On Sakura, Barcelona-based trumpeter Natsuko Sugao fuses a straight-ahead bop sound with the music of her native Japan.  And fuses is the operative word here, as this isn’t really a blend of influences or an amalgamation of disparate sounds… this is a side-by-side presentation of these musics, and the truly fascinating part is how well they transition from one to the next and then back again, even with moments when one bleeds slightly into the other, creating momentary bits of brilliant and unexpected fusion.

Ultimately though, a track like “Libelula,” with its traditional Japanese vocals accompanied by brush work and some sporadic piano is followed by the hard bop warmth of “Joc.”

“Mar de Invierno” hints at transitioning within the span of one song, as an upbeat bop hits the finish line with a flute section that hints at Eastern influence, and ends with a crash of cymbals.  The intro to subsequent track “Sakura” pairs trumpet with mbira, presenting a touch of the cross-continental soulfulness of the old Codona Trio recordings (Cherry, Walcott & Vasconcelos), which, in turn, leads into an alluring bop section that’s full of energy, yet hangs on every note and exudes an appealing moodiness, as well.  This is followed by more of the same on “Natsumatsuri,” a song that swings with a joyful cadence and tuneful solos.

“Tsukishima” breaks from the mold just a bit with a short burst of free improvisation.  And when followed by the fragile beauty of the gentle piano introduction to “La Isla,” the fluid transformation is momentarily staggering.  And then the album gets back onto more familiar ground when the rest of the ensemble joins in and hits the gas pedal for a jaunty section featuring some nice accompaniment on flute and some stellar call and response between trumpet and sax.  The melody, both catchy and heartwarming, coalesces later on in the song, and it’s well worth the wait.

The album ends with “Haruka,” a song that opens with a wide, yet almost gentle sway, then leads into a middle section for a set of nifty solos over swing, before returning to a more languorous, more harmonious state for the final notes.

An album with an appealing lyricism, a bevy of well-crafted melodies, and an abounding warmth that just doesn’t quit.

Your album personnel:  Natsuko Sugao (trumpet, flugelhorn), Gonzalo Levin (tenor sax, flute), Darío García (trombone), Ivan Gonzalez (French horn), Enric Peinado (guitar), Marc Cuevas (contrabass), and Joasema Martín (drums, percussion).  Unaccredited:  Voice, Mbira (though I suppose it could be a dulled kora (doubtful) or even a biwa (very doubtful)).

Released on Whatabout Music.

Jazz from the Barcelona scene.

Available at:  eMusic | Amazon MP3

*****

Other things you should probably know:

It appears that Sugao is or was a member of one of David Mengual‘s large ensembles.  Mengual is someone who hasn’t yet received any meaningful print on this site (yet), but a couple of his albums have made my eMusic Jazz Picks columns, and he’s on a short list of musicians whose discographies I’ve been wanting to dig into.  So, I figured I’d make mention of Sugao’s contribution to that music.  Here’s a link to one of my eMusic Jazz Picks columns that lists a Mengual recording.

A Long Story Short, the new release by the Rembrandt Frerichs Trio, is an album of two phases.  Its most striking feature is a richly conversant rhythmic array, revealing strengths in the dynamics of the details as it does in the delivery of its electric charge.  It is in the uptempo pieces where this particular album’s characteristic is most accurately defined.  But this is also album that slows things down to a contemplative drone, to where the rhythm gets swept up in the melody’s strong and beautiful flow.  The shift between these two phases is presented in a way completely natural, and the contrast between the two binds the album’s individual songs cohesively with as much force as its commonalities.

Your album personnel:  Rembrandt Frerichs (piano, harmonium), Tony Overwater (bass), and Vinsent Planjer (drums).

For the latter phase, it’s Overwater’s bass arco that behaves as the primary melodic device… either by way of statement or accompaniment, its presence is most resonant on a recording that is highly evocative.

“Hedashr,” with its deliberate tempo, is given a warm personality by the strata of Frerich’s piano and harmonium, but it’s Overwater’s cool bass arco carries the greatest weight.  And on tracks “Stav,” and “Long Story Short,” bass arco is in the drivers seat, with Frerichs’ piano accompaniment shadowing its path and marking its shape in partnership with drummer Planier.

As he did on his 2012 release Continental, Frerichs tackles a Coltrane composition.  This time it’s “Naima,” and while using bass arco to lead out on this traditionally introspective piece may seem at first blush like an easy grab at the heartstrings, the trio’s tasteful rendition renders that initial observation obsolete, providing both an honest take on the song while also fitting a bit of moodiness between two upbeat album tracks.

“December” illustrates the trio’s focus on toying with tempo.  Much like how pockets of rapids move at different speeds within the same river’s flow, each trio member sets their site on the song’s horizon line and, at first, proceed as one, but then break apart and head out at their own individual pace… yet still as one.  A different effect comes across on “Once Upon a Time,” which behaves more as a game of leap frog, with the motion created by the perpetual change in position.

“Spring Bells” is all kinds of chipper… a melody light on its toes, and a rhythm that propels it ever upward.  “Elf” ups the ante on both of those fronts, a tidal wave of rhythmic intensity and a pretty melody that hides within it.

Just a real lively and exciting album that allows all kinds of lovliness to shine brightly.

Released on Challenge Records.

Jazz from the Rotterdam, Netherlands scene.

Available at:  eMusic | Amazon CD | Amazon MP3

There’s a very personable quality to the quirkiness of Bangård, the new release by the Rasmus Nyvall Kvintett.  Consisting of two ensembles, a quintet and quartet, the music shifts between soulful music with spasmodic tendencies and a chamber music beauty that induces contemplative reveries.

The quintet features the vocals of Linda Bergström and straddles a peaceful Nordic folk-jazz approach, though with improvisatory bursts to shake the music free of any impending sleepiness.  Bergström sings in her native Swedish tongue, providing a sense of intimacy via the sense that these are the true words, the undiluted message of the lyricist, and the substance of that meaning outweighs the ability to understand the actual lyrics.  Nyvall sticks to tenor sax when with the quintet, a flighty presence that hops about at a moment’s notice.

With the quartet, however, Nyvall is on clarinet, and considering this formation is strictly wind instruments, it’s understandable that his demeanor has a more defined grace than when with the quintet, where he’s called upon to provide creative outbursts in wide open spaces.  The wind quartet is a moody soul, but from it shines a melodic light full of hope and happiness.

The four wind quartet contributions are spread throughout the album, constructing the album in a way that provides some of the reassuring certainty of artistic structure, while also allowing for plenty of space in between for improvisatory jumps and leaps of faith.

A likable album, one that hasn’t yet really gotten its claws in me, per se, yet I find myself compelled to return to it each day.  I’ve always taken that for a good sign, and it pretty much guarantees a write-up on this site.

Your album personnel:  The Quintet: Rasmus Nyvall (tenor sax), Linda Bergström (vocals), Fanny Gunnarsson (piano), Mattias Hjorth (double bass), and Kristoffer Rostedt (drums).

Your album personnel:  The Quartet: Rasmus Nyvall (clarinet), Ellen Pettersson (trumpet), Cecilia Sandgren (French horn), and Daniel Cederskär (bass clarinet).

Released on Havtorn Records.

Jazz from the Malmö, Sweden scene.

Available at:  eMusic | Amazon MP3

Bajan Jazz Routes Vol.1, the debut EP by the 1688 Orchestra, is an example of why I enthusiastically pour over the new release listings and give everything a listen.  A big band that utilizes steel pans as part of its mix of Jazz and Caribbean music, the 1688 Collective is the vision of Stefan Wolcott, who wanted to provide a platform for both professional musicians and students alike to collaborate and develop.  The Collective consists of different ensembles, with the full orchestra presented on this recording.

This is music that comes right out swinging, with the shimmering electricity of pans meshing with punchy cadences and the boisterous attitude of a platoon of wind instruments and a rhythm section with a driven determination.  The array of pans is the most compelling aspect of this recording, especially in how their unique expressions are able to differentiate themselves while still interacting as simply another facet of a standard big band presentation.  Adding to the intrigue is the way in which the resonant warmth of the pans pair with a violin solo on “For Very,” illustrating yet another captivating aspect of this ensemble’s sound.

But this isn’t some sort of novelty.  The ensemble’s buoyant demeanor, shouting out melodies while riding the waves of fluid grooves possesses an enthusiasm that is undeniably catchy and abounding with personality… the kind of energy that is so easy to embrace and the kind of music that is 100% fun.  I’m absolutely thrilled to have stumbled upon this recording.

Your album personnel:  Stefan Wolcott (double seconds pan, percussion, artistic director), Shawn Layne, Kevin Moore, Erin Hazelwood, Kweku Jelani, Kevyn Lynch (trumpets), Jomo Slusher, Matthew Squires (trombones), Romaro Greaves, Joseph Callender, Gary Goodrige (alto saxophones), Nicholas Timothy, Davian Alleyne, Shawn Yarde (tenor saxophones), Jerome Clarke, Huge Griffith (baritone saxophones), Rosson Wiltshire (pans), Dwain Gill (tenor pan, violin), Andre Forde (guitar pan, tenor pan), Jason Morris (tenor pan), Mark Forde (double tenor, tenor pan), Maria Beckles (double seconds pan), Petra Welch, Farakhan Stephens (drums), David Haynes, Richard Evans (bass), and Richard “Salief” Smith (percussion).

The album is Self-Produced.

Jazz from the Barbados scene.

Available at:  eMusic | CDBaby | Amazon MP3

The Collective also appears to be involved in social activities, mostly centered around working with youth through the arts.  It seems like most retailers have the digital album download set between four and five bucks.  Go and buy yourself some fun music and support a worthwhile organization in the process.

Here again is a link to their Facebook page, which documents both their music and outreach.