wonderful compelling and challenging record. And shows that foundations of experimental guitars and exploratory folk can transcend both sides of the Atlantic. Highly Recommended.

Tomasz Dabrowski: Tom Trio

Tomasz Dabrowski (trumpet) 

Tom Trio (Ilk; 2013)

Nils Bo Davidsen (bass)

Anders Mogensen (drums)

I first came across Tomasz Dabrowski's work as a member of Tomasz Licack's brilliant albums, Quintet and Trouble Hunting. Now Dabrowski has released his first trio album, Tom Trio that delivers with intensity and very creative agility.

While this is his first album as leader, his work as sideman has definitely helped in building his voice and ideas. It all comes together beautifully on Tom Trio. "7 Days To Go" has a slow melodic build that reminds me of some of Nate Wooley work. It's a narrative that scales gently, added by the precise brush treatment from Mogensen.

"Wave" has a fantastic multi-layered rhythm as laid out Mogensen. Both Davidsen and Mogensen are giving the reins to run ramped, so-to-speak. The result is a nice convergence of blistering trumpet work from Dabrowski with succinct slicing and calculation from bandmates. This culminates with some terrific improvised sections towards the closing moments of the piece.

"European 46" shows Davidsen alongside Dabrowski in a groovier setting. The piece is probably the most infectious number of the session but still holds creative strategy of the overall artist vision. "This Way Up" is a whole lot of fun. Led by the driving thumbing of Davidsen, the piece soon turns into a nice bit of hard bop. The exchanges between Dabrowski and Davidsen are superb and infectious.

Tomasz Dabrowski has crafted a brilliant debut with Tom Trio. It's rich in diversity and powerful in its execution. This is one of those albums that you must seek out - now!

Soren Dahl Jeppesen

Soren Dahl Jeppesen (guitar)

(photo: Paw Ager)

Young, but with a veteran spirit, Soren Dahl Jeppesen is increasing his presence on the scene. With a solid enveloping tone, Jeppesen has similar qualities to more seasoned guitarists like Bill Frisell and even his contemporary Jakob Bro. But he is finding a growing voice over his highly rewarding three albums as leader.

After two wonderful albums with the band Pauseland as well as through multiple session work, Jeppesen delivered an impressive debut with Route One (2010). A melodic set featuring echoing effects and heavy emotional resonance is exemplified by the exchanges between Jeppesen and saxophonist, Óskar Guðjónsson and drummer, Jakob Høyer. "A Fools Paradise" and "Less" both provide a nice mixture of calm cylindrical rhythmic patterns alongside heavy percussion, which make for a exciting and intriguing experience.

The follow up, Red Sky (2011) is more song based with lots of smooth edges. That doesn't mean Jeppesen went for a commercial sound - far from it. This is just a more mature album. The quartet has more freedom of movement in his new pieces. "In The Loop" weaves small atmospherics in Jeppesen's playing against a backdrop of soulful melodies from the rest of the group. "At Ease" has the Americana vibe that has influenced a large majority of guitarists works. It would be interesting to hear this piece with lyrics. The melody is very lovely and warm.

With the arrival of Pipe Dreams (2013), Jeppesen takes a significant leap forward; a nice balance between the European and American approaches to spacial structures. The addition of Simon Toldam (piano) for the opening "Insomnia," opens the sound for an already steady and collaborative quartet. Toldam's playing is full-bodied and gives the guitar a new challenge. I loved the distancing echoes of Jeppesen's lines.

He maintains a dense and sparse motif throughout but Jeppesen does move into different landscapes as with the Latin-tinged "Fallback" and the very effected and heartfelt "Blinded" and "Broken." Both shoulder strong lyrical passages either from Toldam on "Blinded" or Guðjónsson on "Broken."

"Pipe Dreams" and "Gloom and Doom" while expressing more somber themes, actually lay within some sublime imagery as you begin to peel off the surface. "Gloom & Doom" adds more darker electronics and an almost psychedelic feel thanks to Jeppesen's harmonic delivery. "Pipe Dreams" is slightly more direct but with Toldam and Hoyer being the driving forces.

Soren Dahl Jeppesen has quickly made an impression on the community at large with a solid and growing catalog of maturity with each record - Pipe Dreams being the brilliant gem so far. I say "so far" because history is still not written. Jeppesen may just be the unheard thing at the moment but you and all our other friends now have the chance to spread the word. Pipe Dreams is a highly recommended album for every ear. If not the year.

Ingrid Laubrock Anti-House: Strong Place

Ingrid Laubrock Anti House
Strong Place (InTakt; 2013)
Ingrid Laubrock (sax)
Kris Davis (piano)
Tom Rainey (drums)
Mary Halvorson (guitar)
John Hebert (bass)

An incredible second session from Ingrid Laubrock's Anti House. With Strong Place, the ensemble has delivered a solid effort that surpasses the already superb debut.

There's always talk (especially from me) about exploring and finding the melodic path within the free flowing improvised patterns on many projects. That's no different on Strong Place. But the while the origins may be hard to find at first, a quiet listening session later unearths them slowly and uniquely.

Laubrock's horn wraps the quintet in a beautiful tornado of sound on both "An Unfolding" and "Der Deichgraf." With Davis and Halvorson pulling closely side to side on both pieces with a humorous and lovely effect. Rainey and Laubrock also share some nice staccato passages before lending way for a gentle conversation with Halvorson's harmonic delivery.

Scattered patterns fill two-thirds of "From Farm Girl To Fabulous, Vol. 1." This set by Halvorson, Davis and Laubrock; before Rainey and Hebert slowly move in providing additional bit and a chance for the melody to evolve thanks to the bands leader.

When looking for that one song with melody, you just might find it at the end. "Here's To Love" delivers on that idea with a great balance of soft passion and experimentalism. A crisp texture from Laubrock is accompanied by Rainey and Hebert allowing the quintet to express emotions in a somewhat well structure fashion. Slightly different than the rest of the session but a welcome way to close.

All the members of Anti-House play together in various forms. And each record is different thanks to the leaders. But with Anti-House they seems to be able to make expressions and experiment in ways that their other group done allow. Weird, but with creativity like this, it's should be expected. Strong Place is a solid second effect from a blossoming super-ensemble.

Ellery Eskelin: Mirage

Ellery Eskelin (sax)

Mirage (Clean Feed; 2013)
Michael Fromanek (bass)
Susan Alcorn (guitar)

Ellery Eskelin is a troubadour. His creative talent has been on display both as leader and member for almost three decades. A warm and enveloping texture to his recordings is always present. On his latest, Mirage, his display an intriguing outback journey that feels like a desert soundtrack.

Susan Alcorn's shimming opening chords on "Rain Shadow" forecast a session that is filled with majestic passages and mysterious undertones. Eskelin's notes weave slow a gently around bass and guitar and accentuate the haunting nature of piece. "Saturation" is an rolling improvised piece that while each member seems be moving in divergent directions by midway, a slight melody evolves and then slowly deconstructs. Alcorn and Eskelin play off one another beautifully.

There are times when Eskelin's tones sound like late period Ornette Coleman circa the Naked Lunch soundtrack. One of those moments for me was the epic piece "Downburst." A slow moving blues style ballad mixed with intrigue and experimentalism. Fromanek and Alcorn have silent and introspective conversation throughout. This, while Eskelin's journey moves across like broad strokes of a small paintbrush. Lovely and lengthy.

Mirage is document that paints a beautiful and luxurious picture with influence of avant garde, blues and Americana. This, all resulting in an excellent soundtrack for a Summer journey. Enjoy a very deep listen.

Mikrokolektyw: Absent Minded

Mikrokolektyw (duo)
Absent Minded (Delmark; 2013)
Artur Majewski (electronics, trumpet)
Kuba Suchar (electronics, drums)

Well it's been three years since we heard the dynamic and creative duo Mikroklektyw. They have been working in various forms with their respective collaborative groups but finally we get hear their dense, expansive imagination again on Absent Minded.

Absent Minded delves deeper into the rabbit hole of sound as the duo completely restructure our thoughts on what jazz and sound sculpture can be. A slightly less emphasis on the electronics from it's predecessor, Revisit, Mikrokolektyw are still exploring melodies that burst out of spontaneity than structure.

"Thistle Soup" and "Crazy Idea" a great sources improvisation exploding into melody before you know it. Majewski provides sharp notes that are juxtaposed to Suchar blistering pace and while at first seem completely unrelated slow unravel to showcase a beautiful picture of sound and space.

"Fossil Stairway" is the one track that does hearken back to Revisit's electronic elements. A cascade of sound, almost like air raids. This, all the while, Majewski and Suchar are weaving between the noise with pattens that set a rough but fun path for the listener to follow.

Fun might the other way to describe "Little Warrior" in which the tribal elements of this piece reminded me of Les Baxter, Raymond Scott, Don Cherry shoved in a room with Chris & Cosey (of Throbbing Gristle) and told to make beautiful music. This is what they might come up with. Intriguing, beat-driven, exotic and masterfully executed.

Absent Minded is great follow up to Revisit. And Mikrokolektyw have shown that they are a duo with layers of ideas and will continue to challenge our conceptions. Once again, for me, they have made one the best albums of this year.

Rodrigo Amado: The Flame Alphabet

Rodrigo Amado (sax)

The Flame Alphabet (Not Two Records; 2013)

Gabriel Ferrandini (durms)

Jeb Bishop (trombone)

Miguel Mira (cello)

I've come to learn that each Rodrigo Amado record is going to be exciting and a challenge. With his out Motion Trio added by Chicago trombonist, Jeb Bishop, Amado delivers another fun and energetic performance that keeps the ear attuned.

The Flame Alphabet is the quartet's first studio album, following their live debut, Burning Live At Ao Centro.

You would think that in the studio the vibe would be contained and little less vibrant. You would be sorely mistaken. The sound is still bold with lots of urgency. "Burning Mountain" and "Flame Alphabet" both have Amado in fine form. Tearing into notes and undulating patterns like a reincarnated Archie Shepp. Bishop flexibility allows for great interaction between both Amado and Ferrandini which makes for some excellent concentration on the listeners end. But it is extremely rewarding.

"Into The Valley" is a scaled back piece. Amado's horn is sparse, while the rest of group revolves around a small series of improvised tones. This all comes crashing against fierce lines delivered by Mira and Ferrandini as the track moves forward. "The Healing" closes the album with grace. A ballad the drifts gently on the waves of Amado's notes. But Bishop provides a tones that almost feels like a trumpet.

Rodrigo Amado's new ensemble is a spot-on quartet that delivers with every note. Detailed, intricate, electrifying and inventive from beginning to end. The Flame Alphabet is an album that you will come back to--again and again.

The Intersection: The New Mastersounds

The Intersection: An ongoing feature on JazzWrap that looks at artists that have blended jazz, world and electronica in new and highly creative ways.

The New Mastersounds
Out On The Faultline (One Note Records; 2012)
Joe Tatton (keys)
Pete Shand (bass)
Eddie Roberts (guitar)
Simon Allen (drums)

In short, this is the best New Mastersounds record to date. An awesome tour de force. On their eighth studio album, Out On The Faultline, we get the usual soul-funk fusion. But as with recent sessions the quartet have blended more jazz and vocal elements into their sound. The results are slowing bearing rich fruits.

The hyper voltage of the two opening numbers, "You Mess Me Up" and "Way Out West" are classic TNM. Allen and Roberts are blistering on both tracks. Setting the pace for an all-out groovy jam party.

"Ding-A-Ling" is a party call-to-arms. Just a straight up dance number. Chaotic and potent, with some excellent horn work from Joel Cohen. All alongside the twisting jumpin' jivin' party lyrics from the group. "Turncoat" for me, had a little spy-jazz vibe to it. The haunting keyboard work and bluesy guitar lines from Robert makes for some added heavy soul.

"Summercamp" is a dreamy, funky midtempo piece that feels slightly different than previous TNM numbers. It has an ethereal nature to it (circa early Paul Weller solo or even Mother Earth). Shand and Tatton add the creative framework throughout. But the soulful guitar of Roberts comes in towards the middle and carries the tune through a number sublime changes.

While much of The New Mastersounds work has been based in the American soul and British Acid Jazz vibe; the quartet in recent years has really grown and developed an excellent voice and direction. Out On The Faultline is a superb document of over a decade of work. And is easily one of my albums of year. Well worth any amount of money it cost to get it. Highly Recommended!

Ken Fowser & Behn Gillece: Top Shelf

Ken Fowser (sax)

Behn Gillece (vibes)

Top Shelf (Posi-Tone; 2013)

Michael Dease (trombone)

Dezron Douglas (bass)

Rodney Green (drums)

Steve Einerson (piano)

A Ken Fowser & Behn Gillece outing is always going to be top-notch and smooth; like good old fashion club date. With their fourth album, Top Shelf, they keep the relaxed bebop aesthetics of their previous albums while assembling yet another stellar array of musicians to assist in molding their material.

A steady, straight forth "Slick" leads the way, with some terrific bold notes from Fowser and triple toned patterns from Green and Gillece. A strong opening with Dease as a great counterfoil for Fowser.

"Ginger Swing" brings Einerson up in front alongside Fowser nicely. Gillece comes in and rips a set of notes midway through that are balanced perfectly from Green. But Gillece's agility really shines here as he begins some nice improvising before things swing back to Einerson and sextet move towards the closing notes.

"Top Shelf" is a killer piece with a slight Latin tinge. The rhythm is a scorcher and the beat laid down by Douglas, Gillece and Einerson is infectious. "Proximity" while dreamy also features Dease in a nice comfortable roll (almost Fuller-esque). I really love the way each member gets their opportunity to shine on this closing number.

One of the great things I've loved about Ken Fowser and Behn Gillece is their tight arrangements and dedication to tradition. Their writing gets stronger with each record. And their ability to find the right members is extraordinary. Top Shelf is yet again, another will delivered document from a duo that is continually growing and finding an exquisite voice.

Fred Hersch & Benoit Delbecq: Fun House

Benoit Delbecq (piano)
Fred Hersch (piano)
Fun House (Songlines Recordings; 2013)
Mark Helias (bass)
Gerry Hemingway (drums)
Jean-Jacques Avenel (bass)
Steve Arguelles (drums)

It's always an exciting prospect when two great conceptualists combine their ideas. The results can be sublime. And that is exactly what happens on Fun House, the new collaboration between Fred Hersch and Benoit Delbecq.

A fantastic intersection of classical tradition, jazz ethos and soundscapes. Delbecq known for his complex patterns and sparse ambience. Hersch renown for his creativity, elegance and agility to move the jazz tradition forward. These elements are pulled, stretched and expanded through Fun House in various hues by an amazing double trio.

"Ronchamp" is a heavy, dense piece that while revolving around improvised notes of Hersch and Delbecq, also serves as a platform of vibrant performances by Avenel and Helias. The movements feature deep lows and cathartic high tones. All folded into a short three and a half minutes.

"Fun House" and "Le Rayon Vert" are complexed ballads wrapped in third-stream harmonic melodies. They are at once blissful and serene. Then carving a pattern of improvised exchanges between each instrument. While "Night For Day" is the more traditional piece in this set. A straight ahead one, two bop rhythm. It's cool and playful as Hersch sounds like the shadow of Thelonious Monk.

The closing track, Ornette Coleman's "Lonely Woman," was also featured on Hersch's Alive At The Vanguard release from a year ago. Here in the double session, it has more atmospherics and a rich psychedelic feel. Still deeply personal but also crackling with life thanks to dueling conversation between the two pianists.

At times throughout Fun House it's difficult to discern which musician is which coming through the left and right channels. But that actually is the point. This set of accomplished musicians, whom have played together before in various configurations, sound like one ensemble in harmony. Fun House is an easy and control session with lots of dynamics that will be immensely enjoyable to admirers of both Delbecq and Hersch. But also for those seeking something new and introspective. Highly Recommended.

Soweto Kinch: The Legend Of Mike Smith

Soweto Kinch (sax, vocals, programming)
The Legend Of Mike Smith (SW Recordings; 2013)
Julian Joseph (piano)
Shabaka Hutchings (sax)
Karl Rasheed Abel (bass)
Graham Godfrey (drums)
Cleveland Watkiss (vocals)
Rachel Maby (vocals)
Eska Mtungwazi (vocals)

The story of city. The story of artist as a young man. Or how to survive it all. On your own terms. Those are some of the ways to look at Soweto Kinch's latest hybrid opus, The Legend of Mike Smith.

As with his previous albums of jazz fueled hip hop (or hip hop fueled jazz?), Soweto Kinch has filled this album with more hilarious interludes and mind boggling tales, that very well could be true. Or at least resembles scene that I know have happened in meetings between artists, management and labels. The Legend of Mike Smith is played with sheer brilliance from the composer to all the bandmates and cast members.

The album surveys the journey of creativity running and battling against the stale, bland and repetitiveness of an industry and environment that continues be stagnant. "Invidia" (or envy) exemplifies Kinch's rage and beauty with description of the balance between the artist reality and the fame that seems to eludes him. Hard hitting beats and "jungle-like" vocals that are true to the portrait.

While "Invidia" is a glimpse into the hip-hop language of Soweto Kinch, "Road Block" is filled with candescence melodies from Kinch on sax. An variance that definitely shows his skill on the horn is growing and becoming more individually descriptive.

"Vaccum" is a lovely ballad filled with bold lines and calm serenity that I personally haven't heard from Kinch on previous albums. And the performance from Jay Phelps is sublime. "Sweeping Changes," allows quartet portion of the ensemble to move effortlessly through a steady midtempo arrangement where Kinch almost sounds like Sonny Rollins.

"Avarita" sparks the sociopolitical side of Kinch's lyrics. Discussing the city and global disparities of well-being for all and it's effects. Kinch has an energy and bit that slices cross the headphones like Roots Manuva. A great track filled with rough and ready beats and lyrics--solid stuff. "The Healing" and "The Bounce" close out Mike Smith's trials and tribulations on a joyous note. Built with funky hard bop pattens but maintaining a rich view of the future--Soweto Kinch nails the ending elements of this epic album perfectly.

The Legend Of Mike Smith is ambitious (spanning two discs) but Soweto Kinch does have a lot to say and makes great use of the talent around him. Always a delicate balancing act between his hip hop influences and his jazz inventiveness--The Legend Of Mike Smith an excellent document of what happens when the two genres are done the right way. One of my albums of the year.

Nicole Mitchell: Aquarius

Nicole Mitchell (flute)

Aquarius (Delmark; 2013)
Frank Rosaly (drums)
Jason Adasiewicz (vibraphone)
Joshua Abrams (bass)

Nicole Mitchell returns to scene with her fifteenth album, Aquarius. And--as always, its a majestic affair. Pared with fellow Chicago creatives, Rosaly, Adasiewicz and Abrams, Nicole Mitchell has breathed new life into her already ethereal compositions.

The spirit of Coltrane and Dolpy floats swiftly through "Aqua Blue." Filled with a funky blues vibe, Abrams and Rosaly moving the melody along mixed with Mitchell and Adasiewicz swirling harmonics solidifies a beautiful opening number. Abrams sets a dark tone on "Aquarius." His opening lines and strokes are heavy, intense and intricate. The rest of group slowly arrive, creating a choral ballad that slides and drifts from structure to improvised, effortlessly. Mitchell's tone and steady pace is augmented by the freedom she allows her bandmates to explore through the last quarter of the piece.

I loved the soulful bebop ride of "Sunday Afternoon." A groovy number with an infectious rhythm section that sets up Mitchell's richly spiritual spacial patterns. Closing with the tribute to Chicago legend and one of my personal favourite musicians, Fred Anderson is lovely sentiment. Guest vocalist, Calvin Gantt delivers the importance his presence was (and is) to the scene. A pray and a testimony to his greatness.

Aquarius is yet another excellent session from Nicole Mitchell. And with another great set of young musicians, Mitchell brings a fresh perspective that just might be what those who haven't heard before need. Aquarius will be one of those records that you'll want to tell everyone friend you know to get. Highly Recommended.

The Thirteenth Assembly: Station Direct

The Thirteenth Assembly (quartet)
Station Direct (Important; 2011)
Taylor Ho Bynum (cornet)
Mary Halvorson (guitar)
Tomas Fujiwara (drums)
Jessica Pavone (viola)

One of the other exciting musicians on the New York scene in the last few years has been Taylor Ho Bynum. One of his many groups, The Thirteenth Assembly, released its second album, Station Direct in 2011. Built around the numerous influences of each musician, Station Direct spans rock, avant garde, folk and classical with ease. The mixture is subtle yet you will be amazing at the delivery and impact the music will have after a number of spins.

"Nosedive" opens with in an almost Americana fashion. With Pavone's viola roaming and sounding casual but calculating. Then the contrasting harmonics of Bynum, Fujiwara begin to slice notes in sections. Halvorson arrives in later stages and brings a cohesiveness to the piece that also allows the musicians to experiment more with sound.

"Coming Up" features some intriguing passages between Halvorson and Fujiwara. But it really is a feature piece for Fujiwara who explodes across the kit with exciting and fun. The song was written by Pavone, but she does lay in the background and allows the rest of member to explore and expand the piece beautiful.

"Long Road" swirls with experimentation thanks to Halvorson and Pavone. Notes and patterns that move in and out of darkness. Halvorson has a number low toned chords that give way to the pitch of Pavone's viola. As the tune moves forward it shifts from experiment to funky to folk and back to experiment; with Bynum returning in low hues and echoes of a New Orleans celebration and finally a joyous and raucous conclusion.

Station Direct is an album that travels in many directions thanks to the influences of its members. But it is an exciting journey and well laid out. The Thirteenth Assembly is one of those experience and creative side projects that is always worth diving into. You never know what will be next. But you know you're going to love it. Great stuff.

Kris Davis: Capricorn Climber

Kris Davis (piano)
Capricorn Climber (Clean Feed; 2013)
Ingrid Laubrock (sax)
Trevor Dunn (bass)
Tom Rainey (drums)
Mat Maneri (viola)

The incomparable, Kris Davis returns with more brave and complex patterns on her sixth album, Capricorn Climber. Davis, is part of the new legion on New York musicians that are redefining the scene nationally and globally. A scene composed of such notables as Tom Rainey, Mary Halvorson, Peter Evans, Ches Smith, Tashawn Sorey, Moppa Elliott, Jon Iragbagon et al. But Davis like Halvorson has been one of the major standouts for me over the last few years.

Capricorn Climber provides all you need to know and hear from a talented composer with challenging ideas. "Pass The Magic Hat" is a smooth yet very involved piece. The first steady tempo is lead by some lovely rolling lines from Davis. This is subtly balanced by Rainey and an uncharacteristically calm Laubrock, who sounds bold and romantic. Then all that changes as the piece moves forward and becomes even more reserved and delicate. Maneri dominates with some wonderfully inventive and chaotic notes. Beautiful and surreal.

Davis gives Trevor Dunn a lot of room to roam of course on "Trevor's Luffa Complex." The opening solo is superb and illustrates how well developed his craft has become in the last few years (actually he's been at way longer than that). He sets up some lovely exchanges with Laubrock that then fold nicely into a boiling cascade as Davis and Rainey come blasting in.

"PI is Irrational" flexes back and forth with breaking rhythms and patterns, mainly from Maneri and Rainey, with little slices of improvised notes floating in and out from Davis and Dunn. Laubrock's arrives towards the end of the number to add a nice linear passage for the closing notes by Dunn.

Maneri really shines in Davis' pieces, this is evident of the title track where his conversation with Davis is a perfect simpatico. Once the rest of the quintet dive in, the piece becomes a bright wash of sound that levels off calmly but with deep sense of structure.

A new album from Kris Davis always brings real joy to my ears. Capricorn Climber is definitely one of the more developed and intense sessions she's done so far. And it may take a little time for you digest all its beauty. But you will shortly realize how important Kris Davis has become as musician, composer and influence on a larger scene globally. Highly Recommended. And one of my albums of the year!

The Intersection: Olafur Arnalds

The Intersection: An ongoing feature on JazzWrap that looks at artists that have blended jazz, world and electronica in new and highly creative ways.

Olafur Arnalds (piano, electronics)

For Now I Am Winter (Erased Tapes; 2013)

I admit, I only own one other record by Icelandic pianist, Olafur Arnalds. And that really is just a duet ep with Nils Frahm. But with his latest release, For Now I Am Winter, I am officially hooked!

There's a peaceful and ethereal element that flows from Arnalds music. Built both on atmospherics and classical traditions, ...Winter feels like a combination of William Orbit's experiments (circa Pieces Of A Dream), Max Richter and Harold Budd. But this album has a pleasant sense of awakening, amongst its subdued settings.

Opening with two contrasting pieces, the dark yet softly touching, "Sudden Throw," with swathes of clam keyboard lines augmented to simply and gentle piano melodies and quickly transitioning into the violin movements and electronics of "Brim" which are harsh and beautiful like Aphex Twin. These two pieces exude the texture of the session and invites the listener on a magical ride.

"Old Skin" features a more populous approach. Arnor Dan's vocals are passionate and provide a folkish feel against a chamber backdrop of Arnalds notes and string instruments. "This Place Was A Shelter," with its crunching electronics lines pushing against the solemn strings is the cinematic moment of the album for me. While short, it does leave a strong impression and features wide facets of Arnalds compositional skills packed into a brief four minutes.

A wonderful and reflective outing from this young musician and composer, For Now I Am Winter is solid piece of work. Olafur Arnalds has been gaining more notoriety in the last few years, but here's to hoping that For Now I Am Winter is the breakthrough he richly deserves. A magnificent record.

The Intersection: Brandt Brauer Frick

The Intersection: An ongoing feature on JazzWrap that looks at artists that have blended jazz, world and electronica in new and highly creative ways.

Brandt Brauer Frick (trio)

Miami (K7! Records; 2013)

Daniel Brandt (electronics)

Jan Brauer (electronics)

Paul Frick (electronics)

Miami is the German group, Brandt Brauer Frick's third and most dramatically cinematic album so far. While the previous albums, Mr. Machine and You Make Me Real had elements of dance, free jazz and experimentalism mixed throughout, Miami strips things down to the deeper introspective parts. And it delivers on every level.

Harboring more dark beats and themes than its predecessors, Miami is a intricate leap forward and exciting listening experience. The opening title theme is a slow plodding movement based on basic two or three chord piano notes, some eerie electronics, slow bowed cello (possibly even a tuba!) and haunting vocals from Erika Janunger. A lengthy opening piece with a lot of emotional impact that resonates throughout the album.

"Plastic Like Your Mother" has a dense, soulful vibe to it that is almost reminiscent of early Tricky or mid-period Massive Attack. The dance elements finally emerge towards the middle of the piece with trippy repetition and vocal loops. And just as you think the piece is about to explode--it ends. Intelligent and crafty.

"Empty Words" is like walking through a hall of mirrors in any horror flick. Slow descending heart-thumping paces on the keys and lots of improvised moments with Jamie Lidell's loving and cries floating in and out. And then having the slicing bass lines defining each movement made this one of my favourite tracks in the session.

"Fantasie Madchen" keeps true to the Bodo Elsel original with simple electronics and infectious attitude and the rough vocal treatment by Gudrun Gut. Gut's vocals give the piece a little more of a sexy vibe with the instrumentation making this late 90s dance piece more futuristic.

Yes, musicians want to challenge themselves every time out. But you don't get many that succeed with each effort. With Miami's more improvised vision the trio of Brandt Brauer Frick manages to do that over and over and over. This is an excellent session and must have for music fans. Highly Recommended!

Zero Centigrade: Selce

Zero Centigrade (duo)
Selce (Nothing Out There Music; 2012)
Tonino Taiuti (guitars)
Vincenzo de Luce (trumpet; electronics)

Zero Centigrade has always been a duo pushing boundaries and corrupting perception. Selce, finds the duo with another unique task--pulling their minimalistic approach even further backwards. And in essence, exploding the theory of what "genre" should be.

"Blue Dress" mixes a two note chord with sound collages and electronics that at first sound like tuning to find the journey. But as the piece moves forward you realize this tuning is the journey. It's a path to find what can come next in this improvisational structure. It's gentle and well crafted with new sound emerging every few minutes.

"Dougmouth" and "Selce" both ride a folkish, country theme hidden behind dense echo chambers of sound that reverberate from Taiuti's guitar. DeLuce's electronics and distant trumpet line the atmospherics in both pieces giving them an other-worldly tone and keeping the listeners interest peaked. With "The Far Road" Taiuti and DeLuce stretch the notes as far as the can go, utilizing as much space as possible. Found effects come into the forefront later in the piece only to accentuate the notes.

Zero Centigrade is all about exploring new territory. Sitting back and experiencing each movement for how it can transform is the best way to evaluate Selce. It is an album that has surprises with every listen. And once again Zero Centigrade pull off another fabulous experiment in sound.

David Weiss: Venture Inward

David Weiss (trumpet)
Venture Inward (Posi-Tone; 2013)
Nir Felder (guitar)
Luques Curtis (bass)
Jamire Williams (drums)
J.D. Allen (sax)

Venture Inward is an interesting third outing from David Weiss' quintet, Point of Departure. Technically, in recording order, this would actually be the first Point of Departure album. The album features the studio versions of tracks that would later be performed on the live albums, Snuck In and Snuck Out. It's still a solid release that is worth every bit of the money. And real document of the organics that the group is and would result in their later live dates.

While the four tracks that would be featured in the live dates have the same vibe here in the studio; it might be "Snuck In" that feels slightly different. This studio version opens with Felder's guitar lines instead of the ferocity of Weiss' trumpet. But the energy of the performance is still there but a little subdued. This gives the piece a little bit more depth and allows you to focus more on the interaction between the members.

"Venture Inward" and "Pax" both classic Andrew Hill tunes illustrate the desire that Weiss has to re-invigorate and educate jazz fans about hard bop. The group expresses some colourful tones throughout "Venture Inward." On "Pax" you can almost feel a note for note annotation but with real reverence.

David Weiss & Point Of Departure is one of those groups that Weiss uses to explore the more raw and free form elements of jazz history. He seems to be doing an extremely excellent job with this group. Let's hope they stay together. Point Of Departure are giving a superb jazz history lesson with Venture Inward. 

Fusk: Super Kasper

Fusk (group)
Super Kasper (Why Play Jazz; 2013)

Philipp Gropper (sax)
Rudi Mahall (bass clarinet)
Andreas Lang (Bass)
Kasper Tom Christiansen (drums)

So, a few years ago I reviewed the debut album from Fusk. A rich combination of hard bop and free jazz. The quartet have finally returned with their follow up, Super Kasper. And I have to say, this is a massive step forward. Challenging chords, imaginative thinking and superb performances. Super Kasper is a more mature and effective record than its predecessor. And that's what you want to see in a band--right?

"Music Eins Punkt Null" and "Lauft" open playfully but both illustrating an adventurous spirit. Mahall and Lang provide a forceful bottom up approach that allows Gropper and Christiansen to mold different tones through. Especially on "Lauft." Both pieces are a survey in sound structures and where they will go next. It's beautiful to hear how each instrument interacts with the next note.

I enjoyed the swirling nature on the first half of "Suburbia Surreal." It's hypnotic and abstract but soon levels out into almost blues-like structures. Very nicely done and crafty. "Led Right, Gleen Right" adds a little humour to the proceedings. Another rolling piece that doesn't complicate the melody but does show the complexity of musicians and ongoing kinship to each other.

The real thing that struck me from the first listen to Super Kasper was how many times I kept coming back to the record throughout the first week I got it. Fusk is a quartet of veteran musicians. But a quartet that has matured in its compositions and performances faster than you would expect. I really really loved this record. And it will be one of my best of albums of the year. Highly Recommended!

Soren Gemmer: At First

Soren Gemmer (piano)
At First (Ilk Music; 2013)
Per Mollehoj (guitar)
Tapani Toivanen (bass)
Andreas Fryland (drums)

The debut album from the Soren Gemmer Quartet, At First, is one of those unassuming albums that lays everything out for you--quietly, smoothly and elegantly. The pianist got a late start to playing music but has blended a love of classical tradition with melodic jazz structures to create a engrossingly beauty first session.

"Russians" opens the album with a soft but propelling drum beat and fully framed lines from Gemmer. The expressionism the quartet exude is exciting and fresh. Mollehoj's guitar perfectly blends with trio giving the group a distinct quality that sets them slightly apart from many of their contemporaries within the region.

An intense opening passage between Mollehoj and Fryland on "Dear W." (written by Fryland) allows the listener the chance to experience the full dynamics of the quartet. Each performer shines with their dedicated section. But all revolving back towards the center in the closing cords.

Heavy keys and dense patterns mark the title track. With some enveloping chords that feel like a chamber piece but yet filled with vitality. You can sense this is a session and piece in particular, is one that the quartet are enjoying greatly.

The harmonics and subtle colour that Soren Gemmer adds to each piece is wonderful to hear. At First is an invigorating debut that is easy to fall in love quickly. A lush and moving work for any music fan. Start listening now...

The Intersection: Sava Marinkovic

The Intersection: An ongoing feature on JazzWrap that looks at artists that have blended jazz, world

and electronica in new and highly creative ways.

Sava Marinkovic (guitar; electronics)
Nowhere Near (Acustronica NetLabel, 2013)

The debut from Serbian multi-instrumentalist, Sava Marinkovic, is quiet, gentle and reflective. Before you know it--you've listened to Nowhere Near five or six times. A luscious album of soundscapes that sits nicely alongside ambient works by Harold Budd, Robert Fripp, Brian Eno, Eivind Aarset and Michael Brook. 

Nowhere Near is a short album in length but long on beauty, distance and space. "Argemone" includes slow passages of piano and electronics and haunting harmonies from Melinda Ligeti. A peaceful opening journey that elegantly sets the tone for the session.

"Taste Of Rust" and "Nowhere Near" both have a melodic nature that is reminiscent of David Sylvian circa Gone To Earth. It's light, atmospheric and rolls along in a dreamlike pattern. Marinkovic's guitar lines burst into the open on the title track in Fripp meet Gilmore fashion but you definitely sense a voice in his playing.

While it does work from a familiar palette, you won't be disappointed by Sava Marinkovic's first outing. Nowhere Near is very impressive debut that is both enjoyable and illuminating. Let's hope the next project comes quickly so I can take this off repeat. Highly Recommended.