The Round-Up

Here is some very good new music.

Ben Allison – Layers of the City (Sonic Camera Records)

The newest from bassist Ben Allison dials things back a bit, but that seems the natural outcome of streamlining an approach that’s bolstered the electronic and rock infrastructure of past recordings.  For instance, the title-track’s edginess is a prominent feature, but how Allison’s group swiftly unrolls its tight melody embodies the song’s most striking quality.  It’s a revealing moment in that it shows Allison hasn’t so much sought out a balance between divergent elements as he’s found a way for them to coexist with a measured peacefulness.  Beneficially, it allows the more extreme qualities to stand out, side by side, one not dulling the sensation of the others, even as they work together to forge a middle-ground.  “The Detective’s Wife” takes a stroll through some old-school territory, but the electronic squiggles of “Get Me Offa This Thing” is a final reminder that there’s nothing straight-forward about this album.  And, thankfully, that’s a quality typical to Allison’s work.  Allison’s Think Free ensemble is an all-star cast featuring trumpeter Jeremy Pelt, guitarist Steve Cardenas, pianist Frank Kimbrough and drummer Allan Mednard.

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New Simplicity Trio – Common Spaces (Babel Label)

After a number of thematically intriguing concept albums, it’s nice to hear pianist Bruno Heinen just play some tunes.  Along with bassist Henrik Jensen and drummer Antonio Fusco, the New Simplicity Trio digs into a well-crafted melody and then takes it for a ride.  The strongest tracks are those where they give it some gas and let the motion drive the melody while the melody drives the song.  That said, the lilting beauty of “Across the Pond” and how, at times, it just floats in space could easily become a listener’s favorite.  And then there’s a groovy rendition of Mingus’s “Goodbye Pork Pie Hat,” and that’s worth the price of admission alone.  This album is all kinds of friendly.

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Sexmob – Cultural Capital (Rex Records)

It’s pretty damn refreshing to hear the Sexmob quartet focus on original compositions for a change.  Inventive renditions of popular songs is something they’ve been at for near about twenty years, and while it’s been the source of all kinds of fun, their latest album of original pieces is the equivalent of a team of chefs highlighting the wonders of their favorite ingredients rather than focus on the totality of the recipe.  It’s why the heart of Steven Bernstein‘s slide trumpet beats just a little bit stronger, and why the soul of Briggan Krauss‘s saxophones burns off just a little bit more sin, and why the bass and drums of Tony Scherr and Kenny Wollesen often strikes a rhythm that resonates with the hum of the earth.  There’s a pervasive sense throughout Cultural Capital that it encapsulates the scope of everything they’ve done since they played their very first notes.  That’s pretty cool.  And after twenty years, it’s a nice gift to their fans.

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Stefan Schultze Large Ensemble – Ted the Bellhop (WhyPlayJazz)

This is big band played in the beer hall.  This is whip smart jazz rolled out as boozy fun.  Stefan Schultze‘s 18-piece ensemble is about as unconventional as a big band gets, and yet their personable enthusiasm and magnetic charm and a willingness to dive into a blues at will create an environment that makes this music completely embraceable.  Included among the ensemble’s personnel is saxophonist Charlotte Greve, who has been mentioned frequently on this site and anywhere else I’ve laid my pen.

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Darren Johnston & Tim Daisy – Crossing Belmont (Relay Recordings)

There’s a raw artistry in play on this duo session from trumpeter Darren Johnston and drummer Tim Daisy.  The sense isn’t so much of a conversation, but instead the narrative of two complementary topics overlapped atop one another and resulting in an entirely new subject.  Recorded live at Chicago’s re-booted Hungry Brain, the duo displays an endless supply of energy and a willingness to try to burn it all off.  The thrill of all that intensity, however, is nicely balanced by a rich lyricism, and so the meaning is just as engaging as how the message gets delivered.  And besides, it just sounds like they were both especially in sync on this day, and locked into their own flight patterns and the trajectory of their counterpart.

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Here is some very good new music.

Kenny Warren Quartet – Thank You For Coming To Life (Whirlwind Recordings)

There’s an impenetrable nature to this music that takes some getting used to.  Some combination of composition and improvisation makes it so that the development of a song occurs like building blocks of an efficiently functional and stunningly ornate fortress.  The best route to acclimation are those moments when the thick veneer falls away and an embraceable bit of melody peeks on through.  There’s the beautiful dance of Noah Garabedian‘s bass and the piano of JP Schlegelmilch on “Huge Knees” and the cheerful blues generated by Warren’s trumpet and Satoshi Takeishi on drums on “Hala Hala,” and then how the quartet decides to close the album with an entire song that wears its heart on its sleeve.  And when the album closes itself off?  That’s a good time to appreciate the solid musicianship displayed by some of the stronger musicians on the modern scene.  The solos are all well and good, but the group interactions are where this quartet shines.

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Black Diamond – Mandala (Shifting Paradigm Records)

This music is best when the quartet slows things down.  At the forefront of the quartet Black Diamond are the twin tenors of Artie Black and Hunter Diamond, and when they offer up gentle sighs of melody that break away and then intertwine about one another, that’s when the personality of this album reveals itself.  Because it’s about more than what goes down when the saxophones have their say.  The rhythm section of bassist Matt Ulery and drummer Neil Hemphill generate all kinds of chatter, and when given the room to snap into place with the shape of things, there emerges a wonderful state of unity from what initially appears to be contradicting elements.

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João Mortágua – Mirrors (PortaJazz)

All kinds of interesting facets to this live set from the 2016 Guimarães Jazz fest.  The quintet of saxophonist João Mortágua, trumpeter Ricardo Formoso, guitarist Virxilio da Silva, electric bassist Felix Barth and drummer Iago Fernandez cycle through a spectrum of modern jazz expressions, and give each their own quirky personality.  The electricity of the live setting comes through pretty strong on the recorded medium, which is always a bonus.  Plenty here to like.  Also, worth nothing that Mortágua had another release over the summer, AXES, which has been recommended previously (go check it out).

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René Gatica Quinteto – Rana (Discos ICM)

There’s an appealing laid-back feel to this modern jazz set from the quintet of drummer René Gatica, saxophonist Andrés Hayes, guitarist Enrique Peña, pianist Nicolás Boccanera and bassist Juan Bayón.  They lead out with a melody, but keep it just vague enough so that they can bend it at will during solos and not give the sense of straying far from the song’s opening notes.  There’s a little narration woven into the music, and this adds some nice texture along with the interludes scattered throughout.  Nothing groundbreaking here, but just plenty easy to enjoy.  Also, it’s a nice glimpse into the Buenos Aires, Argentina scene.

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Sean Alexander Collins – Family and Friend (Self-Produced)

The album’s liner notes state that this recording session began late at night and ended early in the morning, and everything about the music backs that claim up.  This is serene music that suddenly comes to life and then settles back down into a peaceful calm.  There is something nocturnal about the music’s liveliness and when it gets tranquil, it’s like those moments just as the sun begins to rise.  It’s Sean Alexander Collins on vibraharp, Brandon Sherman on trumpet and Josh Collins on acoustic guitar, and everything about the music gives the impression that they were locked into the creative visions of one another.  A nifty release from the Reno, Nevada scene.  Also, a bargain at just three bucks.

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Here is some very good new music.

Samuel Eagles’ SPIRIT – Ask Seek Knock (Whirlwind Recordings)

There’s plenty to like about this modern straight-ahead session from Samuel Eagles‘ sextet.  The alto saxophonist’s latest has a heavy presence, sometimes giving the impression of an ensemble twice its size.  Thankfully, this quality doesn’t inhibit the development of a fluid lyricism or prevent melodies from attaining a freedom of motion to accompany their substantive depth.  The potency of this combination becomes even more evident when tenor saxophonist Jean Toussaint sits in for a couple of tracks or, conversely, with the gentle “Hope in the Hills” and how it contrasts in tone and yet clearly originates from the same set of ingredients.  Speaking of personnel, the SPIRIT ensemble consists of names who’ve made their share of appearances in this site’s recommendations, featuring tenor saxophonist Duncan Eagles, vibraphonist Ralph Wyld, pianist Sam Leak, bassist Max Luthert and drummer Dave Hamblett.

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Arve Henriksen – Towards Language (Rune Grammofon)

Atmospheric.  Let’s just get that word out of the way, because if we’re talking about an Arve Henriksen recording, inevitably, that descriptor will make an appearance.  And for good reason, because while the cinematic qualities of his music can range from tranquil to nightmarish, it’s always got a seriously atmospheric presence.  That certainly applies to his newest, Towards Language.  Thick, ethereal melodies, like the sonic manifestation of an ocean fog, mark every moment of this recording.  Some keyboards and sampling from Erik Honoré & Jan Bang help things along, and the guitars and effects of Eivind Aarset leave their mark, and all of it are exactly the type of elements that Henriksen thrives upon.  For those familiar with Henriksen’s sound, this album won’t present any surprises… and, in the grand scheme of things, there’s a certain comfort to be gained from that.

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Andrew Hartman – Compass (Self-Produced)

Guitarist Andrew Hartman‘s sophomore release starts out well-enough.  I mean, it’s likable, no obvious flaws, and it’s what you’d expect to hear on a straight-ahead modern jazz guitar session.  It will make many jazz guitar fans very happy.  That sums up the album’s first half.  But things change for the homestretch, and the album finishes strong.  “London Blues” is the catalyst for that change.  Tracks like “New Day” and “Breaking Light’ don’t stray dramatically from what came before, but Hartman’s quartet expresses them with far more panache and allows the personality of the melodies to shine with greater resonance.  In the context of the the album’s overall presentation, it’s a minor contrast.  But the gap between by-the-numbers and discrete individualism is vast, and the measured difference is the former will make jazz guitar fans happy and the latter will do the same for all jazz fans.  Hartman’s quartet is comprised of saxophonist Chris Cheek, bassist Ike Sturm and drummer Zach Harmon.

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Ólafur Jónsson – Tími til kominn (Self-Produced)

Nice debut from tenor saxophonist Ólafur Jónsson, who hits upon the popular stopping points along the lineage of jazz music.  There’s the swinging “Klisja,” the gentle ballad “Minning,” the moody Hard Bop “Nýtt líf,” the modern straight-ahead tune “Tími til kominn,” and also “Dreyminn” and “Annar dagur páska” that perhaps echo some of the folk music of the saxophonist’s Icelandic roots.  Jónsson is joined by a strong contingent from the Icelandic scene with pianist Eyþór Gunnarsson, bassist Þorgrímur Jónsson and drummer Scott McLemore.

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Daniel Beaussier & Manu Pékar – For (and more) (Futura Records)

The duo of wind instrumentalist Daniel Beaussier and guitarist Manu Pékar chose about a third of the seventy brief improvisations they recorded together, and considering how enjoyable those included turned out, it leaves me wondering what got left on the cutting room floor.  Beaussier utilizes a nifty array of instruments, including oboe, bass clarinet and English horn, and Pékar’s choice of guitar does an admirable job of complementing each one.  The grinding “Robert F” and chaotic “Bruno M” show the musicians are willing and able to jack up the temperature, but for the most part, this album consists of contemplative pieces that aren’t necessarily always tranquil, but definitely instill an ambiance that could lead to all kinds of potent daydream imagery.  Jean-Lou Deschamps and Pierre Marcault add some violin, effects and percussion, adding texture to a canvas that had plenty to begin.

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Here is some very good new music.

Myk Freedman and the Mykfreedmans – Myk Freedman and the Mykfreedmans (HappyLucky No.1 Records)

It’s pretty easy to warm up to this jazz-folk crossover from lap steel guitarist Myk Freedman.  The opening notes promise a friendly, tuneful recording, and that’s exactly what his sextet delivers.  The swing of “At Whom The Fuck Are You Looking?” and the sway of “Waiting For A Train That Will Never Come” have an inviting motion and a friendly smile that sets the tone.  A little twang on the slow dancer “What Are You Thinking When You’re Kissing” and a little heat on the burner “Junkshop Virginia” are just facets of that same personality, and snap neatly into place.  The Mykfreedmans are tenor saxophonist Patrick Breiner, drummer Carlo Costa, bassist Adam Hopkins, trumpeter Kenny Warren and banjo player Jason Vance.  Half of the sextet also comprise part of Kenny Warren’s Laila & Smitty project, so it should come as no surprise were I to describe the two albums as birds of a feather.  Seriously enjoyable.

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Redwine, Barbiero, Matis – Microeconomics (Self-Produced)

This intriguing session from the trio of clarinetist Ben Redwine, bassist Daniel Barbiero and pianist Jonathan Matis encapsulates the jazz spirit of Redwine’s New Orleans home turf.  This melting pot of influences is just as happy dishing out a rag as they are randomness.  The trio’s Washington DC-Baltimore contingent snap right into place with an improvisational nature of this recording, as well as the strong presence of a Classical grace throughout.  The album’s best moments are when all of those influences are a swirling mist of motion and expression, one bleeding into the next, and a state of change is the only constant.  And if this floats your boat, it’ll be worth your time to check out the DC Improvisers Collective… an outfit all three members have contributed some notes to.

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Jake Leckie Quartet – Live at Ibeam (Self-Produced)

Plenty to like on this live session from the quartet of bassist Jake K. Leckie, drummer Nathan Ellman-Bell, pianist Sebastien Ammann and trumpeter Kenny Warren.  This 2017 performance at Brooklyn’s Ibeam is a nice straight-ahead affair, but mixes things up just enough that there’s something different to like about each track.  There’s the hard bop warmth of “Negev,” the scattered randomness of “Major Monster,” the Brazilian influence of “Caracol,” and the folksy groove of “Métis” and how it echoes the heart and soul of Keith Jarrett’s American Quartet Impulse recordings.  But influence aside, this is an extremely enjoyable recording of four musicians who just sound like they’re having a blast, completely in sync with one another, and feeding off the electricity of a Friday night in NYC.

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Maistah Aphrica – Maistah Aphrica (Self-Produced)

There’s an easy appeal to this mix of modern jam jazz, afrobeat, funk and psychedelia.  Tempos are upbeat and move fast on their feet.  Rhythms fly in all directions, and melodies follow fast after.  The octet Maistah Aphrica is heavy on the wind instruments and percussion, but the multiple keyboards are the glue that gets all the influences to stick.  Really fun recording.  Also, nice to offer something from the Balombo, Angola scene.

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Chok Kerong – Tales They Told Me (Self-Produced)

Nifty straight-ahead organ-guitar-drums session. Some soul, some blues, and plenty of bop to keep the music scooting along.  Chok Kerong slides over to piano, but the music shows its best when it’s that genial warmth between organ and guitar.  Nothing groundbreaking here, just a familiar, enjoyable sound.  Plus, it’s an nice opportunity to give a shout-out to music coming from Singapore.

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Here is some very good new music.

Rafael Karlen – Trace (Self-Produced)

There’s a nice peaceful demeanor to this trio session from tenor saxophonist Rafael Karlen, pianist Steve Newcomb and guitarist Toby Wren.  The tranquility maintains a presence even when the music gets a little upbeat on “Stray” and a little whimsical on “Top ten.”  But the heart of the album beats strongest when the mood turns introspective.  The melodies of “Something New For Jessie” and “Driftwood” are thick like plumes of smoke that seductively trail off.  And then there’s the title-track, and how its melody burns bright while generating the distant warmth of stars.  Some stunning moments of beauty on this one.

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Kiesewetters GammaRama – The Mission (Unit Records)

The gem to be discovered on the sophomore release from Kiesewetters GammaRama is the three-part suite “The Mission.”  It opens with the quartet’s quirky post-bop lyricism to an alluring mix of old-school cool blue bop and then ends with a gorgeous moonlight serenade.  It’s all glued together with some electronics and effects, and it has a mini-epic demeanor running through its veins.  The album’s other tracks are plenty enjoyable, nothing that would get tagged as a weak link, but that suite sitting at the heart of the album is worth the price of admission alone.  The quartet is comprised of multi-reedist Jan Kiesewetter, electric guitarist Bernd Huber, double bassist Uli Fiedler and drummer Tilman Herpichböhm (who has received a few mentions for his own album and his work with Rebecca Trescher).

Artist site | Listen | Buy:  Amazon – eMusic

Eva Kess Group – Flying Curly (Unit Records)

It’s interesting how the melodies of Flying Curly shift between states of intense focus and scattered randomness.  Both states have their appeal, but the slow burn of “Fünf (Take 2)” and simmering beauty of “Beautiful Weekend” are prime examples of this quartet’s strengths lying more with the former than the latter.  The quartet is comprised of bassist Eva Kesselring, guitarist Filipe Duarte, pianist Gregor Ftičar and drummer Peter Kronreif, and, together, they’ve made quite a captivating album.

Artist site | Buy:  Amazon – eMusic

Leandro Kalén + Azurro Trío Tano – Parque Rivadavia (Self-Produced)

I fell for this EP of space-jazz fusion almost immediately.  Featuring a collaboration between keyboardist Leandro Kalén and the Azurro Trio Tano of alto saxophonist Lucas Torrisi, bassist Rodrigo Lammardo, drummer Dino Mereu, this music bubbles with excitement and yet remains patently dreamy.  The constant rhythmic patter often melts into pools of spilled melody, which then comes together in an entirely new confluence.  Heavy doses of electronic effects contribute to the album’s success, too, and binds the electronic and organic instrumentation into a cohesive whole.  Fun.

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Stefan Frommelt Trio – Some Kind of Odd (Unit Records)

Nothing fancy here, just an album with straight-ahead tunes and catchy melodies that don’t let go.  The trio of pianist Stefan Frommelt, double bassist Marius Meier and drummer Marvin Studer work their best magic when they dig into a groove and make a cadence dance.  That said, “Marv & Fros” has the thick harmonics and swells of intensity that one would expect from the Esbjorn Svensson Trio.  It’s one of the album’s stronger moments, which just goes to show that a little differentiation across the breadth of an album is never a bad thing.  Pretty damn likable.

Artist site | Listen | Buy:  Amazon – eMusic