Jazz Recommendations

The last time this site featured one of Jacob Garchik’s visions, it was a gospel work of potent harmonies and melodies as endless at the prettiest sunset.  The theme of The Heavens was a solo trombone sermon on Garchik’s love of religious music, gospel especially, and his view of science and religion as it exists in our universe.  On his new release Ye Olde, it’s a different sound and different building blocks and a different theme, but the vision he projects rings with the same clarity and sharpness.  Joining up with Garchik’s trombone are three different guitarists, a drummer, and an unlimited supply of gasoline.  A perusal of the song titles gives evidence of Garchik’s theme of heroes wandering an imaginary New York City whose renaissance took the shape and form of a foreboding Gothic landscape.  And from the brutish architecture that defines these compositions, it’s obvious that the entire crew pushes all-in on Garchik’s vision.

The album’s opening tracks (“The Sinister Scheme Of Mortise Mansard,” “The Sinister Scheme Of Mortise Mansard,” “The Lady of Duck Island” and “The Elders of Ocean Pathway”) all possess a heavy presence and exhibit zero inhibition to throw their weight around.  Of those four tracks, the first leads out with a shout-to-the-sky melody above a hard-charging rhythm, the second patiently throws one haymaker after the other, the third weaves together different threads into a focused stream of force, and the fourth of that batch brings the heat and an ample number of ways to set the whole damn place on fire.

“The Opossum King Of Greenwood Forest” signals a new stage of the album development with a sharp groove that cuts through some appealingly rough edges.  Subsequent track “Post-Modern Revival” builds on that foundation, but shifts into a pulsing tempo that allows for Garchik to skip melodic fragments like stones over choppy water.  And “The Battle Of Brownstone Bulge” is a hulking leviathan that sometimes wavers in and out of focus, betraying a lightness that contrasts beautifully with its massive presence.  Not dissimilar is “Refuge In The Ruins Of Castle Martense” in a stripped down sort of way.

Garchik and crew put the finishing touches on his vision with “The Throne Room Of Queen Anne,” a song that celebrates the album’s raucous nature and raw intensity while imparting the sense of finality with a casual delivery that is positively magnetic… capping an album that matches its intensity and intelligence with a huge dose of fun.

Your album personnel:  Jacob Garchik (trombone, alto horn, tenor horn), Brandon Seabrook (guitar), Mary Halvorson (guitar), Jonathan Goldberger (guitar, baritone guitar) and Vinnie Sperrazza (drums).

The album is Self-Produced.

Music from the (Flatbush) Brooklyn scene.

Available at:  Bandcamp | Amazon

I’m rather taken with the sophomore release of saxophonist Torbjørn Sletta Jacobsen.  Biting Tails is one of those recordings that hangs its hat on the shapeliness of its lyricism, and instills in its melodies an impressive malleability that allows them to conform to whatever shape best suits the prevailing tempo without doing anything to weaken their genuine beauty.

Spreading this approach out in its barest form, “Projektor” just lays the pretty melody on thick and dares the listener’s ear not to grow unconditionally infatuated with it.  There’s an appealing pop music quality to this tune, even while it sticks to Nordic Jazz territory.  Along those same lines, the fun title-track “Biting Tails” moves like a jitterbug and shapes the melody with that particular motion in mind.  The action on “On” is a bit more conventional and streamlined to let the catchy melody shine its brightest.  “UFO” adopts the same approach, but slides the tempo into cruise control.

At the quieter end of the spectrum, “Prabol” is a song that uses heartbreak as currency, and is very generous when dishing it out.  “Claudine” doesn’t stray too far from its predecessor, but aims its heartbreak inward as it cloaks itself in contemplation and introspection.  Overall, the album presents a nice mix of quirkiness to balance out the thick waves of serenity.  Plus, there’s a wildcard track like “Conion,” which adopts a determined step, and a driving tempo that adds a sense of urgency to the long exhalations of melody.  It’s a track that doesn’t fall neatly into either primary sound category, and it goes a long way to binding the two up.

Just a real enjoyable album where every tune has a melody that presents itself as a warm, friendly smile.

Your album personnel:  Torbjørn Sletta Jacobsen (alto sax, bass clarinet), Gunnar Halle (trumpet), Espen Eriksen (piano), Audun Ellingsen (bass) and Freddy Augdal Wike (drums).

Released on Curling Legs.

Listen to more of the album on the artist’s Soundcloud page.

Jazz from the Oslo, Norway scene.

Available at: eMusic | Amazon

Got a short list for you as we try to dig ourselves out of the hole of backlogged new releases.  Today, we’re serving up four relatively straight-ahead recordings, and the diversity of their sound goes a long way to illustrating just how varied even the ground at Jazz center can be.

But all that aside, this small batch should keep you occupied before the next pour.

Let’s begin…

Mike Holober – Balancing Act

Enjoyable recording from pianist and big band guy Mike Holober, who heads up an octet for his newest.  Nice opportunity to catch drummer Brian Blade and bassist John Hebert synch up, but it’s the duo-saxophone attack of Dick Oatts and Jason Rigby that results in the biggest fireworks.  Vocalist Kate McGarry’s contributions, both word and non-word, are pretty damn effective in the way she gets her parts to mingle in with the ensemble like snow settling onto the surface of a winter pond.  A rendition of “Piece Of My Heart” should’ve been a disaster, and it speaks to the strength of this outing that it actually has its moments.  The rest of the album achieves an even higher level of success.

Your album personnel:  Mike Holober (piano), Kate McGarry (voice), Marvin Stamm (trumpet, flugelhorn), Dick Oatts (alto & soprano saxes, flute), Jason Rigby (tenor sax, clarinet, bass clarinet), Mark Patterson (trombone), John Hebert (bass) and Brian Blade (drums).

Released on Palmetto Records.

Available at:  eMusic | Amazon

*****

Tobias Meinhart – Natural Perception

Saxophonist Tobias Meinhart is a pretty reliable guy.  His newest gives more of that style of modern post-bop that delivers a mix of heavy propulsion and moody reveries that are just as likely to glitter and sparkle like a diamond as they are to lay deep and heavy on the ocean floor.  Leading a quintet that includes trumpeter Ingrid Jensen, Meinhart serves up plenty of likable tunes, a tasteful sort of jazz that knows where its standing at the moment of its creation, two feet planted firmly in place.  The album’s oddball tune, a rendition of Bill Frisell’s “Throughout,” is arguably the strongest track, though the genial warmth and brisk cant of “You’re My Everything” could make a strong claim for that title, too.

Your album personnel:  Tobias Meinhart (soprano & tenor saxes), Ingrid Jensen (trumpet), Yago Vazquez (piano, Rhodes), Phil Donkin (bass) and Jesse Simpson (drums).

Released on Enja Records.

Listen to more of the album at the artist’s Bandcamp page.

Listen to the album track of that Frisell cover at Fully Altered Media’s Soundcloud page.

Available at:  Bandcamp | Amazon

*****

Oscar Perez – Prepare a Place For Me

Nice straight-ahead session from pianist Oscar Perez, leading a trio (plus frequent guest alto saxophonist), and gets a stellar performance from bassist Thomson Kneeland.  Old-school fans who like their jazz served up right over the heart of the plate will take to this one just fine.  The album’s standout track is a nifty take on Monk’s “‘Round Midnight,” which phases in and out of a Latin form, yet never threatens to leave the realm of the recognizable.  Just a solid outing.

Your album personnel:  Oscar Perez (piano), Thomson Kneeland (bass), Alvester Garnett (drums) and guest:  Bruce Williams (alto sax).

Released on Myna Records.

Available at:  Amazon

*****

Will Herrington – Solace

The debut of pianist Will Herrington is thick with the New Orleans sound and beats with a heart full of blues.  His trio set with bassist Jon Richards and drummer Andrew Boyle exudes all kinds of warmth, whether upbeat and chipper or deeply introspective.  Ambrose Akinmusire adds his trumpet on two tracks, and damn if those songs don’t sing with all kinds of feel.  Next time Herrington heads back into the studio, if he doesn’t schedule Akinmusire to work a full shift, he’s out of his mind.  This is one of those recordings that doesn’t necessarily make a huge first impression with those opening notes, but over the course of its duration reveals itself as a standout recording.

Your album personnel:  Will Herrington (piano), Jon Richards (bass), Andrew Boyle (drums) and guests:  Ambrose Akinmusire (trumpet) and Kiel Feher (percussion).

The album is Self-Produced.

Listen to more of the album at the artist’s Bandcamp page.

Available at:  Bandcamp | eMusic | Amazon

*****

Have a great time digging through the list!

And remember, it’s simple:  You like what you like.

Cheers.

***

Comparing each individual album track on Homes, the newest from guitarist Gilad Hekselman, you wouldn’t think these tunes would have any reason to hang out together in the same room.  The electric fusion sheen of “Cosmic Patience” is unlikely to find a common topic of interest with the acoustic guitar folk-jazz of “Home E-Minor.”  A wind sprint rendition of Bud Powell’s “Parisian Thoroughfare” would nervously tap its foot in silence while struggling to find a conversation starter to get things going with “Eyes to See,” with its inner-rock-anthem just waiting to come bursting out and drown out everything in the room.

A cheerful rendition of Pat Metheny’s “Last Train Home,” with its melody wrapped in a bluesy groove could probably swap stories with the gorgeous melody of the Hekselman original “Verona,” but, together, would stand silently as they watch the chipper “KeeDee” bop excitedly around the room, paying no mind to anyone in its path.  And then there’s the handful of brief pieces and interludes that behave as if they mistakenly received an invitation at the last minute and decided to show up anyway.

But Hekselman overcomes any problems this variation in sound and expression might present by crafting statuesque melodies, reflecting a thoughtfulness in planning and a meticulous construction, allowing them to stand out with sharp clarity.  And that he couches this characteristic by wrapping those melodies up with ethereal harmonies and rhythmic imagery akin to a map of stars, it’s why the songs, individually, can enter the room from any number of different doors yet come together like one big happy family.

There’s a pleasantly unassuming disposition to this album.  No one track gets right up in your face, keeping more to a rainy day ambiance that lets the music drift on in and settle in slowly.  This passivity, though, shouldn’t be mistaken for insubstantiality, because though the music’s strength is subtly exercised, it carries far and wide, and it doesn’t erode with the time of repeat listenings.  Homes will make a nice addition to your library, and pretty much is a must-buy for you jazz guitar fans.

Your album personnel:  Gilad Hekselman (guitars), Joe Martin (bass), Marcus Gilmore (drums) and guest: Jeff Ballard (drums).

Released on Jazz Village.

Jazz from the Brooklyn scene.

Available at:  eMusic | Amazon | Artist site (which has all kinds of swag combos)