Monthly Archives: March 2012

Tiny Reviews, featuring:  Metta Quintet Big Drum, Small World, Guillaume de Chassy Silences, Jean-Philippe Scali Evidence, and Malte Schiller’s Red Balloon The Second Time Is Different.

A strong line-up of albums today, including one (de Chassy Silences), which has made it into my daily rotation, another that is threatening to (Metta Quintet), and an album that has a song so uplifting that it might just steal your heart (“Eternel Present” from Scali’s Evidence).

Let’s begin…

Metta Quintet – Big Drum, Small World

Metta Quintet is the performing arm of non-profit organization JazzReach, dedicated to the promotion, performance, creation and teaching of jazz music. Past members have included Miguel Zenon, Omer Avital, Helen Sung. among other musician all-stars. The current line-up features mainstays Marcus Strickland (tenor sax) and Josh Ginsburg (bass), and two newcomers- David Bryant (piano) and Greg Ward (alto sax).  It’s a straight-ahead affair, and short, too: Five tracks clocking at just over a half hour.  But it’s solid jazz that won’t steer anybody wrong.  Also worth listening to is an earlier album Subway Songs, with the NYC train system as the thematic device.  Neat stuff.

Overall, just a really enjoyable album.

For newcomers to jazz, if you’re looking to explore a bit on your own, I highly recommend checking out the discographies of current and past members of Metta Quintet, as well as past Metta Quintet recordings.  You’ll find a gold mine of great jazz.  Personal favorite is bassist Omer Avital, but I can’t envision anyone going wrong by blindly pulling a name from the Metta Quintet roster and just diving in.

Released by the JazzReach label.

Available on eMusic.

Guillaume de Chassy – Silences

It seems, lately, that jazz albums recorded by former classical pianists have been hitting New Arrivals with some noticeable frequency.  A common trait among the better of those releases is that the pianist seems unwilling to fight the gravitational pull of either music.  One would think that it would lead to a confused muddle of compositions, but instead, many of these albums fuse the best of both worlds and produce some intriguing music.  That’s what we got here.  With Guillaume de Chassy on piano, in a trio with bass and clarinet, he gives us a startlingly resonant chamber jazz recording.  Elegant and haunting.

Your album personnel:  Guillaume de Chassy (piano), Thomas Savy (clarinets), and Arnault Cuisinier (double bass).

This album has grown on me exponentially over the last month.  It’s quickly becoming one of those albums that I’m almost compelled to listen to first thing in the morning.  Piano lines that are only delicate on their face, but possess a sharpness that pierces silence with a wave of the keys.  Clarinets that can paint every shade of heartbreak.  Bass that doesn’t hide in the shadows, but instead makes the shadows part of the music.  Beautiful.

Released on the Bee Jazz label.  Jazz from the Ile-de-France, France scene.

Available on eMusic.

Jean-Philippe Scali – Evidence

Pretty cool large ensemble album from the French saxophonist.  Jean-Phillipe Scali on alto, baritone, and soprano saxes, and backed by piano, Fender Rhodes, trumpet, trombone, bass, drums, and some guesting with vibes, bass clarinet, tenor sax, and an additional trombone.  Nice hopping tunes with some nifty wrinkles to keep things interesting, like on the the catchy “Five Minutes’ Walk”.  Unmistakably jazz, from a musician with an inventive touch.

Your album personnel:  Jean-Philippe Scali (alto, baritone, and soprano saxes), Julien Alour (trumpet, bugle), Jerry Edwards (trombone), Adrien Chicot (piano & fender rhodes), Simon Tailleu (bass), and Manu Franchi (drums), with guests:  Francois Theberge (tenor sax), Thomas Savy (bass clarinet), Bastien Ballaz (trombone), and Stephan Carracci (vibes).

In addition to the music available on Scali’s soundcloud page, it appears you can stream a bunch of album tracks on his artist page, here.

This is a strong album, and I highly recommend checking it out.  Some exhilarating moments, like on the excellent “Eternel Present,” which I could listen to over and over again.  As I mention above, the tune is so uplifting, it’s gonna steal some hearts.

Released on the Abeille Musique label.  Jazz from the Paris scene.

Available on eMusic.

Malte Schiller’s Red Balloon – The Second Time Is Different

Nice big band recording from a young group of players. Lighthearted, with that necessary touch of melancholy that gives gentle texture to any solid large ensemble session. This should take care of anybody’s need for a warm big band fix to fight off the bleak winter months.  Not a lot of information found online about them.  Here’s a link to the site of an ensemble member who has a little info on the group.

And while I hate providing a link to myspace, it does appear that you can stream all or most of the album there, so here’s the link to his album’s myspace page.

Released on the Unit Records label.

Available on eMusic.

That’s it for today’s article, and the second of three parts of the Tiny Reviews from this batch of new arrivals.

Here’s some language to protect emusic’s rights as the one to hire me originally to scour through the jazz new arrivals and write about the ones I like:

“New Arrivals Jazz Picks“, courtesy of eMusic.com, Inc.
© 2012  eMusic.com, Inc.

My thanks to emusic for the freelance writing gig, the opportunity to use it in this blog, and the editorial freedom to help spread the word about cool new jazz being recorded today.

Tiny Reviews, featuring Rebecca Trescher’s Hochzeit Null11 Sud, Robert Glasper Black Radio, Matthew Shipp Elastic Aspects, and Johnathan Blake The Eleventh Hour.

Let’s begin…

Rebecca Trescher’s Hochzeit Null11 – Sud

Multi-reedist Rebecca Trescher has created an album that doesn’t engage the listener so much as stalk them. Ominous, yet beautiful in that way fear can be, it’s an album of momentary spurts of notes with just clarinet and bass clarinet weaving sounds in between.  It creates a heavy mood, even when the music is light as a feather.  Songs like “Nass,” with its languid sway and gentle moan, I could listen to forever.  Some small effects here and there. Fans of Marty Ehrlich, Clean Feed label, and John Lurie/Lounge Lizards should check out this excellent album.  Plenty of ambiance throughout… a smoky shadowy tavern, light filtering in through smudged windows, a shot of whiskey, a heart full of heartbreak, and a sublime happiness whenever the warm touch of the Spring breeze drifts through the bar and makes everyone happy to be alive.  That kind of thing.

Your album personnel:  Rebecca Trescher (clarinet, bass clarinet), Julian Bossert (alto sax, clarinet), Phillip Staffa (guitar), Frederick Betz (bass), and Tilman Herpichbohm (drums).

Released on the Metropol Musik label.  Jazz from the Nuremberg, Germany scene.

Available on eMusic.

Robert Glasper – Black Radio

Robert Glasper garnered a lot of attention and cross-genre love for his album In My Element, which aside from being an outstanding jazz album, challenged boundaries by doing a mash-up of Radiohead and Herbie Hancock tunes, as well as a shout-out to J. Dilla.  With subsequent albums, Glasper has moved further into soul and hip hop territory, which hasn’t always been greeted with resounding enthusiasm in jazz circles.  Black Gold continues that journey, as it lays on the soul and hip hop influences even stronger. The thing of it is, Glasper is a strong pianist, and this is evidenced ever more clearly as he moves further from Jazz’s center; Glasper’s grasp of the heart of jazz is such that he doesn’t so much expand into new music territory as he forces that territory to gravitate to him.  If Jazz is the Mountain, then Glasper makes that mountain come to his piano. Philosophizing aside, it’s an album with some pretty moments, easy vocals, cool percussion, and Glasper’s signature sound.  Oh, yeah, and a groove version of Nirvana’s “Smells Like Teen Spirit” that is just too cool.

Your album personnel:  Robert Glasper (piano, Fender Rhodes, keyboards), Casey Benjamin (vocoder, alto sax, flute), Derrick Hodge (bass), and Chris Dave (drums), with guests:  Jahi Sundance (turntables), Eykah Badu, Lalah Hathaway, Mos Def, Shafiq Husayn, Bilal, Chrisette Michele, Musiq Soulchild, Meshell Ndegeocello, Amber Strother, Anita Bias, Ledisi, Lupe Fiasco (vocals, on various tracks), and Stokley Williams (vocals, percussion).

Released on the Blue Note Records label.  Jazz from NYC.

Available on eMusic.

Matthew Shipp – Elastic Aspects

Pianist Shipp is (deservedly) recognized as one of the most inventive composers on the scene. He also gets lumped in with avant-garde a bit too quickly. It’s not an unreasonable categorization, as his compositions rarely fall into conventional territory, but it does lead to expectations, which can result in overlooking some divergent moments. No more does this become evident than on third track “Psychic Counterpart,” which if dissected, would have the beating heart of a Thelonious Monk tune within.

Your album personnel:  Matthew Shipp (piano), Michael Bisio (bass), and Whit Dickey (drums).

Yes, there’s plenty of deconstructed piano lines, ferocious bowing by bassist Michael Bisio, and Whit Dickey’s drums scattering the ashes of the rhythm in all directions, but look away too soon and you’ll miss some moments of sublime ballad and infectious swing.

Released on the Thirsty Ear Recordings label.  Jazz from NYC.

Available on eMusic.

Johnathan Blake – The Eleventh Hour

Debut album from Mingus Big Band alumnus Johnathan Blake, and it’s a good one.  Some nice modern straight-ahead playing with a solid line-up, including Mark Turner, Kevin Hays, Robert Glasper, Ben Street, and a guest appearance by Tom Harrell (with whom Blake played with).  Nice driving tempo to keep the head engaged and heart rate up.  Inclusion of harmonica on first and final songs is outstanding.  Opening track (and title-track) has a nice mix of chill jazz fusion counterbalanced with the rustic sound of harmonica, whereas on final track “Canvas,” the flickering interplay between sax and harmonica over a burgeoning swell of ensemble momentum is exhilarating.

Your album personnel:  Johnathan Blake (drums), Mark Turner (tenor sax), Ben Street (bass), with guests: Jaleel Shaw (alto sax), Kevin Hays (piano, Fender Rhodes), Tom Harrell (trumpet, Flugelhorn), Gregoire Maret (harmonica), Robert Glasper (piano, Fender Rhodes), and Tim Warfield (tenor sax).

Very promising debut album from a respected and active sideman for musicians like Tom Harrell, David Sanchez, Russell Malone and Kenny Barron.

You can stream the entire album on Blake’s bandcamp page.

Released on the Sunnyside Records label.

Available on eMusic.

That’s it for today’s article, and the first of three parts of the Tiny Reviews from this batch of new arrivals.

Here’s some language to protect emusic’s rights as the one to hire me originally to scour through the jazz new arrivals and write about the ones I like:

“New Arrivals Jazz Picks“, courtesy of eMusic.com, Inc.
© 2012  eMusic.com, Inc.

My thanks to emusic for the freelance writing gig, the opportunity to use it in this blog, and the editorial freedom to help spread the word about cool new jazz being recorded today.

Tiny Reviews, featuring:  Ahmad Jamal Blue Moon, Jim Black Trio Somatic, Yuriy Galkin Nonet Nine of a Kind, and Nubim Between Silence and Light.

Let’s begin…

Ahmad Jamal – Blue Moon

Truly a jazz legend, Ahmad Jamal has been blazing a trail in music, well, it seems like forever.  This is a guy that Miles Davis admitted to being influenced by, and allegedly, wanted his pianist, the equally legendary Red Garland, to play more like.  A quartet date with Reginald Veal (double bass), Herlin Riley (drums), and Manolo Badrena (percussion).  This ain’t a musician simply going through the motions.  Whereas Jamal has achieved a level of virtuosity that, perhaps, can’t be expanded upon, he shows here that the shine on this gem is nowhere close to fading.  Just so happy to see this recording hit the new arrivals list.

Released on the Jazz Village label.

Available at eMusic.

Jim Black Trio – Somatic

I’ve read in some places where Somatic is considered a huge departure for Jim Black and his longtime project AlasNoAxis, but I’m not so sure of that.  If AlaxNoAxis songs were reduced down to their most elemental form, whether it’s the scratchy noise-rock or the surging Cuong Vu-like serene-dissonance, the seeds of those songs can be heard in the tranquility that comprises Somatic.  This is a Winter & Winter release, which elicits imagery of peaceful ambiance and Paul Motian, who put out some amazing albums on the label, and which were typified by long sonorous notes and almost slurred tones distilled from hazy days.  This album sounds informed from both sources… the Jim Black AlasNoAxis compositions and the Paul Motian sonority. But make no mistake, this is quiet morning music.

Your album personnel:  Jim Black (drums), Elias Stemeseder (piano), and Thomas Morgan (upright bass).

Released on the Winter & Winter label.

Available at eMusic.

Yuriy Galkin Nonet – Nine of a Kind

A nice large ensemble recording by the Russian bassists and composer, Yuriy Galkin. His background in jazz, classical, and Latin music is evident throughout. All the energy and fullness one would hope for. Released by the F-IRE Collective, which has proven to be a label to keep an eye on.

Your album personnel:  Yuriy Galkin (acoustic & electric bass), Freddie Gavita (trumpet, flugelhorn), Richard Turner (trumpet), Jon Stokes (trombone), Dafydd Williams (alto sax), George Crowley (tenor sax), Tamar Osborn (baritone & soprano saxes, bass clarinet), John Turville (piano), and Dave Hamblett (drums).

Available at eMusic.

Nubim – Between Silence and Light

Okay, this is one where I’m not sure if I can trust my first impressions; maybe like a little time to let this album sink in.  But here I go anyways.  This is really really pretty. Not so much jazz; more music with serious classical and folk influences.  Piano with oboe, accordion, cello, various percussion instruments and occasional Korean vocals. When it leans on the classical and folk elements, the music is dripping with mystery and moodiness; when it leans on the jazz, the music gets a little light and mainstream.  One that non-jazz fans might want to let their ears linger on for awhile.

Released on the Joy-Tone Records label.

Available at eMusic.

That’s it for today’s article, and the fourth of four parts of the Tiny Reviews from this batch of new arrivals.

Here’s some language to protect emusic’s rights as the one to hire me originally to scour through the jazz new arrivals and write about the ones I like:

“New Arrivals Jazz Picks“, courtesy of eMusic.com, Inc.
© 2012  eMusic.com, Inc.

My thanks to emusic for the freelance writing gig, the opportunity to use it in this blog, and the editorial freedom to help spread the word about cool new jazz being recorded today.

My album review of For the Love of Sarah by the ensemble Motian Sickness:  The Music of Paul Motian has been published on AllAboutJazz.  You can read the original review HERE, at AllAboutJazz).

*****

There is an edge-of-sleep quality to the recently departed Paul Motian’s drumming, and to much of the music he recorded. It’s a dreaminess that reflects the spark of subconscious creativity even as the body sits at rest. For the Love of Sarah is a tribute to Motian’s music, and from the opening moments it’s like stepping into the middle of a story about a dream.

Your album personnel:  Jeff Cosgrove (drums), John Hebert (bass), Mat Maneri (viola), and Jamie Masefield (mandolin).

It would be difficult not to draw comparisons with another recent Motian tribute album recorded shortly before his passing: guitarist Joel Harrison’s String Choir and The Music of Paul Motian (Sunnyside Records, 2011). But where Harrison’s album embraced the sonorous melodies of Motian performances, Motian Sickness channels the drummer’s rhythmic dynamics. Evidence of this is seen, not just in drummer Jeff Cosgrove’s approach to these ten Motian compositions, but also through the bass, mandolin, and viola that round out the quartet.

Mandolinist Jamie Masefield brings a rustic, earthy quality to the music, and it isn’t such a divergent choice of instrumentation that it causes thematic drift. Many of Motian’s albums, especially on Winter & Winter, had a folkloric quality to them, and the inclusion of mandolin here seems not just an inspired decision but also a logical one.

Violist Mat Maneri captures the hazy sway of many Motian recordings, and has effectively been set up to function as the de facto sax part of Motian’s classic trio with saxophonist Joe Lovano and guitarist Bill Frisell. It’s an illuminating statement by the quartet that it’s not difficult to flip the comparison on its head and posit that Lovano’s slow and winding sax was, all along, the stand-in for viola.

Bassist John Hébert possesses unpredictability throughout—an almost indecipherable pattern, as if hurriedly crossing a stream, leaping from one rock to another with little time to make the next decision. It makes for some thrilling moments.

While melodic excursions like “The Story of Maryam” present some sublime moments of beauty, it’s the rhythmic explorations that provide the album highlights. “Mumbo Jumbo,” with its staccato march of mandolin and bass, and the verging-on-free bursts of dissonance on the opener “Dance” do more than just offer up captivating tunes, they establish the quartet’s rules of engagement with Motian’s body of work. Motian had a sense of rhythm that was as ephemeral as it was dynamic. On For the Love of Sarah, the quartet conjures up the substantive form of Motian’s sound just as proficiently as it imbues it with his ethereal qualities.

The album is Self-Produced.

Download a free album track at AllAboutJazz, courtesy of the artists.

You can stream the entire album, and purchase it, on the ensemble’s bandcamp page.

Available at eMusic.  Available at Amazon: CD | MP3