Daily Archives: May 6, 2013

Gapplegate Music review by Grego Edwards

CF 263Ingebrigt Haker Flaten New York Quartet – Now Is (CF 263)
When people in the jazz avant camp emerge from the scene gigging and recording with some heavy cats, there is always a reason. Contrabassist Ingebrigt Haker Flaten is certainly one of those lately. And the reason is that he can really play. So when he puts together a disk with some of the heaviest cats, his New York Quartet doing Now Is (Clean Feed 263), it is an affirmation.  Heavy cats? Mr. Joe McPhee on tenor, Mr. Joe Morris on guitar, and Mr. Nate Wooley on trumpet. That qualifies as heavy. Each is a leader on his instrument, a bandleader in his own right, and the melding of all four on a free date is all you’d hope for.   This is a drummerless group, which makes Flaten’s bass playing stand out all the more. The result is four equal solo voices engaging in dense free counterpoint.   Everybody is in good form. It’s something excellent to sink your ears in.

All About Jazz Italy review by Vincenzo Roggero

CF 268Kris Davis – Capricorn Climber (CF 268)
Valutazione: 4 stelle
Se nel recensire alcuni dei suoi precedenti lavori ci eravamo sbilanciati nel sottolineare le doti di questa pianista di origini canadesi ancora giovanissima, individuandola come talento cristallino da seguire attentamente, con questo Capricorn Climber Kris Davis conferma appieno tutto quanto di buono era stato detto sul suo conto. E lo fa con una maturità sorprendente anche nelle vesti di leader di un quintetto di musicisti già pienamente affermati (Mat Maneri; Ingrid Laubrock; Trevor Dunn; Tom Rainey), meravigliosi nel mettere la propria esperienza e sensibilità al servizio di idee tutt’altro che prevedibili o accomodanti. Perché la qualità principale che Capricorn Climber mette in risalto è proprio quella di una scrittura complessa, impegnativa, tradotta nell’approccio pianistico della leader, poco interessata allo sviluppo delle frasi o degli accordi, quanto piuttosto a creare situazioni stimolanti per l’inventiva dei compagni di viaggio. I temi, quando affiorano dai silenzi o si percepiscono tra le intricate maglie della scrittura, sono pretesti per trovare combinazioni timbriche e architetture sonore imprevedibili.

Veri e propri interludi dai chiari riferimenti contemporanei o bolle acustiche di stampo cameristico compaiono di frequente a spezzare un accenno di groove, una pulsazione ritmica regolare, e la sensazione di trovarsi al centro di un maelstrom sonoro spiazzante viene amplificata a dismisura. Il rischio reale, incombente di eccessiva cerebralità o di ineccepibili ma algide architetture viene ampiamente scongiurato dalle intuizioni fulminanti dei musicisti. A cui si aggiunge la stimolante tensione esecutiva che sostiene, soprattutto nei momenti di maggior intimità, il corso della musica.

Gapplegate Music review by Grego Edwards

CFG 006I Never Meta Guitar Too, Solo Guitars for the 21st Century (CFG 006)
The guitar has occupied pride of place as the West’s (whatever that means) instrument of choice for some time now. That such attention should attract creative musicians and innovation is logical. Guitarist-composer-conceptualist Elliott Sharp has taken the time to address the latest in such endeavors, specifically for the solo guitar, whether electric or acoustic, in an anthology of works by new and thoroughly contemporary artists, essentially from all over the world.  The second volume, I Never Meta Guitar Too (Clean Feed CFG06) is out and I’ve been listening to it. There are 16 artists playing 16 solo segments. Most names you probably wont be familiar with unless you have been a microscopic enthusiast. There’s Ava Mendoza, Ben Tyree, On Ka’a Davis, Shouwang Zhang, Joel Harrison, Yasuhiro Usui, Alan Licht, and nine others.   The music varies from very electric metal and free wheeling sound poetry and soundscaping to acoustic compositional and/or folksy excursions. In short this is a barrier-free collection, as was the first volume. The proviso is that the music should characterize our new century–be new in whatever sense that might mean for a particular artist, even if there are some very rooted things going on at times.   Elliott Sharp as curator-producer is the ideal choice, in that he himself embraces a wide spectrum of musics and styles, and has keen ear to the ground.   What we get is another provocative, very enjoyable album of guitarists with lots of ideas. Some selections will be just what you would like to hear, no doubt, and maybe some others you wont expect. Either way this will stretch your ears and give you a nicely presented look at some of the possibilities being worked on today.   Take the jump and check this one out.

JazzWord review by Ken Waxman

CF 259Angelica Sanchez Quintet – Wires and Moss (CF 259)
Nick Fraser – Towns and Villages (Barnyard Records)
Arriving in New York from his native Tucson in 1995, Tony Malaby has since made his distinctive tenor and soprano saxophone tones part of that city’s scene, both with his own bands and as a sideman – most notably with bassist Mark Helias’ trio. His high- quality improvisations are featured on both these CDs, although he does have much closer ties to one leader than the other.

That’s because pianist Angelica Sanchez, who also composed Wires and Moss’s half-dozen tracks, is Malaby’s spouse, as well as being a respected jazzer in her own right. Another session reflecting her unique vision, the disc unites the two with a top rhythm section of bassist Drew Gress and drummer Tom Rainey plus French guitarist Marc Ducret. A responsive time-keeper who composed all the titles on his CD, Toronto-based drummer Nick Fraser calls on Malaby’s skills more platonically on Canadian Towns and Villages. The distinctiveness of this CD comes from the juxtaposition of his and the saxman’s instruments with those played by two other Toronto-based musicians. The distinctive timbres of Andrew Downing’s cello and Rob Clutton’s bass are both cleverly worked into the arrangements.

A member of the collective quintet Drumheller and the band Ugly Beauties with pianist Marilyn Lerner and cellist Matt Brubeck, the Ottawa-born drummer is so self-effacing that often it’s only clip-clops, bumps or patterns which characterize his accompaniment. Meanwhile a track such as “Albs” is built around a mellow interface that contrasts Malaby’s sweet-and-sour tenor vibrato with Downing’s rich bowed lines and timed thumps from Clutton. Even when the two string players advance contrapuntal whistles and creaks, as on the fully improvised “Sketch #10”, an innate lyricism is still present, with Fraser’s understated ratamacues softening Malaby’s thick sax slurs

In contrast the track that moves this quartet closest to Albert Ayler territory – he used similar instrumentation, but with trumpet as well – is the enigmatically titled “?”. Here Malaby’s pinched blowing and peeping is matched by the bassist’s string sawing and the cellist’s staccato creaks and crackles. While the drummer’s output is more dominant, it seems that his basic taste prevents the tune from blasting into the stratosphere.

Overall however the CD’s most distinctive number is “Sketch #12”, which sums up the fine musical line the quartet walks. The performance is neither completely straight-edged nor fully free form despite Malaby’s narrowed tremolo vibrato, disassociated slurs and reed bites. No matter, the backing stays resolutely linear. A thick walking bass line plus pops and clatters from the drummer sees to this. While there’s curiosity engendered with this clashing of sonic strategies, more excitement could have resulted if the four resolved the situation one way or the other.

Fewer tunes and more front line players distinguish the other session. Although the combo has been together for a half-dozen years, unlike the Fraser-Malaby one-off, a basic tension still exists. Malaby’s chesty moans and concentrated slurs plus Ducret’s ringing tone distortions pull the band in one direction, while Sanchez’s sympathetically and contrapuntally decorated expositions aim for an opposing game plan. With Dress and Rainey forcefully backing up the three, a disconnect between subtle and sinewy is often highlighted. Overall it’s mostly the guitarist who is the spark plug and whose playing is most disruptive to the measured narratives.

Since after all Sanchez composed all the tunes and is session leader, this effect is probably simpatico with her aims, even if it appears to conflict with her sympathetic chording and restrained keyboard dusting. Yet when Ducret’s buzzing, sliding licks on “Dare” give the impression that he`s daring the saxophonist to dispense with his previously lighter-than-air soprano lines and turn to pressurized lip vibrations is this part of Sanchez’s plans? Certainly while she has occasion to showcase a staccato interface with runs from both hands emerging for additional coloration, her main concern is melody building, with the atonal improvising left to others.

Only on the extended “Soaring Piasa” for example, when broken-octave counterpoint is advanced by Malaby’s human-sounding altissimo squeals and muscular Rainey drum ruffs, does the pianist seem intent on taking control of the rhythm section, harmonizing and integrating every other instrumental texture. Again does this pinpoint Sanchez’s collaborative skill or her instrumental shyness?

As it is the unanswered question suggests something is lacking on both sessions. Although each can be listening to with interest, the conciseness of Fraser’s performances plus the resolute linearity of Sanchez’s concepts work against a full loosening of structures and the creation of fully exhilarating dates. Perhaps next time…

Free Jazz review by Joe Higham

CF 268Kris Davis – Capricorn Climber (CF 268)
I remember reading Stef’s enthusiastic review of Kris’s Rye Eclipse. It’s one of the great classics in the free-composed genre, an album more than worth checking out if you don’t know it. Here she is again in large formation, something that really suits her great composing skills. Her group is made up of Mat Maneri, viola, Ingrid Laubrock, saxophone, Trevor Dunn, bass, Tom Rainey, drums and naturally Kris Davis, piano. It’s a good combination that really gives her compositions a chance to breath and at the same time has a depth of sound.

The opening notes of the album jump out at you making me think of King Crimson’s David Cross pieces/period due to the violin’s eerie presence. It’s an atmosphere that pervades this album. Fine textures that develop within the group, ‘spectral’ would be a good term (if we were listening to contemporary classical music). The fine detail that the musicians put into the music is amazing not unlike a painting from the Flemish masters! “Too Tinkerbell”(tk1) the opening piece bravely settles into a group impro from the very start, yet underneath there is clearly a logic which only emerges after about 3 minutes. The wide open choice of notes that make up the theme give time a suspended feeling as if you’re floating. This is a style that Kris Davis uses often, introducing notes into her pieces whilst the group improvises around her. A bass line that seems abstract suddenly becomes a melody, the drums seemingly flay around, yet they are a precise part of the melody to come, and so on.

It’s nice to hear Ingrid Laubrock playing in a ‘melodic’ situation. Here she gets the chance to display her line playing to good advantage. Along with Matt Maneri’s violin the two often complement each others improvisations to create some very delicate music. The rhythm section of Tom Rainey and Trevor Dunn give a fine performance also. The two players are able to give the impression of complete freedom whilst sneakily heading towards a common goal. Listening to these two players, combined with Kris Davis’s piano you start to realise the complexity of some of the compositions. If a piece is rushed too much it would loose it’s qualities and the rhythm section plays it just right. “Trevor’s Luffa Complex”(tk3) is just such a piece. Starting with a bass solo the group gradually climbs on board until everything is in place, just in time before a strong theme explodes at the end.

Most of the pieces function in this way surprising the listener constantly. It’s a style that makes for detailed listening over and over again. Details or structures that you hadn’t grasped at first become clearer with each listen, as I already said it’s like looking at a highly detailed painting – even Where’s Wally for music! “Capricorn Climber”(tk4), “Pi is Irrational” (tk7) and “Dreamers in a Daze” (tk8) all have splendid improvised sections that build up over time, everyone is featured in there own fashion. At the same time the music is never clumsy or heavy handed.

If you enjoy listening to finely balanced music which can be both daring and beautiful then you’ll probably find this a very rewarding album. If you don’t know Kris Davis’s work this may be as good a place to start as anywhere.