The Intersection: Go Go Beuys Band

The Intersection is an ongoing segment dedicated to global artists that are pushing and changing our definitions of genres.

Go Go Beuys Band

Markowi Nedzinskiemu in Memoriam
(Audio Tong; 2011)

Marek Cholniewski (electronics; guitars; vocals)

Krzysztof Knittel (electronics; guitars; vocals)

Olga Szwajgier (vocals)

Marek Nedzinski (sax)

Janusz Dziubak (vocals)

One of the greatest finds for me in 2011 was this unearthed collection of two mid-eighties sessions from the briefly assembled Go Go Beuys Band. Originally conceived by Cholniewski and Knittel as a series of electronic experiments, the Polish group while definitely influenced by many of the electronic group from Germany and England; should now be considered along side those pioneering bands like, Kraftwerk, Amon Duul, YMO, Faust, Cabaret Voltaire and Throbbing Gristle as one of the important bands of then unknown Eastern Europe.

Markowi Nedzinskiemu in Memoriam opens with "Czad Z Latyny" and it hits with loud bang of percussion and Brion Gysin-esque vocal manipulation. The electronics are primitive but played so interestingly you get caught in a very trippy little loop that doesn't seem to let up. "Szkocka Wojna" deconstructs itself across the board. There seems to be a lot improvising but somehow these musicians all meet in the middle of weird hallucinogenic groove. 


"Rockroll" is the closet piece that has some hallmarks of aiming towards an experimental dance beat (similar to mid period Cabaret Voltaire). It's got some spacey rhythms and hand-claps that are all in the right place and show the group was expanding its ideas.

"Heavy Love," the longest track of the two sessions (just under 8 minutes) feels like Herbie Hancock's Headhunters meeting with Kronos Quartet. There's a funky vibe throughout but with this strange  cello cutting across the groove. Crazy but it works beautifully. "Chodzisz Po Ulicy" plays with reggae beats and distrorted vocals while "Avant Garde" is the synth-droning polar opposite with Throbbing Gristle type movements. Still experimenting with vocals, classical movements, funky sax work and electronic beats, "Heavy Baby" is more than a just a groovy song title. It's an attempt to merge a lot of the albums growing motifs into something even more cohesive. And it works well.

Markowi Nedzinskiemu in Memoriam is more than a treasure trove of lost grooves. It's a historical document into what was happening in Poland and you realize they were diggin' the same material and utilizing those ideas to craft some great and what has to be influential work. If you can find this album it is a must for fans of the aforementioned groups but also a nice beat early electronica, industrial, prog, and whatever else you would like to call it. We just consider it an Intersection. Highly Recommended.

Jesper Zeuthen Trio

Jesper Zeuthen Trio

Jesper Zeuthen (sax)

Adam Pultz Melbye (bass)

Thomas Praestegaard (drums)

Jesper Zeuthen has been an enigmatic presence on the Danish and European jazz scene for over four decades. I first discovered him on a couple of Jakob Bro albums from a few years ago. Exerting a free jazz style that would remind you of Orenette Coleman or mid period John Coltrane, Zeuthen still manages to create his own unique vision and language that is captivating and inspiring. In 2009, Zeuthen began to focus on a new trio which has since garned quite a bit of well deserved recognition of the last few years.

"Andedans" starts our journey through the group's self-titled debut (Jesper Zeuthen Trio). It's a gradual movement and as the notes unfold you realize this will be not only be an exotic free flowing trip; it will also be one with a lot of spirituality. The more philosophical aspect of the music could be derived from Zeuthen's long and illustrious career working in various European forms. It makes for an exciting experience with his new trio.


"Piru Tulee" feels like an old children's rhyme gone spiralling down a dark hole and then picked up by Albert Ayler. Great stuff. Playful, exquisitely improvised and highly effective. "Vilden Sky" opens with some wonderful improvised strumming from Melbye and as Zeuthen and Praestegaard join in the piece becomes an interesting staccato ballad of sorts. Lots of stop/starts and a few blistering notes from Zeuthen but in all an emotional piece underneath some chaos.

Live (Blackout Music; 2011), recorded after almost a year of touring Europe begins almost like Mats Gustafson's The Thing. It's a slow, calm opening of a few bars and a gradual introduction to each members style and then the trio let loose on adventure. The trio seem more at ease with each other after two years of being together. "Husene Pa Volden" and "Sin Skaeve Gang" both are solid laid back pieces that set a rich more mature tone for the evening.


Zeuthen seems more focused on structure here but is definitely not afraid to let the group fly when it has to. And fly they do on "Lad Som Ingenting." Zeuthen runs up and down the scales with fiery abandon. Both Praestegaard and Melbye are in free flowing form that matches note for every chaotic note. Melbye has some terrific, intense, swirling passages about five minutes in that you really start to gravitate to.

The trio maintain a nice balance between fiery improvisation and measured notation. The closing number "Marie Pa Baenken" illustrates this nicely. Zeuthen delivers some beautiful notes through what essentially feels like a classical chamber piece. It's dark and emotive but closes out the evening performance nicely and the audience repays the group in kind.

Unlike some larger European players over the decades (Surman, Przybielski, Brotzmann, et al) Jesper Zeuthen has quietly made his mark throughout Europe. But I hope that this current line up is something that he sticks with. They have grown leaps and bounds in just a few years and I think the next record will be quite astounding. Here's to good listening my friends...you should really check out both albums from the Jesper Zeuthen Trio.

Carlos Bica & Azul: Things About

Carlos Bica (bass)

Things About (Clean Feed; 2011)

Frank Mobus (guitar)

Jim Black (drums)

I have to admit, I knew pretty much nothing about Carlos Bica until a few weeks ago. And then to find out this trio has been around for two decades made me feel pretty silly. But somehow Bica's Azul trio's new album, Things About (Clean Feed) really hit me. An album with a real sense of emotion and elegance that brims from the group's lyrical structure. It's unassuming at first, but as the disc moves forwards you begin to get sucked into the lovely tonal nature that each musician has created.

"Things About" feels like something America indie group, Low could have drawn up. It's a gentle midtempo piece that floats between folk, rock and jazz. Written by Bica and Mobus, who also share some beautiful interplay throughout the piece. Black adds soft touches as needed but also steps up the beat towards the end, giving the track some additional force.

There are times when Things About feels like the great trio records made by Gateway (John Abercrombie, Dave Holland and Jack DeJohnette). More for the mellow passages of the aforementioned than their uptempo fusion tracks. "Cancao Vazia" is one of those moments. A gentle piece that has traditional Portuguese qualities but also a sense of longing and adventure. Bica's bass wraps around you like a warm blanket. It's slow maneuvering but without this pace you can't fully digest the beauty of the material.

"2011" has a few distinct time signatures that help shift this piece beyond the normal jazz trio. It's rich with harmonics and patterns that definitely feel like an avant rock piece. Black and Bica change direction and improvise with real muscle, which also challenges the textured force of Mobus' performance. With "Sonho De Uma Manha De Outono" I may be again reminded of Gateway, only slightly. Bica delivers a well focused closing number that moves softly but embodies a number of different structured notes.

Maybe it was the time of day. Maybe it was the music I was listening to prior to this. Or maybe it was just the right time. But Things About is a quiet and richly diverse work that settled in after the first spin. For this newcomer to Carlos Bica, I have been completely blown away. I hope you are too. Highly Recommended.

Nils Petter Molvaer: Baboon Moon

Nils Petter Molvaer (trumpet; electronics)

Baboon Moon (Thirsty Ear; 2011)

Erland Dahlen (drums)

Stian Westerhus (guitars, electronics)

A Nils Petter Molvaer record is always something to celebrate. Baboon Moon is no different. Well...in some ways it is. Molvaer has pared down his outfit to a trio. And while Westerhus and Dahlen have mainly performed with him in live, this set up provides less reliance on dance oriented beats and focuses on acoustic instrumentation and minimal manipulation.

There is a bombastic quality to some of pieces that made me feel as though it was Molvaer backed by King Crimson. "Mercury Heart" storms into view with heavy emphasis on Molvaer's playing (sometimes muted and sometimes just erie trumpet). Dahlen provides a pulverizing presence on drums, while Westerhus delivers all the spacial aspects through some shimmering notes on guitar and electronics.

"Recoil"  ventures into more of a rock territory than anything I've heard Molvaer do in years. There are times where this piece reminded me of the Tonbruket releases. It's powerful, distorted, rhythmic, chaotic and all-around groovy. Dahlen gives an almost tribal display on that will really keep you engaged.

"Prince Of Calm" returns to the more ballad atmospheric material of Molvaer's earliest works. A slow, drone-like feeling dominated by Molvaer's almost teary-eyed performance makes "Prince Of Calm" a very personal piece. "Baboon Moon" builds slowly with Molvaer taking some extended breaths on trumpet with Dahlen and Westerhus instrumenting some lovely rolling effects that cascade louder and louder aided by the subtle harmonies of Susanne Sundfor. Beautiful, distant yet resounding.

While, Nils Petter Molvaer has been important influence on the Norwegian and European scene for almost three decades (including his years before and after Masqualero), Baboon Moon for me sees him regaining is voice and moving in new direction. The stripped down approach for Baboon Moon provides a tighter and more balanced listen for new ears and a real adventure for the die-hard fans like myself. Beautiful work. 

Dennis Gonzalez & Joao Paulo Da Silva: So Soft Yet

Dennis Gonzalez (trumpet; cornet)

Joao Paulo Esteves Da Silva (piano; accordion)

So Soft Yet (Clean Feed; 2011)

So Soft Yet (Clean Feed) is an album of beauty and depth. For me this latest collaboration between Gonzalez and Da Silva has even more resonance than their first stellar partnership on 2009's Scape Grace (Clean Feed). This might be due to the longer relationship together and the new material that feels both more unified and diverse.

"Como a Noite" opens the session in a delightful and romantic fashion. Filling the void with lush poetic tones both musicians are taking you on journey that will include some extraordinary exaltation as well as moments of deep reflection. "Broken Harp" has the feeling of Chick Corea and Miles Davis playing solo. Da Silva switches to electric piano and deploys some terrific and spellbinding notes. It has deep psychedelic grooves with some nice improvising from both men. Gonzalez travels up and down with a crisp and reverberating tone that along with Da Silva becomes hypnotic towards the closing passages.

So Soft Yet is deeply rooted in a more interpersonal manner that allows the listener to sink deeper and deeper into music. "Thirst" sees Da Silva on accordion and the conversation the two musicians have is playful and jubilant. The Portuguese elements are well present on this piece as it feels like you're traveling blindfolded down the town street just listening to all the sounds and creating your journey. Lovely stuff.

"Sobre Mi Mi Koracon Doloryozo" is my personal favourite. It's a celebratory piece that is both buoyant and joyous. Gonzalez and Da Silva have a unison that feels like two classical musicians who have performed together for decades. "Augurio" closes the session with dark parameters intertwined past fusion eras with modern eclecticism with beautiful harmonies.

A partnership that started essentially out of nowhere, these two renowned and revered musicians have made two astounding records in just under three years. So Soft Yet is a cool document that expands the floats with high spiritual moments that spread delicately across space and time. Emotional material and highly recommended listening.

Best Albums of 2011: The Complete

JazzWrap revisits a great year of discoveries in 2011.


It was another great year of music and new discoveries for us here in the JazzWrap office. So much so that I didn't get a chance to write about all of them over the last week. So I at least wanted to make sure I listed them as much as I could.


None of these are any particular order. I really only decide on my top two absolute favourites and then let the rest lay where they may. (yeah, I know it's kind of pretentious; but so what! :-)


So here's the list of our favourites and frequently spun albums during 2011.


Jakob Bro: Time
Kris Davis: Aeriol Piano
Lars Fiil Kvartet: Reconsideration
Alog: Unemployed
Kevin Brow: Dolls & Guns
A Giraffe: Under A Table
ASA Trio: Plays The Music Of Thelonious Monk
Daniel Levin: Inner Landscape
Licak & Tuznik Quintet
Sunna Gunnlaugs: Long Pair Bond
Ken Fowser/Behn Gillece Quintet: Duotone
Equilibrium: Walking Voices
Nicole Mitchell: Awakening
Hugo Carvalhais: Nebulosa
John Escreet
Travis Reuter: Rotational Templates
Anne Mette Iversen: Milo Songs
Klang: Other Doors
Michael Dessen: Forget The Pixel
Kit Downes Trio: Quiet Tiger
Julio Resende: You Taste Like A Song
Jachna/Buhl: Unfinished Books
The Necks: Mindset
Otso Lahdeoja: Yonder
Danny Fox Trio: The One Constant
1982 Trio: Pintura
Tonbruket: Dig It To The End
Benjamin Drazen: Inner Flights

Best Album of 2011: Jakob Bro

JazzWrap revisits a great year of discoveries in 2011.

Jakob Bro (guitar)

Time (Loveland Records; 2011)

Thomas Morgan (bass)

Lee Konitz (sax)

Bill Frisell (guitar)

Jakob Bro's presence has been raising in recent years. His last release Balladeering, gained critical acclaim along with prior recordings with Tomasz Stanko. Balladeering was a masterful work that featured Konitz, Frisell and the late Paul Motian. That recording was a monumental step in Bro's career as leader. On his latest, Time (Loveland Records), Bro keeps the quartet setting but sans a drummer. This makes for an even more intimate affair.

With Time, Jakob Bro has written material that is even more deep and personal than the excellent predecessor. Here Konitz and Morgan mingle and create some magnificent colours. The paring of two guitar is just as intriguing as it was on Balladeering. Bro shapes the harmonics and soundscapes while Frisell adds the linear passages to pieces. "Cirkler" is a beautiful number in which Konitz and Morgan provide a calming tone surrounded by mood setting atmospherics from Bro and gentle Americana acoustics of Frisell.

Bro's writing has matured and become rich with various textures and sonic layers than even Balladeering displayed. "Swimmer" is a lonely journey down the motorway. It's a quiet and deeply melodic tone that Bro sets forth but not in a depressing way. It's more a matter of being at piece with ones self.

You can sense there's more intimacy on Time. The musicians feel more affected by each other. They have all played together in various forms over the years so they is great chemistry. "Fiordlands" is another bright moment where Bro's writing is uplifting like a Sunday morning church call. It's bluesy but with close sense of joy that quickly takes hold a few minutes in. Konitz and Bro both wrap this piece like chocolate and caramel.

The closing number "Smaa Dyr" is more of a trio (without Konitz) and it's a beautiful way to close out the album. Just as "Fiordlands" its somber in tone but you can feel the uplifting tone that rising as the piece moves further along.

I fell in love with Time minutes after it finished. Jakob Bro has circled himself with great musicians who effortless craft his material into something special. With Time, Jakob Bro should be on the radar of many jazz fans in 2012. He has grown as a leader, composer and performer. The pieces on this session has stuck with in short time of its release in November. That's why I have named Time as my album of year. Highly Recommended.

JazzWrap was honoured to have another opportunity to discuss recording Time with Jakob Bro recently. Here's a bit of that discussion.

1) Since the acclaim of Balladeering how has your recording process changed?

Time is done pretty much the same way as Balladeering…I composed the songs in August - went to a small cottage by the sea in Denmark and just wrote music for one week straight. Two weeks later I went to New York and met up with Lee, Bill and Thomas at Avatar Studio A…we started playing the songs around 11AM and played pretty much without stopping for two hours…most of the songs are first takes (as with Balladeering)…it was a beautiful experience for which I feel very grateful. 

2) There's more intimacy with Time without a drummer. Was that on purpose?

Yes! I love Balladeering so much and it didn't feel right to me to go in and do the exact same thing again…so I changed the line up. I love Thomas' playing - On "Balladeering" Lee is featured a lot - on "Time" I wanted to feature both Lee and Thomas at the same time and I thought it would be really cool to do so in a very transparent setting without drums. We also recorded "Time" in a different way than Balladeering. All in the same room - sitting in a closed circle without headphones. That in itself is very intimate - you can't change a note once you've played it and you can hear even the slightest sound coming from each other. It was truly a great way to record and James Farber is so incredibly masterful at capturing the moment like that sound wise. 

3) Working with Bill Frisell and Lee Konitz again must have made the recording feel like home?

Well, working with Bill, Lee and Thomas makes me feel honored and very very humble. They all play absolutely incredible on this record and I can't even describe in words how happy I am that they all agreed to join this session and play my songs. 

4) Will you be touring for this record?

I'm touring more and more with my own music. Both in a trio setting and sometimes trio with a soloist…also I have been working with my nonet a bit. I do the same songs as on my recordings but of course they sound different depending on the line up. I'm not going to tour with the original line up from Time. I might do one or two shows if logistics happen to match but nothing is scheduled at the moment. I have some trio gigs lined up for my Danish trio next year, 5 gigs with Jeff Ballard on drums also and in the fall I have a 2 week tour with Thomas Morgan and a drummer.