Tag Archives: Tomas Fujiwara

Chicago Reader Best of 2014 list by Peter Margasak

My favorite jazz albums of 2014
Today NPR Music posted the results of the annual jazz critics poll organized by Francis Davis. In years past the poll ran in the Village Voice and the online music service Rhapsody. Steve Lehman’s impressive Mise En Abîme (Pi) landed in the top spot this year. You can check out the full results, including categories for best reissue, Latin jazz recording, debut, and vocal album here. I’ve included the ballot I submitted for this year’s poll below.

Top 10 Albums:
1. David Virelles, Mbokó (ECM)
2. Ambrose Akinmusire, The Imagined Savior is Far Easier to Paint (Blue Note)
3. Wadada Leo Smith, The Great Lakes Suites (TUM)
4. Jason Roebke Octet, High/Red/Center (Delmark)
5. Hush Point, Blues and Reds (Sunnyside)
6. Tyshawn Sorey, Alloy (Pi)
7. Tom Rainey, Obbligato (Intakt)
CF 2898. Matt Bauder & Day in Pictures, Nightshades (Clean Feed)
9. Michael Blake, Tiddy Boom (Sunnyside)
10. Jason Adasiewicz’s Sun Rooms, From the Region (Delmark)

http://www.chicagoreader.com/Bleader/archives/2014/12/19/my-favorite-jazz-albums-of-2014

Magnet’s Best of 2014 list by Bill Meyers

Magnet’s Bill Meyer picks the best jazz/improv releases of the year

1 Kyle Bruckmann’s Wrack …Awaits Silent Tristero’s Empire (Singlespeed)
2 Brötzmann Adasiewicz Edwards Noble Mental Shake (Otoroku)
3 AMM Place Sub. V. (Matchless)
CF 2894 Matt Bauder And Day In Pictures Nightshades (Clean Feed)
5 Rob Mazurek Mother Ode (Corbett Vs. Dempsey)
6 Russ Johnson Meeting Point (Relay)
7 Cymerman Wooley Parker World Of Objects (5049)
8 Steve Lehman Octet Mise En Abîme (Pi)
9 Keir Neuringer Ceremonies Of The Air (New Atlantis)
10 Travis Laplante’s Battle Trance Palace Of Wind (New Amsterdam)

http://www.magnetmagazine.com/2014/12/04/best-of-2014-jazzimprov/

Le Son du Grisli review by Guillaume Belhomme

CF 289Matt Bauder and Day in Picture – Nightshades (CF 289)
En ces temps de Blue Note Revival, écouter Matt Bauder creuser en profondeur les vieilles symétries n’est pas pour me déplaire. Et ne pas voir en lui l’un des musiciens les plus investis du moment en dit assez long quant à l’imbécilité de la jazzopshère.

C’est que Matt Bauder possède plus d’une corde à son arc. Ici, dans ce territoire vaguement sixtie-Blue Note, il conteste le copier-coller et fonde ses interventions sur des tumultes que n’atteindront jamais les (très) surévalués petits princes des revues en papier glacé. Car Bauder sait comment ériger un chorus et comment troubler les cadres. Et c’est aussi ce que sait faire un Nate Wooley, trompettiste aux courbes ruades. Et tandis que Kris Davis (remplaçant ici Angelica Sanchez) impulse quelque harmonie mensongère, Jason Ajemian et Tomas Fujiwara érigent quelques imposantes cathédrales. Viennent alors à nos oreilles cette science des temps mêlés. Temps mêlés et jamais scellés.

http://grisli.canalblog.com/archives/2014/12/01/31051331.html

Time Out review by José Carlos Fernandes

CF 289Matt Bauder and Day in Picture – Nightshades (CF 289)
****
O segundo disco do quinteto Day In Pictures do saxofonista Matt Bauder prossegue a rota da estreia: revisitação criativa do hard bop do início dos anos 60. A formação (de luxo) mantém Nate Wooley, Jason Ajemian e Tomas Fujiwara, mas Kris Davis toma o lugar de Angelica Sanchez – o que significa um piano mais seco e percussivo.

A maior surpresa está logo na abertura, pois o encantatório “Octavia Minor” desvia-se dos ambientes hard bop e remete para o Ethio-jazz de inflexões latinas de Mulatu Astatke, ainda que o desconcertante solo de Davis (não contem com ele para fazer o que é previsível) deixe o aviso: os Day in Pictures não estão aqui para fazer pastiches. “Weekly resolution” regressa ao terreno usual do quinteto e retoma, em variante moderna, a faceta mais escaldante dos Jazz Messengers – mas o adstringente e cásutico solo de trompete (as intervenções de Nate Wooley são consistentemente inspiradas, tomem elas um registo mais “clássico” ou mais heterodoxo) e o denso solo de bateria sustentado por um piano minimal-obsessivo lembram que os tempos são outros. “Starr Wykoff” é uma balada “à maneira antiga”, tocada com aprumo e sinceridade e que serve para calar os sectores conservadores que crêem que a nova geração pratica um jazz “esdrúxulo” porque são incompetentes para tocar “como deve ser”. O CD encerra com “Nightshades”, uma marcha jovial, luminosa e bluesy, com Wooley e Bauder em diálogo cúmplice – alguma afinidade com a música de Harris Eisenstadt não será mera coincidência, já que Wooley e Bauder são parceiros recorrentes de Eisentsadt.

Quem seja dado a catalogações que se entretenha a escolher se isto é jazz “modernista” ou “tradicionalista”.

Point of Departure review by Troy Collins

CF 289Matt Bauder and Day in Pictures – Nightshades (CF 289)
Nightshades is the most accessible offering to date in Brooklyn-based tenor saxophonist Matt Bauder’s burgeoning discography. Brimming with nostalgic melodies, rich harmonies and elastic rhythms, the highly appealing session shares more than a passing resemblance to classic records issued by Blue Note in the 1960s, recalling a time when jazz still reigned as the popular music of the day.

Following in the footsteps of the group’s 2010 self-titled Clean Feed debut, Bauder’s Day in Pictures continues to explore intricate structural nuances of the post-bop continuum, hemming ever closer to conventional forms. Enjoying the support of a fairly stable lineup, Bauder is once again joined by trumpeter Nate Wooley, bassist Jason Ajemian and drummer Tomas Fujiwara, while pianist Kris Davis takes the place of Angelica Sanchez. Davis’ appearance is noteworthy; where Sanchez brought a penchant for expansive contrapuntal harmony to the group, Davis takes a more focused, linear approach, offering a profusion of melodic invention in her brisk, chromatic delivery.

Davis’ quicksilver pianism meshes well with Ajemian’s supple bass lines and Fujiwara’s spirited kit-work; their skillful interplay yields a modulating undercurrent of melodic, harmonic and rhythmic activity that inspires daring excursions from the versatile frontline. As one of the key young masters of new trumpet technique, Wooley makes a fitting foil for the leader, underscoring Bauder’s sinuous refrains with coruscating asides tempered by an increasingly sophisticated lyricism. Bauder reveals a diverse array of expressionism, whether waxing romantic on the lush ballad “Starr Wykoff,” swinging with full-throated verve through the second line-infused title track, or plying nervy multiphonics on more assertive fare like “Rule of Thirds.”

Although the material on Nightshades is stylistically similar to the quintet’s previous effort, each tune investigates slightly different territory, ranging from the slinky deconstructed bossa nova groove of “Octavia Minor” to the collective New Thing-inspired rapture of “August and Counting.” The duration of each piece hovers around the ten minute mark, allowing individual members time to extrapolate on Bauder’s melody-rich themes.

In direct contrast to some of his more experimental projects, like Memorize The Sky, the material performed by Day in Pictures highlights Bauder’s most conventionally jazz-oriented writing. The end result is a historically aware exploration of the tenuous divide between freedom and form – a bold, but beautiful album.
http://www.pointofdeparture.org/PoD47/PoD47MoreMoments2.html

Point of Departure review by Troy Collins

CF 289Matt Bauder and Day in Pictures – Nightshades (CF 289)
Nightshades is the most accessible offering to date in Brooklyn-based tenor saxophonist Matt Bauder’s burgeoning discography. Brimming with nostalgic melodies, rich harmonies and elastic rhythms, the highly appealing session shares more than a passing resemblance to classic records issued by Blue Note in the 1960s, recalling a time when jazz still reigned as the popular music of the day.

Following in the footsteps of the group’s 2010 self-titled Clean Feed debut, Bauder’s Day in Pictures continues to explore intricate structural nuances of the post-bop continuum, hemming ever closer to conventional forms. Enjoying the support of a fairly stable lineup, Bauder is once again joined by trumpeter Nate Wooley, bassist Jason Ajemian and drummer Tomas Fujiwara, while pianist Kris Davis takes the place of Angelica Sanchez. Davis’ appearance is noteworthy; where Sanchez brought a penchant for expansive contrapuntal harmony to the group, Davis takes a more focused, linear approach, offering a profusion of melodic invention in her brisk, chromatic delivery.

Davis’ quicksilver pianism meshes well with Ajemian’s supple bass lines and Fujiwara’s spirited kit-work; their skillful interplay yields a modulating undercurrent of melodic, harmonic and rhythmic activity that inspires daring excursions from the versatile frontline. As one of the key young masters of new trumpet technique, Wooley makes a fitting foil for the leader, underscoring Bauder’s sinuous refrains with coruscating asides tempered by an increasingly sophisticated lyricism. Bauder reveals a diverse array of expressionism, whether waxing romantic on the lush ballad “Starr Wykoff,” swinging with full-throated verve through the second line-infused title track, or plying nervy multiphonics on more assertive fare like “Rule of Thirds.”

Although the material on Nightshades is stylistically similar to the quintet’s previous effort, each tune investigates slightly different territory, ranging from the slinky deconstructed bossa nova groove of “Octavia Minor” to the collective New Thing-inspired rapture of “August and Counting.” The duration of each piece hovers around the ten minute mark, allowing individual members time to extrapolate on Bauder’s melody-rich themes.

In direct contrast to some of his more experimental projects, like Memorize The Sky, the material performed by Day in Pictures highlights Bauder’s most conventionally jazz-oriented writing. The end result is a historically aware exploration of the tenuous divide between freedom and form – a bold, but beautiful album.
http://www.pointofdeparture.org/PoD47/PoD47MoreMoments2.html

Expresso review by João Santos

CF 289Matt Bauder and Day in Pictures – Nightshades (CF 289)
****
Há teorias que pegam por contágio. No caso, desde “Day in Pictures” (2010) que, no domínio da crítica, e a propósito do quinteto de Matt Mauder, se fala de uma proveitosa estilização de figuras com pelo menos 50 anos como se nada de estranho houvesse na redução a aspetos decorativos da parte mais equilibrada do modernismo jazzístico da década de 60 ou como se não estivesse a própria música de Bauder, Nate Wooley, Jason Ajemian, Tomas Fujiwara e Angelica Sanchez (entretanto substituída por Kris Davis) repleta de aforismos da estirpe ‘Nova Iorque é Agora’. Nessa perspetiva, recordando-se um punhado de álbuns de uma só editora, “Nightshades” decalcaria algo do que, em 1964, a Blue Note postulou através de “Point of Departure” (Hill), “The Sidewinder” (Morgan), “JuJu” (Shorter), “Destination… Out!” (McLean) ou, já que, com este título, aludiu Bauder à família botânica da batata, “Out to Lunch!” (Dolphy). A ilação, que ninguém parece tirar, é que tal empreitada – como no “Vou-me Embora para Pasárgada”, de Manuel Bandeira, com o verso “[Lá] Tem alcaloide à vontade” inspirado na mesma ordem de plantas – situaria Bauder nas redondezas da alienação, premissa incompatível com o que se qualifica como a ação de um baluarte da vanguarda. Talvez por isso se transforme aqui o popular em esotérico – conferir o contorno etíope de ‘Octavia Minor’ –, revelando-se restritivo o que já foi ilimitável. De facto, é difícil aceitar que tem cada período da história do jazz de lidar com um conjunto de estéreis convenções. E, no entanto, por nenhum outro motivo tanto estimula a imaginação este “Nightshades”.