Soil & "Pimp" Sessions — 6 (2010)

Japanese punk-jazz sextet Soil & "Pimp" Sessions are back with their sixth full-length in as many years. Simply dubbed 6, it's the band's most accomplished set to date and out now on Gilles Peterson's Brownswood label.

Raucous and relentless tracks like "Papa's Got a Brand New Pigbag" and "Double Trouble" amply demonstrate SPS's aesthetic: Blend boisterous, high energy soul jazz with ferocious chops and hit "pulverize". And by no means is it just a bunch of noise. Hell to the no. There are melodies a plenty swirling around in this stew, but beware — this shit is hot. Mess around and you might get burned.

So, who are these jazz punks anyway. According to their rap sheet, they include Shacho (agitator, spirit), Tabu zombie (trumpet), Motoharu (sax), Josei (piano), Akita Goldman (bass) and Midorin (drums). When's the last time you encountered a jazz group featuring an "agitator"?

First and foremost, SPS is a live band and their albums sound that way, sans audience interaction (though they do have a live DVD if that's what you're looking for). They call their music "death jazz," and while that's amusing and all you don't really get a negative vibe from their music. If anything it's all the way live.

According to the band's PR, "We always felt that in the world of jazz, there was an unwritten rule that the musicians were to concentrate on their techniques and the audience were simply there to admire, like a transmitter/ receiver relationship. We wanted to break away from that and create exciting jazz with far more interaction between the players and the audience."

Judging from 6, they've got the skillz that kill. This isn't jazz to sit calmly listening to, applauding politely after every solo. This shit is for dancing like your pants are on fire. Aw hell, just give it a listen.

Timo Lassy - Round Two (2009)

A bit late out of the gate with this review, so stop me if you've heard this one before: Timo Lassy's got it goin' on. New to you, too? Thank me later. By the time you're finished reading this you'll want to get into Round Two, his second solo effort released last fall on Ricky Tick Records. It'll ring your bell.

You may know Lassy, the smokinist sax player of the red hot Helsinki jazz scene, from his work with Blue Note recording artist U-Street All Stars, the globe-trotting Five Corners Quartet and his solo debut The Soul & Jazz of Timo Lassy, naturally.

It's worth noting that Lassy also brought some heat to Nicola Conte's Rituals album, on which he made the acquaintance of José James, a jazz singer from Minneapolis whose voice lives up to its velvet reputation. James flew to Finland from none other than New York for Round Two's three-day recording session and contributes memorably on the swinging opener "The More I Look At You" and the cooker "Ya Dig."

While James makes his presence known, most of the set belongs to Lassy and his band, which is strictly A-list. Teppo "Teddy Rok" Mäkynen kicks it behind the kit (as well as the mixing board, where he co-produced with Lassy). Jukka Eskola lets his trumpet do the talkin'. Georgios Kontrafouris tickles the ivories. Ari Jokelainen swings on alto sax. Mikko Mustonen lets it rip on trombone. Antti Lotjonen works a fleet-fingered bass groove. And Abdissa "Mamba" Assefa fills the beats in between on percussion.

At the center of it all is Lassy — a persuasive player, a confident composer and an assured arranger. While Lassy seems most at home in the hard-bop and soul jazz idioms, he seamlessly blends them with Latin jazz ("Shifting Winds," "Backyard Puma"), ballads ("Some Love"), tribal spirituals ("Deeper Into") and swing ("Fooling Rosetta," "Buzz Beater Stomp"). Clearly, he knows jazz tradition and, more importantly, knows how to breathe new life into them.

As retro as that might sound, Lassy's band sounds as contemporary as they come (but with a rootsy sensibility that never gets watered down). Moreover, they do it without resorting to trendy gimmicks or self-conscious experimentation. Mostly, I think ya'll dig the man's toe-tappin' tunes and his band's tuneful approach to improvising around them. You guessed right - Round Two is a knock-out.

Christian Scott: A New Revolution To Be Heard

Christian Scott (trumpet; b. 1983)

A few weeks ago I stumbled across the music of New Orleans trumpeter Christian Scott. I had heard the name around the scene but up until that point I had given it much attention, thinking it was mostly hype. Well funny how time flies and thoughts change. I have spent allot of time absorbing the music of Christian Scott and I have to say this is one cat you should really check out.

There is a sense of aggression, thoughtfulness and protest throughout his music. Christian Scott is definitely challenging the order of things. I believe I said I hadn't seen and heard this much brouhaha since Roy Hargrove came on the scene, and I still think I'm right. But Scott does deliver the goods. He has a desire to fuck with our preconceived notions of how jazz should be (from an American perspective). The european jazz artists are already blowing jazz apart and reconstructing it. Christian Scott is looking at it from a rock/alternative perspective. His material is dense, packed with distorted guitar work and pulsating drum lines.

The ghost of Miles Davis does linger for those who are wondering, but then you think "What would Miles be doing now anyway?" (Remember he had worked with Prince on some brief studio work before his death).

Rewind That (Concord), Christian Scott's debut, is a well-crafted and smoothly executed session highlighted by the striking originals "Say It," "Rejection," "Suicide" and the Donald Harrison penned "Paradise Found". This is a dark and ambitious album without any real upbeat movements. Although you could consider Scott's reinterpretation of the Miles Davis classic "So What" as a funky 21st look into what was done and what can be done when listening to your mentors.

The follow up, Anthem (Concord) continues the forward thinking approach and appropriate usage of rock-tinged guitar as needed. Passages like "Anthem," "Dialect" and "Katrina's Eyes" show a deeper perception and sense of anger that could parallel some of Miles' mid-fusion era material. There is still a beautiful quality to this playing that holds the language of the tunes together. It's like riding through a riot a 2 miles an hour and now wants to touch your car. Anthem is heavy stuff but then "The 9" and "Like That" remind you that Christian Scott and his band can find the groove and subtle ballad side of the proceedings to ease the listener along the journey. Anthem turns out to be a strong follow up with some very heady themes.

Some would see his third album Live At Newport (Concord) as nothing but filler until the next studio album but this would be a major misstep on any one's thought. Live At Newport is a CD/DVD that demonstrates both visually and audibly what an awesome performer Christian Scott has become in just short of a decade. And to witness his band including pianist Aaron Parks, bassist, Joe Sanders, guitarist, Matt Stevens ripping through chord changes with an emotional verve that might be reserved for more rock oriented acts is truly amazing. Keeping his band together appears to be one of the main focuses of Christian Scott ethos.

This is a band that is in supreme control and the interplay is meticulous. The work done by saxophonist, Walter Smith III is fantastic, especially on "Litany Against Fear" along with Parks again on piano. This is a fresh concert date finds the group in prime form. Along with a few originals there are two Matthew Stevens tunes, "Rumor" and "The Crawler" that for me were startling and refreshing. Live At Newport also revisits of "Anthem" and "Rewind That" with higher than expected results when experienced live (especially on the DVD). Live At Newport is still challenging stuff but worth every minute of it.

Yesterday you said Tomorrow (Concord) appears to be the culmination of a journey. The fusion of rock idioms and jazz rhythms into a solid, well balanced jazz album that demands the attention it is receiving. Yesterday you said Tomorrow starts out emotionally deep with some terrific interplay between Scott, drummer, Jamire Williams and guitarist, Matthew Stevens on "K.K.P.D." I've never been a fan of Radiohead or Thom Yorke but somehow the groups cover of "The Eraser" actually works (who would of thought of that?). Tracks like "Isadora" (originally on Live At Newport) and "Jenacide" are gritty, complex and challenging. It all comes to a perfect conclusion by giving the listener more thing to think about on the abortion themed "The Roe Effect".

While every artist uses their environment as the basis for their work, few American jazz musicians transform their thoughts into logical, thought provoking and even sometimes unnerving soundscapes that cause the listener to stand back and truly take stock of what is going on in music. Jazz continues to grow and Christian Scott appears to be determined to see it grow in all directions except backwards.

Mulgrew Miller: The New And The Old Guard

Mulgrew Miller (piano; b. 1955)
Solo (Space Time Records)

A frequent session member with Woody Shaw, Betty Carter, Art Blakey, Tony Williams and more recent times with saxophonist, Kenny Garrett, Mulgrew Miller is one of the few masters of the piano of the last three decades. With Art Tatum, Pud Powell, McCoy Tyner and the great Oscar Peterson as his guide, Miller has created a body of work that is insurmountable in regards to musicianship and composition.

Mulgrew Miller has over 15 albums to his credit, many of them in and out of print. It is beyond difficult to find Miller's works at your local record (or used record store) but I assure you if you find one pick it up, you wont be disappointed. His most recent Solo (Space Time Records) is live album and a prime example of Mulgrew Miller's mastery. I have seen him over a dozen times and it is always an magically event to watch the "Big Man" come on stage and gently let loose a cavalcade of notes in astonishing fashion. Solo is evening that runs smoothly through a host of standards which Miller delivers with quite beauty and a harmonic sense of realism.

This is definitely an intimate evening and everyone listening knows it. Lovely, absolutely lovely precision work from Miller from the opening "Jordu," and the audience definitely enjoy the ballads "Carousel" and "My Old Flame". There's some heavyweight playing on the closing number, John Coltrane's "Giant Steps"--fantastic stuff and shows exactly why he is considered one of the best pianist of his generation.

I have only been only been able to find Solo as a digital download so if anyone knows where I could get a physical copy I would love to know. Mulgrew Miller is one those completely under appreciated pianist that deserves wider recognition. I believe Solo is one of those records that can prove it to anyone.

The Library: The New/Old Experience

The New York Public Library

With the weekend upon us I thought I would mention a great new experience which really is the old experience from our childhood.

With the rise of the Internet and downloading (legal and illegal) and the demise of the record store, it's become really hard for music lovers to find and enjoy music. Now I'm not a fan of illegally downloading music but I know a lot of people who are. So I wanted to talk about my new discovery from some of those records that people new to jazz might still be a little hesitant to buy or even download. My new experience is really and old experience--The Public Library. Yeah, I know...who wouldn't thought that!?!

So I've been going to the public library that's near my home for about 4 months now. I have to say its been great. Now you would be surprised by what the library actually as far as music is concerned. Now the library won't have the Woody Shaw boxed set but they will have Miles Davis Kind Of Blue and Dave Brubeck Time Out and a number of other big name classic jazz albums. You may also be surprised because you may even find brand new releases if you lucky.

One afternoon I stopped in at the library just to see what music they had and I stumbled upon some nice jazz albums (most of which I already owned) but it got me thinking. This is the perfect opportunity for those of you who are starting a jazz collection or you just want learn some more about jazz without having to purchase or download them. Plus it gives you an opportunity to support your community by joining the library and finding books for yourself as well the family and some music.

I personally found the entire Led Zeppelin catalog at the library and uploaded it to my iPod. Now I already owned two Zeppelin albums and a compilation. I've always wanted to pick up the boxed set that came out a few years ago but just didn't have the money. This turned out to be a great way to satisfy my need and I'm very happy for it.Now believe me, the selection is extremely limited but you can stumble into a lot suprising stuff.
Blossom Dearie, whom I will write about in a few more entries, is one of the best and under-rated female vocalist ever. I found a couple of her CDs that are pretty hard to find and that made my day.

The whole experience of rediscovering the library has been incredibly eye opening. I highly suggest that everyone wherever you are across the world, if you have a library please, please, please try to check it out and ask for where the music department is. You might be pleasantly surprised by what you find.

One For All: Continuing The Tradition

One For All (group; formed 1997)

Incorrigible (JLP)

Eric Alexander (sax)

Jim Rotondi (trumpet)

David Hazeltine (piano)

Joe Farnsworth (drums)

John Weber (bass)

Steve Davis (trombone)

For more than a decade, One For All have been one of the most exciting and swingin' hard bop groups on the jazz scene. The sextet have consistently been compared to the great Art Blakey and The Jazz Messengers--a bold comparison but probably pretty accurate. Each member of this band is also a renowned solo artist so when they do record together it is always special.

One For All have been a permanent fixture in the New York jazz scene with frequently individual live performances (mostly at Smoke Jazz Club) in addition to their yearly performances as One For All at the famous Uptown venue. The group have just released their 15 album, Incorrigible (Jazz Legacy Productions) and it continues the groups string of straight-ahead hard bop with the same phenomenal results.

Incorrigible begins with the standard "Bewitched, Bothered and Bewildered" but things really get jumping on the second piece "Petite Angel" penned by pianist David Hazeltine and featuring some lovely solo work from saxophonist, Eric Alexander and trombonist, Steve Davis. Upbeat with a slightly mid tempo groove "Petite Angel" is a signature example of how ease it is to fall in love this amazing sextet.

One of the most important and delightful things I have enjoyed all my years of listening to One For All is the fact that each member of the band writes material for the albums. So the listener tends to get a good overview of the depth this band possesses. There is no difference on Incorrigible. The loving tribute to the great trumpeter, Freddie Hubbard entitled "voice", written by trumpeter Jim Rotondi is sublime, touching and emotionally perfect.

The title track written by Eric Alexander is another standout moment as this is where the group begin to really to smokin' and you feel the power of their musicianship. Steve Davis (trombone) has been one of my favourtie musicians of the last ten years. He is definitely taking up the mantle of Curtis Fuller and J..J. Johnson with great ease. The track "Spirit Waltz" which originally featured on his 2001 album, Systems Blue (Criss Cross) is revisited here with the same vigour as its predecessor. In addition to always pitch perfect modality of Davis, drummer Joe Farnsworth helps drive this piece along with some nice timing accompanied by the rest of the groups precision work. For me "Spirit Waltz" is the second standout moment on Incorrigible.

The album rounds out with Rotondi and Davis numbers, "Back To Back" and "So Soon" respectively, where former is an upbeat latin-tinged soul-filler. The closer, "So Soon" reinforces the group ethos with each member practically highlighted throughout. It has an almost classic Blue Note Records quality to it. The perfect way to end the session.

One For All are that rare breed in jazz circles--a consistent group that has stuck together for years and continues to challenge each other and you can hear the fun they have playing together. This is a band that enjoys being in the studio as well on stage and every single record every record captures this magnificently. One For All continue to carry the straight ahead tradition of hard bop and of the small batch of new records so far this year, Incorrigible is by far in my top five.

Weather Report

Weather Report (group; formed 1970)

Wayne Shorter (sax)

Joe Zawinul (keys)

Jaco Pastorius (bass)

Miroslav Vitous (bass)

Alphonse Mouzon (drums)

Peter Erskine (drums)
Omar Hakim (drums)
Jose Rossy (percussion)
Airto Moreira (percussion)

I'm a big fan of boxed sets, especially when there done right. I don't normally recommend them to friends who don't know much about the artist/genre either. But in the case of Weather Report and the boxed set, Forecast Tomorrow (Columbia/Legacy Recordings), I think shelling out the extra bucks is probably a good idea. Let me also say there is a decent single disc collection entitled The Best Of Weather Report (Columbia/Legacy Recordings) which is fine (to a point) and would serve some people well. But I'm going to stick to the Weather Report boxed set as my choice for today.

Weather Report were the quintessential fusion band. The brain-child of two Miles Davis alums, Wayne Shorter (sax) and Joe Zawinul (keyboard/piano), Weather Report was an ever expanding and revolving group of creative individuals with the two aforementioned as the focal point. The boxed set opens with tunes that both members wrote for Miles during the Bitches Brew recordings and later recorded on their own albums.

Weather Report were one of the few bands during the '70s that consistently produced high quality albums from beginning to end. Their combination of jazz, rock, funk and latin rhythms was a major influence on almost every jazz artists of the 70's and 80's. Bold statement yes but I will stand by it. In the same way Kraftwerk, Can and Yellow Magic Orchestra influenced hundreds of alternative/electronic artists, Weather Report and it's individual members (Jaco Pastorious, Peter Erksine, Miroslav Vitous, Airto Moreia, Alphonse Mouzon) loomed large throughout the jazz community.

The band recorded 16 albums between 1971 - 985 and the most important and influential of those recordings are available on the Weather Report boxed set, Forecast Tomorrow. Forecast Tomorrow includes the classic "Birdland," "125th Street Congress," "Black Market," and "The Orphan"--all of which explore the group unique magnetism and ever expanding ideas in world music. Topping things off for me the boxed set features a Live DVD of the original group which is totally worth any amount of money spent on this set. Weather Report were also one of the few jazz ensembles to consistently have "hits" and solid albums throughout their long run in addition to expanding their musical scope and audiences year after year.

Weather Report would fold shorter after Wayne Shorter's departure in '85 and Joe Zawinul took over for the short remained of the year and then the band members went on to have formidable careers of their own. The music on Forecast Tomorrow is not by any means dated. The perception of fusion is sometimes misleading and with Weather Report you will almost immediately connect with the music upon first listen. Forecast Tomorrow is definitely the set to get if you want the full overview of the group and you should definitely get it your full attention. I have loved this set for years and I can't stop recommending it to as many people as humanly possible. I hope you enjoy it.