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Soundtrack</category><category>Squarepusher</category><category>Stark Reality</category><category>Steven Bernstein</category><category>Streetcar Named Desire</category><category>Strut Records</category><category>Sven Libaek</category><category>Svenka Kaput</category><category>Sweet Smell of Success</category><category>Swing</category><category>Taking of Pelham One Two Three</category><category>Teppo Mäkynen</category><category>Terry Callier</category><category>The Heliocentrics</category><category>The Lost Man</category><category>The Quintet</category><category>The Split</category><category>They Call Me Mr. Tibbs.</category><category>Thievery Corporation</category><category>Thomas Heberer</category><category>Thumbscrew</category><category>Tibbs</category><category>Tim Hagans</category><category>Tim Landers</category><category>Time</category><category>Tom Tallitsch</category><category>Tomasz Dabrowski</category><category>Tomasz Licak</category><category>Tony Curtis</category><category>Touch of Evil</category><category>Traeben</category><category>Travis Reuter</category><category>Tum Records</category><category>Tyshawn Sorey</category><category>UK jazz scene</category><category>US3</category><category>Underground Resistance</category><category>Vinnie Johnson</category><category>Warp</category><category>Wayne Shorter</category><category>Willie Bobo</category><category>Winter Garden</category><category>Xploding Plastix</category><category>across 110th street</category><category>alfie</category><category>avant garde</category><category>billy womack</category><category>burt bacharach</category><category>cleopatra jones</category><category>clutchy hopkins</category><category>compost records</category><category>cyro baptista</category><category>dee-lite</category><category>drum 'n' bass</category><category>exotica</category><category>film noir</category><category>funk</category><category>hal davis</category><category>jamie saft</category><category>jimmy cleveland</category><category>joey baron</category><category>kadhri gopalnath</category><category>kenny burrell</category><category>kenny wollesen</category><category>library music</category><category>marc ribot</category><category>nu jazz fusion</category><category>o'o</category><category>sexploitation</category><category>shawn lee</category><category>sonny rollins</category><category>the Man with the Golden Arm</category><category>the dreamers</category><category>the gift</category><category>treovr dunn</category><category>trouble man</category><category>willie dynamite</category><title>JazzWrap | A Jazz Music Blog</title><description>Your source covering jazz and undiscovered music from around the globe.</description><link>http://jazzwrap.blogspot.com/</link><managingEditor>noreply@blogger.com (Stephan Moore)</managingEditor><generator>Blogger</generator><openSearch:totalResults>713</openSearch:totalResults><openSearch:startIndex>1</openSearch:startIndex><openSearch:itemsPerPage>25</openSearch:itemsPerPage><item><guid isPermaLink="false">tag:blogger.com,1999:blog-687493650841793339.post-1715628607361300144</guid><pubDate>Fri, 21 May 2021 22:05:00 +0000</pubDate><atom:updated>2021-05-21T18:05:00.211-04:00</atom:updated><title>Wadada Leo Smith: Trumpet</title><description><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP2_Si53lfJaOI8LYflHH_OuBo3aiT7Xkt6X8Rd6SSpITEt-k4bh7PxXcznOOso1uNFMROZwH8jDNyhyphenhyphenMg_v5cSQz9OhKO5bYksCdnqxO__q-NLSsyklQOvaavUh8SJ5BpdVbUqryTT-c/s600/wadada-leo-smith-2021-trumpet-cd-679.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="594" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP2_Si53lfJaOI8LYflHH_OuBo3aiT7Xkt6X8Rd6SSpITEt-k4bh7PxXcznOOso1uNFMROZwH8jDNyhyphenhyphenMg_v5cSQz9OhKO5bYksCdnqxO__q-NLSsyklQOvaavUh8SJ5BpdVbUqryTT-c/s320/wadada-leo-smith-2021-trumpet-cd-679.jpg" /></a></div>Wadada Leo Smith Trumpet (Tum Records; 2021)Wadada Leo Smith (trumpet)You always want to say "ambitious" when it comes to solo instrument projects. But when talking about Wadada Leo Smith--it's just another record. In fact, it's another amazing record from Wadada Leo Smith, aptly named Trumpet. Trumpet is a massive three disc set that beautifully showcases the intimacy and urgency of Smith's playing. "Great Litany" is a haunting and majestic peice that reminded me of Miles Davis opening lines to "Generique." On "James Baldwin," Smith delivers slightly upbeat moments decorated with rapid emotion that you can hear the breathing tones as he grabs hold of your ear and heart--bringing you closer to his wonderful themes that float not only in this piece but everywhere else on Trumpet. The patterns throughout Trumpet don't stretch far--and that's a good thing. This is Wadada Leo Smith at his most vulnerable. It's two plus hours of meditation, exploration and exaltation. <a href="http://tumrecords.com/box-002-trumpet">Trumpet</a> is a journey that needs to be experienced in a quiet and isolated manner. Well maybe loud is better. </description><link>http://jazzwrap.blogspot.com/2021/05/wadada-leo-smith-trumpet.html</link><author>noreply@blogger.com (Stephan Moore)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP2_Si53lfJaOI8LYflHH_OuBo3aiT7Xkt6X8Rd6SSpITEt-k4bh7PxXcznOOso1uNFMROZwH8jDNyhyphenhyphenMg_v5cSQz9OhKO5bYksCdnqxO__q-NLSsyklQOvaavUh8SJ5BpdVbUqryTT-c/s72-c/wadada-leo-smith-2021-trumpet-cd-679.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-687493650841793339.post-965716383519517029</guid><pubDate>Thu, 06 Feb 2020 19:15:00 +0000</pubDate><atom:updated>2020-02-06T14:15:17.820-05:00</atom:updated><title>The Beat Freaks: Stay Calm</title><description><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG4scUoBt94kYcXiYRbZCTyYjLW1O_e1q1f40JcQusVZidIryENWxAHPCELfGe8lr6aMql_6PeRDGXfbkF6Gq3elPoGA373epniFziCsIzlRz7FC9LwZLdP3x-qyTvSiUyo9yn2l-l7Is/s1600/BF.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG4scUoBt94kYcXiYRbZCTyYjLW1O_e1q1f40JcQusVZidIryENWxAHPCELfGe8lr6aMql_6PeRDGXfbkF6Gq3elPoGA373epniFziCsIzlRz7FC9LwZLdP3x-qyTvSiUyo9yn2l-l7Is/s200/BF.jpg" width="200" /></a>The Beat Freaks&nbsp;
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Stay Calm (TBF, 2019)</div>
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Michał Starkiewicz (guitar)</div>
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Tomasz Licak (tenor sax)</div>
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Paweł Grzesiuk (doublebass)</div>
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Radek Wośko (drums)</div>
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Serious. Not serious. Fun. Invigorating. Funky. Abstract.</div>
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All of the above can describe the thoughts that come to mind while listening to the sophomore effort from The Beat Freaks, Stay Calm. This is a journey that moves with distinct turns; leading you down some very intriguing pathways over the course of an hour.</div>
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"Work at Heights" and "Breakwater" capture the fun and adventure of Stay Calm. With Starkiewicz chords shifting from breakneck to gentle barreling up against Licak's bold structures on the sax; The Beat Freaks show they can move effortlessly in two playgrounds of jazz and rock.</div>
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That movement also shows itself on "Memories of an old Town." My thoughts tended to drift into early King Crimson territory with Beat Freaks wonderful combination of rock and jazz melodies tightly intertwined but still presenting a fresh new outlook. Jazz rhythms return on "Night Bus" and "Beardless Spy" with Grzesiuk and Wosko adding a strong punch that has you tapping away on your feet for what felt like forever but is only just over four minutes.</div>
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Stay Calm is a surprising work from four outstanding musicians that separately are amazing but in this somewhat supergroup bring a variety of influences that shine perfectly across the thirteen glorious tracks. Big praise--yes. Fun. Serious. Abstract. Yes to all of the above but in the end <a href="https://thebeatfreaks.bandcamp.com/album/stay-calm">The Beat Freaks Stay Calm</a> is an exciting and adventurous outing that you need experience for yourself.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-wXiZYkHMQZONJ5USxVYTsXtAEnpYZvqTyturKbxD1riEQWm1MxfgXL0gCx6cAk0W2jLvN6VRbFZKTJLe89osemx7dsoBsIuMYf7NSgpgyRFxP1kjrsF-hMx1kBZVcgkJW46-SrIpyNg/s1600/IMG_1241.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="570" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-wXiZYkHMQZONJ5USxVYTsXtAEnpYZvqTyturKbxD1riEQWm1MxfgXL0gCx6cAk0W2jLvN6VRbFZKTJLe89osemx7dsoBsIuMYf7NSgpgyRFxP1kjrsF-hMx1kBZVcgkJW46-SrIpyNg/s200/IMG_1241.jpg" width="178" /></a> </div>
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P.S. I spent a good amount of time walking in a park listening to Stay Calm on my new Sivga 004 Open Back Headphones. Awesomely clean sound for jazz.</div>
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</description><link>http://jazzwrap.blogspot.com/2020/02/the-beat-freaks-stay-calm.html</link><author>noreply@blogger.com (Stephan Moore)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG4scUoBt94kYcXiYRbZCTyYjLW1O_e1q1f40JcQusVZidIryENWxAHPCELfGe8lr6aMql_6PeRDGXfbkF6Gq3elPoGA373epniFziCsIzlRz7FC9LwZLdP3x-qyTvSiUyo9yn2l-l7Is/s72-c/BF.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-687493650841793339.post-6657207106568000930</guid><pubDate>Tue, 02 Apr 2019 15:53:00 +0000</pubDate><atom:updated>2020-02-06T14:14:18.163-05:00</atom:updated><title>Branford Marsalis: The Secret Between the Shadow and the Soul</title><description><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjapPbz0UykZh7DcZzm6S6aUxzv6SMlSbPbVErWHmgQ01AliTX_cRcuaagloUkkt5mH4SMj2RUXGhap3gjo8cuHHxHgzPmUXnn7ktA8BswAHV7yq6KhqD8CrpHiQpCI-SdPcPtdqTsNUeU/s1600/branford.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="365" data-original-width="365" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjapPbz0UykZh7DcZzm6S6aUxzv6SMlSbPbVErWHmgQ01AliTX_cRcuaagloUkkt5mH4SMj2RUXGhap3gjo8cuHHxHgzPmUXnn7ktA8BswAHV7yq6KhqD8CrpHiQpCI-SdPcPtdqTsNUeU/s200/branford.jpg" width="200" /></a></div>
Branford Marsalis 
The Secret Between the Shadow and the Soul&nbsp;(Okeh, 2019) 
 
Branford Marsalis (sax)&nbsp; 
Joey Calderazzo (piano) 
Justin Faulkner (drums) 
Eric Revis (bass) 
 
With The Secret Between the Shadow and the Soul, Branford and company start firing on all cylinders immediately via the Revis penned "Dance of the Evil Toys." It's raucous and fun. Calderazzo and Faulkner fly alongside Marsalis with brilliance as they provide a discordant but beautiful stretch of improvising that never lets up until the closing note.
Marsalis' only written number for the album, "Life Filtering from the Water Flowers" begins as if you were opening a vault that leads to a dampened chamber. Calderazzo's notes are calm and joyful leading the group into some great interplay between Marsalis, Faulkner, and Revis that travels throughout the remainder of the piece.&nbsp;
The Secret Between.. also includes covers of Andrew Hill's "Snake Hip Waltz" and Kieth Jarrett's "The Windup." Both are excellent interpretations and wonderful additions to Marsalis' catalog. "The Windup" closes out the album in the brusque fashion that it began.&nbsp;
<a href="https://www.branfordmarsalis.com/albums/secret-between-shadow-and-soul">The Secret Between the Shadow and the Soul </a> continues to show how the Branford Marsalis Quartet continues to stand high and above of many other jazz groups over the years. The versatility of their writing and precision of their performances is yet again why the group and leader seem to get better every year with every record. Enjoy...&nbsp;
<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/JjMtRips0WE" width="560"></iframe></description><link>http://jazzwrap.blogspot.com/2019/04/branford-marsalis-secret-between-shadow.html</link><author>noreply@blogger.com (Stephan Moore)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjapPbz0UykZh7DcZzm6S6aUxzv6SMlSbPbVErWHmgQ01AliTX_cRcuaagloUkkt5mH4SMj2RUXGhap3gjo8cuHHxHgzPmUXnn7ktA8BswAHV7yq6KhqD8CrpHiQpCI-SdPcPtdqTsNUeU/s72-c/branford.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-687493650841793339.post-1567202214199416707</guid><pubDate>Sat, 23 Jun 2018 17:05:00 +0000</pubDate><atom:updated>2018-06-23T13:05:17.221-04:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">Cuneiform</category><category domain="http://www.blogger.com/atom/ns#">Mary Halvorson</category><category domain="http://www.blogger.com/atom/ns#">Thumbscrew</category><title>Thumbscrew: Theirs & Ours</title><description><div style="color: #222222;">
Thumbscrew</div>
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Mary Halvorson (guitar)</div>
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Michael Formanek (bass)</div>
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Tomas Fujiwara (drums)</div>
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Theirs &amp; Ours (Cuneiform Records; 2018)</div>
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I have to be honest, I didn't expect this "supergroup" of Halvorson, Formanek, and Fujiwara--known as Thumbscrew, to last. Mainly because they rotate through so many of their own projects. But, they have been very prolific since their first outing in 2014. Now with their most recent companion releases Theirs&nbsp;and Ours&nbsp;the trio continues to stretch the improvised equations further with enormous success.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWkleayPngYW__uxoA0mgSk2KHGFHJsNg82uHcdTPsc84dMkhqS5wnoggvFqgSvMhK1CCLalVRVxBk2GH1Y-Zr3i4rZiLNbp5kh1MrhhsFlXvRk4Smu-NzqknCKMqfMsJRSRIhf27ZoO0/s1600/ours.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWkleayPngYW__uxoA0mgSk2KHGFHJsNg82uHcdTPsc84dMkhqS5wnoggvFqgSvMhK1CCLalVRVxBk2GH1Y-Zr3i4rZiLNbp5kh1MrhhsFlXvRk4Smu-NzqknCKMqfMsJRSRIhf27ZoO0/s200/ours.jpg" width="200" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJTupemwZ1xThc9kUScmsoICeIIygzXHaFn7Py4GY7K0BGIMAtGp_USpBqyaO4-3rMBqlFrWv5HGPZLpbNck7H8pq9KMhGL4QUVHfQlfTkpxFDjGzIbQsPzFiSCb1UWUqS2PgDBu_5HM8/s1600/theirs.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJTupemwZ1xThc9kUScmsoICeIIygzXHaFn7Py4GY7K0BGIMAtGp_USpBqyaO4-3rMBqlFrWv5HGPZLpbNck7H8pq9KMhGL4QUVHfQlfTkpxFDjGzIbQsPzFiSCb1UWUqS2PgDBu_5HM8/s200/theirs.jpg" width="200" /></a>Ours is&nbsp;confident out of the gate with Formanek expanding his already intricate and fluid bass melodies followed by Halvorson's expressive and personal tones on "One Day" and "Unconditional." But one of my favourites is the almost rock-infused "Cruel Heartless Bastards" which changes pace from the start. Fujiwara and&nbsp;Fromanek&nbsp;shift&nbsp;modes with Halvorson, disrupting and cutting edges throughout. It felt like I was listening to Throwing Muses or Belly.&nbsp;</div>
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Theirs features interpretations of some well&nbsp;known and not so well known jazz pieces such as Benny Golson's "Stablemates" where the trio showers the listener (or at least this one) with a rolling and vibrant version led by Fujiwara and Halvorson. While short, "Stablemates" floats perfectly into the Brazilian&nbsp;rhythms of&nbsp;Jacob Do Bandolim's "Benzinho," a lovely bounce that shows what fun the trio has had throughout this outing. Thumbscrew closes out Theirs with the beautiful Misha Mengelberg ballad "Weer is een dag voorbij" that perfectly encapsulates a creative and delicate journey with an arrangement that stays true but always shines with their original imprint. While both <a href="https://cuneiformrecords.bandcamp.com/album/theirs-3">Theirs</a> and <a href="https://cuneiformrecords.bandcamp.com/album/ours-3">Ours</a> feature very distinct themes, both releases are superbly delivered and highlight the monstrous talents of three excellent improvising pros on the scene today. Highly recommended!</div>
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</description><link>http://jazzwrap.blogspot.com/2018/06/thumbscrew-theirs-ours.html</link><author>noreply@blogger.com (Stephan Moore)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWkleayPngYW__uxoA0mgSk2KHGFHJsNg82uHcdTPsc84dMkhqS5wnoggvFqgSvMhK1CCLalVRVxBk2GH1Y-Zr3i4rZiLNbp5kh1MrhhsFlXvRk4Smu-NzqknCKMqfMsJRSRIhf27ZoO0/s72-c/ours.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-687493650841793339.post-2032556602655186976</guid><pubDate>Tue, 12 Jul 2016 17:00:00 +0000</pubDate><atom:updated>2016-07-12T13:01:04.871-04:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">Scott McLemore</category><category domain="http://www.blogger.com/atom/ns#">Sunna Gunnlaugs</category><category domain="http://www.blogger.com/atom/ns#">Sunny Sky</category><title>Sunna Gunnlaugs: Cielito Lindo</title><description><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2_bliD4rArkC8_wVfUR12CNbtindMGRuWQU2rXrJnVXztwKIdhVK5FBOg-BQXDt2XFOsVHV4lykRsuZhFhwy5L6snaDczrG895WA8q9jYXb4gGu1Dw5Qz6Z1YydWTKNphdWHQ8e7Zsyc/s1600/sunna.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2_bliD4rArkC8_wVfUR12CNbtindMGRuWQU2rXrJnVXztwKIdhVK5FBOg-BQXDt2XFOsVHV4lykRsuZhFhwy5L6snaDczrG895WA8q9jYXb4gGu1Dw5Qz6Z1YydWTKNphdWHQ8e7Zsyc/s200/sunna.jpg" width="200" /></a></div>
Sunna Gunnlaugs Cielito Lindo (SunnySky Records, 2015) Sunna Gunnlaugs (piano) Þorgrímur Jónsson (bass) Scott McLemore (drums) Another beautiful stroke from the very understated Icelandic pianist. I have been an immense fan for a few years now. Cielito Lindo is a steady, rhythmic and colourful session that stays with you few hours after each listen. "Cielito Lindo," sets the adventurous tone as the group further explores Spanish rthyhms throughout each of its recent releases. "Dry Cycle," is another evidence of Gunnlaugs playful nature but with exact precisions and contemplative construction from both Jonsson and McLemore. It's probably one of my favorite Gunnalaugs pieces across all of her records.
 
 
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"Icelandic Blues" and "Summertime" are both tight and different prospectives for Gunnaluags trio. "Icelandic Blues" showcases the trios swift ability move from intricate blues, gospel tinge to slight frenetic improvisation and back again. Sublime. While "Summertime" is a different animal altogether. An almost experimental deconstruction of the Gershwin standard. This is where Jonsson and McLemore shine and Gunnlaugs shows (for me at least) that she is reaching Keith Jarrett highest in her performances.
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<a href="https://sunnagunnlaugs.bandcamp.com/album/cielito-lindo" target="_blank">Cielito Lindo</a> is another powerful and emotional piece of work in the cannon of Sunna Gunnlaugs material. I am hoping as her music becomes more important overseas that more US listener realize that there is another important musician on the scene.
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<iframe allowfullscreen="" frameborder="0" height="340" src="https://www.youtube.com/embed/_0t0VEjz-ow" width="560"></iframe></description><link>http://jazzwrap.blogspot.com/2016/07/sunna-gunnalaugs-cielito-lindo.html</link><author>noreply@blogger.com (Stephan Moore)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2_bliD4rArkC8_wVfUR12CNbtindMGRuWQU2rXrJnVXztwKIdhVK5FBOg-BQXDt2XFOsVHV4lykRsuZhFhwy5L6snaDczrG895WA8q9jYXb4gGu1Dw5Qz6Z1YydWTKNphdWHQ8e7Zsyc/s72-c/sunna.jpg" height="72" width="72"/><thr:total>1</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-687493650841793339.post-4601784340673946647</guid><pubDate>Sun, 08 Nov 2015 18:45:00 +0000</pubDate><atom:updated>2015-11-09T18:57:37.387-05:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">Clean Feed</category><title>Dre Hocevar: Coding Of Evidentiality</title><description><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTWfmLuXHce5vUhxphCXKUwuOVgcxePP1xt1rU51RYvL9vcqb80jCQ-ThdTUo534Pb8ZkF_hlXethiRsl_Zn0bwQwh_jXpoTYZ1hXnbtLExSNtEoDfLqSIIrdjK1oQyAvG0s0t0rMUUhE/s1600/dre.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTWfmLuXHce5vUhxphCXKUwuOVgcxePP1xt1rU51RYvL9vcqb80jCQ-ThdTUo534Pb8ZkF_hlXethiRsl_Zn0bwQwh_jXpoTYZ1hXnbtLExSNtEoDfLqSIIrdjK1oQyAvG0s0t0rMUUhE/s200/dre.jpg" width="200" /></a></div>
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Dre Hocevar Trio</div>
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Coding of Evidentiality (Clean Feed; 2015)</div>
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Dre Hocevar (drums)</div>
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Bram De Looze (piano)</div>
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Sm Pluta (electronics)</div>
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Lester St.Louis (cello)</div>
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A sublime and cerebral Clean Feed debut from Slovenian born drummer/composer Dre Hocevar. Coding of Evidentiality travels a steady path of intricate notation that both calming and insightful.&nbsp;</div>
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Hocevar allows his fellow bandmates to stretch and improvise within his compositions. Opening with "Form Of The Future Thought" which focuses in St. Louis and De Looze's swirling, melodic interplay. Hocevar wraps those elements in with a cross section of rhythmic patterns that eventually move the piece to high level cacophony that still remains beautiful and telling.</div>
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Experimentation takes hold on "Critical Discourse Analysis" with Pluta's electronic manipulation added by De Looze and subtle shifting notes from Hocevar and St. Louis provide a wonderful balancing acting of modern and traditional themes managed for new outlook that may not have been seen since the latter days of Esbjorn Svensson Trio.</div>
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I really loved the closing piece, "Second Portrait Of The Exemplary" with its multiple interchanges between the musicians all intertwined with Hocevar's quick brush/cymbal coordination. It's hauntingly beautiful and raucous till its conclusion.</div>
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<a href="https://cleanfeed-records.com/product/coding-of-evidentiality/" target="_blank">Coding Of Evidentiality</a> is a record that will make you think and entertain the senses. A shinning element of style that will be one of the best records you'll experience this year. Highly Recommended.</div>
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<iframe allowfullscreen="" frameborder="0" height="340" src="https://www.youtube.com/embed/vPCvRZl1U6s" width="560"></iframe></description><link>http://jazzwrap.blogspot.com/2015/11/dre-hocevar-code-of-evidentiality.html</link><author>noreply@blogger.com (Stephan Moore)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTWfmLuXHce5vUhxphCXKUwuOVgcxePP1xt1rU51RYvL9vcqb80jCQ-ThdTUo534Pb8ZkF_hlXethiRsl_Zn0bwQwh_jXpoTYZ1hXnbtLExSNtEoDfLqSIIrdjK1oQyAvG0s0t0rMUUhE/s72-c/dre.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-687493650841793339.post-3984199948803770353</guid><pubDate>Thu, 17 Sep 2015 00:00:00 +0000</pubDate><atom:updated>2015-09-16T20:19:45.389-04:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">ASA Trio</category><category domain="http://www.blogger.com/atom/ns#">Sunny Sky</category><title>Asa Trio: Craning</title><description><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9kbMnHoMWTBM5gY3_eQT7lX4wYdwmj_dJ85zWw7JT4l5LfbuogMSNNfPj1Ed2F0F-OUbaiWngBf6PSgZ_zSU5MG9ajaWTbrZol4DJ7W-H82TXzvXep2C-jPLRY8vXdG8k4o8Jxn6LLaw/s1600/asa.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9kbMnHoMWTBM5gY3_eQT7lX4wYdwmj_dJ85zWw7JT4l5LfbuogMSNNfPj1Ed2F0F-OUbaiWngBf6PSgZ_zSU5MG9ajaWTbrZol4DJ7W-H82TXzvXep2C-jPLRY8vXdG8k4o8Jxn6LLaw/s200/asa.jpg" width="200" /></a></div>
Asa Trio 
Craning (Sunny Sky; 2014) 
Agnar Már Magnússon (organ) 
Andrés Thor (guitar) 
Scott McLemore (drums) 
 
A more mature Asa Trio emerged last year with the release of Craning. A wonderful and well developed fourth album (first with full original material) from the young Icelandic trio.&nbsp; 
 
Craning melds and magnifies each members strengths that many have seen in their solo projects. This a beautiful record from the romantic folkish opener "Something To Make You Change Your Mind," which is soft and crowd pleasing. This extends to the gospel-tinged "Green Door" in which Magnusson's organ lays a steady pallate of emotions that envelops the listener.&nbsp;
 
The great thing that has always excited me about Asa Trio is that while this is might sometimes be referred to as an organ trio (if you want to describe it that way), they actually are a much more like a one conhesive unit than that. Thor and McLemore both shine throughout individually on latter portion of session which turn quite reviting and funky ("On Pluto" and "What Was I Thinking").
 
<a href="http://www.asa-trio.com/" target="_blank">Craning</a> is a superb debut of original material from what is now a veteran trio. I have written their praises for a few years now. And this is just another sign of their continued growth both individually and as group. Highly recommend. And should have been part of my best of 2014 if I every put that list together like I promised.&nbsp;
</description><link>http://jazzwrap.blogspot.com/2015/09/asa-trio-craning.html</link><author>noreply@blogger.com (Stephan Moore)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9kbMnHoMWTBM5gY3_eQT7lX4wYdwmj_dJ85zWw7JT4l5LfbuogMSNNfPj1Ed2F0F-OUbaiWngBf6PSgZ_zSU5MG9ajaWTbrZol4DJ7W-H82TXzvXep2C-jPLRY8vXdG8k4o8Jxn6LLaw/s72-c/asa.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-687493650841793339.post-2935090762426807325</guid><pubDate>Sun, 10 May 2015 21:00:00 +0000</pubDate><atom:updated>2015-05-10T17:00:00.991-04:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">Hubro Music</category><title>Building Instrument</title><description><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqAgozjHrhQnJRIEyr8BKU49KElFoD7pbYLftcTJKo7Qcbri6Mq98WZFbFPqmZPs6tdGj2ks9-I-8XD_GmCUjqYmYIP5QekaRL_cI4Zf9HzJg8_FvG7C6JdNbesJnTU9QuO0VKdIMabCs/s1600/BI.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqAgozjHrhQnJRIEyr8BKU49KElFoD7pbYLftcTJKo7Qcbri6Mq98WZFbFPqmZPs6tdGj2ks9-I-8XD_GmCUjqYmYIP5QekaRL_cI4Zf9HzJg8_FvG7C6JdNbesJnTU9QuO0VKdIMabCs/s1600/BI.jpg" /></a></div>
Building Instrument (trio)<div style="color: #222222; font-family: arial, sans-serif;">
Building Instrument (Hubro; 2014)</div>
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Mari Kvien Brunvoll (vocals, percussion)</div>
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Oyvind Hegg-Lunde (drums and percussion)&nbsp;</div>
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Asmund Weltzien (synthesizer, electronics, melodica)</div>
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Peaceful. Thoughtful. Enveloping. These are just a few impressions you might come away with after experiencing lush beauty of the Building Instrument debut album.</div>
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The Norwegian trio present a mellow experimental folk sound that blends contemporary themes with acoustic and electronic instruments all the while feeling sparse and emotional. Brunvoll voice adds an ethereal quality reminiscent of Elizabeth Frazer or A.C. Marias. But those references are only that--references. Brunvoll glistens alongside percussions and keyboards on wistful, "Bli Med. And the wonderful and heartbreaking opener "Historia," show that this trio is working on a completely different plan than most within the genre.</div>
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A more rhythmic and soulful stance is taken with "Klokka Sju," A nightfall midtempo piece with a laid back groove that's driven forward by Brunvoll's vocals but enhanced by electronics and succinct patterns laid down by Hegge-Lunde.</div>
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Building Instrument is a solid and startling debut that puts faith and fuel back into the emotional void left bands like Cocteau Twins, Cranes, and Dead Can Dance (even though DCD are back recording). Building Instrument provide a new direction and perfect path towards the future. A lovely debut and hopefully we hear and see more from them sooner rather than later. Highly Recommended.</div>
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<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/138040007&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true" width="100%"></iframe></description><link>http://jazzwrap.blogspot.com/2015/05/building-instrument.html</link><author>noreply@blogger.com (Stephan Moore)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqAgozjHrhQnJRIEyr8BKU49KElFoD7pbYLftcTJKo7Qcbri6Mq98WZFbFPqmZPs6tdGj2ks9-I-8XD_GmCUjqYmYIP5QekaRL_cI4Zf9HzJg8_FvG7C6JdNbesJnTU9QuO0VKdIMabCs/s72-c/BI.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-687493650841793339.post-2498267131384579393</guid><pubDate>Sat, 10 Jan 2015 16:00:00 +0000</pubDate><atom:updated>2015-01-10T11:00:01.802-05:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">Arni Karlsson</category><title>Arni Karlsson: Hold</title><description><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5A2of3ioYnCpf0orLFkDWSWrRWjc-KSVPSzY4_RX8xYOYonKGN-HGtJqzihY31hfnW0Ph8ond4fWmqBsB7oBJKd7cjel2JU97cCDvNOsSJ0T__-RKaSOQOKg6HP4GsYNpk9-mZdoepPI/s1600/HOLD.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5A2of3ioYnCpf0orLFkDWSWrRWjc-KSVPSzY4_RX8xYOYonKGN-HGtJqzihY31hfnW0Ph8ond4fWmqBsB7oBJKd7cjel2JU97cCDvNOsSJ0T__-RKaSOQOKg6HP4GsYNpk9-mZdoepPI/s1600/HOLD.jpg" height="200" width="200" /></a></div>
JazzWrap: 2014 Album Of The Year 
 
Árni Karlsson (piano) 
Hold (Mold Music; 2014) 
Þorgrímur Jónsson (bass) 
Scott McLemore (drums) 
 
Romantic and modern. That is the best way to describe the new album from Icelandic veteran, Arni Karlsson. On his fourth release, Hold, Karlsson explores similar territory to his previous trio effort, Mold. Again, the composition are excellently crafted and brilliantly executed by Jonsson and McLemore. 
 
"Time" is beautiful and spacious. The piece is filled with moments patience that allows the notes to linger and listeners imagination to absorb and drift with the melody. While still a midtempo ballad, the trio does begin a slow climb to heavy tonality towards the mid-period on the tune, but the overall impression of the piece is still calm and reflective. 
 
"Morning Glow" and "View" both provide different insights into the trio. "Morning Glow" flows with a classical perspective but infused with some bubbly chord changes on Karlsson's part. "View" is an uptempo piece flexing more muscle amongst all three musicians. McLemore and Karlsson working counter with Jonsson exploring a steady path enhances the rhythm just underneath.
 
The closing number, "Petra," is a bit of a departure for Karlsson. It maintains his tradition playing but the composition has more improvised and stunning moments performed by Jonsson and McLemore. They seem to stretch out more. This piece seemed slightly reminiscent of the latter E.S.T. works. Very enlightening and a nice framework for the future. 
 
<a href="http://arnikarlsson.bandcamp.com/" target="_blank">Hold</a> is a consistent and enchanting session that I have yet to stop listening to over the last few months. Arni Karlsson has created an album in Hold that will make you fall in love with it on every spin. Highly and Emotionally Recommended.
 
</description><link>http://jazzwrap.blogspot.com/2015/01/arni-karlsson-hold.html</link><author>noreply@blogger.com (Stephan Moore)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5A2of3ioYnCpf0orLFkDWSWrRWjc-KSVPSzY4_RX8xYOYonKGN-HGtJqzihY31hfnW0Ph8ond4fWmqBsB7oBJKd7cjel2JU97cCDvNOsSJ0T__-RKaSOQOKg6HP4GsYNpk9-mZdoepPI/s72-c/HOLD.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-687493650841793339.post-2440439878509344864</guid><pubDate>Mon, 08 Dec 2014 05:30:00 +0000</pubDate><atom:updated>2014-12-08T00:30:01.997-05:00</atom:updated><title>Tann: Needle Committed</title><description><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwR9MWsleoytODn25f7zmVEwJyPRj2Xr4HPRDE6ikHKcdrQyLbh5E0y2DbJTbhwu8dtIn26xERVjVbXvIKkVX9prEjz1tGyuBx7WaIncbIOtPhDCVTq9xZtCpZngQu20MKFMusB7N1Vk4/s1600/tann.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwR9MWsleoytODn25f7zmVEwJyPRj2Xr4HPRDE6ikHKcdrQyLbh5E0y2DbJTbhwu8dtIn26xERVjVbXvIKkVX9prEjz1tGyuBx7WaIncbIOtPhDCVTq9xZtCpZngQu20MKFMusB7N1Vk4/s1600/tann.jpg" height="200" width="200" /></a></div>
Tann (trio) 
Needle Committed (Traumton Records; 2014) 
Dirk Häfner (guitar) 
René Bornstein (bass) 
Demian Kappenstein (drums) 
 
A fun and interesting discovery a few days ago. I stumble my way into listening to the new release from German trio, Tann. This is an exciting record from a growing set of cross genre bending veterans on the German scene. 
 
Needle Committed is a beautiful blend of both jazz and rock that stands out among many of the European trios of the moment. This is mainly due to emphasis on the guitar instead of the piano. Bouncing numbers like "Mandy's Dandy," and "Nanunks Garten" bring a fierce energy that cuts with rock intensity filled with steady intricate lines of the jazz ethos.
 
"Dra Di Net Um" with its funk basslines and staccato structure show the trio and embody avant garde and groovy in the same four minute span. While "Orgosolo" is more of a gentle ballad which you would have expected from a guitar trio like this. But this beautiful piece comes very late into the album and is a welcome spot--showing maturity as well as standout quality. 
 
<a href="http://www.amazon.com/gp/product/B00MJOUXL6/ref=dm_ws_sp_ps_dp" target="_blank">Needle Committed</a> provides a new variety of styles that should provide a number of hours for the listen to dissect and enjoy. I've loved listening to this record over the last few days. Here's hoping that we hear more Tann soon rather than later.
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<iframe allowfullscreen="" frameborder="0" height="340" src="//www.youtube.com/embed/tlChZdT7MCs" width="560"></iframe></description><link>http://jazzwrap.blogspot.com/2014/12/tann-needle-committed.html</link><author>noreply@blogger.com (Stephan Moore)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwR9MWsleoytODn25f7zmVEwJyPRj2Xr4HPRDE6ikHKcdrQyLbh5E0y2DbJTbhwu8dtIn26xERVjVbXvIKkVX9prEjz1tGyuBx7WaIncbIOtPhDCVTq9xZtCpZngQu20MKFMusB7N1Vk4/s72-c/tann.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-687493650841793339.post-3594835574579277391</guid><pubDate>Tue, 02 Dec 2014 19:10:00 +0000</pubDate><atom:updated>2014-12-02T14:10:00.985-05:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">Delmark</category><category domain="http://www.blogger.com/atom/ns#">Delmark Records</category><category domain="http://www.blogger.com/atom/ns#">Jason Adasiewicz</category><title>Jason Adasiewicz: From The Region</title><description><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh251nxg2TDyZ1r0oZBeQh7o3C95dM5uEfFS2Qttu7Mjpckp5Vt_Yu0sAg0Extu62CH7ts12VFJBruNJEN-kXBrLbGpLAUdOTSNyE2MZIaJZBExqC0wi1MV1TURCRD0coekKF4-Apt_-IU/s1600/SunRoom.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh251nxg2TDyZ1r0oZBeQh7o3C95dM5uEfFS2Qttu7Mjpckp5Vt_Yu0sAg0Extu62CH7ts12VFJBruNJEN-kXBrLbGpLAUdOTSNyE2MZIaJZBExqC0wi1MV1TURCRD0coekKF4-Apt_-IU/s1600/SunRoom.jpeg" height="200" width="200" /></a></div>
Jason Adasiewicz (vibes) 
From The Region (Delmark, 2014) 
Ingebrigt Haker Flaten (bass) 
Mike Reed (drums) 
 
There are times when I feel like Jason Adaasiewicz&nbsp;has channeled the spirit of Walt Dickerson, another great vibraphonist. Both posse a unique talent of making their instrument and compositions sound and feel more personal than what it appears. 
 
Adasiewicz has done it again with his latest release, From The Region. It's dark and lovely with brushes of intimacy at its center. Crafting a hard bop vibe on "Classic Route," Adasiewicz invites you in with some warm opening chord progressions. Then waiting to just about the middle of the number to begin showing the listener the trios full impact with hypnotic tones and tight calculated notes which soon round back to the opening lines and guide the listen out.
 
Flaten starts off "Two Comes One" with some superb low notes as both Adasiewicz and Reed slide in smoothly. While Reed takes the swinging action of the piece, Flaten and Adasiewicz revolve around his playing with a mixture of groovy details and free form. "Is A Bell A Rose" is a steady ballad that allows the trio ease you out of session on a heavy, somber tone but with sweet mixture of longing and desire for more.
 
Jason Adasiewicz has really come into his own in the last few years and after taking a really long spin with <a href="http://www.amazon.com/Region-Jason-Adasiewiczs-Sun-Rooms/dp/B00MEWWIPC/ref=sr_1_1?s=dmusic&amp;ie=UTF8&amp;qid=1417545136&amp;sr=1-1&amp;keywords=Jason+Adasiewicz%27s+Sun+Rooms/" target="_blank">From The Region</a>, I feel like this is probably my favourite of all his records. And it is by far one of my favourite records of the year. An well balanced and high developed session. Highly Recommend!
 
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<a href="http://www.olafmeijer.nl/cms/wp-content/inhoud_geupload/Traeben_looking-at-the-storm_cover-front_klein.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://www.olafmeijer.nl/cms/wp-content/inhoud_geupload/Traeben_looking-at-the-storm_cover-front_klein.jpg" height="179" width="200" /></a></div>
Traben (quartet) 
Looking At The Storm (Jarr Records ; 2014) 
Jens Larsen (guitar) 
Soren Ballegaard (sax) 
Haye Jellema (drums) 
Olaf Meijer (bass) 
 
On their third outing, Danish quartet, Traeben, continue with a free roaming blues and groove laden formula that made their second album Push one of my favourites in 2011. Looking At The Strom sees the quartet growing further and stronger with each number. It's a well rounded continuation of the solid compositions on Push.
 
Opening with what felt like a fun spy-jazz themed theme, "Do You Think They're Any Good," showcases the groups depth and agility to move from fun and rugged to adventurous with ease. Ballegaard and Larsen ride swiftly here with some sharp and bold tones keep the listener focused and intrigued throughout. 
 
"Better Than The Other One" kicks things into a different gear and feels more like a rock group moving with heavy patches of guitar and pounding bass and drums. Ballegaard's sax provides a little respite but cuts tightly against the aggression of the rest of the band. This is a band really stretching out to be more than just another European jazz ensemble. 
 
The title track seems to be perfect way to end the album. It takes a clam relaxed tone and slowly builds to cascade of crashing symbols, lush sax melodies and harmonic guitar lines. Bluesy, bold and beautiful. 
 
Looking At The Storm is an effort that takes chances and sees Traeben growing as band and composers. Their ability to move forward with some really creative pieces makes <a href="http://www.traeben.com/english/" target="_blank">Looking At The Storm</a> an exciting musical experience and worth every listen. Over and over. Definitely a record not be missed out on this year.&nbsp;
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAgksKZzmiGE6REz1yXaew8-kwcqdLkrOYuDwUSizXSI9HUydXQCW8Nq5gKjz25sYyjU8Kny9dz_FqXjel_AE_mtcYds9zLBVCkYD3Hg-5L10stUULcdFak-dJz0F5HxO_qv5cf5je5v0/s1600/BLUE.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAgksKZzmiGE6REz1yXaew8-kwcqdLkrOYuDwUSizXSI9HUydXQCW8Nq5gKjz25sYyjU8Kny9dz_FqXjel_AE_mtcYds9zLBVCkYD3Hg-5L10stUULcdFak-dJz0F5HxO_qv5cf5je5v0/s1600/BLUE.jpg" height="200" width="200" /></a></div>
Mostly Other People Do The Killing (quintet) 
Blue (Hot Cup Records; 2014) 
Jon Iragbagon (sax) 
Kevin Shea (drums) 
Peter Evans (trumpet) 
Moppa Elliott (bass) 
Rob Stabinsky (piano) 
 
Mostly Other People Do The Killing, are one of the best and most challenging ensembles around. For their latest, Blue, they've surprised everyone by playing it straight. This is a wonderful love letter to Miles Davis' (and jazz in general) iconic benchmark, Kind Of Blue. 
 
What I was expecting was a full-on avant garde re-interpretation of the jazz opus. Instead we are treated to is a delicately laid out pattern of musicianship by the quintet. It is almost a note for note transcription but you have to listen extremely closely for the subtle details in the performances. 
 
Iragbagon's sax is crisp throughout "So What." Certainly the best straight, traditional performance I've heard from him in awhile. Beautifully crafted too are the lines from Evans, Elliott and Stabinsky. Stabinsky, Shea and Evans show real vibrancy on "All Blues" and "Flamenco Sketches," with the trumpet and piano both high in the mix (as with the original compositions). But both pieces have slightly playful feel as added by Iragabagon's softer tone--almost like listening in a nightclub setting.
 
Listen, we all know its easy to record a homage like Kind Of Blue. It's also easy to completely screw it up. But what's challenging is to performance it with grace and reverence. Mostly Other People Do The Killing have done just that with Blue. A phenomenal tribute to the greatest jazz musician and his most important work in the pantheon of music in general. Highly Recommended!
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZYzUKZTxfJQ4RaHyxRuGi7TA9hWsRILUVz5IXoz9r8dkb-MHjySaJ_vbwIouCWN62IwpOZvAxacimgfq9ztgcKwuESQNN4LSQjiA_dzKI4ZB6SZcn5RTSTp0QtkLkGTbj8b0CfOZdmoY/s1600/alon.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZYzUKZTxfJQ4RaHyxRuGi7TA9hWsRILUVz5IXoz9r8dkb-MHjySaJ_vbwIouCWN62IwpOZvAxacimgfq9ztgcKwuESQNN4LSQjiA_dzKI4ZB6SZcn5RTSTp0QtkLkGTbj8b0CfOZdmoY/s1600/alon.jpg" height="198" width="200" /></a></div>
Alon Nechushtan (piano) 
Venture Bound (Enja; 2014) 
Donny McCaslin (sax) 
Chris Lightcap (bass) 
John Ellis (sax) 
Adam Cruz (drums) 
 
The wonderful thing about Alon Nechushtan is his diversity with every project. Almost every one of his albums includes different musicians, settings and ideas. From dense expansive ensemble work like Dark Forces, the ethic voyage of Talat to his traditional jazz groups---this a great sign of creativity, adventure and demur. 
 
With his new release, Venture Bound, Nechushtan seeks yet another challenge with a new set individuals which is both collaborative and well structured by the pianist/composer. "L'Avventura" is forceful and lively opener that highlights McCaslin beautifully as well shining a light on Nechushtan work at the keys.&nbsp; 
 
Nechushtan combines Middle Eastern themes into jazz traditionalism with "Dark Damsel," and its opening with sublime oud work from guest musician, Brhim Brigbane. The tune gently folds into a warm midtempo late night excursion that is is delightful and captivating. "Haunted Blues" another style Nechushtan seems pull off miraculously well with vibe that feels both like New Orleans with a gritty New York tinge. Lightcaps funky basslines meld perfectly with Nechushtan's subtle "Monk-ish" lines hidden within the grooves. Fun and funky stuff among a free flowing inventive project.
 
While many of Alon Nechushtan's projects are well crafted conceptual pieces, <a href="http://musicalon.com/" target="_blank">Venture Bound</a> feels more personal and intimate for any listener (newcomer or long veteran to his sound). And its a superb album to start your experience and work backwards for a career to keeps growing leaps and bounds with each project. Excellent work.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMNpLgR80nxMNZJHpJPHlz9gJ54ZxCPwl1MgNS0VinqoEwEayIhZ60lmPOvWMHCdptXmpDWiZTuNXe8j4dHxU7CWQ1gcR-IdAMDlQGUEB-yCKlVGxJrR8hTC2vvNXT_xDcN83B0WutOlE/s1600/quest.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMNpLgR80nxMNZJHpJPHlz9gJ54ZxCPwl1MgNS0VinqoEwEayIhZ60lmPOvWMHCdptXmpDWiZTuNXe8j4dHxU7CWQ1gcR-IdAMDlQGUEB-yCKlVGxJrR8hTC2vvNXT_xDcN83B0WutOlE/s1600/quest.jpg" height="200" width="200" /></a></div>
Joana Gama (piano) 
Luis Fernandes (electronics) 
Quest (Shhpuma/Clean Feed; 2014) 
 
There's a passion and beautiful that emanates from this recording that made me feel like I was listening to a mixture of Mitsuko Uchida, Harold Budd and Christian Fennesz. Quest, the stunning debut from Joana Gama and Luis Fernandes is holds elements of experiementalism as well as classical introspection. 
 
The duo present a series of quiet yet evocative soundscapes that are both a backdrop and a window into along a beautiful journey. "Dream" (written by John Cage) is errielly performed to perfection by Gama. The addition of Fernandes atmospherics heading into the middle passages gives the piece a more transcendent feel than even the original piece. 
 
"Twisted Moments" and "Quest" give the listener a different perspective on the duo. Both provide haunting elements of electronics with subtle melodic tones from Gama. "Twisted Moments" with it's killer bee swarm of effects is dazzling and probably shouldn't be listened to outside if you are afraid of the little black and yellow flying creatures. 
 
While "Quest" includes all sorts of found sounds and plucking inside the piano. A creative piece that undulates in various directions all the while keeping very focus on providing a linear emotional experience. 
 
<a href="http://www.amazon.com/Quest-Joana-Gama-Lu%C3%ADs-Fernandes/dp/B00LNDEYBE/ref=sr_1_2?ie=UTF8&amp;qid=1408714387&amp;sr=8-2&amp;keywords=JOANA+GAMA" target="_blank">Quest</a> is a solid debut from Gama and Fernandes. Both experimental and traditional with a real sense of adventure and solace that is more than just ambient sounds. I really hope they do another record together very soon. Highly Recommended.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw1rLUAuWAdZJRyY-UMCWWVv7GTi9W4X2c1xF-78AylMrycbabhDF8jNkgu4d_D1XtJCtUMlSlc6QiGKtH9cTU_0z7vra7EahWhjx6XXOqUGdJq39r47utwT71BZFFSjUsmZDdtezb9tw/s1600/photo.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw1rLUAuWAdZJRyY-UMCWWVv7GTi9W4X2c1xF-78AylMrycbabhDF8jNkgu4d_D1XtJCtUMlSlc6QiGKtH9cTU_0z7vra7EahWhjx6XXOqUGdJq39r47utwT71BZFFSjUsmZDdtezb9tw/s1600/photo.JPG" height="200" width="200" /></a></div>
Tom Tallitsch (sax) 
Ride (Posi-Tone; 2014) 
Art Hirahara (piano) 
Michael Dease (trombone) 
Rudy Royston (drums) 
Peter Brendler (bass) 
(live photo: courtesy my iPhone) 
 
I just recently saw Tom Tallitsch perform in New York and was completely blow away. In addition, I was kicking myself as to why I never saw him perform before, as I have been a big fan for the last couple of years. But no matter, his live performance was just as stellar as his studio work. And his newest release, Ride is solid and well composed second effort worth every note.
 
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One of the great things I've always enjoyed about Tom Tallitsch is his versatility. He can shift gears from a bold Ben Webster, Gerry Mulligan style to softer more emotional Sonny Rollins with each piece. Ride features that diversity early on with the opener, "Ride" is hard hitting and ferocious number that showcases Tallitsch big approach with this composition. 
 
While the very interesting cover of David Bowie's "Life On Mars" and "Rain" are a great examples of Tallitsch moving in a more reserved and mid-tempo territory. Dease, Royston and Tallitsch give the rock classic and definitive spiritual feeling that complements the Bowie masterpiece warmly. "Rain," meanwhile feels both gospel influenced yet encompassing a soulfulness that shines above as one of my favourite tracks on the album.
 
"Knuckle Dragger" is another beautiful moment which Tallitsch highlights both great songwriting and leadership. A funky number that allows Dease, Hirahara and Brendler to stretch and provide some muscular flavour to session. It's a nice extend number that blossoms towards the end of this session. 
 
Tom Tallitsch is now a veteran of the New York scene that really deserves wider recognition. <a href="http://www.amazon.com/Ride-Tom-Tallitsch/dp/B00HWJVZH4/ref=sr_1_1?s=dmusic&amp;ie=UTF8&amp;qid=1408199613&amp;sr=1-1&amp;keywords=tom+tallitsch" target="_blank">Ride</a> is another bright and confident addition to his cannon and well worth any jazz fans attention. And if he's playing in your city, don't be arse like me and wait forever to see him.
</description><link>http://jazzwrap.blogspot.com/2014/08/tom-tallitsch-ride.html</link><author>noreply@blogger.com (Stephan Moore)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw1rLUAuWAdZJRyY-UMCWWVv7GTi9W4X2c1xF-78AylMrycbabhDF8jNkgu4d_D1XtJCtUMlSlc6QiGKtH9cTU_0z7vra7EahWhjx6XXOqUGdJq39r47utwT71BZFFSjUsmZDdtezb9tw/s72-c/photo.JPG" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-687493650841793339.post-6800315208082067037</guid><pubDate>Tue, 29 Jul 2014 21:00:00 +0000</pubDate><atom:updated>2014-07-29T17:00:01.105-04:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">1982</category><category domain="http://www.blogger.com/atom/ns#">1982 Trio</category><category domain="http://www.blogger.com/atom/ns#">Hubro Music</category><title>1982: A/B</title><description><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGjipCWM87UAb6v32MApfKQF9QWuFjXD6OL3hc-rImsd8QxcIruF8AfISBRkLdhJFn54p7reZntI2H37RXgZawkVvOPuaN0M7yu_wm-lFbAzyUn_2WhUpDHnu_chDKG9ajyuUrjmyEFi0/s1600/1982ab.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGjipCWM87UAb6v32MApfKQF9QWuFjXD6OL3hc-rImsd8QxcIruF8AfISBRkLdhJFn54p7reZntI2H37RXgZawkVvOPuaN0M7yu_wm-lFbAzyUn_2WhUpDHnu_chDKG9ajyuUrjmyEFi0/s1600/1982ab.jpg" height="200" width="200" /></a></div>
1982 (trio) 
A/B (Hubro Music; 2014) 
Nils Okland (violin, fiddle) 
Sigbjorn Appland (harmonium, piano) 
Oyvind Skarbo (drums) 
 
Fredrik Ljungkvist (clarinet), 
Erik Johannessen (trombone) 
Sofya Dudaeva (flute) 
Matthias Wallin (sax) 
Hanne Liland Rekdal (bassoon) 
Stian Omenas (conductor) 
 
You know when you stumble into that artist or group that seems to do no wrong with each release? Well, 1982 are that group. A/B is another sold chamber masterpiece deserving every minute of your attention. With the addition of writing material for a much large ensemble 1982 have enlisted a strong cast to help re-develop and expand on their vision.
 
Track 1, "18.06" is a shimming work of cinematic orchestration which is both beautiful, and extremely engaging. Rich in bassoon tones and bombastic drum patterns provide an exciting new glimpse of 1982 that we have not heard to this point in their history. 
 
Delving deeper and broader in scope with A/B, the trio have develop an atmospheric tone reminiscent of Michael Brook and Jon Hassell. The second half of the session features percussive elements wrapped in the soft coils of the wind ensemble that handles each of the remaining piece with delicacy. 
 
A/B is melodic and emotionally effective. A solid re-imagination for 1982. And probably the best the record to date. Yes, at this point they seem be able to do whatever they want with their compositions and instrumentation. Highly Recommended. 
 
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1kMy55Y2-EW_LIStungNsadpEzrn2dVx8ucfqPBjJN1GS7w3sLA8PhbxqjBU4idApj9uwQMZrfy47hZfz-9JYpaODR5-Xy4GBycU1MEN71XAVbxs9teL3VYmFONmmfzV0AsW4hB97rfM/s1600/Wire.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1kMy55Y2-EW_LIStungNsadpEzrn2dVx8ucfqPBjJN1GS7w3sLA8PhbxqjBU4idApj9uwQMZrfy47hZfz-9JYpaODR5-Xy4GBycU1MEN71XAVbxs9teL3VYmFONmmfzV0AsW4hB97rfM/s1600/Wire.jpg" height="200" width="200" /></a></div>
Rodrigo Amado 
Wire Quartet (Clean Feed; 2014) 
Rodrigo Amado (sax) 
Gabriel Ferrandini (drums) 
Hernâni Faustino (bass) 
Manuel Mota (guitar) 
 
A Rodrigo Amado release is always going to be filled with some excitement. And Wire Quartet is definitely exciting and does not disappoint. A wonderful line up that features members of Red Trio and the increasingly rewarding, Manuel Mota.&nbsp; 
 
Wire Quartet consist of three very extended pieces. "Abandon Yourself" opens the album with slow building introduction where each member moves gently with well place focused notes. The piece moves into its second structure when Amado and Mota both let loose and Faustino and Ferrandini follow making this section of the piece the most chaotic and beautiful. The tone settles in the latter stages as each musician has their own moment to rise above. Great compositional/leadership work here from Amado allowing the members the freedom to craft the passages within the outlying structure.
 
Blues-like yet still encompassing sense of moving far beyond, "Surrender" has lots of free movements with Mota's guitar screeching like Branca, Bailey or Thurston Moore rolled into one. Amado's rolling tones and the some atmospheric brush-work from Ferrandini add a nice shine to the track. While on the closing number, "To The Music," Amado really let's loose with some terrific tones and patterns that feel like Ayler or Braxton. Mota's guitars wails alongside Amado but never overpowers the piece.
 
<a href="http://www.amazon.com/Wire-Quartet-Rodrigo-Amado/dp/B00JRIYXF4/ref=sr_1_1?ie=UTF8&amp;qid=1405551416&amp;sr=8-1&amp;keywords=rodrigo+amado+wire+quartet" target="_blank">Wire Quartet</a> is a rock album with jazz undertones. It loud, fierce and abrasive like any other Amado record. Similar to Amado's work with Luis Lopes but here we get the added touches of a fantastic quartet that pours even more muscle to Rodrigo Amado's compositions. Which I didn't think was possible. And the results are excellent and frankly--bloody brilliant stuff!
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</description><link>http://jazzwrap.blogspot.com/2014/07/rodrigo-amado-wire-quartet.html</link><author>noreply@blogger.com (Stephan Moore)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1kMy55Y2-EW_LIStungNsadpEzrn2dVx8ucfqPBjJN1GS7w3sLA8PhbxqjBU4idApj9uwQMZrfy47hZfz-9JYpaODR5-Xy4GBycU1MEN71XAVbxs9teL3VYmFONmmfzV0AsW4hB97rfM/s72-c/Wire.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-687493650841793339.post-9004878892286492306</guid><pubDate>Fri, 11 Jul 2014 20:55:00 +0000</pubDate><atom:updated>2014-07-11T16:55:00.174-04:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">Danny Fox Trio</category><title>Danny Fox Trio: Wide Eyed</title><description><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiscVfLGRvnBogHj7UAMqGO0gUOGeQgB_MM1MUBPm1XCNUcz3kItUMxSS1qnJRqBD4JKueYKeWNmQ1zRjq-qh2kAh-L8ZQZU29ukEv_WsGYWGg2zE6EMzq75Br2OjlMHX2_D6cMOQGTOTI/s1600/fox.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiscVfLGRvnBogHj7UAMqGO0gUOGeQgB_MM1MUBPm1XCNUcz3kItUMxSS1qnJRqBD4JKueYKeWNmQ1zRjq-qh2kAh-L8ZQZU29ukEv_WsGYWGg2zE6EMzq75Br2OjlMHX2_D6cMOQGTOTI/s1600/fox.jpg" height="200" width="200" /></a></div>
Danny Fox Trio 
Wide Eyed (Hot Cup Records; 2014) 
Danny Fox (piano) 
Chris Van Voorst (bass) 
Max Goldman (drums) 
 
I always have the discussion with friends, artists and managers about signing to major labels and higher aspirations. My response and argument has always been, stay independent or on the indie label that has signed you. Your growth, acceptance and skill will expand the way the spiritual powers want it to expand. 
 
Now after my big soliloquy, we have a group that so far has remained independent and their skill continues to grow--the Danny Fox Trio. With their second album, Wide Eyed, they continue on the rich textures and bold composition of their debut but broaden the adventure with a little more urgency and in some case fun. 
 
"All Tolled" and "Drone." illustrate a huge leap in confidence and musicianship from the trio. Melodic pacing and subtle yet bold upfront melodies radiate from these pieces. Fox has a strong hand on the keys but with "All Tolled" Voorst shows impressive plucking indeed. "Drone" shoots out of the gate brilliantly with Fox on a rolling set of notes. Goldman is equal to the pacing and gives a solid foil in unison. This while Voorst comes riding in heavy on the bassline which carries the piece through till Fox and Voorst rejoin providing jubilant finish.
 
"Funhouse Memory" is funky but with a number incongruent chord changes and notes. It's fun with demented intentions. Moving in various directions that felt The Meters grooving with Friedrich Gulda. "Tumble Quiet" concludes this beautiful session in stately fashion. While the notes are bold and intricate; the piece is well grounded and calming place the listener at the edge of a long journey.
 
Wide Eyed is the Danny Fox Trio moving from strength to strength. A record of extremely high quality in both composition and performance. If it were on a major label you might have known about it already. But it might not have the freedom and buoyant expressiveness that comes with being on your own and letting the music come to you as you go. Wide Eyed, is a record that you will come back to time and again. And it is definitely one of my albums of the year. Highly Recommended.</description><link>http://jazzwrap.blogspot.com/2014/07/danny-fox-trio-wide-eyed.html</link><author>noreply@blogger.com (Stephan Moore)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiscVfLGRvnBogHj7UAMqGO0gUOGeQgB_MM1MUBPm1XCNUcz3kItUMxSS1qnJRqBD4JKueYKeWNmQ1zRjq-qh2kAh-L8ZQZU29ukEv_WsGYWGg2zE6EMzq75Br2OjlMHX2_D6cMOQGTOTI/s72-c/fox.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-687493650841793339.post-139415547109464607</guid><pubDate>Wed, 25 Jun 2014 00:00:00 +0000</pubDate><atom:updated>2014-06-25T06:50:47.239-04:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">Zero Centigrade</category><title>Zero Centigrade: Birch</title><description><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmFQ1bnqfi7A8_Pxs2KZXGufED3RK1Bcir_M2xA9ttZJpkVyY8iSZkN1q7WI0Znk8xXlhPsxxDVOmdXOsWRiF308__t4mNpFS7NbPMPxZ-4tsQ9vMYr4zF_lR6b5BxbFk5SGG3JlsSAwM/s1600/zeroC.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmFQ1bnqfi7A8_Pxs2KZXGufED3RK1Bcir_M2xA9ttZJpkVyY8iSZkN1q7WI0Znk8xXlhPsxxDVOmdXOsWRiF308__t4mNpFS7NbPMPxZ-4tsQ9vMYr4zF_lR6b5BxbFk5SGG3JlsSAwM/s1600/zeroC.jpg" height="200" width="200" /></a></div>
Zero Centigrade (duo) 
Birch (Obs, 2014) 
Tonino Taiuti (guitars; electronics) 
Vincenzo de Luce (guitars; electronics) 
 
One of my favourite duos, Zero Centigrade return with albeit short but highly effective album, Birch, that continues there quest in manipulating sound structures in beautiful new ways. 
 
Birch is essentially one long piece with a number of different movements nestled inside. Opening with a common theme of folk/blues style plucking that we have become accustomed to from the duo, it gently slides into move melodic heavy drones around the six minute mark. This effectively represent the next movement which has a number of rising octaves and tremolos that haunt the senses and permeates throughout the reminder of the piece.
 
The hypnotic nature of the middle movements also incorporate a number of found sounds that provided the added space and intrigue to Birch. The final structure to Birch returns to the first movement with more delicate, romantic but short chords from Taiuti wrapped with searing electronic lines across the top from de Luce. 
 
Another beautiful and absorbing release from the Italian duo. Birch continues to explore the territory that their last release, Selce did but with even more imagination left to the listener. Birch is a wonderful and meditative piece that is both engrossing with and without headphones. Highly Recommended. 
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSmVaCqtEjsNzQMOlMFhJSV8YxzxiG3REcckqzmxDEVe2y3u4SBllo9ELaSVE9im4nXWZIq8nygGe6hKLEAaYnukuMTW_XuQBTi0EdUsPEmBlpkQydaH5cPY6V3_ptHalVTz4x23Rv2P4/s1600/sifter.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSmVaCqtEjsNzQMOlMFhJSV8YxzxiG3REcckqzmxDEVe2y3u4SBllo9ELaSVE9im4nXWZIq8nygGe6hKLEAaYnukuMTW_XuQBTi0EdUsPEmBlpkQydaH5cPY6V3_ptHalVTz4x23Rv2P4/s1600/sifter.jpg" height="200" width="200" /></a></div>
Mary Halvorson (guitar) 
Matt Wilson (drums) 
Kirk Knuffke (cornet) 
Sifter (Relative Pitch; 2013) 
 
While this stellar collaboration actually came out last year, Sifter has been on repeat in house for some time now. It is probably one of the most fun and expressive releases I have heard Mary Halvorson on in a long time. The trio of Halvorson, Knuffke and Wilson demonstrate a unique companionship, they have worked with each other on various projects over the last the years, but Sifter for me, is one of their standout projects.
 
The performances are very melodic in their phrasing but as each musician bounces off each other the tunes become vitalized with a real hyper sense of jubilation. "Cramps" and "Don Knots" both provide rustic twang balanced out with jagged notes that mold themselves into a unified piece very quickly. Both pieces provide an element of melody that becomes very catchy and foot-stomping good.
 
Halvorson and Knuffke give "Original Blimp" that dangerous element with some both providing different directions for the song to follow. Halvorson guitar flows with a fun haunting and rolling pace, while Knuffke's cornet rises high along with Wilson steady kit work. All this makes for a grooving little marching number which reminded me of slowed down ska number. 
 
"Forever Runs Slow in Cold Water" and "Absent Across Skies" are ballads but with very twisted chord changes. The trio show how their fun can turn serious a complex ed within seconds. Both pieces are intense and really shine light on how specific, calculated and united the musicians are within each number. Halvorson's looping lines towards the closing of "Forever.." are marvelous.
 
While I may talk about Mary Halvorson allot throughout this piece, it really is a trio session. Each musician provides writing credits for the music in the session. They each challenge each other and each rise to that challenge. But what makes this one of the my favourite records right now is the sheer fun they are having on every single track. Sifter is a good damn brilliant piece of work that every fan of these musicians should seek out quickly. Highly Highly Recommended!
 
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJSawgKBc0oiIniaorBOTglHAlxRctqBYBzYdyvW4S87UPbFNGldIJxpwVC7YJtDNlm0Mr363scAZSuTyUOK4y6aWzrJ0mObv27sESnpgqfEDcyIfStCDv0R68GKLceg7lOoSKRiexmms/s1600/DSDuo.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJSawgKBc0oiIniaorBOTglHAlxRctqBYBzYdyvW4S87UPbFNGldIJxpwVC7YJtDNlm0Mr363scAZSuTyUOK4y6aWzrJ0mObv27sESnpgqfEDcyIfStCDv0R68GKLceg7lOoSKRiexmms/s1600/DSDuo.jpg" height="200" width="200" /></a></div>
Tomasz Dabrowski&nbsp;(trumpet) 
Tyshawn Sorey (drums, piano) 
Steps (For-Tune Records; 2013) 
 
An awesome collaboration from two rising creative talents on the jazz scene, Tyshawn Sorey and Tomasz Dabrowski. Steps is a really exhilarating session that is expansive in its ideas as it is in it's performances. 
Originating from linear structured material, Steps weaves a beautiful course between it's detailed outline and it's subtle improvised moments. "Song 8," features a rampage of consecutive notes from both musicians. Sorey's rolling dash across the kit and Dabrowski with blistering pacing eventually evens out into modular groove towards the final movement. But its really the consistency of their notes that I felt was the most captivating measures of the piece.
 
You know, it had taken me a long time to write this piece as I was so engrossed with the intricacies of the Dabrowski and Sorey subtle movements with each note. This evident on "Song 6 (steps)" and "Song 3" both have some wonderful counter-movements that sound funkier and avant garde at the same time. Dabrowski's tones are sometimes reminiscent of Don Cherry at his peak. But Dabrowski is really coming into his own with a variety of stylistic approaches on each record. While Sorey seems to grow, absorb and spread influential techniques and thoughts with each session and musician he records with.
 
<a href="http://for-tune.pl/en/plyty/dabrowski-sorey-duo-steps/" target="_blank">Steps</a> is a great exploration in rhythms, patterns and free thought. Both Sorey and Dabrowski are shinning new light on the duo setting as well their ability to generate new and interesting material both separately and in collaboration. A highly rewarding session and deserve continued and deep listening.
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<iframe allowfullscreen="" frameborder="0" height="340" src="//www.youtube.com/embed/e9zh1zL3SiE" width="560"></iframe></description><link>http://jazzwrap.blogspot.com/2014/05/tomasz-dabrowski-tyshawn-sorey-steps.html</link><author>noreply@blogger.com (Stephan Moore)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJSawgKBc0oiIniaorBOTglHAlxRctqBYBzYdyvW4S87UPbFNGldIJxpwVC7YJtDNlm0Mr363scAZSuTyUOK4y6aWzrJ0mObv27sESnpgqfEDcyIfStCDv0R68GKLceg7lOoSKRiexmms/s72-c/DSDuo.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-687493650841793339.post-3682657806583984773</guid><pubDate>Wed, 16 Apr 2014 13:00:00 +0000</pubDate><atom:updated>2014-04-16T09:00:00.432-04:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">Fusk</category><title>Kasper Tom 5: Ost Bingo Skruer</title><description><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4TtT7fAmpjsOTyXU38Jvvq2k06FhL8uzpmOjl6qWdrgqVj2On-lNqQNPAzKRrEsmBdqN55ZAqrP-fth-6i7Min_A2h5MAMsQOZOY_6wDt1Utz2Bq8C3taOwIwBJaogz3lcv193GvjHVs/s1600/KTom.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4TtT7fAmpjsOTyXU38Jvvq2k06FhL8uzpmOjl6qWdrgqVj2On-lNqQNPAzKRrEsmBdqN55ZAqrP-fth-6i7Min_A2h5MAMsQOZOY_6wDt1Utz2Bq8C3taOwIwBJaogz3lcv193GvjHVs/s1600/KTom.jpg" /></a></div>
Kasper Tom 5 
Ost Bingo Skruer (Barefoot Records; 2013) 
Kasper Tom (drums) 
Rudi Mahall (clarinet) 
Jens Mikkel Madsen (bass) 
Tomasz Dabrowski (trumpet) 
Petter Hangsel (trombone) 
 
I have enjoyed recent releases from Danish drummer, Kasper Tom--most notably his work with Fusk. On his latest project, the Kasper Tom 5 and their debut Os Bingo Skruer, Tom shows again an excellent sense of diversity and creativity. 
 
Ost Bingo Skruer is fun and widely expansive. At times the horn based quintet resembles a dream meeting of The Vandermark 5 and Dirty Dozen Brass Band. The opener, "Doner macht schoner" embodies some odd arrangements and structures but somehow floats into a very catchy groove enhanced by Mikkel Madsen's infectious plucking. 
 
"Kusk" opens with some quiet yet free moving lines from Tom as each member slows joins in. Mahall's playing stands out here as the clarinet becomes the main focus in the earlier stages. Then Mahall shares sublime exchanges with Dabrowski and Hangsel. 
 
"Everything All The Time" is a great display of the quintet's expansive sound as they improvise and cut a blistering patten that turns inward in its final chords but strikes a lasting response in the listeners consciousness. "Parat Krabat" closes out a very dynamic session date with surprisingly hard bop traditional influences on display. A great way to end a complex yet captivating date.
 
Kasper Tom as shown himself again as a bold and resourceful composer who can gather the musicians into a challenging situation and produce some material of wonder and fresh exuberance. Ost Bingo Skruer is a great record that challenges conventions but is also rich and fun to experience.&nbsp; 
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhulCXNCQr4GS90rY4v1JhlqnN7Z1YE-Wl9uixVgCUNw9kLBBk2RW1JKX8fNbdVu19mUoaq-OJHFK7DJhZdSzxE54WXuaNykgBf5giSQvPrCYB6PSRkR0Ij11QFP0Nyigy-mAMwM7y2I3M/s1600/diD.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhulCXNCQr4GS90rY4v1JhlqnN7Z1YE-Wl9uixVgCUNw9kLBBk2RW1JKX8fNbdVu19mUoaq-OJHFK7DJhZdSzxE54WXuaNykgBf5giSQvPrCYB6PSRkR0Ij11QFP0Nyigy-mAMwM7y2I3M/s1600/diD.jpg" height="186" width="200" /></a></div>
Akria Sakata (clarinet. sax) 
Giovanni Di Domenico&nbsp;(piano) 
Iruman (Mbari; 2014) 
 
An absolutely brilliant duet session from Giovanni Di Domenico and Akira Sakata! While yes, a good majority of Iruman is improvised, the two musician smoothly create a beautiful soundscape that this lush and romantic. And its stands out more than its improvised parts. 
 
"Yellow Sand Blowing From China" and "Lotus Blossom In A Old Pond," are both deeply involved numbers but the intricately place notes by Di Domenico set a romantic path for listener. This run tangent to Sakata's sprawling lines and once blended together become bold and outrageous statements of adventure. 
 
On the fresh and rampant "Bud I," the duo show a marvelous combination of notes. This piece felt reminiscent of Ornette Coleman with Sakata running up the scales at full-blast. Di Domenico following with great agility. "Papiruma," is more a spiritual outing between Sakata utilizing his improvised vocals along side Di Domenico's arpeggios on the keys. Exciting and challenging movements and worth treasuring.
 
Throughout <a href="http://www.amazon.com/gp/product/B00IPK0USO/ref=sr_1_1_rd?ie=UTF8&amp;child=B00IPK0Z1Q&amp;qid=1396308730&amp;sr=1-1%3C/a%3E" target="_blank">Iruman</a> you get a sense of a solid understanding between the two musicians; in addition to a edict to find other spaces for their lyrics to go. This is a daring yet pleasing session that flows nicely in free form as well as in an uplifting and emotional atmosphere. Highly Recommended.
 
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRcG9yUOsOjcLZkt4whrwRkeVxSDSpZ70vtuE_KwVKpSNY1a-Xzxee1bESlH9m9LPb328ACt33ERUUCjQUI8G_A8RX2c7aIhfsInuI-6AWW32ssr_YWjxPK8WGqF6cq0nMN0otLC7Nyto/s1600/Mold.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRcG9yUOsOjcLZkt4whrwRkeVxSDSpZ70vtuE_KwVKpSNY1a-Xzxee1bESlH9m9LPb328ACt33ERUUCjQUI8G_A8RX2c7aIhfsInuI-6AWW32ssr_YWjxPK8WGqF6cq0nMN0otLC7Nyto/s1600/Mold.jpg" height="200" width="200" /></a></div>
Arni Karlsson (piano) 
Mold (Mold Music; 2014) 
Scott McLemore (drums) 
Porgrimur Jonsson (bass) 
 
You know, I sometime wonder if artists like Arni Karlsson, Sunna Gunnluags and even American Danny Fox, were on larger labels like ACT or ECM would they receive more acclaim and listenership. I do feel the answer is a resounding yes. 
 
But then again, they could also get also lost is in mountain of similar projects from those labels. So I guess it a good thing that we get to discover these artists on our own and enjoy their continued development. And that is exactly what we see with Arni Karlsson's long awaited third album, Mold. 
 
A bright and richly toned session that marks serious growth in the artists cannon. Opening with emotionally introspective piece "Smell Of Hay," Karlsson shows steady and brave compositional skills that reflect his classical training. But the inclusion of McLemore and Jonsson bring a different level of cohesion to this session immediately with this opening track. It's a fuller and more enveloping sound.
 
On "Saltstreaks," Karlsson opens the lyrical conversion to both his fellow members for some warmth solo pieces as well as nicely balanced exchanges one on one throughout the piece. "Growing" is a late night midtempo number where Karlsson's playing reminds me of McCoy Tyner. It's bold but with a lot of playfulness. The trios movement as well as on the title track show great depth and emotion. "Mold," while sounding cold and distant, is really more a painting of one's own longing for something more and how to create it.
 
Mold is a terrific and momentous leap for Arni Karlsson as a composer, leader and performer. And while he and a few others remain independent, their lyrical vision and growth continues to spread. And that's always more important than being on the popular label. Here's to spreading the word. <a href="http://arnikarlsson.bandcamp.com/album/mold-2" target="_blank">Mold</a> is one of JazzWrap's album of the year for sure. Highly Recommended!
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</description><link>http://jazzwrap.blogspot.com/2014/03/arni-karlsson-mold.html</link><author>noreply@blogger.com (Stephan Moore)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRcG9yUOsOjcLZkt4whrwRkeVxSDSpZ70vtuE_KwVKpSNY1a-Xzxee1bESlH9m9LPb328ACt33ERUUCjQUI8G_A8RX2c7aIhfsInuI-6AWW32ssr_YWjxPK8WGqF6cq0nMN0otLC7Nyto/s72-c/Mold.jpg" height="72" width="72"/><thr:total>0</thr:total></item></channel></rss>

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