Flaten/Kornstad/Christensen: Live At Oslo Jazzfestival

Ingebrigt Haker Flaten (double bass)

Jon Christensen (drums)

Hakon Kornstad (sax, flute)

Live At Olso Jazzfestival (Compunctio, 2011)

This live recording features two of Norway's more recent and revered musicians, Ingebrigt Haker Flaten (member of The Thing and Atomic) and Hakon Kornstad with homeland legend, Jon Christensen. This is a follow up to aforementioned duo's wonderful Elise release. Both explore Norwegian folk hymns. But the exciting thing about this live recording is the ability of this evening to be both improvisational, playful and accessible.

A calm, introspective affair that allows the listener to experience the depth and space of each instrument. Beginning with Keith Jarrett's "Death And The Flower", the trio cut an intricate and powerful path. Christensen and Kornstad both deliver bold performances that reshape Jarrett's minor classic into a something beautiful and all their own. Kornstad really shines throughout this evening with a Sonny Rollins-esque playfulness. "Skulde jeg min gud ei prise" highlights this spirited aesthetic as Kornstad runs through bright and expressive passages with ease.  Kornstad, Flaten and Christensen all plow throughout "Du hoye fryd for rene sjele" with midtempo force and some great interplay that has a lot of lyrical strength.

Live At Olso Jazzfestival is a brilliant work documenting a live session of folk songs from a trio playing freely and opening with the time and space. And the results are sublime. This is a rare opportunity for jazz fans to experience past, present, future legends in one evening. The trio also recorded a second concert in Uppsala which will be release soon. Both are fascinating and outstanding recordings. A real music listen and highly recommended.

Andrzej Przybielski

Andrzej Przybielski (trumpet)

Abstract (Not Two Records, 2005)

De Profundis (Fenom Media, 2011)

Marcin Oles (bass)

Bartlomiej Oles (drums)

Andrezj Przybielski was one of those truly underrated musicians that never got even close to the word "recognized" in the wider public. For probably those outside Poland and parts of Europe, the name Andrezj Przybielski will unfortunately mean nothing. But, he is revered in his homeland and his passing this February will touch the artistic community in Poland for years to come.  Fellow Polish trumpeter, Tomasz Stanko has also acknowledged Przybieslski's legendary status. Przybielski's playing might be more fierce and adventurous than Stanko. He could turn phrases like Woody Shaw, Freddie Hubbard or Don Cherry. His loss is the entire jazz community's loss but hopefully in this digital age his legend can grow and be cemented.

Andrezj Przybielski, while having a pretty lengthy catalog, didn't record with any great frequency. Only in the last decade did it seem like he was really recording at a decent pace. He began playing more in the avant garde style in the 60s and 70s. As he got older his playing became more statesman-like but still had a distinctive bit to it. In the last few years he paired up with Europe's most prolific rhythm sections, the Oles Brothers, and formed a trio that recorded two albums under Przybielski's name, and two under the Oles Brothers direction as Custom Trio.

Abstract (Not Two Records, 2005) is a perfect introduction to Przybielski style. Abstract features moments of hard bop mixed with free jazz that form a beautiful and crisp document for a group with evolving ideas. You could compare the youthful injection from the Oles Brothers to that of the Marcin Wasilewski Trio for Tomasz Stanko. The energy featured on "Ride" forces the group into exchanges that are both explosive and beautiful. Przybielski and Bartlomiej demonstrate a brilliant piece of interplay midway through "Ride" that will undoubtedly have you stunned. The classic "Afro Blue" also gets a deep rendering which is drastically different from both the Mongo Santamaria original and the more well-known John Coltrane version. The trio really deconstruct this piece with a great deal of improvisation and post-bop vision. Elsewhere, "Epitafium dla Jacka" illustrates a more relaxed nature to Przybielski's playing that sets him alongside Miles Davis or even Clifford Brown.

It would be six year later that we would get the chance to experience this trio again. This time, in the form of a live album De Profundis (FenomMedia, 2011). De Profundis features tracks from Abstract, including a boisterous version of "Afro Blue" that really brings out the power of Marcin's bass playing. The trio is sublime form on this evening. There's consistency, but also a good deal of improvising throughout. The members have played with each other so long that you can tell they know the other's next move. The title track screams with an immediacy and beauty that you might not get on the previous album, and later develops into a bit a of call and response between the members and then a gentle fade out. "Guru" is a midtempo blues tinged number that has an incredibly introspective quality to it. The album closes on a more chamber/improvisational version of "De Profundis" that sees the trio moving in various directions but still keeps a distinct harmolodic tone that will encapsulate the listener until the end.

The passing of Andrzej Przybielski may not be felt throughout the entire jazz community but these two records are perfect documents of what the world will miss. Przybielski was never an artist who really wanted the spotlight. He played his music - when he was ready to play. When he wanted to record. And the results are something that we are all better off for after listening. Whatever you do this week, Abstract and De Profundis should be on your list of records to check out. A legend has gone but his music will touch more than he will ever know...

Resonance Ensemble: Kafka In Flight

Resonance Ensemble (group)

Kafka In Flight (Not Two Records, 2011)

Ken Vandermark (sax, clarinet)
Mikolaj Trzaska (sax, clarinet)
Mark Tokar (bass)
Michael Zerang (drums)
Tim Daisy (drums)
Steve Swell (trombone)
Per -Ake Holmander (tuba)
Dave Rempis (sax)
Magnus Broo (trumpet)
Waclaw Zimpel (clarinet)

This is an album I have been waiting for since I read about it on Ken Vandermark's twitter feed a few months ago. The Resonance Ensemble is the brainchild of the great Chicago saxophonist, Ken Vandermark. In the similar vein to Peter Brotzmann's Tentet (which Vandermark is also a member), Resonance embarks on large scale compositions. But where PBT tend to move into the upper stratosphere in theory--Vandermark is keeping things within a linear pattern as far as the tone is concerned. There is a great deal of improvisation happening but its within the melody and rhythm of the writing.

Resonance Ensemble was first developed out of a series of concerts and studio sessions that were later recorded in 2008 (Live In Lviv) and then for the 10CD box (Resonance Box). What's remarkable is that as Vandermark states in the notes to this album, because of the size of the band and the various groups they lead and projects they participate in, its difficult to get any rehearsal time before live shows or recording. I don't think any of us would notice or care. Why you ask? Because the results are something truly unbelievable.

For the group's third album Kafka In Flight, recorded live in Poland, Vandermark guides the group with three lengthy pieces of jubilant free form that would make you feel as if Ellington, Coltrane, Cherry, Coleman, Blakey, Chambers (and take the your pick of the rest) had gotten together in your backyard. Kafka In Flight is smokin'. Unlike even Vandermark's main group (The Vandermark 5), Resonance Ensemble seem to enjoy mixing the past in a large bowl and coming up with interesting and riviting concoctions. The opener, "The Pier" is fast moving and allows for moments in which each member can contribute and expound on Vandermark's material. It's a real treasure of ideas that surface. The always incredible Tim Daisy delivers an excellent improvised mid-section, accompanied by a good portion of the horn section and Vandermark on clarinet, explore and exchange some intense possibilities but it works unbelievably well.

"Rope" is a bit more cinematic, led by some great performances from Per-Ake Holmlander on tuba (a rare instrument in modern free jazz) and Magnus Broo (trumpet). "Rope" moves from funky to experimental to comforting (so-to-speak) and gives the listener a lot to absorb. Michael Zerang and Tim Daisy are superb as they duel it out with sharp intersecting chant from each of the wind players. "Coal Marker" rounds out this hour long journey in style. It's the ensemble releasing all it's force into your speaker (and you better be able to deal with it). There are spontaneous moments that sees the group in unison but also exchanging circular rhythmic patterns. This is a group that somehow, despite little time together, knows exactly what the other is going to do and each is up for the challenge.

Kafka In Flight is an album and performance that is built around the ability of Ken Vandermark to write excellent material that is interchangeable for each member. You can picture most of these notes performed by different members and each coming up with a different result. But the result would still be amazing. Kafka In Flight is yet another step in the already legendary career of Ken Vandermark. While the first two albums are both hard to find and in the case of the boxed set--expensive--you should definitely seek out Kafka In Flight. It is well worth every avant garde fan's dollars. One of our Top Albums Of The 2011.

HAPPY BIRTHDAY MILES DAVIS

Miles Davis (trumpet)
May 26, 1926 - September 28, 1991

May 26th is Miles Davis' birthday. Now I'm not going to go into a big long story about how great he is and the history. I believe you can get that from any site today.

I thought it would be good to give a short list of past pieces we've done on Miles Davis over the last few years.


It's not an all encompassing list but I think it covers some essential albums and collections that would be great for the uninitiated or even the collector in this age of digital music storage.

So as you spend the next couple of days reading articles about Miles here's what you might want to consider the next time you go to the record store.


L'Ascenseur pour l'echafaud
Kind Of Blue
Live In Stockholm
Bitches Brew Live
The Columbia Years
Decoy
Doo Bop


And check out the videos we found as a bit of prove on why Miles Davis is so important.

Klang: Other Doors

Klang (group)

Other Doors (Allos Musica; 2011)

James Falzone (clarinet)
Jason Adasiewicz (vibraphone)
Jason Roebke (bass)
Tim Daisy (drums)

Guest Musicians
Jeb Bishop (trombone)
Josh Berman (cornet)
Keefe Jackson (sax; bass clarinet)
Fred Lonberg-Holm (cello; electronics)

There once was a time when Benny Goodman was considered "avant garde", "outside the mainstream" or just plain "what the hell was that he just played". Goodman's ground-breaking benchmark, Live At Carnegie Hall is evidence of how left of center Goodman was for his time. Fast forward just under 75 years later to Goodman's hometown of Chicago. You will find a vibrant avant-garde/free jazz scene that while not based on Goodman's playing, definitely has Goodman's spirit of collectiveness. Enter the quartet Klang led by clarinetist, James Falzone. Klang, with an unusual lineup of clarinet, vibes, bass and drum have set forth a different direction compared to their more veracious Chicago contemporaries.

Klang's third album, Other Doors investigates the music and legacy of Mr. Goodman but with a very unique free form spin. The album was originally born out of a Chicago Jazz Festival performance that paid tribute to the Chicago native and legendary clarinetist. Other Doors is fun, crisp and filled with improvised moments that turn this session into one of the best Chicago outings of the last few years. "Stompin' At The Savoy" sounds completely fresh and revitalized in the hands of this quartet. It contains all the elements of the swing classic but it's infused with spontaneous exchanges and ethereal swirls (led by Jason Adasiewicz's always sublime performance on vibes). Falzone's playing is respectful but never imitating. He brings some gentle phrasing to certain lines raising this version far above homage and places it into a post modern must listen.

"Memories Of You", a midtempo ballad gets deep, dark re-visitation under Klang's direction. With some great manipulation of space by Falzone, Adasiewicz, and guest Longberg-Holm. Falzone's performance is passionate and introspective and reflects Goodman's own moments were he gets lost in the music but the listener become wrapped inside the rhythm. The title track has an impressionist approach. It's lyrically beautiful and paints a slow but delightful picture that is led by the horn section. Rich and textural with a free spirit, you will find very rewarding.

"The Already And The Not Yet", a track originally written on one of Falzone's earlier albums by the same name, is a delicate but operatic piece that becomes hypnotic and enveloping towards its conclusion. "Goodman's Paradox" is the moment in which the group let's loose (sort of) and delivers an extended workout of swing and experimentation that will take you by surprise but it fits perfectly in context. Goodman would be wowed.

While each of the members and the guest musicians on Other Doors lead their own groups, as Klang they together achieve something completely different from their respective groups. This is a dynamic quartet that experiments with past themes and creating future music. Other Doors is no tribute. It's a complete enlightened re-imagining of one of the most legendary and important figures in jazz. Highly Recommended.

Jordan Young Group

Jordan Young (drums)

Jordan Young Group (self produced; 2010)

Brian Charette (organ)

Yotam Silberstein (guitar)

Joe Sucato (sax)

One of the main reasons I was drawn to the Jordan Young Group's self-titled debut was the fact that the leader was from Detroit. Detroit has long tradition of music legends across multiple genres (Iggy Pop, Juan Atkins, Elvin Jones).


Jordan Young has a nice pedigree in his short career. He has studied and played with some of Detroit's greatest musicians, including Gerald Cleaver, Marcus Belgrave and James Carter to name a few. Young's playing is understated but precise. The influences of Jimmy Cobb or Philly Joe Jones seem apparent. But as leader of this organ based trio, Young is also very good director of a tight and skillful collection of musicians.

The Jordan Young Group while consisting of some interesting covers, a few interludes penned by organist, Brian Charette and one full track by Young, is still a solid effort and demanding of repeat listens.


Opening with a surprising version of Pat Metheny's "H and H", the group transform this trio piece into a vibrant and exciting excursion. "H and H" gives each member moments to shine individually. Young's playing is sharp and well refined. He has a couple rolling moments that really catch the ear. Sucato's sax is killer and has a nice Stanley Turrentine vibe to it. Charette and Silberstein both display funky exchanges, with Young keeping the group in great timing. A great opener and nice prelude to what is to come throughout the session.

As I've said with other organ based groups, its difficult to kept the organ from overtaking the rest of the group sometimes. On the Jordan Young Group that doesn't happens. Charette's playing is leveled and masterful. The arrangements and choices Young and the rest of group have chosen highlight this through the intricacies of the quartet. "Every Time We Say Goodbye" is a wonderful rendition of the Cole Porter standard that emits a lovely tone through Charette and Sucato's performances. The groups interludes, "Pings", while short still give insight into what the band can do for the future. These are like short films or cut-ups. Giving a futurist, post modern element that the rest of the albums standards may not project. Charette and Young drives these pieces with swirling patterns and subtle improvisations.

Jordan Young's own, "Claudes Monet", the group display a loving touch that is straight ahead but still richly rewarding. It's a beautiful ballad that again gives the individual members a chance to shine and the listen a closer opportunity to hone in on Young's playing and compositional skills. Another stellar performs comes on the yearning "My One And Only Love" where the group again shows a great deal of pose within a classic number. Young while the leader of group shares a great deal of skill like the aforementioned drummers and possibly even more recently with Paul Motian in making is playing understated when needed and boisterous when demanded. In "My One And Only Love" it's definitely in the background, allowing his group to take the lead nicely.

On the Wayne Shorter piece "Angola", Young is required to up-the-ante and energize the group with a really magnificent performance. The group's response is smokin'. Young lets loose on a vicious solo midway through that you didn't hear or expect from the earlier portion of the album. It's a good opportunity to experience the full range of Young's playing and direction. The Jordan Young Group closes with another Ping which again could foreshadow a future direction for the group and that I hope comes to disc soon.

Jordan Young has definitely learned a lot from his Detroit mentors. But I think the most important thing was how to be a leader. The Jordan Young Group is fantastic debut from a quartet that display great versatility with originals as well as inventiveness with the elements of the past. A solid effort worth your time and money.

Cylinder

Cylinder (group)

Cylinder (Clean Feed; 2011)

Aaram Shelton (sax)

Darren Johnston (trumpet)

Lisa Mezzacappa (bass)

Kjell Nordeson (drums)

I have become a huge fan of Aram Shelton's work over the last couple years. His various groups/projects are all very different. His departure to San Francisco from Chicago adds a great new thinker to the ever growing West Coast avant garde and free jazz movement.

With his latest collective work, Cylinder, Shelton actually becomes more a member of a unit than leader. And a stellar unit it is. There is a lot of creative thinking going on throughout this session. Each member has a history of moving in and out of both avant garde, free jazz, chamber and straight ahead circles. On their debut as Cylinder it all melds into one of the best sessions you'll experience all year. It's not because it's built on a Free Jazz motif, it's more because of the effectiveness of the performances and concepts within each piece.

You can hear shades of Ornette Coleman or Don Cherry throughout, but the group really doesn't rely on history. In fact, they might be shaping it (if this is an ongoing quartet). While this is a group effort, each member does have opportunity to express themselves on selected pieces. "The Ear That Was Sold To A Fish" opens with a lovely duel phrasing from Shelton and Johnston. Johnston, who has worked in the avant garde arena for years (on both sides of the Atlantic) works in the stratosphere with some beautiful lyrical notes.

A revelation for me was Lisa Mezzacappa, whom I've only known by name but hadn't investigated her music (until now), and I have to say I've really been missing out on an amazing bassist. She has this ability to hit the thick notes delicately and with poise and makes you really feel it. "Sung By Dogs" is one of those moments. The galloping rhythm laid out by Mezzacappa and Nordeson accompanying on the horns makes for a haunting yet rich piece with lots of intersections for the ear to latch on to.

The individual work of both drummer and bassist rises again on both "The Deep Disciplines" and "Crossings" where both share some nice crosscurrents early on and then the quartet regroups midway and runs through a set of improvised moment before catching a groove that is covered by Johnston and later Shelton's fierce sonic resonance. 

"Skipped Rocks" sees Shelton moving poetically on clarinet while his bandmates mingle and experiment with sound. "Skipped Rocks" isn't a track where you have to listen closely. The melody and theories take hold quickly (even for the uninitiated) and its beautiful. Cylinder closes on a more free form note than it began with "Earthworm" which weaves its way in and out with sublime work from Mezzacappa and Shelton. It's a piece that doesn't rise in tone so much as it elevates in texture and density. Cylinder seem to utilize the space around them and gives you a look inside the mind of a well focused quartet with a multitude of ideas.

While Cylinder may get headlines because of Aram Shelton, it really is a complete group with a swirl of theories and concepts that makes it one of the best future-forward bands on the scene right now. I really hope they record regularly. An excellent listen.