Admiral Awesome

Admiral Awesome (group)

Admiral Awesome (Gateway Music; 2011)

Jacob Danielson (sax)

Christian Windfeld (drums)

Thomas Sejthen (bass)

Fredrik Lungkvist (sax)

Admiral Awesome are a young new Danish trio whose work is fresh and cracking with energy. Their self-titled debut is aided by legendary saxophonist, Fredrik Lungkvist of the group Atomic. As with Bobo Stenson's work with the young Swedish trio Plunge, Lungkvist gives a hard, grittier edge that challenges the group to reach new heights with each track.

In terms of experience, Admiral Awesome is not new. Each member has considerable work with artists such as Arve Henriksen, Fuzz n' Us, and Jakob Bro in addition to individual efforts. So there is no shortage of skill and creativity within this group. Admiral Awesome grew out of a number sessions and live performances over the last year or so. And the fruit of those experiments has resulted in a exciting and all around triumphant debut, consisting of live and studio material.

While your first thought might be the bombastic brass that sits on top of the melodies--this is more than just your usual free jazz session. The quartet quietly introduces itself on "LSB Vals" with a heavy downbeat from Windfeld just before the rest of the group come soaring in. Eventually the piece steams towards a jubilant cacophony only to return gently to its organic beginnings. "Different Directions" is a fierce little number with a jumpin' bebop touch that Charlie Parker would be proud of. The improvised moments are fun and still keep within a linear compositional structure. Something even the uninitiated to free jazz might still be able grasp hold of and enjoy.

"Stockholm Wilderness" has elements of spy-jazz, improvisation and what feels like a little tribute to Dizzy Gillespie's "Salt Peanuts" mixed in. There is a beauty duel between Danielsen and Lungkvist makes this one of my favourite cuts on the album. The stop/start pace and electricity of the performances here from the entire quartet are killer. "Piratsangen" begins in Brotzmann-esque style with powerful blustery notes from Danielsen. His improvised notes take listener or rocky ride that worth all the eight minutes. As the rest of the group slow move into focus the tune becomes more a bluesy ballad. It's haunting and beauty and closes with band singing farewell to a live audience. And that's a perfect way to end the album.

Admiral Awesome is one of those records I assure you will sneak up on you as the year continues. It is currently available on the Admiral Awesome website and will be released widely later in the year. This is an excellent debut and exciting on multiple levels. It's creative, well balanced and fun between the improvised lines. A great listen. Enjoy...

Ambrose Akinmusire: When The Heart Emerges Glistening

Ambrose Akinmusire (trumpet)
When The Heart Emerges Glistening (Blue Note; 2011)
Walter Smith III (sax)
Harrish Raghavan (bass)
Gerald Clayton (piano)
Justin Brown (drummer)
Jason Moran (piano)

Like last year when I was blown away by new records from Gerald Clayton, Christian Scott and Esperanza Spalding after avoiding the hype machine, I come to that moment again. I was actually already impressed with Ambrose Akinmusire's work with David Binney, John Escreet and Steve Coleman. I have been unable to find his debut album, Prelude (Fresh Sound/New Talent; 2007), but I'm still gobsmacked at the strikingly exuberant second album, When The Heart Emerges Glistening (Blue Note).

Akinmusire has been on the scene only a short time but the musicians he has already performed with along with the growing maturity in his writing is sure to make an impact on listeners this year. Surrounding himself with a cast of musicians he has worked with already over the years makes the album a cohesive and exciting venture from start to finish.

Opening up with "Confessions To My Unborn Daughter", Akinsmusire sets the tone that he is willing to make bold statements and even bolder performances all with beauty and skill that might be beyond his years. There's an energy on this opener that both encompasses the fierceness of Clifford Brown and the modern styling of Terence Blanchard. The exchanges between Smith and Akinmusire are tight and intense. But they underscore the longstanding relationship two have had for some time now. Brown's pulsating timing adds another laying of urgency to the piece that illustrates the quintets effort to make every piece important.

"Hyena" is a midtempo piece but still holds a fresh bold consolidation in structure. Akinmusire allows guest pianist, Jason Moran (on fender rhodes here) to take some of the lead here but moves quietly in and out of the foreground. There's a heavy tone in Akinmusire's voice on "Hyena" that made me feel a lot more emotional than usual when listening to ballad. The performance cuts right into you. I loved that.

While ferocious may be an adjective for describing Akinmusire's overall tone, he manages to demonstrate a real sense of beauty on a number of pieces."Regret (No More)" is one of those numbers in which I sometimes get reminded of Terence Blanchard. It's the soft touches and long notes that feel cinematic in nature but provide a lush beauty that stretches long after the piece as concluded.

"What's New", the lone standard on When The Heart..., shows Akinmusire's more contemporary side. A lovely duet with Clayton, where the trumpeter reflects on what appears to be one of his mentors, Clifford Brown. It's a wonderful piece and shows a much more relaxed nature for Clayton as well. The two tenderly play off one another and it's a standout for both musicians. It's a touch of tradition but performed with modern respect and reflection.

When The Heart Emerges Glistening is shinning achievement from an artist that will be on the scene for years to come and his presence might change jazz in the years to come. Definitely a future voice to be heard by everyone...

Scott McLemore: Found Music

Scott McLemore (drums)
Found Music (Fresh Sound/New Talent; 2006)
Tony Malaby (sax)
Ben Street (bass)
Ben Monder (guitar)

A fresh discovery for me early this year was the group, ASA Trio from Iceland. I am still in love with their latest release, Plays The Music of Thelonious Monk and I'm already letting everyone know it will be on our top albums of the year list. But while the trio have released one of the standout albums of 2011, I decided to look into one of the members that really struck me--drummer, Scott McLemore.

McLemore, now living in Reykjavik, spent 8 years in Brooklyn developing his skill. He has an impressive CV which includes recording/performing with an intensive list of musicians including, Angelica Sanchez, David Berkman, Tim Berne and his wife, pianist, Sunna Gunnlaugs to name just a few. As a solo artist he has only recorded one album, but it is an amazing record that should not be overlooked. That album is Found Music (Fresh Sound/New Talent).

What is so fascinating about Found Music is McLemore's compositions and leadership. This album was recorded prior to his joining up with ASA Trio but it shows a musician who had a host of ideas and circled himself with set of musicians who could execute it superbly. The album is subtle but with pockets of fierce individual performances. "If You Wish" and "Ambiguity" are both relaxed moments where Malaby and McLemore shine with a modern contemporary resonance.

The diversity of McLemore's playing as it does with ASA Trio reminds me of agility of the late Billy Higgins. And as with Higgins, McLemore gives his bandmates the space to breath and create a sound that lets the listener sit back imagine and enjoy. Ben Street delivers the long opening recitation for "Safe From The World" that only underscores what an important bass player he continues to be. Here, McLemore settles in the background allowing the rest of the quartet to step up and transform the piece with great beauty.

"At No Cost To You" is McLemore's salvo, illustrating that this young talent means business behind the kit as well as a being the composer. Each member has a nice dueling session with the leader on this track and its fun to absorb and crank louder and louder with repeated listens. The group come together with a raucous unity towards the end that is just simply awesome.

"Worldly Possession" is probably the most eclectic piece on Found Music. It's also the longest. An intense, rolling and momentum building set of chords by Monder help make the piece a bit of Marc Ribot-esque exploration. Street bends the notes while McLemore adds a thumbing and seductive rhythm just underneath.

Found Music is one of those little undiscovered treasures that you're always looking for. But it is also a document of a musician who would later expand his skill in partnership with one of the best up and coming trios of the last few years. This is the "secret origins" of a talented new artist and composer on the scene. Here's to seeing a new Scott McLemore record soon. Found Music is still readily available so please search it out. A must listen for sure.

The Intersection: Equilibrium

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.

Equilibrium (group)

Sissel Vera Pettersen (voice, sax, electronics)

Mikkel Ploug (guitars)

Joachim Badenhorst (clarinet)
(photo: Carsten Villadsen)

Soft, delicate and almost floating above the clouds. That's where Equilibrium stand. When we talk about musicians and groups pushing the genre forward and seeking what can truly be done with sound and thought, this trio is what we mean.

For me, Equilibrium evoke all the elements of other Eastern European adventurists such as Arve Henriksen, Sidsel Endresen, Karin Korg, Treje Rypdal to the ethereal sounds of American, Ralph Towner. There is ability for Sissel Vera Petterson to meld her voice into a parallel of her electronic instruments. And then there is an inventiveness of both Badenhorst and Ploug to create inviting and enveloping soundscapes around that voice.

The trio began working together as a result of a number session meetings, first between Ploug and Vera, then Badenhorst joining in later. Each musician had already established themselves through their individual works. But as a trio they have developed something altogether different.

On their self-titled debut, Equilibrium (Songlines, 2009), the trio provide a blueprint of both ethereal architecture and jazz improvisation. On "November", the unison of the musicians and the rhythmic nature of the chords reminded me of the classic Philip Glass piece "Facades". "November" is a beautiful piece that is dense yet open to investigation by the listener. The clarinet work from Badenhorst and his performances deserves much wider recognition. On "Fri" he delivers an undulating exhibition that is breath-taking. Both Pettersen and Ploug join in on sax and guitar midway through giving the piece more colour, but it is Badenhorst who dominates this piece. Moving in a more gentle Scandinavian folk direction, "Soft Spoken" and "Chords" both shine with contextual beauty and pristine orchestration.

When Equilibrium returned earlier this year with Walking Voices (Songlines, 2011), you might have expected more of the same. Well, you kind of get that but its more than just lovely melodies and themes. There's more instrumentation. More adventure. More harmonic moments. Equilibrium make the case for being one of the most "different" groups you will hear all year.

Opening with "Addicted To Changes" the group continue to explore their unique melding of voice, guitar, clarinet and electronics. The best way to generally describe this would be a journey through "experimental folk." It has set the tone for Walking Voices. This is an even more diverse outing than their debut. Ranging from folk, jazz, ambient to gentle pop forms (i.e. Anja Garbarek). "Chagan" is one of my favourite tracks. It has a wonderful harmonic structure and Badenhorst's clarinet sounds expansive. Plough carries on in an acoustic rock fashion while Pettersen's electronics and vocal experiments add an extra sense of avant garde.

Walking Voices is rich and contains a little more depth than it's predecessor (which is what you would expect), but what you don't expect is to be completely blown away by how advanced a step the artists have taken in just a short period of time. The title track opens with an erie mixture of serene beauty and haunting ambience. Pettersen's voice is almost unrecognizable with electronic resonance. Badenhorst and Plough play a nice counterpoint towards the end of the piece. "Walking Voices" emits the enterprising nature of this trio. "Sires" ambient is a lovely way in which to depart this journey of soundscapes called Walking Voices. It's lustrous with movement up and down, like gentle waves from a pebble being thrown into the lake.

For many, Equilibrium will be hard to describe. Well, it is. The trio move in many enlightening directions. But at its heart, it is music of exploration. Music that has many origins and many roots. There are elements of serenity from many different avenues of influence on each of the members. Somehow. Some way. Equilibrium has made it sound so easy and so beautiful. This is an outfit that should work together for a long time. Highly Recommended and a must have for everyone.

Fowser/Gillece Quintet

Ken Fowser (sax)

Behn Gillece (vibes)

Duotone (Posi-Tone Records; 2011)

Willie Jones (drums)

Donald Vega (piano)

David Wong (bass)

Did I mention its be a great year for music?


I have been waiting for the new Fowser/Gillece Quintet record for 8 months now. And this week it arrived. And I have to say it's a cracker! Supported by the third in a revolving lineup, Duotone (Posi-Tone) is superb. The lineup change doesn't affect the quality of Fowser and Gillece's compositions; The bandmates seem to slide in perfectly.

The opener, "Overcooked" swings with a lot of force. Vega and Wong add a nice thumbing punch to hard bop number. Fowser and Gillece let the members shine from the outset while they both move in and out of the piece gently but with enough punctuation for the listener to know which path to follow. "Spontaneity" and "Attachment" both deliver on the calm relaxed nature of  Behn Gilllece's writing. They are both well inviting midtempo numbers, which see that Gillece and Vega having direct interchanges that make for one of those cool night club moments. The reason why you appreciate good jazz played supremely.

The chemistry between Fowser and Gillece was established years ago before they even started their recording careers. But over the short span of three years they have established themselves as a creative duo that continues to grow with each record. The changing of bandmates for each record shows how in demand they are to work with. "In The Twilight" is a beautiful motif that sees Gillece taking the forefront like Milt Jackson. And like Jackson, he is changing the vibes into more than just instrument. It's become a part of the group theory. This piece would sound flat without the addition of the creative notes Gillece has applied. Fowser adds a tone that could settle somewhere between 'Trane and the giant Dexter Gordon. "One For G" sees Fowser performing with bold ambition and directness. It's a well balanced piece which all the band tend to have an opportunity to shine and well placed, sequence wise, as the last track.

Obvious Milt Jackson and John Coltrane comparisons will always come up with a duo like Fowser and Gillece but they have managed to create pieces that sit in tradition but are clearly modern and hard enough to make the distinction that these two are no revivalists. I always try to recommend albums that can be universally appreciated inside and outside of jazz circles. Duotone is far and above one of those albums. For me it will be one of our albums of the year. A true must listen for all music fans. HIGHLY RECOMMENDED!

The Intersection: DMP Trio

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.


DMP Trio (group) 

Insular Dwarfism (Audio Tong; 2011)

Pawel Dziadur (electronics, wave_attack software)

Slawomir Maler (sax)

Philip Palmer (sax; found sounds)

DMP Trio and their debut Insular Dwarfism are probably one of the most daring albums I've listened to this year. Originating out of the experimental scene in Krakow, Poland, DMP have strived to achieved a balance between distinct patterns and expressionistic thought. 


There are moments where DMP remind me of John Zorn's Painkiller group. It's a very difficult listen but extremely rewarding.  I do think we all need challenging music like DMP to ask ourselves what more can be done with sound. And where can it go?

DMP utilize the unique combination of two saxophonists, electronics and what Pawel Dziadur has termed "wave_attack" software, by which he can manipulate "real time" instrumentation without predetermined construction. In short, an even more advanced thought on improvising. The results are fascinating.

"Sea Serpent Fiesta" opens slowly with a modular soundscape that builds into a double barrel cacophony of saxophones and electronics before gently returning to its quiet origins. "Trepanning For Dummies" continues on the same theme but adds an additional level of crackling white noise that could suggest an influence of artists such as John Cage, John Zorn and Faust. The dueling match between Palmer and Maler is quite beautiful and worth your making the journey through this piece with multiple listens.

DMP really works well as a unit. Dziadur's electronics alongside the full-throttle charge of Palmer and Maler at first brush may sound devastating to the ear. But just as early Archie Shepp or recent David S. Ware, you will find the melody and art laying not too far from the edges. "The Worm And A Dip Pen" is another example of this unified display of electronics and horns. Moving swiftly between high pitch and soaring counterpoint, the trio displays a forward thinking range and calmness within a swirling series of thoughts and patterns.

"UV Mother DP" and "Reason In Question" both see the horn section taking the lead with Dziadur adding subtle and accumulating effects around the sides. There is a point at which on "UV Mother DP" rises and never comes back. You just have to follow the journey upwards.

DMP Trio have created a debut that lifts sound investigation to a new level. The main reason why I've fallen in love with Insular Dwarfism is because of the sheer uniqueness of the instrumentation and the recording process. This is challenging music for challenging thinkers. Enjoy...

Nucleon: Fitoplankton

Nucleon (group)

Fitoplankton (Self Produced; 2011)

Alesander Papierz (sax)

Michal Dymny (guitar)

Tomek Gluc (electronics)

Jakub Rutkowski (drums)

Andrzej Sawik (piano)

With a combination of traditional fusion and a modern rock aesthetic, Nucleon are building an exciting book of material that we should really take note of. The group, developed by founding members Jakub Rutowski and Andrzej Sawik, quietly (or loudly) built a huge following within their home country of Poland. Their self-titled debut is fantastic and has all the elements of a young group searching through their influences but also creating its own identity.

The ensemble suffered a major loss last year with the unexpected passing of the classically trained co-leader, Sawik before the group could finish its next record. But Nucleon forged on and created the beautiful, Fitoplankton, an album that explodes through the speakers with vibrancy and urgency. With a sound that is reminiscent of King Crimson, Headhunters, Last Exit and ironically, Nucleus, Nucleon is that "something different" you've been looking for the last couple of weeks.

"Where R U Going Boy?" rambles ans swirls with almost 'third stream' quality in the outset with Papierz and Gluc leading the charge. Sawik, whose piano parts are sampled in perfectly, joins in as the rest of group follow. It's an heavy laden groove that lots of funky moments but the standout performances lay between Papierz, who's delivery is on fire along with Rutkowski's pulsating timing that never lets the group simmer down. "Metalug", another bristling piece highlights the groups rock influences with a cavalcade of chords in its opening that never really lets up. It's a short piece that soon rolls into the quiet and evocative "Sola W Occie" which is driven by Sawik's classical keys and gently moves back and forth between ambient and experimental thought. Papierz delivers some nice almost Coleman-esque solo passages with Gluc and Rutkowski adding eerie direction just underneath his notes. 

"Fitoplankton" presented me with thoughts of Red era King Crimson mixed with the keyboard psychedelics of Headhunters. The group mix a sense of raw, gritty energy thorugh Dymny and Rutkowski but tempered by some buoyant floatation from Papierz. 

Nucleon are a group that I hope will soldier on after the lose of their influential co-founder. They found a way to intermingle Sawik's pieces into this power record which keeps is name alive. But it also gives the group a new point of direction for the future. Check out our good friend Maciej from the blog Polish Jazz for a great look at Nucleon's last effort. Both albums are well worth seeking out.