A Users Guide To Robert Mitchell

Robert Mitchell (piano)

One of the brightest stories in British jazz over the last decade has been the rise of pianist Robert Mitchell, who has taken a slightly different direction than most UK jazz artists. While many of his contemporaries have set themselves squarely in the free jazz of European/Bitches Brew era, Mitchell has amazingly melded the structural standards of classical with the emotional elements of '70s soul-jazz and modern jazz themes into a beautiful and creative new model for the new century.

Mitchell has performed and recorded with a wide array of artists of the last decade, including Courtney Pine, Soweto Kinch, Norma Winstone and most recently Matana Roberts. He has developed into a multi-faceted artist with a soul-jazz ensemble Panacea, a trio (3io), his solo work, as well as, commissioned classical compositions.

I first discovered Mitchell when I randomly bought his first album Voyager (Dune Records; 2001) while on vacation in London. It blew me away. It felt like an extension of the soul vibe that Courtney Pine had been developing during the mid-'70s. But it also features some phenomenal work by Mitchell on piano along with some wonderful soulful vocals from Eska Mtungwazi (especially "July For The Smile" and "I'll Be Around"). "Days And Nights Waiting" is another display of Mitchell's ability to combine his classical training with modern jazz aesthetics.

It would be almost four years before Mitchell's Panacea would next release Trust (F-ire; 2005), an album that was more thematic in nature but still retaining the soulful elements of its debut. The album featured more uptempo funky beats like the opener "The Brink," which had a midtempo rhythm with shades of drum 'n' bass. It was also a more focused album with tracks like "The Thief Of Dimensions," "Trust" and "A Heart (Full Of You)" containing more poetic and ethereal qualities that were only eluded to on the debut. A great step forward for Mitchell's Panacea.


Taking a small break from the soul-influenced Panacea, Mitcheel team up with violinist, Omar Puente for the classical focused duet album, Bridges (F-ire; 2006). A peaceful outing that puts Mitchell squarely back in his roots. "Somebody Backstage" is a heartwarming and effective opener that sets the tone and pace for this session. "Mambo Infleuntiado" is fueled with a Latin tempo. Mitchell and Puente play off each other nice and add some nice yet subtle improvised touches. "Almendra" has joyous yet bouncing quality that could sit well alongside side some of the traditional classical duets by even Yo Yo Ma and Emanuel Ax. Bridges is a wonderful divergence and stellar introduction to Mitchell's past.

The one album that should really turn heads is Equinox (F-ire; 2007),  which is Mitchell at his most raw and beautiful. The solo piano material is gentle and complex. This transitional album is a journey through what he has learned and what he will produce later. There are moments where I felt I was listening to a young Chick Corea or Friedrich Gulda, who also explored jazz and classical styles. "Equinocturne," "Priceless" and "Passion Radar" all display an artist shaping beautiful melodies as well as creating new patterns of thought for the listener. Equinox is definitely not run of the mill among British jazz albums. It's very European in thought but retains the inventiveness and character of its British creator.

Robert Mitchell would take a further step forward with the creation of his trio, simply called, 3io. The group consists of members of his Panacea project, Tom Mason (bass) and Richard Spaven (drums). They would record the critically acclaimed The Greater Good (Jazz Services; 2008), which is more contemporary and straight ahead than his soul-jazz based work with Panacea. It's will definitely have you thinking of E.S.T., Brad Mehldau or Keith Jarrett, but Mitchell's 3io stands on its own. The trio show a great deal of strength and diversity on  tracks like Wayne Shorter's "Dance Cadaverous" and strikingly out-of-nowhere Massive Attack's "Teardrop". The aforementioned covers are re-imagined beautifully, but it's the group own material that is insightful and effective. "The Greater Good" and "Quantum" are both examples of the trio thinking and performing big and bold. These are very tight performances from musicians who have been together a long time. There is a small shade of Panacea soul/funk that is executed here and would be the model for Mitchell's next project.

Mitchell's writing has matured. His ability to move and blend his influences and still have the material sound exciting and different with each record is truly astounding.

That excitement and creativity would once again be on display as Mitchell returned to the soul of Panacea with The Cusp (Edition Records; 2010), which featured material from The Greater Good that included vocals by Deborah Jordan ("A Map Of The Sky" "The Blessing" and "Quantum"). Jordan's vocals and the new arrangements make for interesting comparisons, but both versions stand on their own. Jordan does seem to fit these recordings perfectly. This is most fully realized of all the Panacea records. Mitchell's compositions are more complex and deeper than ever before. "The Essence" is a great example of his technical skills and his leadership. Panacea may be Mitchell's ensemble, but he definitely allows his bandmates their freedom. "The Cusp" is reminiscent of both Headhunters and 4hero. With trip hop beats, soulful melodies and an infectious organ groove from Mitchell.

It's unfortunate that most people stateside don't know about Robert Mitchell. He has carved out a direction that feels inspired by elements of Keith Jarrett, Roy Ayers and Alfred Brendel. These are rare qualities. Robert Mitchell's work is definitely worth checking out. I'm not sure I want to point out one specific album to start with but if I had to I would recommend starting with Equinox and The Cusp. They give two radically different sides of a dynamic and inventive composer. With another 3io record coming later this year I think now is the time everyone take a good, hard listen to one of the UK's best kept secrets.

Aaron Alexander/Julian Priester: Conversational Music

Aaron Alexander (drums)

Julian Priester (trombone)

Conversational Music (Self Produced; 2010)

A pleasant surprise. That is one of the things I have to say about this fantastic collaboration between legendary trombonist, Julian Priester and the hugely under-rated Aaron Alexander.


Both have been on the scene for a combined six decades. Priester's worked since the late 50s and 60s, mostly notably in Sun Ra's band plus he was also a member of John Coltrane group that recorded Africa/Brass (as well as his own work with Sam Rivers). Alexander is an amazing talent in his own rite. He studied under Priester in the 80s and later formed the New York based Midrash Mish Mosh and worked with the famous Klezmatics in addition to releasing his own solo material. This meeting seemed inevitable albeit long overdue (15 years).

The fruit of their recent meeting became Conversational Music. And it is in a nutshell just that - a beautiful conversation and exploration between two talented and forward thinking musicians. There are dedicated solo pieces from each member interwoven between the duo sessions, all making this a very enjoyable and delicate listen.  With the diverse/dynamic background the musicians have, you would expect something a bit more avant garde but this is a more tempered outing. "Gerald Stephen" begins with some terrific rolling from Alexander and countered by bouncing patterns laid out by Priester. It may feel like a number of notes at once but there is a melody just underneath that Priester has spontaneously created after the two musicians delicately improvise. Well worth a second listen to find the groove, so-to-speak.

"Kocmierozki's Shed" is the one moment where Alexander shows his avant garde credentials. It's a piece with gongs, ambient streams and soft washes of sound. It sets a perfect mood that rides right into "Ode To Lucius Harper" a solo piece from Priester. Priester's deep tone builds over the course of the piece and adds a level of emotion that is both exciting as it is touching. "Bulaga Bugalu" sets out in tribal fashion with Alexander pounding away in what I think is a 4/4 pattern (I'm not a drummer so I could be completely wrong). Alexander quickly comes in with a corresponding pattern that is rich and dense in tone but allows Alexander to experiment as the piece moves further along.

"Gingging, Bongbong" is an experimental soundscape where both musicians explore different found elements through percussion and various vocal treatments to Priester's trombone. The piece is fascinating in the knowledge that you don't know what the next note is going to be. The closing number "Evolver" has a bluesy motif underneath, but the road the two men travel is more searching and waiting for the next improvised note from the other. "Evolver" is a great way to close the album showing the session may have actually led to more similar opportunities for the two musicians.

Conversational Music is one of those buried treasures that I hope fans of interesting duo projects will gravitate to. It should not be missed. There are pieces here that even fans of contemporary jazz might like (in small doses). But avant garde fans--you should definitely seeks this record out. Aaron Alexander and Julian Priester are two artist who deserve the recognition that seems to be missing. Highly Recommended.

David Weiss: Snuck In/Snuck Out

David Weiss (trumpet)

Snuck In (Sunnyside Records; 2010)

Snuck Out (Sunnyside Records; 2011)

Jamire Williams (drums)

J.D. Allen (sax)

Matt CLohesy (bass)

Nir Felder (guitar)

David Weiss has been on the scene for over two decades. He has learned from and played with some of the best in the business such as Charles Tolliver, Eddie Henderson, Freddie Hubbard and James Moody to name a small few. It's amazing that he has such as small catalog but the material as leader is dynamic, bold and features multiple layers of complexity.

He may be more well known for his work with one of his many projects; The New Jazz Composers Octet which is how I discovered him. The group performed and Weiss wrote material for one of Freddie Hubbard's last recordings, New Colors (Hip Bop).  Weiss' recent collective, Point Of Departure, has released two live recordings Snuck In (2010) and Snuck Out (2011).  Both are recordings from an evening at New York's Jazz Standard in 2008. The evening is a series of mostly standards with the addition of a small amount of originals. The real achievement here is the group's ability to make these pieces their own.

Weiss' playing is superb, hip and inventive. The bristling impact of Weiss' playing on the opener for Snuck In, "I Have A Dream" shows that he has learned a lot from Hubbard, Henderson and maybe Woody Shaw. Jamire Williams is also crackin' on "I Have A Dream," and challenges the quintet to keep pace. Weiss and J.D. Allen deliver some killer chord changes, and fluid poetry battles on Tony Williams "Black Comedy" and "Number 4". The band tackles the great Andrew Hill on "Erato" and delivers beautiful justice to this complex ballad. The guitar work from Nir Felder is rich and a real surprise over the evening and the two discs.

Snuck Out opens with a powerful "Revillot" (by Charles Tolliver) where Nir Felder conjures up some mystical soundscapes that give the piece a dark adventurous vibe. Weiss has a modern style but adds both free form and hard bopish element to it, especially on Wayne Shorter's "Paraphernalia" where the group creates an excellent avant-fusion moment. Weiss is crisp and direct with his message and you get an all around sense of solidity flowing through the audience and quintet. Weiss' own "Hidden Meanings" is a midtempo number where J.D. Allen and Felder both show a loving and tender side to their playing which emits a different tonal atmosphere for the audience on this night and for the listener at home. 

David Weiss & Point Of Departure, a cohesive unit and documented over two discs and one evening of killer performances, all amounts to a sublime experience. But also making clear what a lot of fans inside jazz circles already know -- David Weiss is a serious composer that deserves wider appreciation. Both Snuck In and Snuck Out are must-listen purchases. Enjoy.

Daniel Levin: Inner Landscape

Daniel Levin (cello)

Inner Landscape (Clean Feed; 2011)

Daniel Levin has been at the forefront lately in the creative circles of jazz. His recordings (both in duo, trio and quartet settings) have been some of the most inventive and challenging in improvised music. It is amazing to think that after seven albums as leader that he has never recorded a solo cello album. Until now.

Inner Landscape contains six fully improvised pieces that feel more contextual than spontaneous. It's a journey of individual passages with distinct stories interwoven between the chords. Levin takes the listener from a well focused starting point, then catapults you into a realm where the boundaries of free jazz, improvisation, classical and jazz just fall by the wayside. It becomes MUSIC. No defined genre (only for you, the listener, to decide).

"Landscape 2" displays these thoughts brilliantly. It is a piece with endless possibilities. It begins with some loose but fast paced finger work from Levin. He sets the tempo by utilizing the space around the composition. There are short gaps between each moment before he really begins to focus and let loose. The improvised sections on first listen may be hard to grasp but on second listen you are full engulfed by the structure and patterns Levin has created.

"Landscape 6" is Levin walking you through forest at dusk. At first it seems peaceful and you delight in the beautiful trails. But then darkness falls and your psyche creeps in and your thoughts start to betray you. Levin quickly scrambles the pieces and you are left to guide yourself to the exit. But the music moves up in pace, and the journey seems in all directions--Levin brings the listener back only slightly and only for a few moments before literally stretching you right out of the piece (you'll understand that when you hear the piece).

Inner Landscape is a collection of multiple themes with various shapes, colours and patterns that need deep repeated listens. Emotional. Moving. Unexpected. And yet well rounded. There are only a few cellists on the scene today that can make the instrument sound more than what it is in addition to taking you on an other-worldly journey.

Daniel Levin continues to do this with ease. Inner Landscape is a superb first solo outing and I'm hoping he sprinkles more like this in between his other projects. Brilliant.

The Intersection: Ebo Taylor

The Intersection is an ongoing feature on jazzmusic24 that looks at artists that have blended jazz, world and electronica in new and highly creative ways.

Ebo Taylor (guitar; vocals)

Love And Death (Strut Records; 2011)

When you talk about Afrobeat most people will immediately think, Fela Kuti or his now famous son, Femi Kuti. There are also other African artists throughout the scene that have made an impact and are still doing so. Some are just now being noticed by the wider audience.

While most African artists started out playing jazz and a hybrid of American R&B, many of them eventually came to develop the sound known as Afrobeat. Ebo Taylor played with and in the same circles as Fela and after both spent some time in London during the 60s, he would return to his homeland of Ghana with a new verve and the new sound--Afrobeat. Ebo did finally start to record solo material during the 70s and 80s with great success throughout Africa. But it wasn't until recently that others throughout Europe, the U.S. and the rest of the globe got the chance to learn more about this living legend. Through various African compilations (in particular Ghana Soundz and Ghana Special) Ebo Taylor's name began to spread.

This year saw the release of two amazing documents that are a must have for any music fans. First, Ebo Taylor's first international release, Love And Death, a high-spirited, upbeat session of what amounts to some seriously intoxicating rhythms. The production is superb and enclose the vocals in a fresh updated Afrobeat sound (in the same vibe of many Femi Kuti releases). The album kicks off with "Nga Nga" with fierce horns and a pulsating bassline. Taylor blends in jazz, soul and African aesthetics with great ease. His vocals are upfront and crisp. His voice has aged but its now more the hip and all-knowing elder statesman than one trying to grasp on to the latest new vibe. Taylor's guitars are looping and his compositions are complex and well organized to take the band and the listener on a very extended journey.

"African Woman" again jumps with heavy percussion and horns before quickly heading into Taylor's loving vocals on the beauty of the African woman. It's a dance song that really needs very little explanation. The keyboards contain a vintage vibe but all the while Taylor holds things solid. The title track "Love And Death" could sit along side the best of Burning Spear material. A moving tribute of spirituality and love. Love And Death closes with the mid-tempo "Obra," which really highlights Ebo Taylor's guitar work that contains elements of blues, jazz and soul (imagine early George Benson mixed with Bob Marley). "Obra" contains a lot fluid grooves that will undoubtedly have you bobbing your head and swiveling your feet.

Love And Death gets it roots from Ebo Taylor's earlier groove which are captured in brilliant form on Life Stories. Life Stories captures almost a decade's worth of material from Taylor as leader and band member. Featuring some killer tracks like "Atwer Abroba" which includes a heavy dose of funky horns and dark organ grooves making Life Stories one of a few perfect history lesson on African music.


The music is rawer than Love And Death but gives the listener a great overview of the origins of Taylor's writings and how beautiful his melodies were and what they would soon become. Life Stories also contains original versions of tracks from Love And Death including the title cut. Here the song is rough but includes vocals from Taylor's band in addition to himself. "What Is Life?" includes some awesome keyboard work as well as sizzlin' flute passages.

Both Love And Death and Life Stories are great introductions to one of the under-the-radar Afrobeat legends who is still on the scene today. A real fusion of genres and highly potent material that is a true treasure to experience. Love And Death is one of the best records you hear all year. Highly Recommended.

Danny Fox Trio: The One Constant

Danny Fox Trio

The One Constant (Songlines Records; 2011)

Danny Fox (piano)

Chris Van Voorst (bass)

Max Goldman (drums)

One of the qualities that makes a great trio is the ability to reach deep into its own consciousness and bring out structures and harmonies that make the listener think. That's the reason why I'm really enjoying the debut from the New York based, Danny Fox Trio, The One Constant.

The material on The One Constant is dense, complex and exploratory. While the compositions feel very European, the trio make clear distinction between themselves and any overseas counterparts. On the "Next Chapter", Fox's playing has the feel of John Taylor, Tord Gustavsen and Thelonious Monk. It's rich and layered with little swathes of playfulness. As "Next Chapter" moves forward, I felt I could be listening to more recent Dave Brubeck material. Fox's playing is brisk with both a mixture of classical and improvised jazz aesthetics.

On "Easily Distracted", Fox displays hypnotic duplicity in both performance and writing. The later interplay between the members (especially with Van Voorst) is superb. The trio have been together long enough and know when to challenge and when to lay back and let the melody move freely. The ballad "Even Tempered" is beautiful and sits more in the classical tradition with what felt like a small bit of ragtime just underneath (probably my mind playing tricks but that's what I felt). It's a brief piece but it shows the real diversity of Fox's writing and the impressive dynamics of the trio.

"The One Constant" again takes the listener on a journey that builds slowly and rises with cinematic flare. It's an emotional piece that feels like a suite with various chord changes and mood settings.

The One Constant is an excellent debut from an American trio with bold, expressive ideas. The Danny Fox Trio might be one of those under-the-radar groups that you better get to know quickly because we may be talking about them for a long time to come.

Kit Downes Trio: Quiet Tiger

Kit Downes Trio

Quiet Tiger (Basho Records; 2011)

Kit Downes (piano)

Calum Gourlay (bass)

James Maddren (drums)

James Allsopp (sax)

Adrien Dennefeld (cello)

Quite simply--not what I expected. After the delicious Golden, debut from London's Kit Downes Trio, I was expecting a similar mellow, introspective outing. But after Downes work with both Neon Quartet and more importantly Troyka, I should have expected the new album Quiet Tiger to be a bold and imaginative statement of intent. And...it is.

The British scene as been dominated by a few new/young names over the last five years (Seb Rochford, Neil Cowley, Tom Cawley, Liam Noble and Kit Downes among others) that are delivering very impressive sets. Kit Downes Trio have made that step to the next level look very easy with Quiet Tiger. The trio's use of sound and space on this recording is expansive and thoughtful. They use every bit of their surroundings to create distinct soundscapes.

"Tambourine" with it's funky but dark groove still plays on the earlier Keith Jarrett/Brad Mehldau influence Downes has, but as the tune moves forward it really becomes the Kit Downes Trio's original vision. Each member delivers wildly impressive solo on this piece. "Tambourine" is post bebop/post modern dream that captures a lot complex elements and turns them into a simple experience for the listener.


"...With A View" is a ballad that moves peacefully all the while demonstrating Downes unique character on the keys. The addition of James Allsopp as guest musician on sax adds a level of intimacy that hearkens back to Golden but still capturing a the forward direction of Downes new material.

"Wooden Birds" and "Frizzi Pazzi" both show a more experimental and free flowing side to Downes. "Wooden Birds" sees the trio reaching and improvising more than you may have heard before (even live). With Gourlay becoming the real standout on this track with some impressive manipulation on the bass and work from guest cellist, Adrien Dennefeld. "Frizzi Pazziz" is Downes just letting loose. It aggressive, playful but all the while well structured. "The Wizards" is a big bold piece with Allsopp acting as Coltrane to Downes, McCoy Tyner in their interplay.

"Quiet Tiger" closes out this phenomenal set with incredible resonance. The opening chords from Allsopp's clarinet are deep yet spacious. Downes allows the group to create the atmospherics here and joins in towards the final moments adding to a lovely, melodic and introspective tone.

Quiet Tiger is more than just an impressive step up from the brilliant debut Golden. It tells the jazz community that The Kit Downes Trio has a well of ideas and are utilizing this diverse thoughts a pulling them into well focused pieces. All of which will make Quiet Tiger one of the best albums of the year for most jazz fans. Especially all of us at jazzmusic24.