Dec 31 2017
Bird is the Worm 2017 Album of the Year: Yazz Ahmed – “La Saboteuse” (Naim Records)
La Saboteuse is a statement album. It’s Yazz Ahmed illustrating who she is as a musician, and how the fuzzy math of past experiences, current environment and future aspirations equate to the composite of the notes she composed for her 2017 release and those that were adapted along the way. This isn’t unusual. In fact, it’s the foundation of any sincere creative endeavor. But that her 2017 release also possesses the quality of being a universal statement on the modern jazz and improvised scenes, of throwing open a window to a view of where the music can go for any that choose to launch themselves into it… that’s not so common at all. In fact, it’s pretty damn special, and that is one of the primary drivers of why the trumpeter’s La Saboteuse is the Bird is the Worm 2017 Album of the Year.
But before I go much further with this, let’s not lose sight of the essential quality that this album is a joy to hear, that it incorporates challenging elements into a fabric of embraceable ones, and that it all synthesizes down into a sharp drink that goes down smooth. It is immensely fun to just kick back and listen to La Saboteuse. It’s not obligatory to be studied up on Ahmed’s ingenious use of Arabic scales and melodic improvisation to warp and reshape a UK modern jazz sensibility and render it both alluring and catchy. Knowing that she’s lent her trumpet to the music of ambient-rockers Radiohead isn’t a prerequisite to dive into the mesmerizing drones and harmonic surges that wash over La Saboteuse like waves across sand. And it’s not required reading to be aware of Ahmed’s predilection for a forward-thinking cosmic jazz expressionism, nor how that wondrously ties back to the music influence of the trumpeter’s Bahrain birthplace. All of those characteristics lend intrigue and display the intelligence of an album that can be enjoyed for no other reason than it happens to be seriously beautiful music.
But those influences and how Ahmed wields them in the crafting of La Saboteuse, they’re a model for how others can go about seeking the convergence of past, present and future. So, too, is how Ahmed went about the practical construction of the album… of collaborating in the studio with other musicians, of weaving in separately prepared sections into the final work, of manipulating what was originally there into something new and fascinating, and yet leaving untouched the quality of it sounding as if in its original form. Every bit of the creativity and craft that went into this recording is something special, and situates itself as a path for others. La Saboteuse is a statement of what could be.
And all of that is why La Saboteuse is the Bird is the Worm 2017 Album of the Year.
Music from London.
Read more on Bird is the Worm, including links to a Yazz Ahmed interview, a cool video, to learn about the outstanding album art, to hear more of the album, and for artist, label and retail links.
The music of Jaimie Branch is constructed with the sounds of things falling apart. Fly or Die is the echo of metal ripped in half and set to fire with wires as the kindling. It’s not pretty, and yet it has a serious allure. It’s laid back and casual, and yet has a charismatic appeal that locks the attention in place. And when it all comes together with a laser beam melody and harmonic surge breaking through the dissonance like the morning dawn through darkness, everything just falls into place and begins making sense again. The trumpeter’s core unit of cellist Tomeka Reid, bassist Jason Ajemian and drummer Chad Taylor are birds-of-a-feather, and certainly no stranger to the art of building through deconstruction. These are musicians that see the poetry of decay, and how that leads to the rebirth of things anew. Jaimie Branch’s debut album not only cycles through both states, but gives the impression that they’re not viewed as even being separate. Everything about this album is different. It’s a strange vision Branch delivers, and yet it’s so simple to embrace. In a year that saw an astounding collection of singular displays of personality, Branch’s stands out as the most individualistic. This easily could’ve been the album of the year.
This music is emotionally uplifting. This music is whip-smart. Exploring the connections between Indian music and the works of John and Alice Coltrane, the Brooklyn Raga Massive doesn’t obscure its ties to their inspiration, and still finds a myriad of ways to make this music sound all brand new and different. Their 2017 release Coltrane Raga Tribute elicits the complexities of John’s and Alice’s works without scrounging on the joy and intensity that drove it. And so it’s just as easy to immerse oneself in contemplation on “Africa” as it is to do a little dance around the room as it bursts from the speakers. The effect is much the same on “Journey in Satchidananda,” where the avenues to deep contemplation are just as plentiful as those that lead to a compulsion for motion. Everything about this album is wonderful, and it sets a gold standard for reinterpreting the classic songs of the past. This easily could’ve been the album of the year.
Nicole Mitchell was already recognized as existing in a state of creativity somewhat outside common territory. Her recorded and performance history have been primary movers of how music is shaped in this new century. And yet even comprehending that isn’t sufficient preparation for Mandorla Awakening II: Emerging Worlds. Her Afrofuturist project is a dream, a story, a recording, a political statement and societal aspiration. Avant-garde, soul jazz, blues, modern jazz, classical, spoken word, gospel, rock are just some of the residents of this sonic city, whose story unfolds over the course of ten pieces. It’s sometimes chaotic, sometimes hopeful, sometimes at peace, and so much more of it triggering ineffable emotional reactions lying somewhere in between. Mitchell stepped up with a massive vision, and delivered it in a way that is as compelling as it is enjoyable. This easily could’ve been the album of the year.
Jan 11 2018
The Round-up: When the city sleeps, it dreams of you
Here is some very good new music.
Mikkel Ploug – Alleviation (Songlines Recordings)
Mikkel Ploug has a remarkable talent for creating music that is highly conversant, yet still casts a palpable serenity. The guitarist attains this balance flawlessly when matched against the vocal harmonics & electronics of Sissel Vera Pettersen and clarinetist Joachim Badenhorst with the trio Equilibrium, and it’s no different with his trio of bassist Jeppe Skovbakke and drummer Sean Carpio. So, it comes as no surprise that the same potent combination of activity and tranquility is present when Ploug offers up a solo session recording. As far as influence goes, Alleviation has an ephemeral nature, not owing itself to any one allegiance or school. But this is the kind of album where the only thing worth doing is sitting transfixed by its sheer beauty and just allowing that to become the atmosphere you breathe for as long as the album continues. Music from Copenhagen, Denmark.
Artist site | Listen | Buy: Bandcamp – Amazon
Holophonor – Light Magnet (World Galaxy Records)
An enjoyable straight-ahead set from the septet Holophonor. The complementary melodic interactions between vibraphone and the wind instruments goes a long way to getting to the heart of this album’s success. Equally effective are how the ensemble coalesces around the various soloists, adding strength to those moments that call for intensity and providing nuance when softer voices are the course of action. Good stuff. The album is produced by Wayne Shorter, which can’t hurt to know. Music from L.A. & NYC.
Artist site | Listen | Buy: Bandcamp – Amazon
Sjøvaag/Seglem/Hole – West Wind Drift (Shipwreckords)
This album may well be a cloud… ephemeral and hazy and a tendency to drift. But every now and then, the album suddenly darkens, the music gains a presence that wasn’t there before, and then suddenly the rains come pouring down. That’s the fallout of this live, improvised performance by the trio of drummer Jonas Sjøvaag, saxophonist Karl Seglem and bassist Sigurd Hole… an album that doesn’t ask anything of your attention until it suddenly grabs it tight and won’t let go. Music from Oslo, Norway.
Artist site | Listen | Buy: Bandcamp – Amazon
Jim Hart & Alfred Vogel – Come Rain, Come Shine (Boomslang Records)
This interesting little duo collaboration between vibraphonist Jim Hart and drummer-percussionist Alfred Vogel certainly casts its charm via a diverse rhythmic display, but it’s how they shape melodic fragments between one another, as if passing an idea back and forth in quick succession, is where the real intrigue lies. That said, the twitchy rhythms and elastic tempos go a long way to supplying the fun, too.
Artist site | Listen | Buy: Bandcamp
Bruno Delucchi Grupo – Las Meninas (Kuai Music)
There’s a lighthearted nature to this lovely album from pianist Bruno Delucchi, and it balances nicely with its deeply felt melodicism. Delucchi’s quintet hits the right balance between dedication to the composition and freedom to deviate from the preordained path. The influence of Argentinean folk is prominent, and how it brings out the album’s lyricism is a welcome effect. Very easy to fall for this one. Unfussy and gets right to the point. Music from Buenos Aires, Argentina.
Artist site | Listen | Buy: Bandcamp – Amazon
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By davesumner • Jazz Recommendations - 2017 releases • 0 • Tags: Alfred Vogel, Boomslang Records, Bruno Delucchi, Buenos Aires, Copenhagen, Holophonor, Jim Hart, Jonas Sjøvaag, Karl Seglem, Kuai Music, Los Angeles (CA), Mikkel Ploug, Oslo, Shipwreckords, Sigurd Hole, Songlines Recordings, The Round-Up, World Galaxy Records