Aruan Ortiz: Orbiting

Aruan Ortiz (piano)

Orbiting (Fresh Sound/New Talent; 2012)

Eric McPherson (drums)

David Gilmore (guitar)

Rashaan Carter (bass)

Aruan Ortiz was one of the outstanding contributors to Esperanza Spalding little known first album, Junjo. His playing is calculating and well developed. I freely admit that I don't own much other than his previous quartet record and the Spalding album but I really believe he is a serious rising talent.

Only on the scene for a few years, he is slowly becoming a well known name within the scene. His style at times reminds me of a young Chick Corea. 

His second (fourth as leader) album with his quartet, Orbiting is a wonderful and elegantly executed session that takes chances when needed and stays reverent on others. "Orbiting" features a set of stellar performances by Ortiz and Gilmore. Ortiz seems to move freely and applies a great deal of emotion with each chord. Gilmore's patterns add a nice groove that also turns bluesy on the next track "The Heir." This number includes a number sparkling movements by Ortiz and McPherson that ascend into a massive crescendo towards the end.

Ortiz shows adventure and inspiration with his version of Ornette Coleman's "WRU." A good dose of improvisation by Ortiz and Carter. Their movement together is fluid yet pulsating.

Deep, emotional and intensely rewarding. Aruan Ortiz has produced a superb collection that pretty much everyone will find a big surprise. Orbiting is modern yet still rooted in tradition. Highly Recommended.

Ballrogg: Cabin Music

Ballrogg (trio)

Cabin Music (Hubro Music; 2012)

Ivar Grydeland (guitar)

Klaus Ellerhusen Holm (sax, clarinet, electronics)

Roger Arntzen (bass)

Ballrogg started as a duo exploring minimalist motifs with guest musicians joining in the creation of their organic sounds. Now expanded to a full trio with the addition of Ivar Grydeland, Ballrogg feel very expansive and even more creative. With their brilliant new album, Cabin Music, you'll actually want to go out and tell as many friends as possible.

Opening on an experimental folk tone with "Swedish Country" uniquely describes the Scandinavian musical landscape. A rolling pattern led by Grydeland's pedal steel guitar and swirling notes from Ellerhusen on clarinet make this journey beautiful and transcendent.

"Sliding Doors" is built on a repeating chord led Arntzen. Rydeland and Ellerhusen both improvise around it with creative resonate effect. The piece has a number of ebbs and flows that eventually led to Ellerhusen's sax gently riding the piece to its closing.

A short album (four tracks at a total of 35 minutes), Cabin Music still conjures up a great deal of inventiveness. An interesting comparison might the American low-fi trio Low which has crafted this ethereal minimalist folk for over two decades. Ballrogg, though, have manage to add a cold European beauty this sound that makes more than just meditative. It becomes enriching, passionate and reflective. Cabin Music sees this new trio bursting with new found direction.

Alon Nechushtan: Dark Forces

Alon Nechushtan (piano, composer)

Dark Forces (Creative Sources Records; 2011)

Mark Dresser (bass)  Oleg Raskin (sax)

Ned Rothenberg (clarinet)  Robert Dick (flute)

Steve Swell (trombone)  Nate Wooley (trumpet)

Okkyung Lee (cello)  Eliot Sharp (guitar)

Henry Kaiser (guitar)  Briggan Kraus (sax)

Marcus Rojas (tuba)

I've only recently discovered Alon Nechushtan's music (as leader) over the last year. Releasing two radically different records in 2011 is surprising. But for both to be so solid and inspiring is strong evidence that Nechushtan is becoming a important name on the scene.


I've discussed his early 2011 album, Words Beyond, with the latter year end release of Dark Forces, Nechushtan has made wider leap forward in the avant garde community.

Dark Forces is cerebral--and yes, dark. You might even call it, "a headphone record." Originally written and performed in live in 2006 (only now finally put on record), is densely packed with layers of slightly audible tones. This is a large ensemble spread over ten movements. And while  each member doesn't really standout (probably by Nechushtan's design), the overall sum of the parts is intense and very rewarding.

"Dark Forces II" employes a number of manipulated effects and electronics surrounded by some haunting sounds by the wind instruments. With "Dark Force III," Nechushtan manages to blend an ethereal esthetic into classical realism which makes for a fascinating experience. Both Dresser and Lee have some heavy exchanges which carry the piece through beautifully.

"Dark Forces VII" rolls along hypnotically on the found sounds and Wooley's ghostly trumpet. The guitars quietly blend into the background allowing Rojas to rise up in the mix. "Dark Forces X" leaves its final impression like a piece that could easily slide along side a Throbbing Gristle record.

Dark Forces feels like it could easily be a work for installations or an experimental dance company. But as a stand alone piece, Dark Forces is a deceptively effective work from a composer who seems to be a great more adventurous with each record. Well worth seeking out.

McPhee & Haker-Flaten: Brooklyn DNA

Joe McPhee (sax, trumpet)

Ingebrigt Haker-Flaten (bass)

Brooklyn DNA (Clean Feed; 2012)

Revolving around the organic energy of Brooklyn (a borough of New York City), Joe McPhee and Ingebrigt Haker-Flaten create a work that is inspired by their surroundings as well as their jazz forefathers. Brooklyn DNA is one of those shining beacons that helps others see the vibrancy and diversity of New York free form scene.

"Crossing The Bridge" and "Spirit Cry" quietly bring the listener into the spacious and inventive quarters of these renown musicians. A playful march with beautiful intersecting lines by McPhee that connect the two opening pieces with crisp fluidity. Haker-Flaten's bass lines, while improvised, are subtle but matches McPhee chords with every step.

The ballad "Blue Coronet," dedicated to the famous jazz club of the '60s, is a late night walk on the streets, feeling the vibe of the neighborhood and how it influences your sound and vision. "Here And Now" is the perfect conclusion to this journey. A number that embodies the jazz scene today while still reflective of the traditions it's built on. Calm improvisational chords by both musicians bold lines and immediacy as the piece reaches its latter stages.

Brooklyn DNA is not just a travelogue through the boroughs great jazz history, its a document of the quiet brilliance of two intercontinental musicians. Highly Recommended.

Resonance Ensemble: What Country Is This?

Resonance Ensemble

What Country Is This? (Not Two Records; 2012)

Ken Vandermark (sax, clarinet) 
Mikolaj Trzaska (sax, clarinet)
Michael Zerang (drums)
Tim Daisy (drums)
Steve Swell (trombone)
Per -Ake Holmander (tuba)
Dave Rempis (sax)
Magnus Broo (trumpet)
Waclaw Zimpel (clarinet)

One of Ken Vandermark's larger ensembles, Resonance, has always expressed itself with poetic vibrancy. On the groups latest, What Country Is This?, they again explore sound through a series of rising arches and steady calms. And as usual, spanning three long epic pieces that investigate some of the influences of Vandermark.

"Fabric Monument" (dedicated to Polish poet, Czeslaw Milosz) drops down like an anvil with intersecting horn sections opening up in fine Ornette Coleman, Albert Ayler fashion while later settling down into a dark sprawling, almost New Orleans funeral celebration. The second piece "Acoustic Fence" illustrates a series of ascending themes with the ensemble in devilish marching mode. Dedicated to the great Polish composer, Witold Lutoslawski, this piece has multiple layers and varying harmonic structures. Broo and Swell lead the group through a series of crackling improvised movements off-set by some terrific work on the drums by Daisy and Zerang.

The final piece is dedicated to the late, Fred Anderson. "Open Window Theory," is a great showcase of how the American and European free form ethos has evolved over the last two decades. Opening brightly and hovering just overhead, Vandermark and company deliver a message that has a chamber ensemble quality to it. The sound is broken into jagged chords and quickly electrified by Trzaska and Zimpel. Rempis, Vandermark and Holmlander each pour a great deal of haunting muted tones across the canvas before the rest of the group rejoin and turn the piece into a funky, Chicago blues style portrait. While Anderson was never a funky player, Resonance show the explosive and exploratory nature that embodied Anderson's music for over four decades.

Vandermark's Resonance Ensemble continues to astound with each record. What Country Is This? is just another brick in the foundation of one his best ensembles outside of the Vandermark 5. Definitely an album of the year on our desk. But isn't every Ken Vandermark record!?!

Lorenzo Feliciati: Frequent Flyer

Lorenzo Feliciati (bass, guitar, electronics)

Frequent Flyer (Rare Noise Records; 2012)

I hadn't really listened to much of Lorenzo Feliciati music before but this latest release has got me intrigued. Frequent Flyer is a surprising record that spans both rock and jazz. And while his roots have always been firmly planted in both genres, this album seems to beam with more urgency and cohesion.


The addition of a diverse selection of musicians from both musical camps adds to the intense and exciting dynamic of this session.

"The Fastwing Park Rules" sees Feliciati laying out a dark set of tones that are both bluesy, romantic and still futuristic. The basslines are slow and revolving, while Bob Mitzer adds a great deal of impassioned chords on top of Feliciati's notes. Rich and very effective. Wayne Shorter's "Footprints" (made famous by both Miles Davis and Wayne Shorter at different time periods) receives a very funky Latin twist. Feliciati gives an interesting rendition that I had never thought about. The drum work from Gualdi is fierce. Hearing Miles' lines as a bass is very shocking and turns out to be really cool.

"Perceptions" provide a calming cover to the pulsating rhythms that proceed it. It's an ethereal journey whistling with gentle piano melodies and drones that quietly reminded me of Durritti Column or mid-period Cocteau Twins. This was outstanding only until you get to the next track, "The White Shadow Story" which pulls in both atmospherics and blues elements provided by Daniele Gottardo's guitar and DJ Skizo's manipulations. It's swirling and hypnotic but yet slings a very funky vibe.

Feliciati waits 35 plus minutes to unleash the crowning moment of Frequent Flyer with a rousing version of King Crimson's "Thela Hun Ginjeet." The Crimson classic is a perfect challenge for Feliciati's bass talents and he delivers with a crushing display. In addition, he does surprising very well on Adrian Belew's vocals.

Frequent Flyer is aggressive, bold and uncompromising. Lorenzo Feliciati delivers a document that really blew me away and has quickly become a recurring listen on my stereo. Frequent Flyer doesn't break the wheel of jazz fusion but it does present a constant and ambitious movement forward.

The Intersection: Sobura

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

Sobura (drums, electronics)

Organic Lo-Fi (U Know Me Records; 2012)

Jazztronica is always a hard sub genre for my friends to grasp. It's one of the natural extensions for the newer generation of musicians. Moving technology into the schematics of jazz to create new sounds and thoughts is just part of musical evolution.


That concept has been present in European jazz for the last two decades and one of the newest talents to utilize these themes is Wojtek Sobura. 

On the Polish drummers debut, Organic Lo-Fi, he fills the speakers with pulsating trip hop beats, ethereal electronics and rolling drum patterns that create a surrealistic and infectious world view.

"Blue Rooms" starts off in a romantic rhythm that almost reminded me of Martin Denny before slipping into more slow funky drummer beat pattern. There are recurring looped piano notes and electronic tones that add an ambient quality to the piece that will bolster your mood and hold your attention.

"Psycho" feels like your head has been shoved into a toilet during a pub fight. Bubbling repetitive beats that still present a sense of experimentation and excitement that you just don't get on the American shores. "Turkey" has this scary cinematic sci-fi vibe that got me thinking about Japanese monster movies (I've also been watching a lot of Japanese monster movies lately. So go figure...). The electronic manipulation Sobura demonstrates here is probably the most adventurous on the album. It's loud, chaotic and dominating. Big beats like a Roots Manuva instrumental track. "Turkey" is arguably my favourite track on the album right now.

"Bells" closes out this groovy little adventure. No letting up here by Sobura. It's a heavy tone that features some nice effects and drum loops. Short (just under 3 minutes), but it leaves the lasting impression that Organic Lo-Fi is a rich and well balance affair.

Wojtek Sobura has a very specific way of playing that maintains focus and becomes enveloping. It is the compositions that he has written that really are the driving force on Organic Lo-Fi. They are captivating and indicative of an artist wanting to explore new sounds and directions. A very impressive debut that is worth seeking out.