Orrin Evans: Freedom

Orrin Evans (piano) 

Freedom (Posi-Tone Records; 2011)

Byron Landham (drums)

Anwar Marshall (drums)

Larry Mckenna (sax)

Dwayne Burno (bass)

This has been a revealing or may even an extremely eye-opening year for me when it comes to Orrin Evans. I have always liked his music but never fully focused my attention on it in such detail as I have this year. With the release of Captain Black earlier this year, and a number of constructive arguments with fellow fans I have finally decided to pay attention. So when his latest release, Freedom, came out I have to say I was more eager to listen and I concentrated on every note.  I also have to say it is all worth it.

Freedom is one of the tightest and most well focused sessions from Evans in years. It's a tribute to a few of his influences and members he has performed with in the past.  This is essentially a trio record with McKenna adding some full-bodied and blues-like emotion to two tracks ("Gray's Ferry" and "Time After Time"). His playing feels like a young fearless Ben Webster. He packs a punch, especially on "Time After Time" in which Evans gives him rolling freedom throughout the opening few minutes before rising into the forefront with a potent dexterity that keeps the tune jumpin'. Both Burno and Landham (drums on this number), adds a lot of rich and fast paced texture to the number to really give it a timeless quality.

"One For Honour" rips along softly but with an uptempo theme. Evan's allows Burno and Marshall (drums) to lead the way. And they really craft this Charles Fambrough number into their own. Evans' performance is fierce, fluid and bright. "Oasis", written by Shirley Scott, contains an infectious rumba applied by Landham. Evans gives a steady hand to guide the melody. Burno pumps in some really nice patterns along the bassline.


While the album has its modern bebop sensibilities, Evans manages to round things off with calming effects on Herbie Hancock's "Just Enough." This soulful ballad pulls Evans in both classical (by technique) and jazz (by emotion and theme) directions and he gently guides the listener out from what has been a vibrant and fun journey.

Freedom is a strong statement and return to a small group format that helps Evans compositional skills shine as well as the talents of his band members. This year has really turned me around on the work of Orrin Evans and I hope everyone else too. Solid stuff indeed.


The first video is a great, interesting and fun look at the who, what and where of Evans' history.

Sebastien Bouhana: Tambour pas tant

Sebastien Bouhana (drums)

Tambour pas tant (Insubordinations Netlabel; 2011)

The deconstruction of the music industry over the last decade has resulted in a lot unfortunately things. But one of the positive byproducts was the rise of many strong independent labels and artists releasing their own music on their own.

Labels such as Rune Grammofon, Clean Feed, Brooklyn Jazz Underground, Audio Tong among others, globally have reinvigorated the creative scene. One new label has also taken the independent spirit one step further--Insubordinations Netlabel.

Insubordinations feel more like an artists collective than a label. The artists issue albums both as available downloads and physical CDs. Many of the artists and their material is very forward thinking. One artist that has captured my attention this year has been French drummer/experimentalist, Sebastien Bouhana.

Sebastien Bouhana solo release, Tambour pas tant (Translation: Drum Not So Much) is a real treat and challenge for any listener. And drum not so much is a good description of how this project moves along. Built around atmospheric themes and improvised movements, Tambour past tant is a refreshing look at the soundscapes an artist can create with the drum. "Evoquee" sees Bouhana sounding like searing guitar or a buzzsaw than drummer. It's an adventurous and dense piece that moves rapidly but very concentrated focus.

"Une Vieille Connaissance" provides a host of colours, crackles, swirls and found sounds that are like slow broken down train moving through a tunnel. "Tres Nettement" rounds out the three lengthy pieces on this disc. Consisting of the same elements as the proceeding pieces it does develop a small beat and rhythmic pattern underneath the chaos. Bouhana works in a similar realm as Jim O'Rouke or Sonic Youth. He is helping the listener search for their own conclusion within the soundscape--and that's the best thing music can do for a listen.

Tambour pas tant may be a challenge for many but its one of those records that will have asking questions of yourself. It is intense and will have you concentrating on every aspect of Bouhana's movements. Challenge and refreshing.

Tim Hagans: The Moon Is Waiting

Tim Hagans (trumpet)

The Moon Is Waiting (Palmetto Records; 2011)

Vic Juris (guitar)

Jukkis Uotila (drums, piano)

Rufus Reed (bass)

I have to admit I haven't listened to much of Tim Hagans' music in recent years. But I have always admired his ability to float and absorb different styles with each record. His Blue Note recordings from the late '90s (especially Animation Imagination) were early experiments of jazz and electronica that mostly European artists were exploring at the time. His latest, The Moon Is Waiting is a return of sorts, with less emphasis on electronics but still holding an expansion on his fusion ideals.

The opening three tracks were originally part of a dance ensemble performance but you would really never know that if you didn't read the liner notes. Hagans effectively has crafted three pieces that work perfectly on record as they do for the stage. This is a real sign of great compositional skill. The loose, funky rhythms of "Ornette's Waking Dream Of Woman" are powerful reminders of the best fusion material from Miles, McLaughlin and Zawinul. "First Jazz" is a beautiful number which Uotila and Juris sizzle. Their performs are measured but Hagans gives them a lot freedom within the piece. Hagans own perform is on fire when he breaks in midway. Uotila and Hagans then have a nice duet later in the piece that is killer. Both are flying with really intensity and depth.

"Boo" sees the quartet fusing a blues motif that Chicago and New Orleans would be proud of. Juris takes on a soulful and crying tone that is matched by the rest of the group. A rolling repetition in the chords allows you to sink into this number more than when it was originally recorded a few years back with a large ensemble. This time you get a deeper impact that is more heartfelt. "Things Happen In A Convertible" unfolds like a suite. It's midtempo throughout and each segment seems to highlight a different member. Romantic and endearing, "Things Happen In A Convertible" is a loving way to close out the experiments of the last hour. Great stuff.

While not having the chance to listening to Hagans music for quite a few years I was surprised how easy it was for me to fall back in love with his compositions and his playing. This just might be one of those under-the-radar records that you have must hear to believe. The Moon Is Waiting is wonderful.

Tonbruket: Dig It To The End

Tonbruket (group)

Dig It To The End (ACT Music; 2011)

Dan Berglund (bass)

Johan Lindstrom (guitars)

Andereas Werliin (drums)

Martin Hederos (piano)

Riveting and re-imagining everything on both the jazz and rock front, Tonbruket return very quickly with their second record, Dig It To The End (ACT Music). And it is truly an outstanding second effort.

Former E.S.T. bassist, Dan Berglund's new group feels like a hybrid of the former and the chaos of King Crimson. But in contrast, Tonbruket manage to incorporate folkish grooves in between the fierce patterns they lay forward as a base of exploration.

Berglund appears to have let the dragons out on Dig It To The End. Mixing it up splendidly with the opening number, "Vinegar Heart," which soars from the pounding pace of the trio, Hederos, Berglund and Werliin and swamped by the frenzied chords of Lindstrom adds to the ethos that this not jazz--nor is it rock. This is a piece has multiple parts and moves in different sections all very quickly. Brilliant.

"Lilo" is a gentle number that feels like a lullaby. The effects of Lindstrom's pedal steel guitar and Werliin brushes provide an bit of the Americana genre to this piece. It's delightful and beautiful melody floats along and stays with you long after the piece is completed.

"Dig It To The End" features like horses pounding along a cobblestone street at night. It's a dark sinister piece that could slide nicely into a Nick Cave album. The crazy organ lines plied by Hederos are hilarious and haunting at the same time.

"Le Var" with it's Spanish tinge is twisted through an psychedelic lens that is both hypnotic and intriguing. Thematic and infectious with a two-step nature which folds nicely into the backbeat of "Trackpounder". "Trackpounder" shows the group in more of a rockin' mood and riffing freely. It's got all sorts of grooves that could be reminiscent of the best Spy Jazz themes of the '60s.

Dig It To The End feels a bit more diverse than the quartet's debut. With a expansive passages and themes that have a foothold in multiple genres. Tonbruket's mastery of this makes Dig It To The End highly enjoyable and adventurous at every turn.

Tonbruket is a group of various ideas and backgrounds and they have created a real standout in any musical genre this year. They will have you wondering whether this is jazz or rock or what. But then again...does it matter? Highly Recommended.

Kris Davis: Aeriol Piano

Kris Davis (piano)

Aeriol Piano (Clean Feed; 2011)

Intimacy. That's what always strikes me about Kris Davis. The sense of intimacy.

Having been on the scene for only few short years, her visibility has grown in the last few years due to a string on releases as leader and with collaborators.

I mistakenly forgot to write about her last record Good Citizen (Fresh Sounds New Talent) as one of my albums of the year in 2010. But this year make no mistake, my two top records of years are set in stone. And I bet you can guess one of them right now, eh?!?

There is a peaceful quality to her latest release, the solo piano effort, Aeriol Piano (Clean Feed). "Saturn Return" unravels slowly with dark intentions crafted around a simply melody before moving to a more improvisational mood. It feels like an early John Cage piano work. It's complex yet gentle enough for the newest of listeners to grasp every endearing moment.

A slight reinterpretation of "Good Citizen" is intriguing to experience without the quartet from the last record. This time around it feels more climatic; with more cascading moments than the previous version may not have allowed you to hear.

"Beam The Eyes" travels methodically along a path of inversion that makes crackling and disturbing sparks of life towards its conclusion. This theme also carries through a short time later on both "Stone" and "The Last Time" with moments that parallel Keith Jarrett and even more multiform pieces by Morton Feldman. There's a serenity that is broken up with moments of fierce treatment to keyboard but with clear justification of theme. "Work For Water" closes out the album on a steady more classical trained tone. It's a soft wistful way to end a session that has interwoven so many challenging patterns.

For one to really enjoy and understand one of the best kept secrets in jazz, you have to experience Aeriol Piano for yourself. Kris Davis is one of a short handful of creative pianist on the scene today.

If you are looking for legacy of modern improvised piano since Keith Jarrett, and more recently Jason Moran--Kris Davis is it. More on Aeriol Piano towards the end of the year. But for now, I repeat what I said at the outset--Aeriol Piano is one of my two top albums of the year. HIGHLY RECOMMENDED!

Koptor: Fire Sink

Koptor (group)

Fire Sink (Fresh Sound New Talent; 2011)

Kevin Brow (drums)

Lotte Anker (sax)

Jeppe Skoobakke (bass)

Jacob Anderskov (piano)

I have to first thank fellow blogger, Maciej at Polish Jazz for turning me on to the Canadian/Danish quartet, Koptor. The group is quietly under the radar but have created two highly original and intriguing releases. Both have been on repeat in my household for weeks.

The compositions stem from the creative mind of drummer, Kevin Brow, who continues to gain notoriety both within his group as well as guest musician on records from Mikkel Plough and Bob Brough. With Koptor, Brow and his fellow musicians create a great balance between modern contemporary themes and free improvised organics.

Moving between dense and slight upbeat patterns, "21 Maaneder" features some intense lines from Skoobakke and Brow. All this is encircled by the terrific and melodic tone taken by Anderskov and Anker. It's a piece full of texture and staggered movements. Ankers playing is heartwarming and in some moments playful. 

There have been a few drummers this year that have impressed me with their compositional skills, and Brow is definitely one of them. "Intellectual Sex" is one of the great moments of Fire Sink. Revolving more around the Anderskov and Anker, Brow gives the group room to move quietly and improvise as need through this piece. Brow's performance is impressive because he layers his touches around the edges until the end where the group gives way to a very serious and enveloping solo that brings the group into an almost funky mood. Heated, powerful and inventive.

The group's European side comes to the fore on "Invisible Ikke." Anderskov plays the major role in the opening as he paints a lovely romantic picture for the listener. The majority of piece feels like a sonata but built on the freedom of movement. The rest of band join in to add to clear crisp constructive tones but the composition never leaves it peaceful origins.

"Fire Sink" has some great multi-layers. Anker really takes off on this piece. Her playing is forceful and improvising yet still inviting for the listener. At times you can sense a bit of Ornette or even Zorn floating through the notes. Brow, Skoobake and Anderskov play a perfect counterpoint Anker and manage to lay down a minimalistic groove if you can call it that.

Fire Sink is an impressive second effort from the four year old band Koptor. Koptor has quickly formed a group that is both richly creative and able to gravitate between improvised and straight ahead with ease. Fire Sink is excellent.

Levin & Daisy: The Flower & The Bear

Daniel Levin (cello)

Tim Daisy (percussion)

The Flower And The Bear (Relay Records; 2011)

Finishing off my unexpected week of duo recordings, I thought I would mention a fantastic album I just picked up a few weeks ago from Daniel Levin and Tim Daisy entitled The Flower And The Bear.


Levin has worked in a number of settings (trio, quartet, duo and ensemble), Daisy has done the same (most notably with, Klang, The Engines, The Vandermark 5 and his own Vox Arcana). They are highly creative forces on their own. Together, they have crafted an amazing duet record that is fun, raucous and inventive. 

The Flower And The Bear I have to assume relates to the two musicians themselves. Either way this is an album that shine with life and activity. Built on only five extended pieces, both musicians bristle with excitement. "Graystone" slowly builds on Levin's structured yet somehow improvised movements. These are matched with free flowing rhythm's from Daisy, until the two get midway into the piece and the wheels come flying off in beautiful rolling cacophony. 

"The Flower And The Bear" feels like a hunt for Chanukah gelt that turns out to be a creepy message from the under-world (that's the best way I could describe it). But really, its an adventure in improvisation. Percussion and cello are the perfect compliment in this setting because you can create a variety of sounds that are both rich, pure and beautiful. Daisy and Levin manage to do that with ease. "The Flower And The Bear" ventures into a scattered and diverse structures towards the end but somehow manages to keep the listener well focused. Levin and Daisy become one sound as the movement heads towards a calm conclusion.

"Steel Flags" may be the only track with a real structure, which is laid out in the beginning by Levin. At times Levin almost turns his instrument into a percussion piece. The unity that the two musicians display throughout this piece is spellbinding. It's intense but quietly affective. There are striking layers of tense beauty as well as repetitive patterns that construct the overall theme of the piece. It's engaging without being disarming. Wonderful stuff.

With The Flower And The Bear, both Daniel Levin and Tim Daisy effectively show they are at the top of a very small list of creative musicians within the free-improvisational structure of musicians. Highly Recommended.