Esperanza Spalding: Radio Music Society

Esperanza Spalding (bass)

Radio Music Society (Concord Music; 2012)

Now that I've spent the last year absorbing the music of Esperanza Spalding, I have to say you might not have expected the transformation that her music gone through. But you would be impressed with the muscularity and maturity of writing over the course of the last four records.


From the Brazilian influence of Junjo and Esperanza to the fully functional concept of Chamber Music Society; her performances have  been bolder and more confident. The latest, Radio Music Society now moves her to a different level in the more popular audience view. It's a massive achievement and strong step forward.

Sounding more like Soul-jazz and R&B than even its predecessor, Radio Music Society really knocked me out. Spalding's vocals dominate this setting more than her bass but that's okay. You get a taste of that with the opener, "Radio Song" which declares this outing will be a different beast altogether. The thumping beats, slow funk lines and chanting that--"this song's the one"--make the statement that this session is more for popular consumption.

"Black Gold" is probably the anthem piece here. A midtempo piece discussing how Black people should stand proud. While lyrically it speaks to the Black American consciousness, it can easily be directed to everyone as a sign of inspiration. Lionel Loueke's personal and bluesy guitar work add just the right tone and reflectiveness that make "Black Gold" very striking.

"Hold On Me," a more classic big band sultry ballad seems to work better than I originally thought. Janice Scroggins leads the line here with some work on the keys that joins sweetly next to Spalding's lovely vocal delivery.

"Smile Like That" has shades of 70's soul jazz records. Spalding's bass is more prominent in the mix and Leon Genovese adds a groovy bit on the fender rhodes to make the sound very organic. Gilad Hekselman's guitar forces a rock treatment into the mix but it doesn't become overbearing. An interesting closing number to an album that is very diverse and bold.

Everyone may argue the merits or talent of this young bass player/composer. I've accepted this as a Soul Jazz record not a contemporary jazz piece, and I have been solidly convinced - She is the real deal.

Built on a slew of themes, Radio Music Society may not be many folks cup of tea on the jazz side. It's definitely a strong follow up and well deserving of the positive attention from the wider musical public. And if this is the entry point for some to jazz so be it. It's a great way to start. Highly Recommended.

Dennis Rollins: The 11th Gate

Dennis Rollins (trombone)

The 11th Gate (Motema Music; 2011)

Pedro Segundo (drums)

Ross Stanley (organ)

He's only been on the scene a short while but Dennis Rollins has garnered praise in U.K. circles. First through his soul-jazz outfit, Badbone, which had more in common with the work of Soweto Kinch or mid-period Courtney Pine than "traditional" straightahead jazz. His latest incarnation is his Velocity Trio which also explores a variety of themes on its debut, The 11th Gate.

For me, Dennis Rollins has a unique and uncanny way of turning the sound of his trombone into the sound of a saxophone. And he displays that throughout The 11th Gate, along with some very surprising arrangements which makes this a fresh and exciting listen. "Samba Galactica" jumps with fine classic Latin grooves and some soulful organ work by Stanley. Rollins seems to have maintained his R&B/Hip Hop influences but channeled that into a very mature modern structure this time out.

An uptempo vibe filled with some lovely passages by each member flows through on "Ujamma." The trio show elements of both hard bop and spirituality that digs deep and wide. Rollins feels relaxed and seems to be having a great deal of fun. This moves slow to fast quickly, along with changing drum patterns and echoing effects on Rollins' trombone. Stanley has a sweet solo that is filled with some lush tones that are amazing.

"The Big Chill" is fantastic, featuring a dazzling mixture of time changes by Segundo in the opening passages. In addition, Rollins lays down some humorous and well crafted notes in juxtaposition. The piece later switches to a very funky, psychedelic rhythm with Rollins on muted trombone. "The 11th Gate" with it's gospel influence refers to Rollins' 47th birthday (4+7=11). But even more importantly its a special way to close out this album. It's downtempo but reflective piece on how we should be seeking a more positive connection to each other and our place in the world.

In just a few short years, Dennis Rollins has quickly matured and balanced his R&B influences with desire to go beyond the numbered structures of jazz. With his Velocity Trio he has a very unique and industrious group that hopefully will record more frequently. The 11th Gate is a brilliant work.

Lynne Arriale: Solo

Lynne Arriale (piano)

Solo (Motema Music; 2012)


Lynne Arriale has been producing a solid array of albums for a decade and a half now. I personally don't think she gets enough credit or focus Stateside, but maybe I'm reading the wrong papers/magazines.


A style that is both in tune with legends such as Jarrett and Tyner but also aligned with contemporaries like Charlap and Mehldau. Either way, I think more people need to know and discover the simple beauty and complexity of Lynne Arriale. And there's no better time to experience it than now with her new release, Solo.

After so many soothing and delicate records in the quartet and trio format you would be shocked to hear that this is her first full solo album. Arriale pulls out a lot of intimacy and longing throughout Solo. It's filled with a number pieces she's performed and recorded over the entirety of her career, including one of my favourites "Arise" (originally on the 2005 album of the same name).


There's some humorous improvisation on Solo, as evident on the opener, "La Noche." Arriale's technique hearkens back to her classical training but the important aspect here is her ability to make you think of it differently. To the point that its not classical or jazz. It's just beautiful notes creating a story of your own choosing. "The Dove" and "Arise" both illicit a spiritual response - a gospel like aura surrounds these two pieces. They are gentle and have melodies that tell the listener to look inside oneself.

Her two covers of the Thelonious Monk tunes, "Evidence," and "Bye-Ya" are played with invention and an acute sense of intuitiveness. She really does turn these pieces into her own. And you quickly forget about the original melody and are engrossed with her dynamic re-arrangements. "Sea And Sand" is poetic and compelling. A felling of longing and desire wraps around you as you listen to the number. Arriale's performance is close and connects on many different levels.

I've always loved the intimacy of Lynne Arriale's records but nothing will strike you more than when you hear a great musician alone with their instrument than when you hear Solo. A wonderful record for all jazz fans (and yes you there thinking you're not a jazz fan--yes, you.)

Jeff Parker: Bright Light In Winter

Jeff Parker (guitar)

Bright Light In Winter (Delmark; 2012)

Chad Taylor (drums)

Chris Lopes (bass)

Jeff Parker has been unstoppable force on the Chicago scene as well as international for a few decades now. Some may know the name from the highly influential band Tortoise or his work with Matana Roberts, Fred Anderson and Ken Vandermark to name just a few.


His own output as leader has been limited but still exceptional and rewarding. His latest, Bright Light In Winter is moving, versatile and experimental.

There a sonic echo chamber quality to Parker's solo material that resonates through each of his records. It's vividly apparent on the opener, "Mainz," as the trio runs through a deep reservoir of sound. The thumbing bassline from Lopes and the almost rhythmic tapping of Taylor seep in with a romantic melody by Parker. The piece becomes very hypnotic and intoxicating as it moves forward.

Parker writes or outlines a grey course for rolling drums and funky bass patterns on "Freakadelic." This allows the trio to improvise fluidly and freely. Lopes' notes are embedded in the mix but just audible enough for you to feel the groove points.

"The Meaning Of The 5th" is a ballad that is highlighted by Lopes (who also wrote the piece) performing on flute. This might bring to mind some of the more soul-jazz themes of the '70s or more recent work by Nicole Mitchell. It's a calming piece that shows the straight ahead side of Parker's writing.

"Bright Light, Black Site" adds a bit of Latin rhythm to the mix. The piece moves in different gears but always keeps a nice rumba appeal. Parker's lines are rich, dense and very textured. He turns in a lovely performance that feels like a combination of periods from Jim Hall to John Abercrombie. Cool yet experimental.

While his performances and recordings have quietly built up his presence within and outside of the jazz scene, Jeff Parker still needs the wider audience he deserves. Bright Light In Winter is just another brilliant record in the canon of Jeff Parker's arsenal. But its a work of experimental and modern excellence. A true must listen.

Undiscovered Soul: The Right Now

The Right Now (group)

Gets Over You (Right Now Music; 2012)

Stefanie Berecz (vocals)

Chris Corsale (guitar)

Jonathan Edwards (sax)

John Smillie (drums)

Greg Nergaard (bass)

Brendan O'Connell (keyboard, guiar)

Jim Schram (sax)

You remember the first time you heard Brand New Heavies, Beverley Knight or New Mastersounds? Well, that same excitement and awe is what you might feel when you take listen to the Chicago band The Right Now. I'm not sure how I stumbled upon them but I'm glad I did. A real sense of 70's and 80's soul that is balanced but is energized by the modern (yet retro) vocals of Stefanie Berecz.

The band's first album, Carry Me Home said a lot about the sextet's intentions. Here was a serious soul band emerging from one the most important soul hubs of America's Midwest with a vibe that is completely universal. It was fun, raucous and oozing with deep sumptuous vocals, lyrics of empowerment and funky beats.


The new album, Gets Over You is killer from the opening chords of 'Can't Speak For You." I almost felt like I was listening to Beverley Knight fronting BNH. The big fighting words of "speak for yourself, 'cause I can't speak for you" tower over you like giant wave. It may be a girlfriend speaking to another girlfriend about standing up but it can also tell all of us that we can all stand up against our own personal demons.

"Can't Keep Running," another song of love and loss pulls you into the Chicago Rhythm and Blues mode with passionate delivery from Berecz. The guitars from Corsale and keyboard work from O'Connell give the piece a dreamlike atmosphere which is balanced by the low toned horn work in the background.


"I Could Kiss You" is another deep soul groove packed with dense playing from Edwards, Schram and Nergaard. Berecz's presence reminds me of the more recent Bettye LaVette material - slightly raspy and a screaming representative for the lovelorn.

"Half As Much" is a massive punch in the face with a soul-hammer! All instruments are in unison here and the group just project a solid roundabout of R&B that if you aren't infected by the end of this 3 minute dissertation on love, there's something seriously wrong with you. Smillie's drums go from funkier to penetrating at the flip of a switch.


And if that weren't enough, they blast off with "Call Girl," a soaring piece of funk that will definitely get you thinking Brand New Heavies (with N'dea Davenport). Closing out the disc is the midtempo romp "Til It Went Wrong." Flowery melodies and groovin' hooks will definitely set you in place with the best soul tracks from the '80s. 

An absolutely perfect collection that balances out the past and future of soul. Chicago's answer to Sharon Jones and the Dap Kings? Maybe. But really these two bands go in very different directions on the soul scale. Gets Over You is a confident and well accomplished effort from The Right Now that should be on everyone's list by the end of 2012. It is definitely one of JazzWrap's Albums of the Year. Highly, Highly, Highly Recommended!...Oh, wait....Highly Recommended!

Phronesis: Walking Dark

Phronesis (trio)

Walking Dark (Editions Records; 2012)

Jasper Hoiby (bass)

Anton Eger (drums)

Ivo Neame (piano)

The blistering rise of Phronesis over the last few years is astounding and well justified. The trio along with the Neil Cowley Trio and Kit Downes Trio have been one of leading lights of the modern British jazz scene. Their counterparts Polar Bear, Get The Blessing and Led Bib take a more avant garde approach but Phronesis have set out in more contemporary fashion and developed into a tight knit outfit that delivers a solid statement each time out.

Their latest, Walking Dark stands as another important piece in the work of a trio that is ready for the next level recognition. "Democracy" spells it out for this dynamic trio. Neame's playing is nimble, playful and wrapped in crisp precision. Hoiby's bass fills the room with a warm resonance that holds the listen tight to attention. The drums are soft and Eger compliments his bandmates supreme agility. "Charm Defensive" is an introspective piece that is calm and revolves around the subtle notes of Neame and bold hues brilliantly executed by Hoiby.

"The Economist" is slightly more uptempo with some propulsive beats and rhythms constructed by Neame and Eger. The pace is strong with intense velocity. The pieces change pace and timing quickly but it's never jarring. There are complicated notes throughout "The Economist" but Hoiby and his mates project a flexibility to the number that you glide perfectly through it. "Eight Hours", which originally appeared on the live album, Alive, solemnly closes the album with joyful melancholia that has a lovely breath and depth that feel more in the studio than from it's predecessor.

Walking Dark is again another step in the right direction for Phronesis. They have already separated themselves from the pact; but hopefully this is the record that capitalizes on what many of us already know. Phronesis are a one of best bands in England. And deserves your undivided attention.

Plaistow: Lacrimosa

Plaistow (trio)

Lacrimosa (Insubordinations Netlabel; 2012)

Cyril Bondi (drums)

Johann Bourguenez (piano)

Raphael Ortis (bass)

Swiss trio, Plaistow have only been on the scene since 2007, but have slowly developed and crafted a style that has become more experimental and adventurous with each release. Starting in a post-bop style similar to E.S.T., RGG or Keith Jarrett Trio this trio have continually branched out. Plaistow's last album, The Crow set the tone for what would come today. A mixture of soft tones and forward thinking themes. In some ways you could liken it The Necks. But slightly different than their Australian counterparts, Plaistow add a bit of melody into the mix. Melodic but moving. 

On the bands fifth release, Lacrimosa, they have achieved a combination of existential bliss and infectious grooves. Plaistow exemplify this with the two lengthy tracks that make up this spellbinding document. The title track moves gently in a revolving pattern that is reminiscent of The Necks or Philip Glass solo. Bourguenez has displays a steady yet fast coordination at the piano. While Ortis' bass melds into the notes like a calm heartbeat. As the piece moves into its middle stages Bondi's drums become more apparent and the trio starts to build on a groove. And just when you think it's going in a more song structured direction,  the trio stop cold and return to an ambient pace and ride you out to the finale.

The second piece, "Cube" is more uptempo (so to speak) with Bondi and Ortis being the focal point in open chords. The notes of circular but present almost an indie rock feel to them. Bondi hits the kit with fury and Ortis becomes almost haunting in what feels like a deep two note plucking. Bourguenez joins in late on to add a tanscendent tone to the piece. Then "Cube" begins to get very experimental with Ortis and Bourguenez stretching and bending the sound barrier on their instruments with swirling psychedelic and eerie effects. The piece closes on the rock theme note in which it opened. Stellar to say the least.

Plaistow are really finding their voice and developing into a band with great ideas. If you haven't discovered them yet, now is the time. Lacrimosa is an album that should not be missed. And if you are in a European country, you must see them live (and let me know about it). I only wish I had the chance. 

Plaistow - Lacrimosa (Live In Strasbourg, 17 nov 2011) from Plaistow on Vimeo.