In Honour Of Mick Karn

Mick Karn (bass, multi-instrumentalist; b. 1958)

The Concrete Twin (MK Music)

I titled this piece "Enough Said" because I have a feeling that many of you who read this blog are fully aware of Mick Karn. After Jaco Pastorius, Mick Karn is probably the most distinctive bass player of the last 35 years. And he has done this by never actually learning how to read music. Some people just have that creative ability in them. Not yours truly. I can't read or play an instrument with any skill whatsoever.

Mick Karn's style on the bass (specifically fretless bass) is something you truly can't believe when you first hear it. It's like an oboe, cello and a upright bass all being folded and manipulated into itself. Truly distinctive and original. Fans of Karn know his playing within seconds of the opening chords.

I will try to keep the history portion of this short.

Like many musicians, as a child, the bass wasn't his first instrument of choice. That credit goes to a variety of instruments (bassoon, violin and mouth organ). But it was shortly after a brief stint playing classical music he hooked up with what become a legendary group (and group of musicians), Japan. Japan included David Sylvian, Richard Barbieri, Steve Jansen (and briefly Rob Dean). Japan's short-lived but highly influential career turned each member into instant legends. The bands ability to craft a blend of atmospherics, East/West aesthetics into a rhythmically accessible language captivated cult audiences around the globe.

Since the unfortunate break up of Japan, Mick Karn has worked with a myriad of talented musicians including, Peter Murphy (Bauhaus), Kate Bush, Midge Ure (Ultravox), David Torn (Lonely Universe, Polytown) and Mark Isham to name a few.

Mick Karn has effortlessly shifted between rock, ambient/electronica, jazz and world. He has built a solid foundation of seven solo albums. All I highly recommend. His latest, Concrete Twin (MK Music) is wonderful work of aural sculpture. It's rich, cinematic, introspective and dense. The production is crisp and enveloping. The majority of the music is as usual played by Karn himself (with additional drum work by Pete Lockett and manipulation by Karn).

While Concrete Twin has its origins in electronics, there is also a deep sense of organics within the tunes. "Ashamed To Be A Part Of Them" opens the album on a similar path as Mick's earliest albums (Dreams Of Reason Produce Monsters and Titles). As usual, Karn's bass is front and center in the mix with a gentle East Asian atmosphere surrounding the piece.

On "Yes, I've Been To France" a bit of Karn's jazz past comes to the front. The cinematic nature of the material with Lonely Universe can be felt. There are moments improvised piano and Fripp-like guitar distortion. Probably not intended but you get a sense Mick is exploring a number of different themes throughout Concrete Twin. Where his last few records have been dominated by dance orientated material.

"Tender Poison" is a beautiful piece stressing the keys and subtle excursions with drum and percussion. Emotional effective yes. But also magnificently crafted. "Vote For Lies" and "Antisocial Again?" both are delicate haunting; with eerie bass lines and treated piano movements that make for an excellent explorations into the soul.

Mick Karn continues to be one of the best bass players in all of music today. But he has become a significant writer over the last ten years as well. His compositions have become more complex and his musicianship continues be exacting. Concrete Twin is by far one his best albums in years.

A few days ago Mick Karn past away due to complications from advanced cancer; so it is even more important that people spread the news of this great and wildly overlooked talent to the wider audiences. If you are a Mick Karn fan buy a Mick Karn CD (physical if possible) and give it to someone you know will enjoy it. The least we can all do is support one of the greatest musician who has brought so much joy and creative music to our lives over the last three decades. If you are just hearing about Mick Karn through this blog--buy Concrete Twin today if you can. You won't be disappointed. Mick we will miss you.

Espen Eriksen Trio

Espen Eriksen Trio
You Had Me At Goodbye (Rune Grammofon)

Espen Eriksen (piano)
Lars Tormod Jenset (bass)
Andreas Bye (drums)

Eriksen and his trio have put forth a delightful debut. You Had Me At Goodbye combines the soft folk, classical jazz of many fellow Scandinavian artists. The trio blend melodic themes and lyrical structures that set a quiet atmospheric mood.

You Had Me At Goodbye is something of a departure for the bands label, Rune Grammofon which has been known for more experimental, free form and abstract concepts from artists like Supersilent, Elephant9, Food, Scorch Trio and Motorpsycho. Eriksen Trio is much more in the vein of ECM recordings than latter.

This is an album that will definitely please listeners looking for something rich and pleasant on the ear. Recent recordings by Kit Downes, fellow Norwegian, Helge Lien also come to mind when I listen to Eriksen. I'm stirring clear of the obvious E.S.T. comments because I really don't see the comparison.

"Grinde" and "Masaka Tsara" display a cleaver bit of adventure with some great interplay between Eriksen and Jenset with Bye and nice brushes of timing. This is a trio with a crisp sound that resonates individually as well as a unit.

"Not Even In Brazil" is the definite standout for me. A rhythmic uptempo number that really shows the dynamics of the trio, especially for Bye. Bye's performance moves from soft to infectious and back again. Eriksen adds some solid movement of his own throughout the piece. Warm, touching and glowing--a beautiful number.

"On The Jar" might be the most distinct track on the album. It has a blues/gospel tinged that moves quite effortlessly with some wonderful bass lines from Jenset.

You Had Me At Goodbye isn't perfect but for those looking for a delightful entry point into late night jazz this is well worth your time. I did enjoy this record allot but there isn't a great deal to make it standout from the other trio records over the last 12 months but you should be the final decision not me.

jazzmusic24 Best Albums Of 2010 Recap

It was a fantastic year for music. Here's a recap of jazzmusic24's Best Albums Of 2010.

Mary Halvorson
Mikrokolektyw
One For All
Soweto Kinch
Soil & Pimp Sessions
Jason Moran
The Vandermark 5
Polar Bear
Bobby Avey
Dave Stapleton

There were a couple of albums I didn't get a chance to write about in our Best Of 2010 list. More because I was ill for a few days and couldn't put brain to computer to get the words out. These are by no means "honorable mentions". These are fantastic and in some cases (Jason Adasiewicz, Curtis Fuller, Kris Davis and Ricardo Gallo) phenomenal records that are worth every moment hunting down.

Ricardo Gallo Resistencias (Laidstrito Fonica)
Kris Davis Good Citzen (Fresh Sounds/New Talent)
Brian Eno Small Craft On A Milk Sea (Warp Records)
Curtis Fuller I Will Tell Her (Capri Records)
Tom Rainey Pool School (Clean Feed Records)
Keefe Jackson Seeing You See (Clean Feed Records)
Magnus Broo Swedish Wood (Moserobie Music)
Jason Adasiewicz Sun Rooms (Delmark)

I discovered a lot of new music this year. This was in part to some great friends, musicians, record labels and other blog writers. I especially wanted to mention my two favourite blogs Minimalistic Music and Jazznyt. Both are a little more avant garde than jazzmusic24 and provide a different perspective on the global community.

In addition, contributing editor, Kristopher Spencer has the insansely insightful site Scorebaby that discusses soundtrack music from every part of the globe as well as a great book on soundtracks that he wrote a year ago which you must own. I highly recommend you check them all out.

We have enjoyed working with and hearing from everyone and we hope to continue with some great new material in 2011. I hope you dig the music and have discovered some cool stuff. For us its all about turning people on to music that's both accessible and adventurous. As always we want to hear from you as well. So if you have a record you feel would be a great fit for us to know about please let us know.

And we are looking forward to another solid year of adventure in 2011.

Video: Tom Rainey Trio (Tom Rainey, Mary Halvorson and Ingrid Laubrock)From all of us at jazzmusic24, thank you.

Best Albums Of 2010: Dave Stapleton

jazzmusic24 revisits our favourite albums of 2010.

Dave Stapleton (piano)
Between The Lines (Edition Records)

Another surprise album for me this year was from Dave Stapleton, the young but highly accomplished pianist/composer from England and his impressive quintet. Their third album Between The Lines (Edition Records) was one of those consistently rewarding listens throughout the year. I found myself having a new favourite song with every listen.

Stapleton's classical training and a strong dose of Herbie Hancock is apparent throughout Between The Lines. The album starts with the melodic drone of "October Sky" and then really kicks into gear with the funky psychedelic rhythms of "Horn" obviously the focal point for the Bruce and Waghorn, whom both shine brightly on here and throughout Between The Lines. "Horn" is really killer and set a perfect fresh and exciting tone for the rest of the session.

While the rest of the British jazz community is stretching the boundaries of the avant garde, Dave Stapleton is using the tradition and improving upon it. This is really, really compelling stuff from a band that has definitely been together awhile and knows each other inside and out. "Socks First" shows the delicate nature of the band some truly exquisite simpatico as each member features prominently. The titled track, "Between The Lines" starts with some lovely playing by the rhythm section and some understated piano work from Stapleton. A lovely number for those you wishing for a glass of wine with your jazz.

Lots of funky interplay take place on "Wig Wag" between Paula Gardiner (bass), Jonny Bruce (trumpet) and Ben Waghorn (sax) which could be placed along side some of the better moments of Jools Hollands or mid-period Branford Marsalis works. Fun, exuberant exchanges with lots passion built into ever note.

"Under The Cherry Tree" is the band performing a lovely ballad in the vein of Keith Jarrett and Sonny Rollins and moves with great ease taking the album to a wonderful conclusion with "Images" a sparse romantic number highlighting Stapleton's classical tradition on piano and again some great work from Waghorn.

In a year dominated with E.S.T. clones and avant garde creativeness (Not that there's anything wrong with avant garde. That's what jazzmusic24 is based on for crap sakes.) Between The Lines is a refresh and absorbing release that can be enjoyed on many levels. One of 2010 contemporary masterpieces.

Best Albums Of 2010: Bobby Avey

jazzmusic24 revisits our favourite albums of 2010.

Bobby Avey (piano)
A New Face (JayDell Records)

Thomson Kneeland (bass)
Jordan Pearlson (drums)
David Liebman (sax)

This year I spent a lot more time discovering new artists than any other time in my life of music. It has been fantastic. One of those little discoveries was Bobby Avey and his fantastic debut, A New Face (JayDell Records). This was an album that I automatically got switched on to with the first listen. While Avey isn't a complete debutant (he has worked with Dave Liebman in the past) his debut does sound a bell that there is a new voice thinking creatively and willing to take chances.

A New Face opens with "Late November" a multi-layered piece driven by Avey's delicate improvising at the piano and countered by some stellar interplay from Pearlson and Kneeland. The trio have been together for over five years so the understanding of each members movements is expected but it is still impressive to capture it in one session throughout the entirety of the recording.

The group are joined by longtime collaborator, David Liebman for four numbers including the title track "New Face" and "Time Unfolding". Liebman's playing is exquisite and fierce throughout and probably one of the best sessions I've heard him perform. The two show a unique bond on the duet "Influence", a lovely ballad that flows effortlessly into a battle of interplay resulting in a pleasant hypnotic denouement. A really beautiful piece that is probably my favourite track on the album.

A New Face closes with "Time Unfolding", a blistering quartet piece which Liebman leads the trio through a series of crisp, distinct and rolling rhythms that allow each member to stretch their abilities. Avey's movements are precise and mature--exactly what you expect from young and creative new comer. A New Face is an excellent debut that I couldn't stop listening to throughout the year. I keep thinking to myself "this album can't be that perfect"--but you know what--it's that good. One of my favourite discoveries of 2010.

Best Albums Of 2010: Polar Bear

jazzmusic24 revisits our favourite albums of 2010.

Polar Bear (group)
Peepers (The Leaf Label)

Mark Lockheart (sax)
Peter Wareham (sax)
Sebastian Rochford (drums)
Tom Herbert (bass)
Leafcutter John (electronics)

2010 was a momentous year for Polar Bear. The beginning of the year saw the new offering of the amazing Peepers (The Leaf Label). In addition, the band returned at late in the year with the drastically different but extremely rewarding Common Ground (The Leaf Label). And to top things off, co-founding member, Seb Rochford disbanded the bands alter-ego Acoustic Ladyland. That band will resurrect at some point in a different incarnation according to Seb.

But our real focus is the superb Peepers which is a heavier sounding and more adventurous sounding album than its predecessors. Starting with the traditionally kinetic Polar Bear sound of "Happy For You" and then spinning quickly to the more contemplative and experimental chords of "Drunken Pharaoh" and "A New Morning Will Come". This was the sound of a band maturing and stretching everything with scintillating results.

The title track "Peepers" has an almost indie rock fell to it and shows how this band moves from theme to theme. But the band also show some real deconstructionism with "Hope Everyday Is A Happy New Year" and some straight ahead balladry (if I can call it that) with the lovely "Want To Believe Everything".

Peepers also has some of the band compositional work I have heard from Polar Bear since their first album and the subtle use of electronics throughout Peepers makes this a fascinating listen. This is why Polar Bear are one if not the most rewarding bands to come out of the English jazz scene over the last decade. Highly Recommended purchase for those of you who didn't know about Polar Bear. And one of our favourites this year.

Best Albums Of 2010: The Vandermark 5

The Vandermark 5 (group)

The Horse Jumps and The Ship Is Gone (2CDs; Not Two Records)

Ken Vandermark (sax; clarinet)
Tim Daisy: percussion Dave Rempis (sax)
Kent Kessler (bass) Fred Lonberg-Holm (cello)
Magnus Broo (trumpet) Havard Wiik (piano)

The Vandermark 5 returned with a vengeance this year with their fifteenth album, The Horse Jumps and The Ship Is Gone. For this outing Ken Vandermark takes the unique step of inviting two of his regular collaborators in his other projects, Magnus Broo (trumpet) and Havard Wiik (piano) (of the group Atomic) to sit in and it has some stunning results. The album features a number of tracks that appeared on the band previous two albums Annular Gift and Beat Reader.

The addition of the two Atomic member does add a bit more fire to the session. It seems Vandermark's material here is more challenging and each member has allot to counteract with throughout the recording. Things get started heavy with fierce opening number "Friction" where Wiik's heartpounding progression an intensity and urgency to band that I haven't heard in a few records. On the next piece, "Some Not All," the group subtle into a rhythm lead by the pianist and Tim Daisy on drums with some unbelievable work from Longberg-Holm on cello. The horn section led by Vandermark provides a wonderful battle like Godzilla vs all of Japan.

Wiik contributes to magnificent pieces to this set "New Weather" and "Green Mill Tilter", the latter featured recently on the Atomic live album, Theater Tilters (Jazzland). "New Weather" is nice and complex piece with the horn section leading the way in the early going and quietly giving way to some trio interplay by Wiik, Longberg-Holm and Daisy. Then returning to the horns for some rich, bold statements on each players part. Wiik has written a piece that suits V5 perfectly. Since each of the members have played with one another in very forms you have to except there is a great deal of knowing each others movements and strengths. Wiik and Vandermark have picked up on that perfectly throughout The Horse Jumps...

The Vandermark 5 as I have said before, are one of the few bands pushing jazz forward and beyond. The Horse Jumps and The Ship Is Gone is no exception. It is a compelling and sprawling work that challenges everything in free jazz and shows this American quintet plus two to be in peak form. The Vandermark 5 get better with each record. They are one of the most important jazz bands not just in America but in the world.