Orrin Evans: Flip The Script

Orrin Evans (piano)

Flip The Script (Posi-Tone; 2012)

Donald Edwards (drums)

Ben Wolfe (bass)

Coming off a prolific year with Captain Black Big Band and his quintet recording Freedom, Orrin Evans strips down to a trio for his latest, Flip The Script. While this trio session allows the listener more intimacy with the musicians it is still delivers some electrifying and at times elegant performances.

Working with a simpler approach, Evan's material here is more rich and organic as evident on "Clean House." Here Evan's playing is focused and crisp. Every note has a real sense of passion and urgency. A buoyant tone to Evan's keys hovers softly above the bass and drums but the unity of the trio is not diminished.

Spinning in more of bluesy flavor, "When" and "Big Small" both develop slowly and with somber undertones. "Big Small" displaying more of an uplifting nature in its unique structure. These are two pieces in which Evan's is more laid back and allows Edwards and Wolfe to provide the stronger emphasis to the proceedings.

Both "Flip The Script" and "TC's Blues" swing with a bop quality to would make Thelonious Monk and Red Garland very proud. Midtempo pieces featuring a number chord changes and sharp technique that shows a solid unity and understanding as to where each musicians lies and where their going next with the tune.

The closing number, the Gamble and Huff R&B standard, "The Sound Of Philadelphia" gets a gentle re treatment here and is more personal and effective than ever. The track is most associated as the theme for the America dance/music show Soul Train. Evan's tribute to its creator, Don Cornelius is simply sublime and the absolute best manner for closing this album.

Flip The Script returns the art of trio back to its roots. Emotional, poignant and organic. And with that ethos, Orrin Evans continues to be one of the exciting and diverse prospects on the American scene today.

Red Trio: Stem

Red Trio (w/Nate Wooley)

Stem (Clean Feed; 2012)

Rodrigo Pinheiro (piano)

Hernani Faustino (bass)

Gabriel Ferrandini (drums)

Nate Wooley (trumpet)

Like the old saying goes, "wine gets better with age," so too does the fantastic Portuguese group, Red Trio.

A phenomenal yet minimal self-titled debut that features a wide array of improvised occurrences with stellar insights in composition went further with the follow up, Empire. Empire featured British saxophonist, John Butcher as the interpretive foil to the trio's experimental exploits. This session seemed to awaken a challenging spirit within the band (especially on the title track). Now that inquisitive spirit has collided with the free form agility of one of my recent favourite trumpeters, Nate Wooley for the superb, Stem.

This quartet came together only a few months ago as a live collaboration but you can feel that Red Trio quickly developed a unique chemistry that makes this session even more personal and entertaining than Empire. The outstanding opener, "Flapping Flight" features jagged edges and improvised chords by the trio intersecting with short delicate notes by Wooley that rise and fall with romantic flavour. The piece expands as it moves into it's middle movements and creates similar exchanges to that shared on the trio's work with Butcher. Wooley and Pinheiro share a rolling battle of notes towards the end that is both captivating as it is complex.

Pinheiro's playing is at times very straight while delightful chaos occurs around him. "Ellipse" is one of those moments. Pinheiro's performance is almost Jarrett-esque but it is punctuated by canon of experimentalism on display by the rest of the group. Ferrandini's drums put on a quiet Billy Higgins type display. Rhyming when necessary and floating freely when called upon. Wooley goes from a stoic and melodic tone to dark quiet breathy exchanges with the trio almost silent adding a haunting yet organic nature to piece that is revelatory. 

"Weight Slice" has a frenzied pace that holds the listener in place while short burst of notes almost coalesce into one pattern but then brilliantly explode in the opposite direction. Wooley has individual dialogues with the trio throughout this piece. "Weight Slice" is probably the best example of the camaraderie this group has developed in such a short amount of time. The quiet almost ethereal departure of "Tides" is remincesent of Red Trio's debut. A spacious conclusion with slow droning effects and low tones that make you stop and investigate each note.

Stem is the best work to date by Red Trio and the addition of new musicians over the last two outings has only made this group better, inventive and fresh - like aged wine. Stem is one of those albums that will last with you all year long. Highly Recommended.


This is an older video but does highlight the creative thinking within the bands structure.

Andres Thor: Monokrom

Andres Thor (guitar)

Monokrom (Dimma; 2012)

Scott McLemore (drums)

Porgrimur Jonsson (bass)

Agnar Magnusson (piano)

Taking time off from their more electric outings as ASA Trio, the band members have returned to working on solo material. The first to release new material this year is guitarist, Andres Thor. His third solo album, Monokrom, is a fusion of traditional melodies and modern harmonics. Joining him are his fellow ASA Trio mates and Porgrimur Jonsson on drums. This fully formed quartet brings out the best in each musician over the course of almost 60 minutes.

Thor's sound continues to mature and move from strength to strength but always with calm and a playful attitude, Thor demonstrates an excellence balance between Wes Montgomery tradition and Bill Frisell or John Abercrombie modern folk. "Monokrom" opens with a sense of fruitfulness and pleasure. Soft, romantic tones emitting from Thor's guitar and accompanied with sweet agility by Magnusson. With "Pink Wilco," Thor has written a piece that allows Jonsson and Magnusson to slide in and out seamlessly with his blues like melody.

Thor displays a great deal of passion in his performances throughout Monokrom. That Frisell vibe I spoke of early is noticeable on the folkish ballad "Heima." It has a wonderful and joyous feeling to it that gives a real sense of a travelogue. Injecting a little bit of funk into the session with "1922," Thor and rest of the band begin to flex their muscle. A forceful rhythm from McLemore and penetrating notes by both Jonsson and Magnusson make "1922" a rise and infectious number that is enhanced by the echo of Thor's lap guitar.

"Sjavargrund" is a midtempo ballad with a tinge of Brazilian flavor. Thor's playing feels very comfortable in every setting. McLemore and Jonsson provide smooth lush colors that open the sound for Magnusson's keyboards. "Munchen" is a sharp and intense closing number with the group in full swing. Each member has a shining moment on this track. Magnusson is back on piano with a rich clarity. Jonsson's bass is vibrant and McLemore rips lines with ease. All the while Thor's guitar gently cuts a path for the musicians to follow.

Monokrom is strong work from a group that knows each other inside and out. Here Andres Thor has written the right material that allows not only his musicianship to shine but also illustrates his sense of adventure and ability to move freely in different forms. This is one of those superb outings that every jazz fan would be silly to miss. 

The Intersection: This Ain't Chicago

Various Artists

This Ain't Chicago (Strut Records; 2012)

I guess it's probably fitting to discuss a dance record on Friday. Usually club night for the younger generation. What's not common is to be reading about it on JazzWrap. Well that's because every once in awhile I like to kick one into the terraces.


So drifting back into my youth came the new compilation, This Ain't Chicago guided by the stealth hand of DJ Richard Sen. And it is killer education into the early roots of the UK House scene. This collection isn't out until July 10th, but I couldn't hold back talking about it.

While everyone may know my affinity for Detroit and Chicago dance music and its subsequent effect on the UK (in particular A Guy Called Gerald); you may not know or remember the majority of stellar releases from the UK during the early years. We are talking mostly 12'' and maybe a few EPs. Sen has deftly compiled these into a smooth and cohesive document that is as enlightening as it is danceable.

Ability II drop an extended trance beat with "Pressure Dub" which features a pulsating bass, crunching synth patterns wrapped inside some beautifully looped vocals and hand claps. "Bang Bang, You're Mine," from Bang The Party comes crashing down sensually with what feels like a sample of New Order's "Thieves Like Us" hiding underneath (I'm not sure about that but that's what I felt). One of those late night tracks that should play work well during a live DJ set.

One of my favourite groups/artist during this period was Babyford. Here during his early period with a typical statement piece "Crashing" which is hypnotic and reverberates long after it's over. "Iron Orbit" and "1966" (by Static and M.D. Emm respectively), start a period of haunting house beats. Very electrifying and fast paced with pounding hand claps and drum effects. Excellent.

Rio Rhythm Band adds a Latin flavour to this collection. Their track "Cubba Jakkin'" has percussion layered over a furious yet fun-natured keyboard pattern and high whistles. Funky and jacked up for the floor.

With This Ain't Chicago, what Richard Sen has assembled is a stellar collection of UK house tracks that seriously stand the test of time. With a nice mixture of heavy beat tracks, vocals and dub, Sen curates a musical journey that moves with the night. This Ain't Chicago is a perfect and probably only way to get some of these gems without paying through the arse. But for the most part its a great education on what was happening as Detroit and Chicago began to influence it's counterparts across the way. Highly Recommended.

Zero Centigrade: Umber

Zero Centigrade (duo)

Umber (Obs Music; 2012)

Tonino Taiuti (guitars)

Vincenzo de Luce (trumpet; electronics)

Crafting harmonies from nowhere is what improvisation is all about. But the duo Zero Centigrade seems to make it an easy habit. With Umber, their third release, they yet again conjured up sounds and moods that are haunting, inviting and beautiful.

Silence and the search of sound tend to make up the structure of each Zero Centigrade project. And this manifests itself early on "Tumble Down," where sudden bursts of acoustic one notes alongside stretches, creaks and found noise slowly break into your psyche like a bad nightmare.

"A Strange Season I" showers with the continued influence the blues has had on the duo. Slow patterns emerge but always evolving around Taiuti's heart tugging yet distant melody. Raw, emotional and still forward thinking. Imagine if American alt-blues guitarist Chris Whitley played with Throbbing Gristle (I sure hope some of you get that). 

The inward nature of "Stalk" and "Reflections" makes for a compelling listen. You will hear the strains of forgotten notes passing between each musician. "Far Horizon" feels distant and aching. Propelled by de Luce's superb use of electronics and Taiuti almost folkish improvisation this piece travels a long way very quickly before fading. 

Another stellar almost "third-stream" outing for Zero Centigrade that shows a continued growth and desire to see what soundscapes they can capture in a short period of time. Umber is an album that won't treat you nicely unless you let it. The beauty lies in the details. Not designed for everyone but you will find elements that will affect you in different ways. Worth seeking out.

The Intersection: Ebo Taylor

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


Ebo Taylor (vocals; guitar)

Appia Kwa Bridge (Strut Records; 2012)

Pretty much since arriving back on the scene (acclaim-wise) in the last five years, Ebo Taylor has become one of most notable world music/Afrobeat artists around. His last record, Love And Death was one of JazzWrap's records of the year in 2010. Now Taylor has done it again for us with the release of Appia Kwa Bridge.

A terrific blend of jazz, Africa and folk rhythms that is emotional powerful and musically stunning. Built around love, loss, fear and rejuvenation, Taylor takes you on a journey that is for brave. Beginning brightly is "Ayesama," a victory song of the Ghanain ethic group Taylor belongs to, the Akan people. This group holds great stature throughout the community, not in the sense of elites but in sense of standing up for what they believe. This anthem could easily be adopted as the sign of strength for others feeling oppressed and need to be uplifted and reach higher for victory.

"Nsu Na Kwan" builds on a number of percussive beats but is also driven by Taylor's soft and enthralling delivery both on guitar and vocals. "Appia Kwa Bridge" is a meeting place for friends, lovers and more to express their views and outlook on life, love and beyond. Boyuant and filled with dreams, this bridge could tell the story of many Ghanaians.

"Barrima" is the most affecting track on the album. Speaking directly to the loss of his wife just a few months ago, this track has all the emotional impact that live on its own from the rest of the album.  The piece is Ebo alone, on acoustic guitar with only his soul on show. Touching and embodying why music is important to our lives.

With Appia Kwa Bridge, Ebo Taylor has going back to his acoustic and lyrical roots. It's even more dynamic than Love And Death but shows the living legend has more messages to deliver to us all about life and how to live it. One of our albums of the year. HIGHLY RECOMMENDED!

Tom Tallitsch: Heads Or Tales

Tom Tallitsch (sax)

Heads Or Tales (Posi-Tone Records; 2012)

Dave Allen (guitar)

Mark Ferber (drums)

Jared Gold (organ)

You know those albums that you fall in love with immediately after about two songs in--well this one of those albums. Tom Tallitsch delivers a killer does on hard bop that is fueled by both some heavy chops as well as crisp songwriting. His fourth album (first for Posi-Tone), Heads Or Tales is simply an awesome display of muscle and dynamics.

Like a late night jam session, Heads Or Tales kicks off in fine form with "Coming Around," a real barn-burner. Tallitsch rips through a number of chords and his newly assembled quartet adds fuel to the fire with Allen and Gold sparking hot exchanges that match the saxophonist's muscle.


The luscious ballad, "Perry's Place," is absorbing. Tallitsch gives a deep soulful performance that instantly grabs you. Gold's organ stays close with a rhythm providing strong effect. Feber's drums are tempered here but still add soft touches just under the melody.

"Travel Companion" is a well paced midtempo piece in which Tallitsch allows Gold and Allen to show-off some solid individuality. Tallitsch comes back in to bring the band home with some warm tones as closing notes.


"Dunes" moves along swiftly and sweetly. Ferber conjures up some nice patterns that rise and fall alongside Tallitsch rhythms. Allen lays down some chords that felt almost early George Benson-esque. For some reason I kept gravitating back to this track. There's something quietly entrancing and beautiful about the harmonies that you might find as well.

Closing out on Neil Young's "Don't Let Bring You Down" is pretty brave. And you almost don't recognize it until you get to the chorus. This introspective ballad gets a heavy treatment that ends up being more surprising than you would originally imagine. It's treated with care but still creating its own identity.

Heads Or Tales is more than just another solid session for Tom Tallitsch. It's a document that really should awaken the eyes and ears of many would need to know his name and his skill as a composer and musician.