Dec 22 2013
Brian Landrus Kaleidoscope – “Mirage”
Bird is the Worm has documented plenty examples of musicians attempting to blend influences, mesh approaches, and fuse together contrasting sounds. If anything, this is both typical of the modern jazz scene, as well as its primary contributing factor to why Jazz has become so difficult to define and categorize. The upside is that this approach leads to some exciting music, even if not all of it is entirely successful. The creative spirit that drives Jazz leads to the most wonderful of surprises.
Key to bringing together disparate elements in the same recording is to render the individual ingredients into a new form and altered shape that still allows them to float to the surface with their identities intact, while simultaneously having a transformative effect on the other, contrasting elements. The influences must be changed and not changed, recognizable and brand spanking new.
On Mirage, the gorgeous new recording by the Brian Landrus Kaleidoscope, the funk and groove of 70s soul jazz is meshed with the modern jazz utilization of strings, and the resultant sound is one that should serve as a vanguard example of how to fuse disparate elements into one on a modern jazz recording.
Your album personnel: Brian Landrus (baritone & bass sax, bass & contra-alto clarinets, bass flute), Rudy Royston (drums), Nir Felder (guitar), Frank Carlberg (piano, Rhodes), Lonnie Plaxico (electric & acoustic bass), Mark Feldman (violin), Joyce Hammann (violin), Judith Insell (viola), Jody Redhage (cello), and Ryan Truesdell (conductor).
This wasn’t just a wild Hail Mary shot that just luckily found its mark. On previous recordings, Landrus has shown an adept touch with the groove-focused sound, instilling an elegance into the bright electric fusion. And conductor Ryan Truesdell displayed his talent at wielding a big sound and giving it a crystal clear focus on his Gil Evans Project. Pianist Carlberg, perhaps more than anyone on this session, has been involved in a crazy display of crossover projects. Veteran bassist Plaxico was the perfect choice for an album that is anchored to grooves, and drummer Royston’s pronounced drumming on Bill Frisell’s heavily melodic recordings is exactly what this project required. Guitarist Felder has the rock ‘n roll thing going for him, as well as the Greg Osby reference, but it may be his contribution to Ben Wendel’s genre-bending Frame that is most illustrative of why Felder sounds right at home in the mix of influences that mark Mirage.
And then there’s the string quartet. This is not a superfluous addition meant to boost the breadth of the album’s wingspan, nor is it a cheap grab at emotional soft spots. The strings share the stage both as soloists and accompaniment, sometimes working together as a team, sometimes breaking off from one another and getting to individual tasks of melodic development, rhythmic support, and harmonic initiative.
The sequence of the songs is of no little interest, with the melodic elements emphasized more in the first half of the album, and the rhythm taking increasing control as the album approaches its conclusion.
The album opens with “Arrival,” an up-tempo piece with a sunny attitude, gliding along through a series of solos that features strings and clarinet. Both melody and rhythm exemplify the song’s fluid motion, and both command equal attention, thus elevating this music’s seamless presentation to something quite as lovely as it is engaging. “Sammy” continues along this line, leading out with some alluring harmonics with strings and low-end reeds, before breaking into a spry cant, accentuated by the guitar section, and driven by Royston’s frenetic delivery on drums.
“Don’t Close Your Eyes” slows things down a bit, keys and strings insinuating a bit of an R&B groove… an insinuation that grows stronger when Landrus emphasizes it. Carlberg gets off a nice contribution here, dancing notes off the tips of the rhythm section’s needles.
The album has a couple of interludes. “A New Day” is all strings, serving as transition from the R&B groove of “Don’t Close Your Eyes” and the determined gait of “The Thousands,” a piece that opens with a Plaxico bass solo, then slides into a modern jazz piece that gets off quick shots, and then bobs and moves before returning for more. As the song reaches its conclusion, it echoes the melody of second track “Sammy,” and tightens up the album cohesion even more satisfyingly. “Reach” is a Landrus solo, deep voiced yet restrained, and bridges the gap between the languidly swaying “Someday” and the patiently building tide of title-track “Mirage.”
“I’ve Been Told” comes right out of the gates with a thick groove, and yet the buoyant melodic delivery by clarinet, bolstered by strings, gives the song an airy presence that belies its rhythmic quality. “Three Words” and “Jade” both maintain a similar vibe, though ramping up the contemporary fusion aspect a couple notches. But even here, the album’s cohesion in maintained with the contributions from the string quartet… on the former, via a nifty break in the action with a string solo, altering the course of the rhythm section, and in the latter, with a furious violin solo atop the groove and well-placed harmonic glides across the rhythm’s surface.
The album ends with “Kismet,” a Landrus solo with a storyteller’s heart and the economical delivery of an introverted thinker. It is both evocative and cerebral, and it’s a nice send-off to this excellent recording.
Released on BlueLand Records.
Jazz from the Brooklyn scene.
Mar 26 2015
This Is Jazz Today: Ben Goldberg, Petros Sakelliou, Yves Rousseau 4tet & more!
This is a good week for those of you who prefer your music to wander out to the fringes and take an unconventional path getting there. Many of the albums recommended from this week’s batch of new jazz releases will satisfy that particular craving. That said, there’s a couple excellent options for those who prefer their jazz come at them like a fastball right over the center of the plate.
Nobody gets left out of the recommendations column. I’ll always find something you like. With that thought in mind…
Let’s begin.
*** Pick of the Week ***
Ben Goldberg – Orphic Machine
Goldberg has always been the inventive sort, but it’s his way of being sneakily avant-garde that should earn him the most praise. His ability to render challenging music into something quite embraceable is no easy thing, but that Goldberg does it one project after the other is a considerable feat. His newest has him putting to music the words of his former teacher’s book about the art of poetry. Joined by a very strong cast (Ron Miles, Myra Melford, Kenny Wollesen, Ches Smith, Greg Cohen, Rob Sudduth and Carla Kihlstedt), Goldberg turns the didactic into the kind of creative inspiration that the lyric’s source material instructed upon.
Read more about this album on Bird is the Worm this Monday, March 30th.
Released on BAG Productions/Royal Potato Family.
Artist site | Listen | Buy: eMusic – Amazon
*****
*** This week’s featured albums ***
Petros Sakelliou – Visual Music Circus (Self-Produced)
A very cool perspective from pianist & composer Sakelliou, who nicely fuses Mediterranean, Afro-Latin, jazz and classical into a singular expression. His large ensemble, strong on the reeds & strings, deftly gives a light touch to a big sound. Whimsical, enlightening and inventive. Expect to read more about this album on Bird is the Worm in the coming weeks.
Artist site | Listen | Buy: Bandcamp – eMusic – CDBaby – Amazon
*****
Max Frankl – Fernweh (Unit Records)
Nice textures created by Frankl’s use of acoustic, electric and classical guitars. Shifts between straight-ahead modern, Nordic serene and shades in-between. Strong imagery, often quite vivid.
Artist site | Listen | Buy: eMusic | Bandcamp | Amazon
Read more about this album on Bird is the Worm (LINK).
*****
Yves Rousseau 4tet – Akasha (Abalone)
Stunning chamber jazz session from bassist Rousseau’s quartet (which includes drummer Christophe Marguet, violinist Regis Huby and saxophonist Jean-Marc Larche). Vivid harmonic passages are the glue between strong melodic surges and punctuated rhythms. Strength and beauty.
Artist site | Listen | Buy: eMusic – Amazon
*****
Ryan Truesdell’s Gil Evans Project – Lines of Color (Blue Note/ArtistShare)
A live performance of Truesdell’s Gil Evans project that’s no less brilliant than its studio companion. The orchestra’s big sound is made unimposing by its abundance of warmth. An amazing album that repeatedly provides a sense of liftoff.
Artist site
*****
Aaron Comess – Aaron Comess Quintet (Innsbruck)
Very likable live sets from drummer Comess. Covers of Coltrane’s “Resolution” and Harris’s “Freedom Jazz Dance” are excellent centerpieces for the straight-ahead originals. Vibrant music with plenty of heart.
Artist site | Listen | Buy: eMusic – Amazon
*****
George Crowley – Can of Worms (Whirlwind)
An interesting session from saxophonist Crowley’s quintet. Twin tenor sax formation leads to some nifty solos and warm harmonies. Those tunes where he launches off from standard post-bop to fuzzier forms of jazz/not-jazz is where the album really takes off.
Artist site | Buy: eMusic – Amazon
*****
Clara Haberkamp Trio – You Sea! (Laika)
A pleasant easy-going nature to Haberkamp’s newest, which gives the piano trio format some disjointed and rambunctious moments that ratchet up the album’s personality. Strong melodic treatments add contrast, especially when the vocals enter at unexpected intervals. Plenty here to like.
Artist site | Buy: eMusic – Amazon
*****
Beppe di Benedetto 5tet – Another Point of View (TRJ Records)
Solid new release from trombonist di Benedetto. Like his solid 2012 release See the Sky, his quintet generates plenty of warmth and buoyant energy. Straight-ahead jazz that speaks to both old- and new-school forms of expression.
Artist site | Listen | Buy: eMusic – CDBaby – Amazon
*****
Kevin Eubanks & Stanley Jordan – Duets (Mack Avenue)
Remarkably engaging duo guitar set from two vets of the jazz scene. Tunes possess a peaceful easy-going ambiance, even when the duo tackles the complexities of a composition or just decides to bring some heat. Quite beautiful.
Download a free album track at Eubanks’ site (LINK).
Artist site | Listen | Buy: eMusic – Amazon
*****
The Ordinary Square – When In Paris (Hoob)
Engrossing modern straight-ahead set from this Swedish quartet (sax, piano, drums, bass). When they turn up the heat, it keeps to a comfortable warmth and when they enter a moody phase, the music stays sufficiently sunny to keep away the sadness. Nice rainy-day music.
Artist site | Buy: eMusic – Amazon
*****
Chris McNulty – Eternal (Palmetto)
Rather struck by the accompaniment of vocalist McNulty’s trio as well as the chamber orchestra. There’s a subdued grace to the music, even as it gives the impression of a sweeping majesty. Pretty music that stays sincere.
Artist site | Buy: eMusic – Amazon
*****
Reggie Quinerly – Invictus (Self-Produced)
Drummer Quinerly’s newest is noticeably more standard modern fare than his excellent 2012 release, Music Inspired by Freedmantown. That said, it’s plenty likable, and radiates a real friendly sort of energy. Warren Wolf’s work on vibes are an absolute delight on this session.
Artist site | Buy: CDBaby – Amazon
*****
Have a great time digging through the list!
And remember, it’s simple: You like what you like.
Cheers.
***
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By davesumner • Jazz Recommendations, Jazz Recommendations - 2015 Releases • 2 • Tags: This is Jazz Today