My review of the San Francisco Latin Jazz Society‘s This was originally published at AllAboutJazz.  You can read the original review, HERE, at AllAboutJazz.

*****

The San Francisco Latin Jazz Society is standing all by its lonesome in a corner of the jazz room. Filling a largely ignored niche, SFLJS channels late sixties Latin jazz à la Gato Barbieri and fuses it with the rock-jazz fusion that rose to prominence in the seventies with bands like Mahavishnu Orchestra and the Love, Devotion, Surrender (Columbia, 1973) collaboration between guitarists Carlos Santana and John McLaughlin.

On its previous release Now What, SFLJS kept a course bordering close to the avant-garde territory to which Barbieri led his ensemble on the seminal In Search of the Mystery. On This, however, the SFLJS’s focus is heavier on the ’70s psychedelic trip-jam. The result is a series of compositions with hazy riffs, intoxicating vamps and billowy grooves.

The title track opens the album with drips of keyboard and drops of percussion that grow into a cascade of guitar lightning and trumpet thunder. “For Demian” follows, starting with a languid sense of peace that builds up to anthemic shouts to the skies above. “Mambo Psychedelic Blues” tosses fire in all directions, but it’s the casual loping bass lines that drive the tune. “Right Here” bounces along with a buoyant groove, even as guitars slash across the rhythms with razor sharp distortions and keyboards scatter skewed notes around the melody like rose petals. “That” provides for some strong soloing over infectious Latin rhythms. The album finale, “Amen,” is a boiling cauldron of notes that cooks itself away and ends with steamy wisps of flute.

Listening to a disparate amount of jazz, the development of the music over time becomes apparent. It’s an exhilarating sensation to hear an album that has stepped outside of the jazz timeline and recorded music that has a heart beating in the present day yet with an old soul sound. This is deliciously nostalgic to a time of vast musical experimentation, and the San Francisco Latin Jazz Society imbues this sound with a modern voice to make for some very compelling music.

Your album personnel:  Scott Brown (guitar & percussion), Jim Gordon (tenor sax & piano), Andy Woodhouse (bass), John S Rodriguez (drums), and Alex Nunez (conga).

Released on the Ahau Records label.  Jazz from the San Francisco scene.

You can download a free album track at AllAboutJazz, courtesy of the artists.

Available at eMusic.  Available at Amazon: CD | MP3

Tiny Reviews, featuring:  Jeff Parker Trio Bright Light In Winter, Jenny Scheinman Mischief & Mayhem, and Dialogues Trio w/Julian Siegel Twinkle Twinkle.

Three tiny reviews, three strong albums, three recordings I keep coming back to.  I love when I get to put together a Tiny Reviews post in which I’m excited about all the music, and where the artists provide music to stream (and embed), information about the recordings and personnel, and all the types of elements that make music discovery such a joyful experience.

Let’s begin…

Jeff Parker Trio – Bright Light In Winter

An astoundingly tuneful album from Jeff Parker, who continues to be one of the more thought-provoking guitarists of his generation.  The trio creates an enchanting atmosphere of many interconnected anecdotes that reveal themselves, ultimately, to be a part of a much larger conversation.  Just plain beautiful at times.  Parker’s sound hasn’t always meshed well with my ears, whether it be one of his own albums or as part of one of his various jazz, rock, or in-between projects (ie, Tortoise, Isotope 217, etc), but this album really connected with me instantaneously, and over the course of a month, I have been coming back to this album with increasing frequency.

Your album personnel:  Jeff Parker (guitar), Chris Lopes (bass), and Chad Taylor (drums).

This album possesses a warmth tough to encapsulate with words, difficult to measure with numbers, but felt so completely as to make it the most blindingly apparent sensation in the world.

Released on the Delmark Records label.  Jazz from the Chicago scene.

Available on eMusic.

Jenny Scheinman – Mischief & Mayhem

Violinist Jenny Scheinman continues to develop her sound, simultaneously making it increasingly unclassifiable.  Unequal parts jazz, folk, rock, Americana, avant-garde, and Other Stuff, this is an intoxicating mix of tunes that shouldn’t be passed by.

Your album personnel:  Jenny Scheinman (violin), Jim Black (drums), Nels Cline (guitars), and Todd Sickafoose (bass).

Scheinman pretty much owns the heartstrings of anyone who listens to her slower tempo pieces, but the soul of her musicianship is more likely to be found in those tunes where the pulse goes up and the rhythms dash out ahead and don’t look back.

The only time there’s any road bumps on the album, it’s when the sound gets abruptly dissonant, or when Scheinman plays Frankenstein with the melody.  But this is an opinion I’ve held on previous releases, so it’s probably not a bad idea to chalk up that criticism to subjective taste and let your own ears decide for themselves about that type of composition.

The album is Self-Produced.  Jazz from NYC.

Available on eMusic.

Dialogues Trio w/Julian Siegel – Twinkle Twinkle

Intriguing quartet recording in which the album theme is based around the song “Twinkle Twinkle Little Star.”  Best tunes on the album favor the reeds in the lower registers, getting that deep sound that ranges from throaty to velvet-smooth.  Sort of an avant-swing sound.  Plenty of moments that, if examined under a microscope, would look suspiciously like free jazz, but in the context of the entire composition, well, the foot is probably tapping along the entire time.  Song “Venus” is pure intrigue and beauty.  Opening track “Waltz For Rossie” is the kind of album invitation that’s impossible to resist.

Your album personnel:  Bruno Heinen (piano), Andrea Di Biase (bass), Jon Scott (drums), and guest: Julian Siegel (bass clarinet, tenor sax).

Released on the Babel Label.  Jazz from the London scene.

You can stream the entire album on the label’s Bandcamp page.

Available on eMusic.

That’s it for today’s article, and the first of three (or maybe 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.

Han-earl Park has a special place in my music experience.  I think, without exception, there has not yet been an opening to any one of his compositions where I have not had an adverse reaction, either repelling me back in my seat or leaving me shaking my head in exasperation of the noise coming out of my speakers.  But the thing of it is, without exception, I find myself listening straight through to the final note.  Somehow Han-earl Park finds a way to convert my ears to his music one song at a time.

I vaguely recall a story where a main character lacked all identity, to the point where he had no self-conscious awareness of his own image, his persona, his sense of self.  And each morning, when he awoke, he had to reconstruct himself, determine who he was, who he wanted to be, and go from there.  And he had to do this every single day, with no help or suggestion from days past.  Just start over every day with, effectively, a fresh slate… no preconceptions of who he was, no guilt, no remorse, no aspirations, no expectations, no history to weigh him down or dreams of the future to loft him up.

That, in a very real sense, is what Han-earl Park’s music is to me.  Something about the sound he (and his various collaborators) attains that forces me to interact with each song on its own terms, with no prior context, no expectations based on past experiences, nothing, nada.  Granted, I haven’t heard the entire body of his work, but I’ve visited his site on several occasions to give the music a listen, so I’m no Park rookie either.

There is no other artist in which I describe this way.  It’s a personal thing, to be sure.  Other listeners will assuredly have different reactions to Park’s music.  Other listeners may have a similar experience but to a different musician.  That’s how these things typically play out.  Music, though it may spring from a collective subconscious, will always have a unique and individualistic interaction with each and every listener the music encounters.  That personal factor is why music, and creativity in general, is so damn resonant.

Anyways, now that we’ve gotten that out of the way, let’s talk about the music…

On this recording, Han-earl Park (guitar) is joined by Catherine Sikora (saxophone) and Ian Smith (trumpet), recorded live on April 4, 2011 at The Roundy, Cork.

Park likes to improvise.  He likes to collaborate with musicians who like to improvise.  It would be simple to categorize this music as free jazz or avant-garde, but really both of those areas of music have, over time, developed agreed upon rules of engagement.  And while free jazz does have improvisation at its heart, sometimes it’s just good to call music Improvised Music, if for no other reason than to respect the act of artists following their creative muses in a fluid situation.  Considering this is a live recording, I think this situation applies.

Your album personnel:  Catherine Sikora (saxophone), Ian Smith (trumpet), and Han-earl Park (guitar).

On the opening track “Topologically Correct Harry,” it’s Sikora’s sax that ushers the listener right on in through the front door.  Utilizing a pattern of phrasing that gives the impression of outlining a mountain range from a distance, Sikora’s sax is at the center of attention, with Smith’s trumpet searing blemishes of heat on a radar screen as Park’s guitar gurgles and pops just beneath the surface.  Originally, my intention was to write this album up as part of my First Impression series, but I kept wanting to return to hear Sikora’s sax on this track, and I had listened to the track several times and developed second and third impressions before I could write up my first impression of the album as a whole.  And, thus, this standard album review.

The second track “바르트” has Ian Smith’s trumpet setting the table and drawing up a spontaneous menu of jab-right-cross combinations.  Sikora moves in slow, but once she’s got both feet in the room, her sound expands into wildly arcing phrases that, when combined with Smith’s one-twos, makes for a delicious whirling dervish of sound.  Park mostly keeps to the background, picking his spots and letting things develop organically.

Third track “Red Line Speed” begins as a slow build that gains momentum along with height.  It hits a plateau at the heart of the song, giving the sense of all three instruments feeling around in the dark to figure out the lay of the land before continuing their ascent in the final stretch of the track.

Fourth (and final) track “Massimo’s Imagined Juxtapositions” is a lonely streetlight on a deserted midnight avenue, and the instruments are the moths darting in and out of the dim light carved into the darkness.

The album is Self-Produced.  The geography on this one boils down to two New York based musicians (Park & Sikora) and one London based musician (Smith), though there are some past ties to Ireland (and California).

You can stream the album in its entirety on the trio’s Bandcamp page.  You can also purchase it there, in any file format, and at any price you choose.  It is set at NYOP (Name Your Own Price), which means you can pay as much or as little (including free) as you choose.  Also, don’t forget that Bandcamp allows you to download in a number of different file formats (including lossless) at no additional cost.

I’ve linked to the various musician sites above, but here’s the link again to Han-earl Park’s site, where he has a ton of music to stream and/or download for free.  It’s a real great opportunity to just explore his music.

I think that about covers it.

Cheers.

P.S.  In reading over this article after it was initially published, I noticed that somehow I failed to explicitly mention how much this album rocks.

My review of Will Fisher‘s Portage has been pubbed at AllAboutJazz.  You can read the original review, HERE, at AllAboutJazz).

*****

Whereas some drummers lead the charge and others spur on the ensemble from behind, Will Fisher takes the approach of examining the landscape from above and letting his rhythms settle down into the seams between the notes of others. The opening “The Great Karoo” puts this method on display right from word go.

Guitarist Mikko Hilden leads with a catchy line that bassist Mike Downes matches step for step. Pianist Nancy Walker adds her voice to the mix, followed by soft pronouncements from trumpeter Jon Challoner. Left to their own devices, these four instruments would make for an interesting tune of unconnected parts. The way Fisher lays the rhythm over the top of it all, however, brings cohesion to the tune, and, musically, offers up an extremely satisfying moment of musicianship, something that is repeated throughout of Portage. Fisher is the album’s glue and, though this is not an unexpected role for an album leader to assume, it is a surprise in the context of Portage being Fisher’s debut.

Your album personnel: Will Fisher (drums), Mike Downes (bass), Mikko Hilden (guitar), Jon Challoner (trumpet, flugel), and guests: Nancy Walker (piano) and Matt Giffin (piano).

Following the ebb and flow of the opener, the album’s title track begins with an alluring drone, the bass playing arco, and shimmering cymbals and percussion jangles. The quartet lets the sense of mystery and spirituality hang in the air as Challoner’s trumpet moans forlornly, progressing warily as if a boat coursing its way through a foggy night sea. Fisher enters with a rhythmic cross-current that, rather than wash everything over, fuses the divergent patterns into one.

The middle section of the album falls into more familiar territory. With the pop and bounce of “Top, Bottom, Slide,” the quavering-heart ballad of “Vestibules,” and the rock-influenced modern jazz of “Lite Brite,” Fisher hits many standard thematic locations. No weak links here, but also not as fascinating as the opening tracks.

Things start getting interesting again with “Falling Arbutus,” which opens with an extended bass solo that is anything but obligatory. It begins slow, occasionally looking over its shoulder to be sure the listener is keeping up, then builds both in speed and intensity. At the finish line, when Downes hands the baton to the rest of the quartet, the ensemble doesn’t miss a beat: they stream right along as one. Trumpet and guitar lead the way, taking turns with fiery solos.

The album ends with “Cape Breton Lullaby,” which covers the expanse of two tracks. The lullaby begins with a piano solo that doubles as an invitation to a quiet end of the night. The intro leads into the quartet’s reunion, and the album’s grand, and gracefully restrained, finale. Chaloloner plays long sonorous notes, Hilden wavers in the distance, Matt Giffin’s piano expands on the seeds of its solo, and the rhythm section skips like stones across the water. It’s a strong end to a very strong album.

The album is Self-Produced.

Jazz from the Nova Scotia, Canada scene, though Fisher has been living in Louisville, KY the last couple of years.

You can download a free album track at AllAboutJazz, courtesy of the artist.

You can stream the album on Fisher’s Bandcamp page.  You can also purchase it there, in many different file formats, including lossless.