The Round-Up

Here is some very good new music.

Harris Eisenstadt – Recent Developments (Songlines Recordings)

That a flock of butterflies is referred to as a kaleidoscope is particularly relevant to the latest from Harris Eisenstadt.  His nonet generates a dazzling array of intricate patterns, spanning perspectives harmonically, rhythmically and of influence.  Sometimes chamber music, sometimes avant-garde and folk and post-bop, the shape of the music is perpetually in motion and forever undergoing change.  But like that kaleidoscope of butterflies, the music is remarkably light, and the fluttering wings of melody are a joy to see (hear) take flight.  The results shouldn’t come as a surprise, considering the drummer is joined by an all-star cast of flautist Anna Webber, bassoonist Sara Schoenbeck, trumpeter Nate Wooley, trombonist Jeb Bishop, tubist Dan Peck, guitarist Brandon Seabrook, cellist Hank Roberts and bassist Eivind Opsvik.

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De Beren Gieren – Dug Out Skyscrapers (Sdban Ultra Records)

Though the tempos are often staggered, the layers of repetition on Dug Out Skyscrapers create a momentum that’s a little bit hypnotic on this new release from the trio De Beren Gieren.  And if that odd sensation weren’t enough, pianist Fulco Ottervanger, bassist Lieven Van Pée and drummer Simon Segers paint melodies blurry at the edges, which adds to the time distortion inherent in their rhythmic approach.  And so, when the trio actually offers up something conventionally melodic, the transition is almost stunning.  Another nifty release from a band that has been on this site’s radar for some time.

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Daniel Sommer – Duets (Self-Produced)

There’s a little something of everything on this series of improvised duets from Daniel Sommer.  The drummer invited a cadre of favorite artists to join him in conversation, and those discussions range from a peaceful reverie with pianist Artturi Rönkä to the opposite end of the spectrum with a scrambled ramble with guitarist Marc Ducret.  Arguably, the strongest moments are those that span that expanse, like on the duet with pianist Kari Ikonen, which elicits a little bit of serenity and a little of spitfire.

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Dan Phillips Quartet – Converging Tributaries (Self-Produced)

Much in that way a storm cloud has no definite borders or concrete shape, yet possesses a presence that implies depth (and more), the quartet of guitarist Dan Phillips, trombonist Jeb Bishop, double bassist Krzysztof Pabian and drummer Timothy Daisy rain down with plenty of free jazz improvisation, but by coalescing into the occasional groove, they provide a sense of focus and direction to music that doesn’t always move that way.  The effect is to sometimes discover your foot tapping along to music that will never be described as foot-tapping.  That’s a pretty cool thing to do.  Also, be sure to check out Phillip’s other 2017 release, Fading Light.

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Eyebrow – Strata (Self-Produced)

Moody, cinematic, contemplative… all good words to describe the latest from the duo Eyebrow.  The trumpet of Pete Judge hits the tonal range between mournful and tranquil, while percussionist Paul Wigens modulates between a calm chatter and an insistent command.  They mix in some strings and electronics for textural ambiance, in tasteful doses and with impressive effects.  Seems well suited for quiet, rainy days, but the music possesses a certain electric flow that likely could adapt to whatever the soundtrack your day, or night, requires.

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Here is some very good new music.

Daniel Foose – of Water and Ghosts (BJU Records)

There’s both turmoil and tranquility to the latest from bassist Daniel Foose.  Considering that he returned to his roots along the Mississippi Delta and built of Water and Ghosts on the juxtaposed themes of the area’s societal injustices and natural beauty, that the music’s hypnotic flame also burns hot shouldn’t come as a surprise.  Foose meshes an ensemble comprised of a string quartet and a bass-percussion-guitar trio, and a big reason this work is so captivating is how those two components sometimes behave as crashing tides and sometimes as a single confluence of expression.

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Jonathan Rowden Group – Skyward Eye (Orenda Records)

Jonathan Rowden‘s music has always possessed a visceral punch, so in that way, Skyward Eye falls in line with past recordings.  However, on his newest, the textures are softer and less emphasis is placed on the edge of the blade and more focus on its polish.  As a result, the ambient soundscapes present in prior works are now front and center.  And when the music does break into something delivered as a bundled structure, it has that particular boost of tranquility to be expected from John Surman’s moodier works.  Repeat testing allows me to recommend this music for cloudy mornings or drives through scenic countryside.

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Roxy Coss – Chasing the Unicorn (Posi-Tone Records)

Here’s a nice example of how a straight-ahead jazz album can be given a personality that comes off as something other than straight-forward.  Roxy Coss casts ripples out across the surface of the pond, one after the other, and the way it sharpens the brilliance of the melodies and deepens the resonance of the harmonies is why Chasing the Unicorn carries with such great strength.  The rhythmic hopscotch on a rendition of Joe Henderson’s “A Shade of Jade” and the weary blues applied to the Beatles’ “Oh! Darling” and intricate melodic weave of her own “Free to Be” are just a few of the distinguishing marks of the solid new release from the saxophonist.  Plenty to like about Coss’s 2016 release Restless Idealism, but her newest is a serious step up.

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Greg Duncan & The Individuation Quintet – Unification (Self-Produced)

There’s a night-on-the-town excitement to the latest from Greg Duncan.  Whether the trumpeter is kicking up some dust on the speedy “Anima” or gently exhaling a heartbreak melody on “Constellated,” there’s a transmission of heavy voltage with each expression.  There’s some old-school swing and some new-school edge, and all in all, Unification keeps to heart of jazz and the pulse that’s familiar to all of its eras.  The album is an homage to psychologist Carl Jung, which adds intrigue to the music’s context, but, conversely, isn’t requirement for its enjoyment.  Worth noting that Duncan’s 2012 release Chicago, Barcelona Connections still comes with a strong recommendation.

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Adam Schneit Band – Light Shines In (Fresh Sound New Talent)

The voice of the melody transmits with plenty of strength on Adam Schneit‘s latest, but rarely does it come out the other side with the same shape or focus with which it began.  It’s as if the saxophonist’s quartet sends those melodies through a wind tunnel or a kaleidoscope or dunks it underwater, because time and again, it presents as misshapen and warped and cloaked in shadow.  This particular sleight of hand is what gives the music its personality, and separates it from similar modern works that unfold a bit more by-the-numbers.  The saxophonist is joined bassist Eivind Opsvik, guitarist Sean Moran and drummer Kenny Wollesen… three musicians who have made a career out of altering melodic perceptions.

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Here is some very good new music.

Girls In Airports – Live (Edition Records)

This live 2017 recording could double as a deconstruction of what makes the Danish quintet Girls In Airports so damn compelling.  The opening third of the recording shows their talent at crafting incisive melodies that are as delightfully catchy as they are heartbreakingly pretty.  The album’s middle section highlights the quintet’s ability to employ those melodies to create a diffuse atmosphere, where the melody isn’t something to embrace as it is to breathe in and slowly exhale.  And then the album’s final section brings out the rhythmic devices used to either spur the melodies on or corral them in place.  And when it all comes together, those moments when every aspect of their music enter a single confluence, it’s the best thing ever.  I am completely addicted to the track “Kaikoura,” and I don’t think that addiction is going to wane any time soon.

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Lucas Gillan’s Many Blessings – Arroyo (JeruJazz Records)

This debut recording comes ten years after Lucas Gillan first formed the Many Blessings quartet.  And like a bourbon that is allowed time to soak in barrels and patiently come into its own, the music possesses a confident and full presence that bleeds from every note.  There’s no one moment to point out as the embodiment of the quartet’s thing, but their tantalizing method of warping and refracting a blues and the thrilling way it launches tunes into a separate orbit has a certain magnetism that keeps the ear locked in.

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Providence Research Ensemble – Music of J.P.A. Falzone (Infrequent Seams)

Such is the daydream nature of this music that it’s almost jarring when the album ends and silence fills up the room.  Strings and vibraphones and a tenor sax are the instruments used to shape this chamber session from the Providence Research Ensemble.  Actually, shape might be a poor choice of word, because this debut recording is marked by a melodic state in perpetual transition and a harmonic atmosphere thick as mist coming in off the ocean.  There’s very little apparent structure and an endless supply of beauty.  This album doesn’t really fall in this site’s wheelhouse, but every now and then I encounter an album so gorgeous there’s just no way I’m not gonna let you all know about it.

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Sam Sadigursky – Book 3: Ten Extended Clarinet Etudes (Self-Produced)

Sam Sadigursky has been quietly releasing a series of solo clarinet works.  The presentation of these short pieces, one after the other, is like flipping through a photo book… brief glimpses of a sonic vision before quickly moving on to the next.  The third installment is perfect for a peaceful weekend morning.  And priced at two bucks, a bargain.  Anyways, I just wanted to squeeze in a quick mention about these recordings, because Sadigursky is a site favorite, and it’s always good to keep abreast of what he’s up to.

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Adam Baldych & Helge Lien Trio – Brothers (ACT Music)

Time and again, violinist Adam Baldych shows an ability to conjure up some serious drama and exploit it for all it’s worth.  However, on this follow-up release with the Helge Lien Trio, the music resonates strongest when melodies are allowed to simmer and tempos scatter like a soft whisper.  This is an approach that suits saxophonist Tore Brunborg well, as he’s capable of a pretty huge sound, but is most effective when delivering it softly and with care.  Their 2015 collaboration Bridges got a strong recommendation on this site (go read it).

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Here is some very good new music.

Shahin Novrasli – Emanation (Jazz Village)

There’s nothing quite like a strong opening track.  It’s not the only thing to connect with on this session from pianist Shahin Novrasli.  He maintains a conversant tone throughout, and he switches the dialog up frequently to keep things interesting.  Joined by bassist James Cammack, drummer André Ceccarelli, percussionist Erekle Koiva and violinist Didier Lockwood, there’s a strong folk influence, and the origin of the music’s roots moves around the planet a bit.  But, god, that opening track, it has a melody meant to break hearts or fill them with joy, all depending on what the listener needs at the time.  And he boosts that melody with little turns of phrase, slight variations on the original, and gets the light to shine brilliantly through each facet as it’s revealed.  I enjoyed the entire album, but title-track “Emanation” was enough for me to set down some words by way of a recommendation.  Ahmad Jamal helped produce the album.  I’m not sure how much he ultimately contributed to the final work, but you know I’m going to use any excuse to mention Ahmad Jamal’s name.  It certainly can’t hurt to have a jazz legend in your corner, yeah?

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Vilkka Wahl Quintet – Nebula (Eclipse Music)

Plenty to like on this modern set from guitarist Vilkka Wahl, and first and foremost is his interactions with vibraphonist Severi Pyysalo.  That said, the way tenor saxophonist Jure Pukl adds some heat with a series of nifty solos goes a long way to identifying the qualities that make this album enjoyable.  Nothing wrong with those times when the quintet slows things down, but this album is at its best when it’s humming along at a nice clip, and the bass and drums duo of Teemu Åkerblom and Mikko Arlin unleash a rhythmic attack to spur things along.

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C.A.R. – Interlude EP (Self-Produced)

I almost wrote about this quartet’s last album.  Beyond The Zero caught my attention back in 2014.  But I didn’t encounter it on the new releases list until just before I had to submit my piece to eMusic for my old Jazz Picks column.  And, apparently, I just never got around to writing it up for Bird is the Worm.  Well, their new release has much of the same intriguing mix of modern jazz and electronic music, except this time around, they focus on the compositions of artists like Pavement, Flaming Lips, Tame Impala and James Holder.  Beyond The Zero allowed itself to be more random with unexpected bursts of melody.  The Interlude EP shows how arresting their sound can be when they work a project that possesses a pop music succinctness.  Good stuff.

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Charlie Rauh – Viriditas (Destiny Records)

Maybe it’s just encoded in the DNA of guitarists, that, one day, they’ll take their guitar out to the middle of nowhere and record a solo session of introverted pieces.  It’s a romantic conceit, attempting to create some serenity while at the same time be immersed in a thick pocket of it.  Charlie Rauh makes good use of his go-around.  These quiet tunes have tons of feel, resonating strong from the gentlest of expressions.  The pieces are short, and sometimes they get right to the point and sometimes they don’t try to make any point at all… that it’s just enough to have an image in mind and briefly sketch it out and let it go.

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Brad Gibson – Epilogue/Procession (Self-Produced)

This contemplative session from percussionist Brad Gibson doesn’t really go anywhere, but that’s really okay.  Mostly in duo with piano, sometimes adding bass, and a bit of moog action for the finale, the music drifts along slowly, a fog of contemplation and peacefulness.  Melodic fragments frame interludes of silence, broken by the occasional rustle of percussion.  It’s the sonic equivalent of standing atop a hill and looking out over the great expanse.

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