Monthly Archives: May 2014

With the sound and enthusiasm of the Mardi Gras Indians as the source of their influence and spirit, the octet of Brass Mask brings together the traditional sound of New Orleans and the looser, forward-thinking qualities of the modern UK scene.  The resulting album, Spy Boy, is music that emits all the euphoric warmth of the former and the cerebral inventiveness of the latter.

Songs like “Indian Red” and “I Thank You Jesus” predominate this album of hopping cadences, spritely melodies, and thick warm blankets of harmony.  The former of those tracks possesses an old-soul blues that sings of life’s pain and joy, whereas the latter track is a slow blues roar straight from the church steps.

But this is not going to be a throwback album.  The members of Brass Mask also participate in modern acts like Fringe Magnetic, Loop Collective, Dice Factory, Golden Age of Steam, Anthony & the Johnsons, Examples of Twelves… inventive ensembles which defy neat classification.  So, a song like “Shallow Water,” which clearly embraces the spirit of the targeted New Orleans sound, is going to have circuitous patterns of development superimposed over its parade march cadence.  Staking out similar territory is “Onnellinen,” but this time around, the octet only hints at New Orleans and instead suffuses the song with a soulful, shifting groove more reflective of the modern jazz that marks the UK scene of today.

Further evidence of this can be found in tracks like “Iksnal,” with its slowly drifting harmonies atop crisp drumming that’s more ambiance than song, and “Don’t Stand Up,” with its frenetic rhythms as the foundation for one nifty solo after the other, broken up by the occasional exhalation of harmony.  “Francis P” celebrates its frayed ends and ragged edges, the melody sounding like a loose assemblage of spare parts and harmonies like duck tape wearing thin.  It’s the kind of element that gives the album a necessary contrast to songs that typically flow together with a pleasing cohesion.

A personable album that offers up the right mix of accessibility and inventiveness.

Your album personnel:  Tom Challenger (tenor sax, alto clarinet), Dan Nicholls (tenor sax, bass clarinet), George Crowley (tenor sax, clarinet), Alex Bonney (trumpet), Rory Simmons (trumpet), Nat Cross (trombone), Theon Cross (trombone), and John Blease (percussion).

Released on Babel Label.

Jazz from the UK scene.

Available at:  Bandcamp CD&Digital | eMusic | Amazon: CD – MP3

One of those under-the-radar albums that has really been floating my boat is the self-titled new release by Peregrinos, a duo of guitarist Raimundo Santander and drummer Rodrigo Recabarren.  It’s a Chilean Jazz recording at its heart, but, intriguingly, it accents its music with the influence of the NYC post-bop scene that Recabarren now calls his home.

The immediate evidence of this approach is second track “Huellas en el Cielo,” in which Santander arranges a confluence of tracks by bop saxophonist Wayne Shorter and Chilean folklorist Violeta Parra.  Breezy rhythmic interludes of steel stringed guitar highlight an abounding peacefulness that resonates far greater than might seem possible from its tiny sound.  Title track “Peregrinos” charts a different course to the same location, slowly unwinding a Chilean folk tune, then concluding it with something more akin to the NYC post-bop scene.

Breezy, tranquil tunes are the norm on this personable recording.  “Niño Luchín” develops an hypnotic cadence, which it then shatters with a gorgeously stunning guitar outro.  A track like “Parsimonia” keep things sunny and light, and the music, though comporting itself with a calm restraint, provides the sense of a vast horizon.  Reminiscent in that way guitarist Diego Barber creates big music with small sounds, Peregrinos makes the act of delivering an expansive sound seem effortless.

NYC saxophonist Joshua Kwassman guests on “For Our Last Day,” one of the few tracks that wasn’t drawn up by Santander.  The addition of saxophone provides some satisfying depth and texture to music that typically fades to serenity.  “Sube” is the other upbeat album track, and has Recabarren charging ahead on drums while Santander shifts from a snappy folk music intro to closer out with an electric guitar burn.  The cadence throughout is sharp and to the point.

But those are the outliers.  The album ends in more typical fashion with “Mapu,” a song that incites trance through gentle rhythms and personality through ambient, peculiar folkloric expressions.

I’m quite taken with this recording.

Your album personnel:  Raimundo Santander (guitars), Rodrigo Recabarren (drums, percussion), and guest:  Joshua Kwassman (alto sax).

Released on Discos Pendiente.

Santander is part of the Santiago, Chile scene while Recabarren is now part of the Brooklyn scene.

The cool cover art by Sol Diaz.

Available at:  eMusic | Amazon MP3