The Necks: Mindset

The Necks (group)

Mindset (ReR; 2011)

Chris Abrahams (piano)

Lloyd Swanton (bass)

Tony Buck (drums)

The Necks have been on the rise the last few years. The recent global tours and wider availability of their music has helped spread the news of one of the worlds best kept secrets. The trio have a very specific and unique blend of minimalism and improvisation that rises above both jazz and experimental music.

Sometimes hard to describe to friends, I try to get them to imagine, Cecil Taylor, Philip Glass, Charlie Haden and Billy Higgins locked in room to see what would evolve. Sometimes you can bring up the E.S.T. comparison but I have started to feel that the Swedish legends were actually only starting to reach the abstract heights The Necks have been creating for decades.

Built on two extended pieces, the new album, Mindset (ReR), continues their original aesthetic of slow building, highly intense, introspective pieces. But this time out there is more purpose and a heavy drive, with melodic and emotional moments that you can grab onto at various periods. The pieces settles into polar opposites - one of intense wrestle of spirit and body, the second an almost minimalist psychedelic journey through Stephen King's closet. 

"Rum Jungle" opens with a long, deep enveloping melody of all instruments at once. It's a wash of sound that become hypnotic and beautiful. Two thirds of the way through the trio turn on the atmospherics. Each instrument no longer sounds like what you think. "Rum Jungle" then rises to clattering conclusion. Like dropping off a cliff.

One of signatures to The Necks music--their ability to manipulate and create soundscapes that you thought weren't possible on these instruments. That becomes apparent on "Daylights." A piece which feels more like nighttime that morning lights. A gentle but encompassing number by which the listener is drawn in Eno or Aphex Twin-esque movements and free form crackles, plucking and other improvised expressions. "Daylights" seems to sit on top of a one note theme laid out beautifully midway through by Abrahmas. Later it does hit a sort of high gear towards the end before freezing to a close.

Mindset is surprisingly one of the shorter Necks albums in history but it still has all the elements of adventure and improvisation that make this trio one of the best forward thinking groups on scene today. Highly Recommended.

Curtis Mayfield: Super Fly (Original Soundtrack)

Curtis Mayfield
Super Fly (Curtom Records, 1972)
Arrangements and orchestrations: Johnny Pate

We've been listening to a lot of soul/funk records in recent weeks and one of those albums is the classic that has become a benchmark for both soul as well as soundtracks--Super Fly.


For Gordon Parks' legendary crime movie, Super Fly, Curtis Mayfield of the quintessential Chicago R&B band, the Impressions, recorded the greatest blaxploitation soundtrack ever — and certainly one of the best song-driven scores, period.

The film was a smash hit, but it may not have had such a substantial impact without Mayfield’s soulfully stirring funk score, released on his own Curtom Records. The album's sales outgrossed the movie's box office and launched two hit singles, "Freddie's Dead" (#2 R&B, #4 Pop) and "Super Fly" (#5 R&B, #8 Pop).

Already well known for his socially observant songwriting, Mayfield elevated Super Fly by providing songs that comment on the film’s story. Songs like “Little Child Runnin’ Wild,” “Pusherman” and “Freddie’s Dead” hit hard lyrically and with a melodic groove that never fails to hold one’s attention. Mayfield composed and performed on several other blaxploitation scores, but none measure up to his masterpiece.

Mayfield's not-so-secret weapon on Super Fly was Johnny Pate, another Chicago R&B legend, whose crack arrangements and orchestration give Mayfield's songs a healthy dose of gravitas. Pate went on to score some badass soundtracks as well, including one of the best of the blaxploitation genre, Shaft in Africa... but that's a story for next time.

Dave Brubeck: Their Last Time Out

Dave Brubeck (piano)

Their Last Time Out (Columbia/Legacy; 2011)

Paul Desmond (sax)

Joe Morello (drums)

Eugene Wright (bass)

I seem to not write about the great Dave Brubeck enough. While other contemporaries have made waves on the piano or organ (Monk, Hancock, Smith or Young), Brubeck quietly grew in stature and popularity through consistent compositions and performances both on record and live.

His major quartet consists of Desmond, Morello and Wright--the group recording the jazz classic/benchmark, Time Out (Columbia; 1959). The quartet began recording together over a decade ago.

On December 26, 1667, the quartet would perform their very last concert together in Pittsburgh, PA (USA) and now the music is entitled Their Last Time Out. Brubeck had mentioned a few months earlier that he wanted to retire (that would later never happen). While there are a number of Brubeck concerts (a majority of them official releases), the obvious significance here is both "last" and Brubeck's greatest quartet.

This was a night where Brubeck and the group just let loose and kept swinging. Opening with the heavy-hitting "St. Louis Blues," led more by Morello's pounding beat, Desmond engrossed chords and Wright's infectious plucking, the piece will undoubtedly have in tapping your feet or getting you out of your seat to dance. "Take The "A" Train," one of Brubeck's favourite tunes has an even more poignant purpose on this evening. Each member is in smokin' form. Morello and Brubeck share some delightful and hard driving exchanges. It's wonderful to see the group having so much fun even as they know its their last gig together.

"You Go To My Head" displays all the bluesy romantic quality. Brubeck and Desmond are monstrous in a gentle way. Desmond's solo midway through is lush and emotional. This draws a stirring applause from the lucky audience. Brubeck's timing and performance is exceptional here. He notes a touching and radiant. "Set My People Free" written by Wright as a protest song to political and civil situation of the times, is powerful yet still maintain the traditional essence of the group. Brubeck and Wright swing in a gospel that fashion that will definitely have you saying amen!

And of course, the evening couldn't end without what had already become a classic standard in jazz history--"Time Out." Here though you get a lot improvising from Desmond and Morello along with a few extended solos. It's one of the stronger performances of the piece I have heard on a live recording. It's a ferocious version that even takes in a few Indian-theme chords by Desmond. Brubeck does his own bit of improvising toward the end of the piece. And the rest of group begin to follow until its raucous full-stop.

Their Last Time Out is magnificent and significant piece of history that must be heard by an jazz fan. It shows a great quartet swinging and improvising at the height of its powers but leaving us all wanting more...

Aram Shelton & Kjell Nordeson: Incline

Aram Shelton (sax)

Kjell Nordeson (drums)

Incline (Singlespeed Music; 2011)

Aram Shelton has been one of my favourite discoveries over the last few years. There's a forcefulness and deep intuitiveness to his performances that has always amazed me.

Kejell Nordeson is a terrific and inventive drummer whom I have followed since his days with Swedish outfit Aaly Trio (due to their recordings with Ken Vandermark).

It's no really surprise that these two creative forces finally found each other with their group Cylinder. The two minds are on a very distinct and similar wavelength.

While Cylinder is an improv masterclass, the duo's project, Incline (Singlespeed Music) is more a free-thinking sprawling yet very honed study of personal interplay. "Village" is an incredible opening track. A torrent of sound on par with David S. Ware/Andrew Cyrille. The piece builds rapidly as the two scream back and forth with notes that peel the skin from your eardrum. Fun, eh?!?

"Orbit" is more a solo outing for Nordeson as he picks, clangs, taps and pounds notes from the ether. Beautiful and investigating, it all flows nicely into "Test", a melodic piece that is percussive and emotional. Led by heavy, deep undertones from Shelton and Nordeson create a blossoming atmosphere that fills the space yet is completely free of structure.

"Rig" sees Shelton in the solo role. Here stretching and constructing notes paint a slow moving Jackson Pollack-esque picture. The piece is short but moves nicely into "Soles," a mountain of a piece that rips the top off of everything. Shelton and Nordeson seems to be in a completely higher plane. The piece gets louder and louder with the two seemingly melding into one until a gentle all-halt.

Incline is an album of multi-layered complexity. The unity between the Nordeson and Shelton is very apparent through each note. This is the duo that was long in the making but we are better off for it. Incline is another keen masterpiece in the history of both Aram Shelton and Kjell Nordeson.

This video features Cylinder but gives a great insight into the two musicians unique talents as well as a fascinating look at their quartet.

Kevin Brow: Dolls & Guns

Kevin Brow (drums)

Dolls & Guns (Blackout Music; 2011)

Kevin Brow has created two fantastic albums in the last three years with his band Koptor. On his third outing (under his own name), Brow explores improvisations far reaching possibilities with illuminating success.

Dolls & Guns (Blackout Music) is enlightening mixture of classical and jazz chamber pieces between Brow and a 13 well chosen musicians (either instrumentalists and vocalists). You might expect there to varying degrees of success on each piece but I have to tell you, you couldn't be more wrong in that thinking. 

"Sometimes My Thoughts Sounds Like This" rolls and pounds out as a dueling tribal match between Brow and fellow drummer, Dan Weiss. The piece while short is really more an introduction to the diversity of the Dolls & Guns.

"Light Years" expands this rising crest of sound with Brow in the opening movements and then passing gently on to Jacob Anderskov's exquisitely soft, almost motionless piano. The space the artists leave between is earthy and haunting. Brow returns in the end with a fierce cause and effect statement as both musicians head to a fade out.

"Brain Washing" is probably more in line with some may know from Brow's previous associations. The counterpoint battle between the great Tim Berne and Kevin Brow here is beautiful and their improvising somehow welds itself into harmonic structure.

One of my favourite discoveries on the vocal side this year was that of Sissel Vera Pettersen (from Equilibrium). Her work her with Brow on two tracks "An Ancient Sport" "Elegant Strut" and are both delightful, pleasing and calm. Brow allows the Pettersen's voice and vocal manipulations to be the main focus of the piece while he adds a commanding beat in background or gentle taps and brushes around the outside of lyrics.

Longtime collaborator, Mikkel Ploug also participates with "Tnf Alpha vs Remicade". Both musicians and a bit of mysticism here that straddles both improvisation and indie-rock. An instrumental that Tortoise would be proud of.

Brow closes out the albums on an interesting note with "Green Tea." A solo piece. But not the soloist you'd expect. Here Brow has chosen Jacob Sacks (piano) to carry this extraordinary session out on a subtle and touching note. It's beautiful and it also show the breath and support Brow has given to his partners on this record. It is not just a Kevin Brow solo project--its ever one's project.

Dolls & Guns is a magnificent work that is not only a study of a musician and composer that is growing in stature. It is a document of leadership and creativity among individuals. Wonderful and moving stuff.

1982 Trio

1982 Trio (group)

Nils Okland (fiddle, violin)

Oyvind Sharbo (drums)

Sigbjorn Apeland (Harmonium, Wurlitzer)

Different, distinctive and always captivating. 1982 is a trio that evolved out of three already highly acclaimed Norwegian musicians, Nils Okland, Oyvind Sharbo and Sigbjorn Apeland.


They have been on the improvisational scene for decades and have recorded a number release with each other in duo settings or with other musicians. Only four years ago did they finally band together to record as a trio.

The group's music is a combination of Norwegian folk, improvisation and atmospherics. There are elements of classical chamber music, third stream jazz and organic ethnicity that abounds throughout their work. The trio demands the listener's focus is squarely on the music, hence there are no song titles to allow you to conjure up preconceived notions of the songs origins or meanings.

1982's self titled debut, 1982 (Norcd; 2008), is a work of found ideas and movements that travels slowly but leaves indelible marks along the way. "6:42" rolls out brightly with Sharbo and Apeland practically spray-painting new colours and shapes around your ear. It's all in gentle tones that eventually moves into levitation, lead by Apeland and Okland with Sharbo improvising in and out of the piece.


"4:39" hangs heavy and infectious. Apeland's playing is like more forceful Eno circa Thursday Afternoon or Neroli. Sharbo and Okland intersect quietly on the piece but their minimalist contribution adds an addition mysticism to the piece. The epic "17:39" produces by a Cage-ian and Emerson Quartet quality. It's minimal yet full of life and spirit. You have to let your ear settle into stoic melodic melody before being full engulfed. A wonderful and forward thinking debut.

It wouldn't be until 2011 that 1982 would return to these fertile grounds (after a series of other projects) with Pintura (Hubro Music; 2011). "10:38" explores similar folkish territory but with more depth and richer structure than before. Okland's violin sound inspired and swirls with creative movement. Sharbo delivers a number of lovely touches, strokes and clangs that while improvised are vibrant intersections to the piece. 


"6:02" feels like a suite with all the appropriate tempos (allegro, andante, adagio). They are subtle but for me they are there. Distinct and well balanced, the harmonics elevate and carry you in a joyous manner.

"3:19" and "3:52" both sheds a different light on the trio. They are heavy pieces, "3:19" even having a bit of a backbeat thanks to Sharbo's pulsating kit. Apeland and Okland explore and extend some wonderful exchanges that have a touchingly Nordic while still providing an open adventure for the listener. "3:52" closes quietly but unexpectedly for me. I think it will leave you hanging on wanting more as well.

I have been absorbed with these two records just as I have been with Equilibrium who may be on a similar path as 1982. 1982 are a completely different trio. While working in the same sphere as other European musicians; they are balancing classic traditions and improvised themes to a perfect end.


This is beautiful work from a trio that may get together only occasionally, but every opportunity is worth the time for you to listen. Ranking as one of my favourite albums this year. Highly Recommended.

Fred Lonberg-Holm & Piotr Melech: Coarse Day

Fred Lonberg-Holm (cello)
Piotr Melech (clarinet)

Coarse Day (Multikulti; 2011)

Avant garde duos are pretty prevalent at the moment, no matter what the instrument(s). But what makes the best ones stand out is the quality of the musicianship and the depth of the material.


As with my earlier discussion on the Daniel Levin/Tim Daisy release, The Flower and The Bear, Fred Lonberg-Holm and Piotr Melech have created a richly diverse and highly challenging document that is both absorbing and thought provoking.

Lonberg-Holm, a member of various outfits in Chicago (most notably The Vandermark 5) and Melech, a growing presence of the Polish avant garde scene (including his trio Enterout) together, explore a strange world of soundscapes on Coarse Day. It's a densely packed session with movements that are multi-layered and demanding of the listener's concentration.

"Cloudburst" is pops and crackles with a sense of adventure. Lonberg-Holm maneuvers up and down the scales like a cat stuck in an aqueduct. Melech's clarinet(s) create an echo chamber that is both haunting and exhilarating. "Tangle Of Loops" feels almost anti-avant garde. I felt Longberg-Holm and Melech have a number of exchanges that are humorous and well improvised. My mind drifted into a jovial exploration into Raymond Scott (although I'm certain that was not the composers intentions). The use of electronics and sound manipulation on "Tangle Of Loops" gives the piece a schizophrenic edge that is genuinely exciting.

"Mildew Gourmets" moves out melodically in a somber spiritual pattern, similar to Coltrane's "A Love Supreme." It's hypnotic and relaxing tone is a calming departure point for the session and provides further insight into the duo's composition talents.

Coarse Day while challenging, is an album that once it sinks in--will become a fixture on your stereo. Lonberg-Holm and Melech have created an album that is filled with improvisation but also subtle accessibility that deserves intense listening. Haunting, beautiful and emotional.