Dave Douglas in Ecstasy

Dave Douglas (trumpet)

Brass Ecstasy At Newport (Greenleaf Music)

Vincent Chancey (french horn)

Luis Bonilla (trombone)

Marcus Rojas (tuba)

Nasheet Waits (drums)

Dave Douglas has been beyond the borders of jazz since he started out in the early '90s. An artist who for those unfamiliar, has combined the exuberance of Louis Armstrong, the adventure of Lester Bowie and the artfulness of Woody Shaw into what I believe is the best and most creative trumpeter of his generation. Douglas' new album Brass Ecstasy At Newport is just more evident of how he is making a definitive statement inside and outside the jazz landscape. 

This is essentially a live document of Dave Douglas' newest of many collective ideas Brass Ecstasy debut album from last year, Spirit Moves (Greenleaf Music). The performance was originally recorded by WGBO in Boston so the sound quality is excellent. But its the music that really delivers on an astonishing note.

This live performance surfs with New Orleans territory with more verve and intrigue than others have done over the last decade. Both the title track and "Fats" swing and generate a rich excitement that later lays into the bluesy outlook of "I'm So Lonely I Could Cry." The twelve minute closing number "Bowie" is a wonderfully brilliant tribute to the legendary Lester Bowie in which each member explodes in festive form that the great trumpet would undoubtedly enjoy.

Every Dave Douglas fan will gravitate to this live outing with no problems. The real thing is what those of you who haven't discovered Dave Douglas should do. If you are a fan of Armstrong but also are looking for something updated, different and compelling, Brass Ecstasy At Newport is a great introduction to one of many Dave Douglas projects. And could, along with the studio album, Spirit Moves make two perfect companions that will definitely open your world to one the greatest trumpeters of the late 20th Century and one of the future legends of the 21st.

Eddie Mendenhall

Eddie Mendenhall (piano)

Cosine Meets Tangent (Miles High Records)

Mark Sherman (vibes)

Akira Tana (drums)

John Schifflett (bass)

A lush harmonic beauty exudes from Cosine Meets Tangent (Miles High Records), the debut recording from Monterey teacher and musician, Eddie Mendenhall. Absorbing a scene that crosses both Japan and the U.S., Mendenhall has developed a voice that is disciplined, rhythmic and entertaining throughout the course of this session.

This is a fresh and very inviting album that has shades of some of the legendary and entertaining sessions from the likes of Hank Jones, Cedar Walton and more recently Cyrus Chestnut or David Hazeltine. Mendenhall's approach is a straight forward bop sound that can be both intricate and accessible to new & old jazz fans alike.

"Protocol" opens with bounce from both Mendenhall and Sherman who make sure to grab the listener and bring them right into the rhythm. Sherman doesn't stretch like some the more avant garde vibraphonist but he makes the best of influences like Bobby Hutcherson and Milt Jackson. And that makes "Protocol" all the more rewarding.

"Rain Hike" sees Mendenhall telling a story and taking the listener on a journey which encompasses not just his jubilant take on the keys during the solos but also a passionate demonstration by his band. Sherman and Schifflett have some impressive performances as well, and Tana slides gently underneath with superb timing but without it this track becomes more a jam than a hard driving piece of modern bebop.

"Lament For The Ocean" is a passionate soliloquy (written in response to the BP oil spill crisis) which Mendenhall really delivers his best performance. It's introspective but warm and inventing enough that you really are affected by it with a real sense of urgency. One of my favourite tracks on the album.

The closer and title track is more complex than you would originally think considering how free and open the rest of the album is. "Cosine Meets Tangent" is brisk with some great harmonic structures and improvised moments that stretch the quartet more than the rest of the proceedings. It definitely shows the strength of the band. Schifflett gets a great opportunity to let rip and has some terrific conversation with Mendenhall through the middle of the piece. The builds to a quick yet festive conclusion which keeps in the tradition of outing.

Cosine Meets Tangent is a great debut from a talented musician and teacher who has a lot to share and stories to tell. It might be a difficult record to find but if you come across it either online or at your local record store, it is well worth the price. Enjoy the experience.

Alon Nechushtan

Alon Nechushtan (piano)

Words Beyond (Buckyball Records)

Dan Weiss (drums)

Francois Moutin (bass)

I became aware of Alon Nechushtan from his work with what I would call "avant garde klezmer" outfit Talat and was extremely excited about what Nechushtan would do as leader. He is a talent and in-demand musician who has worked all over the globe with festivals and musicians as diverse as Roy Campbell, Chris Speed, Marc Dresser among others.

The work he has done on his debut, Words Beyond (Buckyball Records) is simple. He has deliver an album of real invention, originality and clarity that should catch the ear of most jazz listeners as this record gets out to more people. With the obvious influences circling this session, Monk, Jarrett, Bley, etc. I tend to notice Uri Caine more in the flexibility of the compositions and Nechushtan's own performance on Words Beyond.

There is a playful nature between the trio on the first two tracks "Muppet Shock" and its successor, "Different Kind Of Morning". Both display an elegant, joyful and quick witted Nechushtan creating some intense patterns as the excellent Weiss and Moutin follow with a deep one, two's of improvised moments. Lovely interplay especially throughout "Different Kind Of Morning." On my current favourite track on the album "Dr. Masterplan", Nechushtan illustrates some complex arrangements but his play is so high-paced that you are immediately sucked into the rhythm and a journey that is buoyant and accessible.

The complexity and cleverness of Alon Nechushtan's writing does remind me of the earlier straight ahead jazz albums of Uri Caine (or his Moloch record for the Tzadik label). They can be complex in composition but yet still mesmerize even the newest of jazz fans. I feel this way on "Spring Soul Song" and "Heartbreakthrough". The first having more of an upbeat and sometimes staccato moments but overall moves the listener with a sense of adventure. The latter is a more a traditional ballad in which Weiss and Moutin both are raised to forefront with superb performances. Weiss adds a gentle wash to discussion while Nechushtan and Moutin both give real emotional impact with their interchanges.

Words Beyond is a stellar debut from a composer and musician who is reaching new heights with every recording session and performance. If you haven't listened to Alon Nechushtan already, I highly suggest you start now. Highly Recommended.

Be Lee...Alon Nechushtan from JMJProductions on Vimeo.

Arszyn/Duda: The Polish Avant Garde

Arszyn/Duda

SE (Lado ABC)

Krzysztof Topolski (drums; percussion)

Tomasz Duda (sax)

First, I must thank fellow jazz blog, Polish Jazz, for turning me on to some great stuff over the last week. One such record is SE by Arszyn/Duda. This piece of incredible improvisation and experimentalism reminds me of the Ken Vandermark duo sessions of the last couple of years (especially Complete Friction) or even Sonore (with Peter Brotzmann). This improvised session was created by two young and talented musicians who have studied under some of the best in Polish improvisational jazz legends.

SE encompasses three lengthy "untitled" tracks that search, examine, devolve and reconstruct sound through fracture chords and manipulated patterns. There are also elements that remind me of the Master Musicians of Joujouku, especially in the first track which moves ever so closely towards a rolling cacophony of sound and tribal drum beats. It's fierce, blistering and sometimes painful when you're listening with headphones but I loved ever ear-splitting second of it. Track one becomes more free and sparse toward the end as Topolski and Duda share almost silent improvising moments before building up momentum into Track two which turns into a mellow yet still experimental affair.

Track two sees Topolski's pulsating drums subtely shifting in and out of range with Duda creating one and two note poems over top. Towards the end, Duda becomes more like Ornette Coleman with some really beautiful tone dialling and phrasing that may stop you in your tracks thinking there's a melody that's about to break out. Ha, Ha, you're wrong!

Track three follows a similar path but the listener experiences every emotion throughout this piece. Beginning with short half notes and periodic squeals, and lower frequency swathes of the brushes and subtle electronics, this piece than gentle brings the listen down for a soft landing after a good sixty minutes of mind blowing soundscape surgery.

Arszyn/Duda have created a real treat for all us improvisation lovers out here. SE is not for faint-at-heart. You will be hit with sound. There will be blood. This is challenging music, folks. But this is why we love jazz!

(Again...Many thanks to fellow blog site Polish Jazz for turning me on to Arszyn/Duda. You guys should really check out what he has to deliver. We will be sharing some of their stuff over the next couple months as a way to spread more news about the great jazz scene in Poland. Stay tuned.)

Daniel Levin's Modern World

Daniel Levin (cello)

Organic Modernism (Clean Feed Records)

Nate Wooley (trumpet)

Matt Moran (vibes)

Peter Bitebc (bass)

YOU NEED TO KNOW DANIEL LEVIN. 

Daniel Levin has been on the rise since his Don't Go It Alone debut in 2003. And while there have been plenty before him that has set the groundwork for the cello as a major instrument in jazz, inlcuding: Eric Friedlander, Daniel Pezzotti, Hank Roberts, and David Darling among others, Daniel Levin is one artist who is quickly making the cello a prominent force in jazz composition.

With a presence that may be larger in Europe than in the states, those within jazz circles know what an amazing musician/composer he is. He has worked across the improvisational spectrum, with the likes of Ken Vandermark, Joe Morris, Andrew Cyrille, Anthony Braxton and many more. Levin brings a subtle adventurous beauty to this chamber setting on his latest, Organic Modernism (Clean Feed Records). His consist and always remarkable quartet of Wooley (trumpet), Moran (vibraphone) and Bitebc (bass) deliver an eloquent and colourful performance throughout the brilliant journey that is Organic Modernism.

"My Kind Of Poetry" is as touching as it is melodic and dense in a slow blues-like fashion. The interaction between Bitebc and Levin at times feels like one instrument. The piece continues builds slowly with the addition of Wooley and then Moran in a more laid back role on this piece. Then we finally arrive at what is an interesting and brief denouement as Levin and Bitebc briskly break in and bring the piece to its conclusion.

"Old School" begins with a haunting, swirling vibe started by Moran and Wooley and then intersects with Bitebc downward strumming and some intricate chord changes by Levin. It's an exploratory piece with a great deal of depth. Levin uses the space between perfectly and he and Moran interweave back and forth in the mix. There's a cool warmth to this meditative piece that gives you a realm glimpse of a quartet that has worked together for a very long time and knows how and when to fill the sound world they have created.

"Wild Kingdom" is a wonderful statement which Levin unveils a fierce opening while painting the outside borders for the group to follow. There's improvisation here, especially from Wooley and Bitebc, but there is also a real sense of direction and structure that you soon grasp a follow with interest on how this end. That's the excitement of the organic journey.

Organic Modernism delivers on the idea that the use of space, depth and sound can conjure some beautiful melodies. Organic Modernism also delivers the melody in unexpected structures, all the while, creating a pleasant listening experience for the audience. I hope for most people this isn't your first experience with Daniel Levin but if it is it is a great one. Now go buy the rest of his works.

Nate Wooley

Nate Wooley (trumpet)

(Put Your) Hands Together (Clean Feed Records)

Matt Moran (vibes)

Johs Sinton (bass clarinet)

Harris Eisenstadt (drums)

Eivind Opsvik (bass)

I haven't been a Nate Wooley fan very long but I have come to learn to expect the unexpected when I put one of his albums on. Nate Wooley's latest, (Put Your) Hands Together is no different. For me it is the best album as leader I have heard from him. And, (Put Your) Hands Together is causing my list of best albums of year to grow quicker, a lot earlier this year. Wooley likes to explore sparseness of sound and space. His music has melody but it is more the improvisation and harmonics that take precedent on his recordings. And his quartet take will take you on a journey that is both brave as it is illuminating.

(Put Your) Hands Together is a dedication to the family and friends that have shaped and inspired his life. There is exuberance and delicacy throughout this session making it also one of the more "accessible" yet still best improvisational recordings yet from the increasing important trumpeter.

The title track, "Hands Together" puts forth the marching orders for the band--be expansive, creative but always intimate. One of the great things about Nate Wooley's music is the difficulty in trying to describing to my friends. I feel like Dave Douglas, Nate Wooley has his own vision of jazz going beyond what the instrument is supposed to do, how the composition sounds and how we the listener are expected to encompass it. "Hands Together" moves in different directions (both straight ahead rhythm to deconstruction) and it makes for an exciting launching pad after the sparse solo trumpet opener of "Shanda Lea 1".

Explorations in sound and density are always a benchmark of Nate Wooley's recordings. This plays out nicely on "Pearl", a short but evocative piece which the quartet take most if not all the lead. There is a hint of Wooley's interaction in the opening few chords but you have to listen closely. This composition is more a vehicle for the rest of the group to experiment with space and they do it exact and efficiently.

The repetitive motion and almost good nature of "Ethyl" and "Hazel" is another instance where Wooley moves between boppish themes and deconstruction with ease. With some wonderful interchanges between Josh Stinton and Matt Moran on "Ethyl" it feels ethereal and yet grounded in playful humour. "Hazel" brings a high level of beauty to the (Put Your) Hands Together. A ballad that is truly touching, emotional and introspective from its creator.

(Put Your) Hands Together is hopefully the moment where a new audience starts to advance towards the ideas put forth by Nate Wooley. There are very few trumpeters on the scene today with his kind of vision and the skill to pull it off. He is playing without really thinking about the structure so much as he is thinking where the music will take us next. Highly Recommended.

Sunna Gunnlaugs

Sunna Gunnlaugs

The Dream (Sunny Sky Records)
Sunna Gunnlaugs (piano)

• Loren Stillman (sax)
• Eivind Opsvik (bass)
• Scott McLemore (drums)
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• So if you've been reading JazzWrap for awhile you will know that I don't throw around comparisons to Esbjorn Svesnsson Trio at all. I've always felt that E.S.T. were a cut above every other modern trio of the last decade. Esbjorn Svensson was a magnificent pianist and is deeply missed. I recently started listening to Icelandic pianist Sunna Gunnlaugs and I have been convinced that she could be one of the few pianists that might ascend to Svensson's heights.
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• While influences of Keith Jarrett and Bill Evans are well noted, there is an Eastern European element to writing and performance that add another layer of beauty and romanticism that will definitely connect with listeners. In the same manner as the earlier Esbjorn Svensson recordings.
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• Gunnlaugs had studied and performed in New York in the late '90s before returning to Iceland. The experiences of growing up near/with Scandinavian influences as well as being apart of a multi-dimensional scene in New York is definitely captured in Gunnlaugs recordings. On her most recent (sixth in all) album, The Dream (Sunny Sky Records), Sunna Gunnlaugs makes the perfect connection of intimate lyricism with buoyant melodies into exciting and sophisticated listening experience.
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• "Holding Ground" has a wonderful hard bop sensibility to it. Her movement on the keys has shown a definite New York influence. For me it felt like being at Smoke listening to Harold Mabern or Mulgrew Miller (something I do quite often actually). Gunnlaugs playing moves between delicate compositional structures and free form improvisations (as shown on the five interludes "Spin"). That European influence can felt on "Vitjun" in which Stillman and Gunnlaugs both deliver beautiful harmonies that give the piece a lush chamber music quality but somehow never feeling distant.
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• "Tunnel Vision" has become one of my favourite tracks on the album. Eivind Opsvik and Scott McLemore (also a member of ASA Trio) open with a very exquisitely played improvisation before Gunnlaugs and Stillman join in to create a bold well enclosed piece with each member stretching the parameters. "Korn" is yet another astounding combination for me that conjures both Icelandic, European and American themes. Gunnlaugs playing dominates this closing number as expected but it also features Opsvik accompanying her with terrific shapes and patterns on the bass.
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• In The Dream, Sunna Gunnlaugs has created a work that is reminiscent of early E.S.T. albums. It is the sum of influences but she uniquely stretches those influences into something wholly different. Gunnlaugs has moved from strength to strength with The Dream and it is her best record to date. If you are looking for something rewarding, exciting and combining some of the best playing you might hear all year on piano, The Dream is a great document to start with. Absolutely Brilliant!

(JazzWrap Note: Sunna Gunnlaugs is currently offering a free download EP featuring a live version of the title track "The Dream" on her site. It's a great introduction to her music. And they when you done, you should buy the whole album.)