Daniel Levin: Inner Landscape

Daniel Levin (cello)

Inner Landscape (Clean Feed; 2011)

Daniel Levin has been at the forefront lately in the creative circles of jazz. His recordings (both in duo, trio and quartet settings) have been some of the most inventive and challenging in improvised music. It is amazing to think that after seven albums as leader that he has never recorded a solo cello album. Until now.

Inner Landscape contains six fully improvised pieces that feel more contextual than spontaneous. It's a journey of individual passages with distinct stories interwoven between the chords. Levin takes the listener from a well focused starting point, then catapults you into a realm where the boundaries of free jazz, improvisation, classical and jazz just fall by the wayside. It becomes MUSIC. No defined genre (only for you, the listener, to decide).

"Landscape 2" displays these thoughts brilliantly. It is a piece with endless possibilities. It begins with some loose but fast paced finger work from Levin. He sets the tempo by utilizing the space around the composition. There are short gaps between each moment before he really begins to focus and let loose. The improvised sections on first listen may be hard to grasp but on second listen you are full engulfed by the structure and patterns Levin has created.

"Landscape 6" is Levin walking you through forest at dusk. At first it seems peaceful and you delight in the beautiful trails. But then darkness falls and your psyche creeps in and your thoughts start to betray you. Levin quickly scrambles the pieces and you are left to guide yourself to the exit. But the music moves up in pace, and the journey seems in all directions--Levin brings the listener back only slightly and only for a few moments before literally stretching you right out of the piece (you'll understand that when you hear the piece).

Inner Landscape is a collection of multiple themes with various shapes, colours and patterns that need deep repeated listens. Emotional. Moving. Unexpected. And yet well rounded. There are only a few cellists on the scene today that can make the instrument sound more than what it is in addition to taking you on an other-worldly journey.

Daniel Levin continues to do this with ease. Inner Landscape is a superb first solo outing and I'm hoping he sprinkles more like this in between his other projects. Brilliant.

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 (guitar; vocals)

Love And Death (Strut Records; 2011)

When you talk about Afrobeat most people will immediately think, Fela Kuti or his now famous son, Femi Kuti. There are also other African artists throughout the scene that have made an impact and are still doing so. Some are just now being noticed by the wider audience.

While most African artists started out playing jazz and a hybrid of American R&B, many of them eventually came to develop the sound known as Afrobeat. Ebo Taylor played with and in the same circles as Fela and after both spent some time in London during the 60s, he would return to his homeland of Ghana with a new verve and the new sound--Afrobeat. Ebo did finally start to record solo material during the 70s and 80s with great success throughout Africa. But it wasn't until recently that others throughout Europe, the U.S. and the rest of the globe got the chance to learn more about this living legend. Through various African compilations (in particular Ghana Soundz and Ghana Special) Ebo Taylor's name began to spread.

This year saw the release of two amazing documents that are a must have for any music fans. First, Ebo Taylor's first international release, Love And Death, a high-spirited, upbeat session of what amounts to some seriously intoxicating rhythms. The production is superb and enclose the vocals in a fresh updated Afrobeat sound (in the same vibe of many Femi Kuti releases). The album kicks off with "Nga Nga" with fierce horns and a pulsating bassline. Taylor blends in jazz, soul and African aesthetics with great ease. His vocals are upfront and crisp. His voice has aged but its now more the hip and all-knowing elder statesman than one trying to grasp on to the latest new vibe. Taylor's guitars are looping and his compositions are complex and well organized to take the band and the listener on a very extended journey.

"African Woman" again jumps with heavy percussion and horns before quickly heading into Taylor's loving vocals on the beauty of the African woman. It's a dance song that really needs very little explanation. The keyboards contain a vintage vibe but all the while Taylor holds things solid. The title track "Love And Death" could sit along side the best of Burning Spear material. A moving tribute of spirituality and love. Love And Death closes with the mid-tempo "Obra," which really highlights Ebo Taylor's guitar work that contains elements of blues, jazz and soul (imagine early George Benson mixed with Bob Marley). "Obra" contains a lot fluid grooves that will undoubtedly have you bobbing your head and swiveling your feet.

Love And Death gets it roots from Ebo Taylor's earlier groove which are captured in brilliant form on Life Stories. Life Stories captures almost a decade's worth of material from Taylor as leader and band member. Featuring some killer tracks like "Atwer Abroba" which includes a heavy dose of funky horns and dark organ grooves making Life Stories one of a few perfect history lesson on African music.


The music is rawer than Love And Death but gives the listener a great overview of the origins of Taylor's writings and how beautiful his melodies were and what they would soon become. Life Stories also contains original versions of tracks from Love And Death including the title cut. Here the song is rough but includes vocals from Taylor's band in addition to himself. "What Is Life?" includes some awesome keyboard work as well as sizzlin' flute passages.

Both Love And Death and Life Stories are great introductions to one of the under-the-radar Afrobeat legends who is still on the scene today. A real fusion of genres and highly potent material that is a true treasure to experience. Love And Death is one of the best records you hear all year. Highly Recommended.

Danny Fox Trio: The One Constant

Danny Fox Trio

The One Constant (Songlines Records; 2011)

Danny Fox (piano)

Chris Van Voorst (bass)

Max Goldman (drums)

One of the qualities that makes a great trio is the ability to reach deep into its own consciousness and bring out structures and harmonies that make the listener think. That's the reason why I'm really enjoying the debut from the New York based, Danny Fox Trio, The One Constant.

The material on The One Constant is dense, complex and exploratory. While the compositions feel very European, the trio make clear distinction between themselves and any overseas counterparts. On the "Next Chapter", Fox's playing has the feel of John Taylor, Tord Gustavsen and Thelonious Monk. It's rich and layered with little swathes of playfulness. As "Next Chapter" moves forward, I felt I could be listening to more recent Dave Brubeck material. Fox's playing is brisk with both a mixture of classical and improvised jazz aesthetics.

On "Easily Distracted", Fox displays hypnotic duplicity in both performance and writing. The later interplay between the members (especially with Van Voorst) is superb. The trio have been together long enough and know when to challenge and when to lay back and let the melody move freely. The ballad "Even Tempered" is beautiful and sits more in the classical tradition with what felt like a small bit of ragtime just underneath (probably my mind playing tricks but that's what I felt). It's a brief piece but it shows the real diversity of Fox's writing and the impressive dynamics of the trio.

"The One Constant" again takes the listener on a journey that builds slowly and rises with cinematic flare. It's an emotional piece that feels like a suite with various chord changes and mood settings.

The One Constant is an excellent debut from an American trio with bold, expressive ideas. The Danny Fox Trio might be one of those under-the-radar groups that you better get to know quickly because we may be talking about them for a long time to come.

Kit Downes Trio: Quiet Tiger

Kit Downes Trio

Quiet Tiger (Basho Records; 2011)

Kit Downes (piano)

Calum Gourlay (bass)

James Maddren (drums)

James Allsopp (sax)

Adrien Dennefeld (cello)

Quite simply--not what I expected. After the delicious Golden, debut from London's Kit Downes Trio, I was expecting a similar mellow, introspective outing. But after Downes work with both Neon Quartet and more importantly Troyka, I should have expected the new album Quiet Tiger to be a bold and imaginative statement of intent. And...it is.

The British scene as been dominated by a few new/young names over the last five years (Seb Rochford, Neil Cowley, Tom Cawley, Liam Noble and Kit Downes among others) that are delivering very impressive sets. Kit Downes Trio have made that step to the next level look very easy with Quiet Tiger. The trio's use of sound and space on this recording is expansive and thoughtful. They use every bit of their surroundings to create distinct soundscapes.

"Tambourine" with it's funky but dark groove still plays on the earlier Keith Jarrett/Brad Mehldau influence Downes has, but as the tune moves forward it really becomes the Kit Downes Trio's original vision. Each member delivers wildly impressive solo on this piece. "Tambourine" is post bebop/post modern dream that captures a lot complex elements and turns them into a simple experience for the listener.


"...With A View" is a ballad that moves peacefully all the while demonstrating Downes unique character on the keys. The addition of James Allsopp as guest musician on sax adds a level of intimacy that hearkens back to Golden but still capturing a the forward direction of Downes new material.

"Wooden Birds" and "Frizzi Pazzi" both show a more experimental and free flowing side to Downes. "Wooden Birds" sees the trio reaching and improvising more than you may have heard before (even live). With Gourlay becoming the real standout on this track with some impressive manipulation on the bass and work from guest cellist, Adrien Dennefeld. "Frizzi Pazziz" is Downes just letting loose. It aggressive, playful but all the while well structured. "The Wizards" is a big bold piece with Allsopp acting as Coltrane to Downes, McCoy Tyner in their interplay.

"Quiet Tiger" closes out this phenomenal set with incredible resonance. The opening chords from Allsopp's clarinet are deep yet spacious. Downes allows the group to create the atmospherics here and joins in towards the final moments adding to a lovely, melodic and introspective tone.

Quiet Tiger is more than just an impressive step up from the brilliant debut Golden. It tells the jazz community that The Kit Downes Trio has a well of ideas and are utilizing this diverse thoughts a pulling them into well focused pieces. All of which will make Quiet Tiger one of the best albums of the year for most jazz fans. Especially all of us at JazzWrap.

Wadada Leo Smith: Heart's Reflection

Wadada Leo Smith's Organic (trumpet)

Heart's Reflections (Cuneiform Records; 2011)

A real propagator of intense, creative sound sculpture, Wadada Leo Smith has been challenging how we experience music for over four decades and over 30+ albums.


He has become one of the most revered elder statesmen of jazz as well as an educator and theorist. He developed a compositional style he called Ankrasmation. It is a theory in which sound relies more on graphic notation than musical notes. This is something that may lend itself more to free jazz than contemporary jazz. And while it may sounds like it's free/avant garde it actually has a lot of melody and direction which may shock even the most novice jazz fan.

Smith's style, especially in recent years has been compared to fusion era (e.g. Big Fun) Miles Davis but where Miles was still molding funk and jazz, Smith has taken those ideas one step further. As we discussed in our piece on Smith/Kaiser's Yo Miles series, the music is funky, anarchistic and forward-looking. Wadada Leo Smith's newest album with one of his three main groups Organic, is entitled Heart's Reflection. It's a blues/funk influenced work that spans two discs but also is probably one of the best and exciting records from Smith in years.

Upon first listen to the lengthy but vibrant opening track "Don Cherry's Electric Sonic Garden", Smith details a groove that is both funky, exploratory and filled with improvised moments. His group Organic uses of electronics, guitars and piano give the album an out of this world vibe (in vein of Sun Ra). But Smith keeps the groove in flow and you may not even notice you've been bobbing your head for twenty minutes. "The Black Hole" hearkens back to Organic's previous set called Spiritual Dimensions which has much more of an experimental, free flowing feel to it. There are guitars, drums, piano and percussion all in point/counterpoint but still somehow remaining in rhythm. Smith's playing is superb throughout. He really allows the ensemble to move freely and without warning. "The Black Hole" is enveloping and expansive. It's driving force is more the rest of ensemble than Smith himself and that is always the sign of a great leader.

"The Majestic Way" and "Certainty" both have moments where not only Smith but his bandmates (in particular, Angelica Sanchez (electric piano), Josh Gerowitz (guitar) and Pheeroan AkLaff (drums)) really move into interstellar regions with their performances. It's funky in a Big Fun, Bitches Brew kind of way but still wholly original. Sanchez's performance on "Certainty" is deep and swirling with Hancock-esque quality. Great stuff.

Heart's Reflection is one of those secret weapons in an artist's arsenal that very few people may hear about. In the vast catalogue of Wadada Leo Smith, Heart's Reflection is an album that deserves your undivided attention.

Bruce Barth: Live At Smalls

Bruce Barth (piano)

Live At Smalls (Smalls Jazz Records)

Rudy Royston (drums)

Vincente Archer (bass)

Bruce Barth has been one of my favourite musicians over the last the couple of years. Unlike a few of my other favourite pianists, Barth's style is more relaxed and inviting. In more of a Thelonious Monk or McCoy Tyner mode, this album tends to be highly enjoyable and a good opening for even the newest fan of jazz.

For many of my friends, if Bruce Barth is in town I usually try to drag them to a show. In my opinion, I believe its probably the best and first way to absorb Bruce's music. So when Bruce Barth released Live At Smalls, I was ecstatic.

While he has already released two live recordings (Hope Springs Eternal and Live At The Vanguard as well as Live At The Cafe Del Teatre DVD), Live At Smalls demonstrates Barth's continual growth as a composer, performer and leader. The only unfortunate part to this piece is, I didn't go to this show. Why? Because like an idiot, I didn't check the jazz listings until the following week and then noticed the show had already happened.

The evening opens with the jumpin'  "Oh Yes, I Will", a piece that shows off the fun but efficient character of the trio. Barth's playing is crisp and very upbeat. Both bandmates, Archer and Royston, come together with nice punch. This trio session is much different than the previous live sessions (except Cafe Del Teatre) in that with a parred down group, the pieces become more crystallized and the listener can hone in on specific instruments, notes and mannerisms. On "Sunday", Barth shows signs of his Monk influence with a sharp playful harmonic tapping on the keys and some rolling rhythms.  "Yama" is a somber ballad with the trio sounding lush in unison. Royston's brushes sound exquisite moving in and out of the background. Archer's basslines are also subtle but never secondary to Barth's piano. 

"Looking Up" is soft but delivers a down home Southern vibe that is clever, and joyful. Royston counters Barth's piano with some fierce improvising and later is altered by Archer's solo. Archer bends the notes with some soft touches provided by Royston just underneath. Bruce Barth gives the trio the room to breath throughout this evening but on "Looking Up" everyone shines with their own unique talents.

While there is a considerable amount of bias for this record and artist, I have to tell you Live At Smalls is a killer set that is probably the perfect primer for anyone approaching Bruce Barth's music. I was really upset I missed this show but it's great to have this document of what must have been a stellar evening. Highly Recommended.

The video below is from a live quartet performance. But this track is also featured in trio form on Live At Smalls.

Rob Mazurek's Starlicker: Double Demon

Starlicker 

Double Demon (Delmark; 2011)

Rob Mazurek (cornet)

John Herndon (drums)

Jason Adasiewicz (vibraphone)

I have been a fan of Rob Mazurek for only a couple of years, after picking up a copy of one of his many collective groups, Exploding Star Orchestra. One of the great things I've always liked about Mazurek's records is how different they are from each other. There are many artists in recent years who collaborate with different group and ensembles but the material somehow ends up sounding very similar. For the most part that's not a bad thing. But it does leave the listening with the question, "What's next?".

Rob Mazurek's latest project, Starlicker, and there debut Double Demon, is definitely in the category of "what's next". A collection of deep exploratory sounds built on a number layered themes. In all it works beautifully. Double Demon while recorded by a trio has the muscle and dexterity of an ensemble. Those you will familiar with this trios individual works will know that they all enjoy the use/manipulation of space and sound. Together this unique lineup (no bass) have created a highly enjoyable and other-worldly recording. There have always been comparisons with Sun Ra when it comes to the compositional structure Rob Mazurek writes but this trio plants a different seed in the listener's ear.

Double Demon was born out improvising sessions and then a brief tour to coordinate material in front of an audience. The music and the trio work as tight well, organic unit. The title track illustrates this wonderfully. It's a fierce opening number with rolling patterns and moments where vibes, drums and cornet become one. It may sound like a cacophony but it's actually beauty in rhythm. "Triple Hex" moves with delicate low level sonic patterns with Mazurek and Adaisewicz combining with well balance ambient tones. The tune finally erupts with the inclusion of Herndon with some impressive percussive work. It's hypnotic and challenging and highly illuminating. "Andromeda" gives off a vibes of the title tracks little brother. Except here, Herndon is the driving force with Adaisewicz and Mazurek both adding the harmonic to exciting effect.

Double Demon is a unique session in the Mazurek catalogue in the way he has stripped his usual quintet, quartet or ensemble format. It has allow for more focus and concentrate build up on song structure than previous outings. Rob Mazurek still might not everyones cup of tea but his ability to make varied and exciting recordings every time out is just one of many reason you need to take the journey and listen to Starlicker. Enjoy...