Supersilent

Supersilent (group; formed 1997)
10 (Rune Gramoffon; 2010)
Arve Henriksen (trumpet, electronics, drums)

Helge Sten (guitars, electronics)

Ståle Storløkken (keyboards)

With the departure of Jarle Vespestad on drums many fans didn't know what to expect from the always excellent Norweigan powerhouse, Supersilent. What we get is Supersilent 10--the most realized, acoustic and personal Supersilent album to date. I have always recommend Supersilent 6 as the first album to go towards but I think I may have change that thought.

10 has the architecture of a good Throbbing Gristle date mixed with best motifs from Harold Budd and Brian Eno. The performances by Stolokken, Sten and Henriksen are absolutely brilliant. As with each Supersilent album the tracks don't have names on numbers.

Openning on the usual atmospheric note and then flowing into more dense pastures "10.2" and "10.3" both shine brightly with the electronic effects from Sten but also the acoustic work of Storlokken on piano and Heriksen's muted spaced outed trumpet are amazing. "10.5" sounds like something that could easily fit on Throbbing Gristle's D.O.A.: Third And Final Report album. Dense, chilling stuff.

With the exploratory journey of "10.6" which feels like some of the moments of Harold Budd or Michael Brook and Jon Hassell. It's is poignant track that shows how this group has grown over the last 13 years. 10 is not a silent ambient trip or a roller coaster into white noise. It is much more than that. Storlokken is pushed into the front more on this album than ever before. His performance on gentle patterns on "10.7" are a loving lullaby that highlighted even more by Henriksen's delightful lyricism that flies along side Sorlokken on grand piano.

On "10.8" Henrikensen shows a similar understanding on liner patterns and ethereal beauty that could rival Jon Hassell. "10.9" is a fiercely atmospheric heavy piece driven by electronics which feels like Budd meeting T.G. in a cafe for a lively discussion of sound.

"10.12" closes the session in the exact manner it began--an adventurous, heavy journey into soundscapes that draws you in and doesn't really let go. It's a haunting piece driven by Storlokken's pounding keys and some electronic manipulation by Sten and Henriksen that is truly beauty in its conception.

Having had the pleasure and honour of seeing them live I can honestly say 10 is for me, without a doubt, the first time Supersilent have really stretched out in their vision and scope. These are heavy yet beauty stories told in just under an hour. Why this group hasn't seen wider recognition across the globe is bewildering me. This is the stuff landmark records are made of.

(Video footage: Supersilent 7 (Live DVD))

Undiscovered Czech History: Plastic People

The Plastic People Of The Universe (group; formed 1968)
Magic Nights (Munster Records)

The Plastic People Of The Universe were a fantastic and extremely revolutionary group in all the exact terms. This collective formed in the late '60s in Prague under Soviet rule which happened just a month after the bands formation.

This isolation of the times is reflected in throughout their music with elements of radical classical gypsy-esque movements in addition to Western influences like Velvet Underground and The Mothers Of Invention (to whom the bands name is derived). The music is a combination of dark love themes, rhythmic world genres and wrapped within the political strife of the era. The best way to describe it would be like going to a concert with Can, YMO, Kraftwerk, Mothers Of Invention and Velvet Underground all playing taking turns performing during one set. Yes, that would be awesome. And The Plastic People Of The Universe are that cool.

A brand new collection just came out that captures the significant moments of this band long, up and down career. Magic Nights (Munster Records) covers 1969 - 1985) covers the multiple changes in the band; from the early prog rock experimentation's to poetic structures under Egon Bondy. The band was literally "the underground". Their albums were recorded a various locations as so not be caught by Czech authorities and band member were consistently harassed and in some cases jailed.

It wasn't until the late 80s and various break ups and reincarnations that the group got any stability. Shortly after the Velvet Revolution of 1989 and under President Vclav Havel (a friend and follower of the band) that the band began to tour and record more frequently.
 
In terms of revolutionary music, The Plastic People Of The Universe are definitely a true symbol of that just as Bob Marley, Fela Kuti, Duke Ellington, Louis Armstrong were to the world of music. Magic Nights is not just a great compilation--it is a serious historical document that if you are a fan of any of the artist I've mentioned you should definitely looking into this collection.

Joe Morris/Nate Wooley Create Fascinating Rhythms

Joe Morris/Nate Wooley
Tooth And Nail (Clean Feed; 2010)
Joe Morris (acoustic guitar)
Nate Wooley (trumpet)



For me Joe Morris is a slightly new discovery. I don't own any of his material as leader. I mainly have a couple of records he's been on with Ken Vandermark--most notably a DKV Trio recording from 1998 entitled Deep Telling (Okkadisk). Nate Wooley, I was aware of through some his work with avant garde drummer Tyshawn Sorey.

So when I found this new duo recording with Nate Wooley, Tooth And Nail (Clean Feed), I decided to give it go. Knowing that Morris is an excellent guitarist and his oblique way of playing was something that I also thought was interesting and inventive; this album is probably going to very excited. And it is.

Tooth And Nail is an improvised and technically brilliant work. There a very sparse passages throughout with Morris delicately picking in far reaching angularity. Nate Wooley's creates some interesting soundscapes that seem like combinations of Arve Henriksen and Enrico Rava. There are some very interesting exchanges on "Gigantica" and "Steelhead" where you can hear the improvised moments but they work in such a timely fashion that it becomes a beautiful melody.

"Noble Reasoning" is another moment in which Wooley and Morris really take off. There is a simpatico that occurs towards the final few minutes of the piece that the notes come rolling fast and furious but its never overbearing or distracting. And it folds perfectly into the next piece "Forest Grove" where Morris' playing feels like cello in hands of an angry child.

The closing number "A Terrific Snag" is another scale jumping moment where Wooley's work really comes to the fore. While Joe Morris sets the parameters, Wooley is exercising some lovely and ingenious phrasing.

One of things that really attracted me to this record was the pairing of guitar (especially acoustic) and trumpet. It's rare. You usually see the regular pairing of drum and sax, sax and piano or sax and sax. Tooth And Nail felt like an anomaly. But its sounds like a well woven piece of art. It's a deep bit of storytelling but I think if you are a fan of Ken Vandermark and the Chicago and New York underground scenes you will definitely find Tooth And Nail a fascinating listen.

Celebrating Marion Brown

Marion Brown (sax; b. Sep. 8, 1935 - October 25, 2010)
Three For Shepp (Impulse)

Today we celebrate the highly under appreciated saxophonist, Marion Brown who passed away on Monday. This is an entry I did a few weeks ago but I wanted to share it again for those you may not have had a chance to explore the music of Marion Brown.

Marion Brown embodied a lovely, soft tone on alto sax. Many jazz fans will know his work on John Coltrane's Ascension but Brown's own work much more understated. He didn't necessarily fit into the free jazz realm as much as his contemporaries.

Born in Atlanta, he moved to New York in the late 60s when later he would join Coltrane on the aforementioned Ascension. Brown would develop an extensive body of work from '65 - '71 that was both conservative and free form. While his work on Ascension and some later albums for both ESP and Fontana were high intensity and bold statements of intent, his overall tone was more empathic. Over the course of his career Marion Brown has worked with Mal Waldron, Anthony Braxton, Andrew Cyrille and even Jon Hassell.

My personal favourite and probably the one most critics would pick as the best representation of his work is Three For Shepp (Impulse; 1966). Three For Shepp is a tribute to his friend and musical partnership with saxophonist, Archie Shepp--who in addition to Ornette Coleman was a major influence on Brown. They had both played on Ascension and also worked on each others albums while both were signed for Impulse Records. The albums six tracks are divided into three Shepp compositions and three written by Brown. Three For Shepp is a classic document of the free jazz period with a bright mixture of tones and structure that runs the gamut of blues, Latin and swing wrapped in a swirling African motifs.

Brown's own "Fortunato" and Shepp's "Spooks" are powerful statements of his talent and distinct vision that make Three For Shepp an adventurous and frenzy outing. While there are other free jazz albums from this period that made a significant and longstanding statement of jazz history, Three For Shepp is one of the unheralded masterpieces that needs to be re-examined and rediscovered by a new generation.

For the last few decades Marion Brown has been a teacher of jazz and very very rarely performing as a session member. He has had several illnesses in recent years but he is still moving along. Today is his birthday and you should do yourself a favour in the next few hours, days and weeks and seek out one of his records. Take a listen for yourself. You won't be disappointed by Marion Brown.

The Return Of The Orb

The Orb (group; formed 1989)
Metallic Spheres (Columbia)



In the realm of ambient, techno, trippy dance music, The Orb are in the top five most revered artists. Led by the funny and always inventive Alex Patterson, The Orb have carved out that trippy corner of the last twenty years as ambient's version of Pink Floyd (circa Dark Side of the Moon). They have done just as much to transform dance music over the last two decades as Brian Eno did with his groundbreaking album Discreet Music and A Guy Called Gerald did in a single track "Voodoo Ray."

While releasing a few unsuccessful early EPs, The Orb finally burst on to the scene with two highly creative tracks "A Huge Ever Growing Pulsating Brain That Rules From The Centre Of The Ultraworld" and "Little Fluffy Clouds". Patterson's technique of more slow, cerebral, beat-friendly rhythms caught on quickly with the now dub "chill out" crowd. The Orb have always admitted to the influence of David Gilmour and Pink Floyd in their music (and artwork) so it is only fitting that finally, finally, finally the legendary guitarist and archetypal ambient group would team up to record what is without a doubt one of my favourite albums this year--Metallic Spheres.

Metallic Spheres essentially contains two very lengthy tracks roughly 20 minutes each ("Metallic" and "Spheres"). The tracks are broken into 5 suites but you really aren't going to notice that unless watch the timer on your CD player. This is a really wonderful meeting minds. The Orb grooving heavy hypnotica melds perfectly to Gilmour's dreamy and drifting guitar melodies. Gilmour adds a small bit of vocal treatment on one of the suites on Metallic which is reprised later during "Spheres." It's as if they had been working together for years. "Metallic" might be the more atmospheric of the two tracks and containing some rich, dense patterns that are very reminiscent of the Orb's earlier work.

"Spheres" starts in a heavy, dub-centric manner with Gilmour's guitar and vocal work floating in and out of the mix. Early on in "Spheres" you know this is fully an Orb project. Nice electronic movements and sampled field noise creating a very funky direction for the second half of the session. There is an infectious pounding drum and bass chorus towards the later stages of "Spheres" that provides a small bit of dance intrigue but move quickly because as bright as this moment is it is gone. From that pulsating grooves comes an orchestral denouement in the short suite "Bold Knife Trophy" that brings the proceedings to gentle end but leaving you begging for more.

Metallic Spheres feels as though there is definitely more in the studio than what we were privy to but what we have is still phenomenal. For those wanting a new Pink Floyd album--you get it--with a 21st century spin. For those wanting The Orb to return to their ambient roots--you get it--with the addition of one of their greatest influences. Metallic Spheres is a nice crowning achievement by two groundbreaking musicians. Well worth your checking out.

Chie Imaizumi

Chie Imaizumi (composer, arranger)
A Time Of New Beginnings (Capri Records)

In jazz, you don't seem to get many composer specific artists anymore. At least not in the mold of a Quincy Jones, Duke Ellington, Billy Stayhorn, Betty Carter or Marian McPartland. That's not to say that Japanese composer, Chie Imaizumi is in the same ballpark but she does present a new spin on the foundation and themes built by the aforementioned legends.

Chie Imaizumi has quickly established herself as an up and coming force on the composer scene in just under a decade. Building on her critically acclaimed debut, Unfailing Kindness (Capri), Chie returned to the studio with some wonderful new pieces and a stellar line up of musicians to interpret her vision on A Time Of New Beginnings (Capri).

New Beginnings for me is a lovely body of work that lends itself more to jazz new comers than those of you who may what something more cerebral or avant garde in nature. But dig deep and you will see that Imaizumi has the talent to continue produces exquisite compositions for years to come.

Where Unfailing Kindness was more a bebop/bluesy affair say in the realm of Ellington or Basie--New Beginnings stay in more of well crafted concept than spread of genres. The album delivers multiple layers of detailed structure as evident on "Information Overload"--a nice balance of big band implications and bebop traditions.

As I mentioned the musicians are stellar and really bring out the shining quality in Imaizumi's writing. On "Information Overload", Randy Brecker sounds fantastic. I'm not a big fan of Brecker either so I was really surprised when I looked at the liner notes for this record and noticed he was the spotlight on this track.

Another highpoint for me is "Many Happy Days Ahead" in which Steve Davis and Gary Smulyan dominate the piece with some starling affect. It's a lovely romantic piece in the style of the most intimate recordings of Dave Brubeck. The title track is another moment where you could easily hear Chie Imaizumi sound on jazz radio or at one of the many jazz festivals around the world. It's a bold piece with some magnificent playing by drummer Jeff Hamilton and Tamir Hendelman.

A Time Of New Beginnings is one of those warm additions that I think you sometimes need to break up the more intense, rough hues you may listen to on a daily basis. I definitely do. Trust me its not everyone's cup of tea but as I said if you listen closely and let it sink in--you hear a young artist painting a new picture on traditional canvas. Good stuff.

George Coleman

George Coleman (sax; b. 1935)

The illustrious career of George Coleman includes seminal recordings with greats such as Booker Little, Harold Mabern, Miles Davis (the albums My Funny Valentine and Seven Steps To Heaven), Chet Baker and Herbie Hancock (the legendary album Maiden Voyage). It is almost travesty that he doesn't get the recognition he deserves. Early in his career he spent time on Blues and Soul scene in bands with B.B. King and Ray Charles. The Memphis born native has also recorded under his own leadership with legends; Billy Higgins, Hilton Ruiz and fellow Memphis native, Harold Mabern.

Coleman is sound is big and powerful but with very smooth concentrated undertones of beauty. The musicians he surrounds himself with are always excellent additions to his lyrical structure and his interpretations of standards. One of the surprising things that is always the case with under appreciated artists like George Coleman is his short discography. He has recorded so much as a sideman that he owns albums are few and far between. So I recommend that if you see even just one record by George Coleman--pick it up. Two records that would definitely recommend that give a good picture of George Coleman's style are live recordings from Ronnie Scott's Club in London.

Playing Changes (Ronnie Scott Jazz House Records; 1988) is a magnificent live recording original recorded in 1979 and not released until '88. Coleman is working with one of his most consistent quartets including the aforementioned Higgins (drums), Ruiz (piano) and Ray Drummond (bass). Playing Changes includes three lengthy tracks but it is sheer masterclass. Coleman was in strong form during this period. He had just finished recording material with Charles Mingus in addition to sessions with Charles Earland. The opener "Laura", a Johnny Mercer standard is a lovely moment of nightclub jazz. The majority of the piece leans on the strength of Ruiz and Higgins with Coleman and Drummond adding the nice full-bodied exterior touches. Coleman's own number, "Ceora" delivers some lovely phrasing and harmonic structures that really demonstrate why he can be bold and beautiful inside the same piece.

Blues Inside Out (Ronnie Scott Jazz House Records; 1997) was a return performance to the world famous jazz club in 1995. This time he with a set of now famous British performers including Peter King (sax), Julian Joseph (piano) as well as Mark Taylor (drums) and Dave Green (bass). King's voice and Joseph mastery add a little more bite and to the is session. It's a long evening. All six tracks are over 10 minutes each. The quartet sizzles with pieces from Miles Davis ("Tune Up") and Sonny Rollins ("Oleo") as well Coleman's own "Blues Inside Out" and "Venus Fly Trap (Waltz)". "Venus Fly Trap" is delivers a lovely melody and some flawless musicianship from the big tenor man. "Blues Inside Out" while set in a blues mode is a real firecracker of a tune that should convince anyone of the greatness George Coleman possess.

The unfortunate part of the story is that both Playing Changes and Blues Inside Out are very hard to find. I have seen them as twofer on Amazon. They are also available for download. Either way there definitely worth a purchase.

Sometimes jazz fans (myself included) forget that sometimes people don't necessarily need to be turned on to the major artists like Coltrane, Mingus, Ellington, Brubeck, etc to enjoy jazz. Sometimes its the lesser known ones that can really have a greater impact on people. If you have a chance and really want to be turned on to some great heat, George Coleman is great place to start.