Jazz Recommendations – 2014 Releases

The Pacific Northwest scene has been incubating music like this lately.  Some of this is attributable to the effect of émigrés like Wayne Horvitz, Bill Frisell, Cuong Vu and Eyvind Kang… artists whose creative lives are spent in the fuzzy areas where multiple genres connect.  There’s also the effect of a musician’s natural inclination to assimilate the qualities of the music they encounter, and with commercial music being as varied, perhaps, than its ever been, the odds of it being reflected in a disparate range of expressions in a single work increase dramatically.

Sequoia Ensemble‘s debut album Sequoia can trace its routes to both of those causations.  They bring together chamber music with indie-rock, jazz improvisation, ambient electronica, pop music succinctness and a number of other ingredients whose effect is heard if not easily ascribed.  Thankfully, they don’t fall victim to the risk of muddied influences and neutralize the best characteristics of each school of music.  This album has personality.

There’s very little conventional structure to this music.  There’s no relying on a return to a previously traveled spot and the shape of a song may not become apparent even after it’s reached its conclusion.  The obligation of an ensemble who takes this approach is to make every moment interesting… which Sequoia Ensemble does with a remarkable consistency.

Opening track “Hand of Dog” is the immediate evidence of the Ensemble’s success with this approach, however, the medley “Scandinavian Cannery Rd./Dear Friends, Farewell” and the three-part “Suite for Bosnia & Croatia” is where the music becomes a marvelous coalescence of attributes.

Plenty of intrigue and amazement to be found here… an equation that results in an abundance of fun.

Your album personnel:  Levi Gillis (tenor sax), Brennan Carter (trumpet), Nick Rogstad (trombone), Evan Smith (clarinet), Andrew Olmstead (synthesizer), Carmen Rothwell (bass) and Evan Woodle (drums).

The album is Self-Produced.

Music from the Seattle scene.

Available at:  Bandcamp

It’s how the songs of Gone retain a languorous presence even during lively passages that makes it such an appealing album.  The trio of Søren Bebe, Jakob Buchanan and Kasper Tagel (who sometimes go by the trio name, BeBuTa) situate themselves firmly in the modern Scandinavian sound, but where some musicians prefer to keep things to an extended, soothing lullaby, the BeBuTa trio (plus guests), raise the temperature occasionally… and the result is music that is just comforting in the presence of some heat.

“Two Moons” may be the best evidence of this approach and its success.  Arguably the album track with the sleepiest demeanor, it nevertheless gives the impression of an active personality with its aggressive percussion, kicking up a chatter that is both engaging and unpredictable.

“Maria” and “Dragging” come strong with that Nordic jazz, lazy day languor.  So does “Three” before gradually building up to a low roar and then gently settling back into peaceful ambiance.

The up-tempo “The Traveler” rolls out the melody fast, hits the gas pedal and heads off to the horizon.  “My Friend Kenny” and title-track “Gone” add some straight-ahead European modern jazz into the mix.  And then there’s a slightly oddball track like “T-Shirt,” which adds a bit of differentiation to the affair with its very loose structure and its very playful groove.

An engrossing album.  It doesn’t come on too strong, preferring, instead, to let the listener gravitate to the music.

Your album personnel:  Søren Bebe (piano), Jakob Buchanan (flugelhorn, trumpet), Kasper Tagel (bass) and guests:  Julian Arguelles (saxophones) and Helge Andreas Norbakken (drums, percussion).

Released in 2014 on From Out Here Music.

Jazz from the Copenhagen, Denmark scene.

Available at:  Bandcamp | eMusic | CDBaby | Amazon

The most compelling aspect of Duets is the way saxophonist Tara Davidson is able to corral six different duo collaborations, each with their own distinct personality, into a cohesive presentation, while still allowing each of the personalities to fully display their individual traits.

The congenial warmth elicited from the three duets with pianist David Braid offers up the brightest spots on this bright album.  Each is a lively conversation delivered with a casual ease.  Sharp melodicism is enhanced with the occasional burst of effusiveness and state of elegance.

Some real intriguing dialog is established with guitarist David Occhipinti.  Sometimes quirky, sometimes aggressive, sometimes harmonious… and all bundled up nicely.

Two different tenor saxophonists join Davidson on this session.  It’s more than a little fun to follow the woven pattern of intertwining lines on her tuneful duets with Trevor Hogg, whereas her duets with Mike Murley is all about the back-and-forth of witty dialog.

When Andrew Downing is on cello, the song just bubbles with personality, sounding both mysterious and benevolent.  And when Downing switches to acoustic bass, it’s a dance and its motion is simply riveting.

The only real weak spot on the album is the syrupy “For Glenda,” the first duet with pianist Laila Biali.  However, this duet also produces, arguably, the album’s strongest track.  “The Good Earth” has a sublime touch, the kind of solemn, delightful music meant for peaceful Sunday mornings when a comforting hush settles in over the city.  That it grows from this state into one that dramatically blooms is an even greater reward.

Just a real personable album, and one that I’m happy to recommend.

Your album personnel:  Tara Davidson (alto & soprano saxes), Mike Murley (tenor sax), Trevor Hogg (tenor sax), David Occhipinti (guitar), Andrew Downing (cello, acoustic bass), David Braid (piano) and Laila Biali (piano).

Released on Addo Records.

Jazz from the Toronto, Canada scene.

Available at:  eMusic | Amazon CD/MP3

An absolutely riveting debut EP from the Valia Calda quintet, blending modern post-bop, Greek traditional, free improv and Balkan music.  Electronics, Cretan lute, Cretan lyra, and tsambuna fit right in with traditional jazz instruments.  Without missing a beat, the music goes from a late-night jazz club cool to an ambling post-bop to a Frisellian eeriness to Mediterranean seaside ease.

Though arranged from two Epirus folk tunes, “Epirus Suite” does more to spotlight the quintet’s strengths in modern post-bop expressions, especially those that hit upon areas that Bill Frisell and Brian Blade Fellowship mark as their respective territories.  It’s a massively arresting opening track, effortlessly shifting gears from a heart-on-the-sleeve melodicism to a hard-charging lyricism.  The quintet display a real talent for the right turn of phrase at just the right time.  Guitarist Nikos Ziarkas sets a captivating tone early, while trumpeter Sam Warner‘s fiery solo lifts the song up in flight.

Second track “Neda” comes right out with a dancing motion atop a driving tempo.  Where Rob Milne‘s bass clarinet cast shadows on the previous track, here he’s all about the sunlight with his flute.  On guitar, Nikos Ziarkas mirrors the darting motion set into place by Milne, while also providing evidence that his guitar is more than just a tool for ambiance and effects.

“Ornette in Space” opens with a smokey presence, a cool blue tone and a simmering tempo.  Thodoris Ziarkas and Gaspar Sena set the scene and move it at will on bass and drums, while the bright tone of Warner’s trumpet contrasts nicely with the prevailing moodiness.  That moodiness eventually gives ground to a volatility that grows increasingly out of control.

Final track “Nocturne” digs deep into the traditional while also accentuating the band’s experimental nature.  An arrangement and lyrics of a Karpathos folk tune is crosshatched with guitar effects and a slow boil post-bop.

All kinds of cool, and a very promising start to their recording career.

Your album personnel:  Rob Milne (bass clarinet, flute), Sam Warner (trumpet), Nikos Ziarkas (guitar, electronics, Cretan lute), Thodoris Ziarkas (double bass, cretan lyra, tsambuna), Gaspar Sena (drums) and guests (on “Nocturne”): Tom Green (trombone), Saul (vocals), Alexandros Miaris (analog synths) and Theodoros ‘‘Siozos’’ Ziarkas (voice).

This album is Self-Produced.

Jazz from the London scene.

Available at:  eMusic | Bandcamp | Amazon

It was in an 11th Century church in Avinyó, Spain that saxophonist Marcel-li Bayer recorded his solo work, 1680.  It is a quiet affair, reflecting the solemn environment in which the music was created.  Many tracks sing out the briefest melodic gem, just a concept, an idea of something that could blossom into something more… and then it is gone and the next has begun.  It is a beguiling plume of ideas.

Some of this music was planned in advance… a rough outline, a definitive structure, a fleeting thought.  Much of this music was improvised.  Even the song titles follow this pattern… one is dedicated to a friend who lives in a forest, another was inspired by a sculpture of a saint found in the church where this album was recorded.

Some pieces, like “Proemi” and “This Is Our Last Call,” are mere drones, whereas the fluttering motions and higher registers of pieces like “Efectes Timbrats” reveal heavenly aspirations in their melodic intent.  Tracks like “La Catifeta” have the same goals in mind, but simply take their time in achieving them.

“Le Drapeau Noir” and “Babangida Samurai” dance for the entirety of their brief duration.  “La Tête de la Course,” on the other hand, proceeds with a crisp determination.

“Kiss Me Like You Miss Me” is the closest thing to song form on this recording, whereas “I, mentrestant, en Claudi s’abraçava al seu Daguerrotip” is a lovely solo looking for a song to call its home.

“Azuwe Namba” possesses a wistful quality, as would a streak of nostalgia that incites smiles instead of melancholia.  The rare instance of ferocity displayed by “L’Erotica del Poder” contrasts nicely with the tuneful “Avant la Lettre.”

An absolutely sublime recording.

Your album personnel:  Marcel·lí Bayer (soprano, alto, tenor & baritone saxophones, clarinet, bass clarinet).

Released on Discordian Records.

Music from the Barcelona scene.

Available at:  Bandcamp