Nov 29 2016
Recommended: Zetzum Zorglub – “Gentle Beast”
Zetzum Zorglub is more of a concept than a band. The sextet is a hazy mix of post-rock, Nordic Jazz and minimalism, but there’s really no one point in time when it’s simple to nail down a particular influence exerting itself upon a song. And for that matter, these are not really songs that populate their sophomore release Gentle Beast… more like perspectives. But even that might be too definitive for this band. The imagery they roll out is ephemeral, rarely ever assuming a discernible shape, and sometimes coming across as innocent as random musings, and sometimes as immediate as vivid dreams.
The commingling of mumbled dissonance and strung out melodies is a common thing. “Ilstedet” can’t really seem to make up its mind about anything, and that’s pretty much the reason the tune comes off as so damn charming. There’s an off-the-cuff quality to the music not unlike shooting the breeze with longtime friends.
The slow build from vague formlessness to stunning melodicism is not an uncommon occurrence, either. “Stille Nu” hints at structure before turning its back on the idea of it altogether. Until, that is, it all comes together like glorious sunset streaks of light across the sky. And then there’s “Tremmer,” which crashes down like lightning from above.
Both “Rar Kulør” and “Vejr” seem to get their feet tangled during the harmony, and each step forward is one of confusion… until, of course, it all comes together as a graceful dance or a head full of steam, leaving only the question of which form of expression represents the band’s true intent or if there’s even a case that intentions have nothing to do with it in the first place.
Nothing ever stays the same on a Zetzum Zorglub recording, and this is true even more so on their sophomore release. Their self-titled debut remains a curiosity on its own merits, and that they follow it up with something that doesn’t really sound like the debut but feels exactly like its spirit, that’s saying something.
Your album personnel: Kaare Bjerke (bass, percussion), Andreas Moller Bøttiger (tenor sax, piano), Sven Dam Meinild (alto sax, clarinet), Mikkel Aagaard Nielsen (trombone), Kristoffer Tophøj (drums), Buster Jensen (guitar) and guests: Gilad Hekselman (guitar) and Lars Greve (sax).
Released on PG Sounds.
Listen to more of the album at the artist’s Soundcloud page.
Music from the Odense, Denmark scene.
There’s an appealing contemplative tone to this trio set from drummer Phelan Burgoyne, saxophonist Martin Speake and guitarist Rob Luft. They spur on plenty of activity, so none of these tracks are gonna get mistaken for a lullaby, but the way the trio keeps to a tight sphere of motion and how each melody is kept close at hand, the music lends itself to staring out over the horizon or just sinking comfortably in place. When Luft switches over to acoustic guitar, the folk influence comes out strong, and the album is stronger for it. That said, some of the electric effects add a shimmering harmonic presence that’s pretty easy to get into. Very likable album, and one that really seems to have flown under the radar.
If just the right songs are played, there’s a way that a tavern jukebox can fill the room with a soothing warmth, to where even drinking alone doesn’t seem so bad. There are qualities to the newest from Ryan Meagher that are more than a little comparable. There’s just four musicians going at it, but they way they accentuate the facets of the melody and embellish upon the rhythmic nuance, it results in a lot of depth and the sense of a much bigger sound than what is actually getting generated. Meagher’s tasteful approach to blending in indie-rock expressions keeps thing solidly in the modern straight-ahead realm, but still pushes outwards to the borders to keep things interesting. Which, actually, is pretty typical of the artists who appear on the Portland Jazz Composers Ensemble label… where the borders between genres become landing spots all their own.
It’s a neat little straight-ahead session from bassist Pete Brendler, and featuring some players who are deft at warping straight-ahead lines into something a little less conventional. It’s pretty cool to hear Peter Evans slur the swing on a cover of “Ptah the El Daoud.” Same with the way Ben Monder provides some sunlight-on-the-lake treatment to the melodic development of “Easy Way Out.” But that said, this is a nice straight-ahead set, just with little permutations here and there, adding personality to a lively, fun session.
There’s a strange grace to the newest from bassist Mark Dresser. While it’s very much situated in the modern jazz form of expression, the influences of more traditional jazz forms, and the blues, echo like mad throughout. Avant-garde and free, and those two qualities seem to strain against one another, and the result is a most intriguing flow… as if a haunted house ghost has grown accustomed to the weights of its chains, and has managed to develop a compensatory locomotion that transforms its shambling shuffle into something more fluid. The opening tracks throw some elbows and flash some teeth, but as the album progresses, the melodicism reveals itself more fully.
I love everything the modern jazz and improvised music scene has to offer. This site is loaded full with new forms of expression and new ways about thinking about the jazz art form, and I regret I can’t get to even more of it. But that doesn’t mean I’ve turned my back on the jazz that got its hooks in me in the first place. This supremely enjoyable set from vet Frank Perowsky is like running into a long-lost best friend. And though an old language is utilized on this big band session, it’s spoken with a voice as fresh and new as the morning’s sunrise. Perowsky’s orchestra is stocked with some serious talent… names that will ring familiar to anyone who casually reads this site. If the autumn gloom is starting to wear thin, and the threat of approaching winter has got you down, this is a recording that’ll provide the infusion of warmth and cheerfulness you need to get by.
There is nothing ordinary about the music of 
There are strong melodies here. When first given voice, the melody is like moonlight filling up a darkened room. And when
Nov 30 2016
Recommended: Nate Lepine – “Quartet:Vortices”
Worth noting that while this counts as Lepine’s debut at the helm, he’s not new to the scene, nor are any of his quartet members, so don’t be surprised by how professional Quartet:Vortices comes off sounding.
Also worth noting that I covered this quartet’s show for the Chicago Jazz Festival, and if you get the chance to see them live, you can consider it a highly recommended suggestion by this site. Read more (LINK).
Your album personnel: Nate Lepine (tenor saxophone), Nick Mazzarella (alto saxophone), Clark Sommers (acoustic bass) and Quin Kirchner (drums).
Released on Ears & Eyes Records.
Listen to more of the album on the artist’s Bandcamp page.
Jazz from the Chicago scene.
Available at: Bandcamp | Amazon | eMusic
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By davesumner • Jazz Recommendations, Jazz Recommendations - 2016 releases • 0