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Angelica Sanchez and Wadada Leo Smith

Greenwich Music House, New York, New York. March 2017. Photo by Bart Babinski

Julie Kjær 3: Steve Noble (d), John Edwards (b), Kjær (s)

Club Manufaktur, Schorndorf, Germany. March 2017. Photo by Martin Schray

Ballister: David Rempis, Paal-Nilssen Love, Fred-Lonberg Holm

Dialograum Kreuzung an St. Helena, Bonn. March 2017. Photo by Martin Schray

David Torn

Howland Cultural Center, Beacon, NY. March 2017. Photo by Paul Acquaro

Louis Belogenis & Joe McPhee

Alan Krili's Loft, NYC. February 2017. Photo by Paul Acquaro

Sunday, April 23, 2017

Orenda Records: 3 Years and Counting - In the Studio

By Lee Rice Epstein

DR. MiNT - Voices In the Void (Orenda, 2017) ****

The latest from DR. MiNT marks another step forward in their ongoing experiment with instant composing and fusion-inspired jazz. Now in their tenth year as a band, the bi-coastal quintet consists of trumpeter Daniel Rosenboom, saxophonist Gavin Templeton, and guitarist Alexander Noice from LA, and bassist Sam Minaie and drummer Caleb Dolister from NYC. Voices In the Void was recorded over two days during the summer of 2016 and reflects a science-fiction optimism in a boundless future. Minaie and Dolister’s interlocking rhythms and Noice’s spacious guitar present a funky, futuristic canvas for Rosenboom and Templeton’s bright, melodic improvisations. In a close listen, you can hear the different ways each member of the quintet is both responding to and urging on every other player. Running just over half an hour, Voices In the Void is a brisk, addictive entry in DR. MiNT’s catalog of space-time explorations, revealing its many connected ideas upon repeat listens.

Available on Bandcamp (in digital and red vinyl edition)

Cathlene Pineda - Passing: A California Suite (Orenda, 2016) ***

A brief suite, running about 30 minutes total, Passing is Cathlene Pineda’s second quartet album for Orenda. Supported by bassist David Tranchina and drummer Paul Kikuchi, Pineda again paired her piano with Kris Tiner’s expressive trumpet. The two move in unison throughout the record, reflecting on the poetry of Eloise Klein-Healy, the City of Los Angeles’s first-ever poet laureate. The suite, commissioned by the Los Angeles Jazz Society for the Angel City Jazz Festival, is saturated with a California aesthetic that’s not often heard on LA-centric albums. A relaxed and open atmosphere hints at the complex beauty of the city, and Passing plays as both a tribute and elegy. Maybe it’s the coastal association and similar voicing, but Pineda’s quartet reminded me somewhat of Myra Melford’s The Same River, Twice ensemble. She has a similar knack for wringing a great deal of emotion from light gestures.

Available on Bandcamp

Alexander Noice - Music Made With Voices (Orenda, 2016) ***½

Known for the avant-punk of Falsetto Teeth and his sextet, both driven by his incredible guitar work, Noice’s solo debut goes in practically every direction I never expected. Music Made With Voices is exactly that, an album crafted from a single note sung by eight people. The notes were then chopped, screwed, twisted, and processed in every conceivable way to create a set of sonic portraits. Each track is named for, and comprised solely of, one person: Karina Kallas, Frank Noice, Masatoshi Sato, Ihui Wu, Dorian Wood, Argenta Walther, Charlyne Yi, and Noice, himself. Throughout the song cycle, Noice infuses areas of the different works with suggestions of breath, beating hearts, and firing synapses. That the cast is made up of friends and family gives the music an underlying intimacy that grounds this experimental work.

Available on Bandcamp

Burning Ghosts - Burning Ghosts (Orenda, 2016) ****

Recorded in mid-2015 with a focus on contemporary issues like racism and economic inequality, Burning Ghosts’s debut has only become more vital and necessary in 2017. A new quartet, led by Rosenboom, and featuring Jake Vossler on guitar, Richard Giddens on upright bass, and Aaron McLendon on drums. The performance is less electro-acoustic and more metal-jazz. Giddens and McLendon pivot effortlessly from swing to thrash, and Vossler’s guitar playing is phenomenally expressive (he and McLendon also have a fierce duo album, Versus). And Rosenboom is, simply put, one of the best trumpet players alive right now. He can play seemingly any style, and no matter the band or project, his passion for justice and creative expression shine through. As with DR. MiNT, this group feels very much like a collaboration, albeit one that’s driven by Rosenboom’s personal vision. Burning Ghosts’s follow-up is due out on Tzadik’s Spotlight series later this year, which, if nothing I’ve written here swayed you, should be recommendation enough.

Available on Bandcamp

Saturday, April 22, 2017

Orenda Records: 3 Years and Counting - Live at Blue Whale

By Lee Rice Epstein

Earlier this year, the LA-based independent label Orenda Records celebrated its 3rd anniversary with a massive night at Blue Whale. The night featured three sets of music and a gorgeous installation by artist Eron Rauch (who designs many of Orenda’s album covers). Founded by trumpeter Daniel Rosenboom Orenda’s name comes from an Iroquois term meaning “a mystical force present in all things that accounts for all human attainment.” The aim of the label is to promote music that pushes boundaries, sonically and philosophically.

Hall of Fallen Empires

Rauch’s installation The Hall of Fallen Empires featured imagined flags from dozens of fictional empires from any time in history and anywhere in the universe. Many of the flags were printed and hung around the room, and there was a thick binder near the entrance with hundreds of pages on various fallen empires. The installation was visible for this one night only, and I spent a good half hour just walking around the room taking in the flags, and at least another 20 minutes flipping through the binder. Rauch’s brilliant project, which featured work by him and several of the musicians performing that night, complemented Orenda’s boundary-less aesthetic and set a tone of radical experimentation that continued throughout the night.

Snow Nerds

Snow Nerds

First up was Snow Nerds, a relatively new quartet with guitarist Jake Sucher, saxophonist Ted Taforo, bassist Anna Butterss, and drummer Jesse Quebbeman-Turley. Their debut album, Gup Life, is coming soon on Orenda, and their set served as a decent preview. Snow Nerds has a bright, zippy sound and a warm sense of humor (see: band name and album title), but the sound mix wasn’t kind. Quebbeman-Turley’s drums were heavy for the room, and the various textures and effects were often lost. That said, Sucher and Taforo have an excellent rapport, and Sucher’s knotty melodies leave plenty of room for some excellent improvisation.



Celebrating a decade of playing together as DR. MiNT, the quintet of Rosenboom, saxophonist Gavin Templeton, guitarist Alexander Noice, bassist Sam Minaie, and drummer Caleb Dolister don’t often get to tour together. Notably based half in LA and half in NYC, DR. MiNT plays a style of jazz-fusion defined by their approach to spontaneous composition. This was absolutely thrilling to see live, as Rosenboom and Templeton were constantly signaling to each other and collaborating on melodic lines in real time. Their voicing is so utterly in sync, with a dense middle provided by Noice, who doubled on guitar and electronics. Noice sometimes reminds me of early-2000’s Nels Cline. And playing an acoustic translation of electronic jazz-funk, Minaie and Dolister are an unbelievably adept rhythm section. Dolister, in particular, is amazing to watch in person.

Orenda Anniversary Orchestra, led by Daniel Rosenboom

For the closing act, Rosenboom conducted a partially improvised orchestral piece for roughly 16 players, including Christine Tavolacci, Gavin Templeton, Michael Mull, Jonathan Rowden, Andrew Conrad, Brian Walsh, Ryan Dragon, Stefan Kac, Cathlene Pineda, Joshua White, Alexander Noice, Max Kutner, Sam Minaie, Caleb Dolister and Trevor Anderies. With layered horns, piano and keyboards, two guitarists, and DR. MiNT’s Wonder-Twins rhythm section of Minaie and Dolister, the anniversary orchestra gamely navigated Rosenboom’s conduction. A former student of Wadada Leo Smith, Rosenboom expertly guided the large group, highlighting each player in solo and signaling ad hoc countermelodies for winds and brass. It was the kind of performance I’d really love to return to, since I surely missed about half of what was going on. And yet, in so many ways, that was the point. Like the Hall of Fallen Empires, the Orenda Anniversary Orchestra existed wholly in the moment, a grand celebration of everything that’s great about Rosenboom’s Orenda Records.

Friday, April 21, 2017

Olie Brice / Achim Kaufmann - Of Tides (Babel Label, 2017) *****

By Rick Joines

The art critic Clement Greenberg, who championed the paintings of Jackson Pollock, argued that the value of a work of art depends on the artist’s realization of the virtues of the medium, which in “each art is unique and strictly itself.” Using his concept of “medium specificity,” Greenberg judges a painting by how well it actualizes the possibilities inherent in its materials. A painting is made of paint, thrown, dripped, or layered on canvas. The art is “about” nothing so much as the materiality of its making. A painting fails if it relies on specificities from other media to create an illusion of space, or dimension, or to tell a story. “A painting is not a picture of an experience,” says abstract expressionist Mark Rothko; “it is an experience.” Avant-garde art is inscrutable, indescribable, and its effect on its audience is visceral. If it triggers ideas or emotions, they unfold as ungovernable connotations peculiar to each of us.

Jackson Pollock, “Lavender Mist
Olie Brice and Achim Kaufmann make avant-garde jazz with a similar intensity, movement, and spontaneity to Jackson Pollock painting. They play aggressively, percussively, with a no-holds-barred, take-no-prisoners approach. Their music does not rely on coaxing an audience’s emotional reaction out of familiar themes or mere technical skill. Instead, they rely on the material bodies of the piano, the bass, and of themselves. Like Mola Ram in the Temple of Doom, they reach into the chests of their instruments and rip out their beating hearts.

Olie Brice

Olie Brice plays bass as if he’s jumped onto a bear’s back to throttle it but then tries to Greco-Roman wrestle it to the ground. It is mesmerizing because there is no way to predict who will win. His pizzicato pounds like a battering ram knocking down doors, or taps like a hammer on notes like nails. His bowing bounces and stutters, then soars and dives to rip open space. Few bassists leave me as awestruck as Olie Brice.

Grünen — Achim Kaufmann, Robert Landfermann, Christian Lillinger

Achim Kaufmann’s body of work demonstrates a pianist constantly exploring the possibilities of his medium. His two Grünen albums (with Robert Landfermann and Christian Lillinger) are especially fantastic. Kaufmann plays outside and inside the piano. Like a bowerbird’s nest, his piano is filled with an odd assortment of objects used to make the piano scream like an overdriven guitar, tinkle like a harpsicord or autoharp, or ring like a bell or glockenspiel. He is always moving up and down, reaching inside the piano, adjusting foreign objects, scraping, tapping, or strumming strings. Sitting before the keys, Kaufmann invents clusters and lines like a classical avant-garde pianist.

There are five tracks on Of Tides. “Moss Grows in the Cracks” slowly accretes out of a slow droning. Kaufmann works inside the piano tapping, scraping strings like a guitarist doing a pick slide, echoing Brice’s arco. About half way in, Brice’s bass buzzes and vibrates so resoundingly, it’s a wonder it doesn’t fly apart. “The Rumble of Constant Adjustments” starts like a minor blues and becomes a twenty-three minute tour de force painted with everything on Brice and Kaufmann’s palettes. Brice’s walking bass lines wander behind Kaufmann’s rhythm and his dissonant, atonal chording. It is a showcase of the possibilities of their instruments and of the experience their playing can be. “Cogitations,” the short center piece, is meditative, contemplative, gentle and unhurried. It is the loveliest track and the one least likely to frighten the dog or cause your friends to call you “weird.” “To Heap,” as the title suggests, is an accumulation of sounds from Brice’s bass and Kaufmann’s piano that perhaps the instruments weren’t aware they were capable of making. It begins with Kaufmann’s heavy left handing and Brice’s throbbing pizzicato piling together in a scrum. Kaufmann’s prepared piano dopplers in and out of tune like an old juke joint vertical or the music on a slowly unwinding gramophone. He taps and plucks strings that ring like cymbals, or sing like violins, or drip like water on pipes knocking in an echoing underground tunnel. “To Heap” also features a three-minute sui generis bass solo. “Of Tides” closes out the album with Kaufman and Brice like the sea and wind contending. Brice’s bow bounces and skips across strings. Kaufmann’s piano peeks up, sounding like tubular bells that mutates into deep notes conjured darkly by his left hand. Half way in, waves of sound crash in stormy interplay. The song culminates in muted percussive chording from Kaufmann, playing the keys and inside the piano, reminiscent of both Steve Reich and Philip Glass. Like the tide, the music then recedes and washes out.

I am inordinately fond of Brice and Kaufmann’s Of Tides, and I am in utter admiration of Brice and Kaufmann’s playing. I have listened to Of Tides dozens and dozens of times, and it keeps yielding new things. Hearing it is, to me, like standing in front of a large-scale Pollock or Rothko. The effect is overwhelming—physically, intellectually, emotionally—yet without my being able to describe exactly why. Of Tides is by far the most compelling album I have heard in 2017.

Thursday, April 20, 2017

The Latest From Lasse Marhaug

By Eyal Hareuveni

Israeli-Swedish musician Dror Feiler, a frequent collaborator of Norwegian sound artist Lasse Marhaug (they performed recently in the United States though their latest documented work is the vinyl No More Drama, No Fun Productions, 2008), described the transformative power of noise in music: “The abrasive raucousness in the music is an attempt to alter how people hear. Noise is confrontational, affective and transformative. It has shock value, and defamiliarizes the listener who expects from music an easy fluency, a secure familiarity, or any sort of mollification. Noise, that is, politicizes the aural environment.”

Feiler further claimed that noise forces the listener to adopt a more active and concentrated listening, “the most acute attention to simultaneous multiplicity of movement, forces and expression, the renunciation of the customary crutches of listening which always knows what to expect and the intensive perception of the unique, the specific and the general”.

Marhaug is often labeled as a noise artist and his aesthetics embrace Feiler's ideas about the role of noise in music. But this description misses his many qualities as a highly original, versatile, and imaginative sound artist-free-improviser who has developed a unique language, using wide range of electronic devices with turntables, often characterized by a sharp, sardonic sense of humor. Marhaug is also in-demand sound engineer and producer who runs his own studio (“the best studio in Oslo”), label owner (Pica Disk and Prisma Records), editor and publisher (his Marhaug Forlag publishes the magazine Personal Best) and a graphic designer.

Kim Myhr / Lasse Marhaug - On the Silver Globe (Sofa Music, 2017) ****½


On the Silver Globe originated as a commission from the MetaMorf art biennale in Trondheim for the experimental Norwegian guitarist Kim Myhr and Marhaug. Their first ever collaboration was a 8-channel piece for the biennale 2016 edition. Soon after the performance version of this piece Myhr and Marhaug headed into the studio to record a stereo-version of the piece.

The 30-minutes On the Silver Globe borrows its title from the 1988 sci-fi film by Polish director Andrzej Żuławski (1940-2016), a story set on a distant planet but can also be read as a political allegory about the struggle against totalitarianism. This film was stopped, mid-production by the Polish authorities and was not released until ten years later, with unfinished scenes replaced by unrelated, realist footage. The piece also references Andrew Smith’s Moon Dust book, about the astronauts of the Apollo program who walked on the moon and how their lives changed after this extraordinary experience.

Myhr and Marhaug used many instruments in the studio version of this piece - guitar, vintage analogue and modular synthesizers, oscillators, granular synthesis, digital processing, acoustic objects, and a wide range of studio trickery. The outcome is a fascinating, almost psychedelic trip of atmospheric sounds. These rich sounds come and go in all kinds, colors and shapes, always on the move, keep resonating, shifting and morphing into new sonic entities, alternating between sudden, delicate dynamics and textures. This cosmic flow of sounds reaches patiently its inevitable conclusion, in which all cosmic matter - including sounds - is sucked gently into a black hole.

Sult / Marhaug - Harpoon (Pica Disc/Conard Sound, 2017) ***½

The free-improvising trio Sult features Oslo-based guitarist Håvard Skaset and double bass player Guro Skumsnes Moe with Oakland-based percussionist Jacob Felix Heule. Sult has been working since 2007, focusing on exploring the “hidden sounds” of their acoustic instruments, magnifying these sounds and transforming them into silent cacophonies. The trio collaborated before with such innovative improvisers as cellist Okkyung Lee and guitarists Fred Frith and Bill Orcutt.

Marhaug produced an album for Skaset and Moe's other trio, MoE (It Pictures, Conard Sound, 2011), and designed the covers for this trio album, but this is the first-time collaborative work of Sult with Marhaug, released as a limited edition of 200 vinyls (plus download option). It was done in two phases. The source material was performed by Sult and later constructed and produced by Marhaug. He transformed the raw and dense, often even primitive and chaotic attacks of Sult into a maelstrom of layered sheets of scraping noises, moving in powerful yet nuanced waves. On the first side these rising waves sounds still search for their course but slowly these sounds gather into a resolute stream. On the second side these waves of sounds are already carving their own course in a persistent manner that only gets more intense, still varied in their noisy colors and shades.

Lasse Marhaug & Ken Vandermark - Close Up (For Abbas Kiarostami) (Audiographic, 2016) ****½

Marhaug has collaborated extensively with Vandrmark since 2005. He played in Vandermark’s Norwegian-Chicagoan group (((Powerhouse Sound)))’s two albums (Oslo/Chicago: Breaks, Atavistic, 2007 and Overlap, Laurence Family Records, 2010), with the Territory Band, versions 4 to 6 (Company Switch, New Horse For The White House and Collide, all on Okka Disk, 2005, 2008, 2007) and in the trio Fire Room, with drummer Paal Nilssen-Love (Broken Music, Atavistic, 2008, Wels 2008/11/08, Pica Disk/PNL, 2011, and Broken Music, Bocian, 2013).

Close Up, dedicated to the great Iranian director Abbas Kiarostami, is their first duo recording, captured live at Oslo’s MIR club on May 2016. It is a 40-minutes free-improvisation that alternates instantly between abstract sonic searches and timbral exploration, extended breathing techniques and aggressive but sometimes even comic noises, weird percussive pulses - when Vandermark picks the clarinet - and ecstatic, explosive - literally - dynamics. Their interplay is telepathic, immediate and uncompromising as if both Marhaug and Vandermark are totally possessed by the sheer suggestive power of this stream of alien-sounding meeting. Both burst with eccentric ideas, always ready to explore new, uncharted sonic avenues, without repeating themselves or settling even for a second. This piece concludes with a surprising slow and elegiac coda, with Vandermark breathing gently into the clarinet while Marhaug surrounds him with sparse, minimalist noises.


Kristoffer Alberts / Lasse Marhaug ‎– Organistskolen (KBA Records, 2015) ***½

Lasse Marhaug / Kristoffer Berre Alberts - Generasjon Lindemenn (KBA Records, 2016) ****

Sax player Kristoffer Berre Alberts is known from the free jazz groups Cortex (the quartet's fourth album was released last year, Live in New York, Clean Feed, 2016), Saka (The trio third album, Rasaka, is a collaboration with vocalist-electronics player Maja S.K. Ratkje, KBA, 2016) and Starlite Motel ( its debut album was released last year, Awosting Falls, Clean Feed, 2016). Alberts recently joined Nilssen-Love’s Large Unit, a group that Marhaug played with in its earliest incarnation.

Alberts and Marhaug's first collaboration, Organistskolen, was recorded while Alberts was still completing his master degree at the Norwegian Academy of Music in Oslo in December 2014. It features two pieces. The first one, “Ludvig Mathias”, refers to composer Ludvig Mathias Lindeman (1812-1887), founder of the Organist School in Oslo. The biggest concert hall at the Academy is named after him. It is a series of brutal, immediate collisions and crashes between Alberts' intense blows and shouts and Marhaug's loud and stormy static noises, hisses and blips. The second piece, “Peter”, perhpas a nod to the seminal uncompromising aesthetics of Peter Brötzmann, contrasts Alberts' extended breathing techniques with Marhaug's clever interferences that keep pushing Alberts to explore more edgy, abstract terrains.

Generasjon Lindemenn, recorded on spring 2016 in Marhaug’s studio and is more varied and ambitious. It begins with the nervous “Salmodikon”, an ironic play on the sound of the pslamodicon, a Scandinavian, single-stringed instrument, developed for simplifying music in churches and schools. Marhaug methodically crashes any attempt of Alberts to outline contemplative, church-fitting blows. The following “Generasjon Lindemenn” suggests even a more combative, dense and super-fast interplay and is linked to “Neste Generasjon” that opens the second side, where Marhaug, again, challenges Alberts' patient exploration of extended breathing techniques with persistent attacks of thorny, brutal sounds. The two conclude with the short, ironic piece, “Thomissøns salmebok”, after a popular Danish psalms book from the 16th century, that surprisingly do sound like a hymn, but a totally disturbed and quite noisy one.

Okkyung Lee / Lasse Marhaug - Jukebox Series #6 (Trost, 2016) ***

Cellist Okkyung Lee collaborated before with Marhaug in a trio with experimental violinist-vocalist C. Spencer Yeh (Wake Up Awesome, Software, 2013). This 7’’ single was recorded at Marhaug’s studio, with “no overdubs” and “minimal editing”. The two brief pieces, “Silver stain” and “One, one, one”, collide Lee associative bowing with Marhaug rattling, metallic sounds and noises that function as a kind of bizarre, out-of-control rhythm section, but with a commanding, wild cartoonish humor.

Wednesday, April 19, 2017

Lisa Mezzacappa – AvantNoir (Clean Feed, 2017) ***½

By Chris Haines

Avant Noir is Lisa Mezzacappa’s new album based on the noir crime fiction of authors Dashiell Hammett and Paul Auster. Those familiar with the works of these authors will recognize characters and scenes from the novels in the titles of the pieces, unfortunately wasted on myself, as I’m completely ignorant about these authors works. However, you don’t have to be a fan of their writings to appreciate the compositions that are contained within the album. Even though you may not be a fan of film noir or crime fiction writing, the sounds and clichéd images of this genre are immediately conjured up and recognized in the music. It could well be a film soundtrack for an unmade film such is the strength of the imagery, which is borrowed from the literary fiction, translated and then encapsulated into the sounds that still retain there avant and contemporary edge.

Written for the sextet of tenor saxophone (Aaron Bennett), electric guitar (John Finkbeiner), percussion & sound effects (William Winant), bass & samples (Lisa Mezzacappa), electronics (Tim Perkins) and drums (Jordan Glenn) the sound offers both the expected and the unexpected with regard to the range of timbres on offer. As well as the imagery of the overworked detective hard-up on his luck, standing in the shadows of a street corner at night in the rain we also get the blips and swirls from Tim Perkins electronics. These add a futuristic element to the music in the way that Dr. Patrick Gleeson’s use of the ARP synthesizer brought to Herbie Hancock’s Mwandishi band on Sextant. As well as the excellent orchestration of the instrumental timbres, Mezzacappa also introduces some concrete sound samples that really brands the film noir intention clearly into the music, with telephone sounds, screeching car tyres and typewriters to name a few.

There’s a good consistency to the album, which contains a cinematic feel due to the inherited literary thread, so each track feels equally important as another chunk of the storyline, so to speak. However, just to pull out a few tracks, at the centre of the album is 'Medley on the Big Knockover', a medley of three tunes, with the first part being 'Green St.' This starts with a rat-a-tat machine gun rhythm complete with car horns and electronic sounds evoking wayward and multiple police sirens, which breaks down into a folk-like melody that sets the scene for 'At Larrouy’s Bar' with it’s scampering and country-esque hoedown, a more blatant siren sound, chinking of glasses and background sounds of people mingling, before erupting into the free jazz blow-out of  'Montgomery St.'  This one track seems to distill the essence of the whole album into its structure and is like a paraphrase for the whole project. 'A Bird in Hand' starts with a distinctive descending melodic phrase on the guitar accompanied by a march-like rhythm on the drums before being joined by the sax, vibraphone, and bass. The rhythm drops out to reveal a soundscape of bowed and struck cymbals, vibe trills, electronic envelopes, fragmented interlocking guitar and sax phrases that accompanies a sampled dialogue which builds into sampled syrupy strings, bells, buzzers and what sounds like a musical saw, before revising the initial opening material. The first track 'Filmore St.', maybe not as overtly cinematic in its construction and material, contains a brusque angular melody before settling into a fragmented guitar solo, which flirts with the spiraling electronic sounds that take their own solo over the top of a group led punctuated and syncopated ostinato, before returning to a brief but developed version of the opening melody, phew! Events come thick and fast on this album but they are also carefully structured and organized.

Having not heard either of the authors’ writings, after listening to this album I feel like I’m missing something - maybe it’s time to hunt down some old books!

Tuesday, April 18, 2017

Eivind Opsvik - Overseas V (Royal Label, 2017) ****½

Bassist Eivind Opsvik, originally from Norway but living in Brooklyn for a number of years, has been slowly releasing a series of albums with the title 'Overseas'. Now on volume V, the group refines the more rock oriented sound that emerged on Vol IV, this time with a distinctive New Wave/No Wave intent. 

So, no better place to do this than in New York City, home to the nearly mythic Downtown scene that spawned groups like Talking Heads, Material, Naked City, and - going a bit further out on the limb - Prime Time. While Opsvik's group is mostly a generation or more younger than the originators of the scene, the cast is replete with the current crop of downtowners (or mostly outer borough-ers, as downtown ain't what it used to be): saxophonist Tony Malaby, drummer Kenny Wollesen, keyboardist Jacob Sacks, and guitarist Brandon Seabrook. 

The New/No Wave reference isn't meant to be taken literally, rather it's a jumping off point, and it's most prominent on 'Brapps!', a joyously avant-funk romp replete with a jerking repetitive rhythmic figure, a tight disco beat, and explosive horn playing - it gets my track of the year vote! Other places where the vibe can be felt is on opener 'I'm Up This Step', which is less funk inspired and more a fragmented melodic collage overlaid on a strong rhythmic foundation. 'Extraterrestrial Tantrum' takes on a different aesthetic, with what seems to be a vintage drum machine sequence at its heart. The group encircles it with thick open ended block chords from the piano, atmospheric guitar drones, and splashes of percussion. 'First Challenge on the Road' is a bit more of a rocker, but with a taught submerged funk rhythmic motif in place. Here, as on many of the tracks, the musicians serve the songs, as the layering intensity and melodic shifts is the focus, rather than individual soloists. 

It's not all snappy rhythms either, for example the evocative 'Shoppers and Pickpockets' is an atmospheric piece whose diffuse melody slowly comes together only to break down into a textural piano passage. 'Katmania Duskmann' polishes things off with a final romp in the rhythmic playground - this time more metal than funk, the guitar finds itself deep in skronk mode. 

Opsvik's Overseas collection is certainly an excellent chronicle of his journey and tenure in NYC, and volume 5 is deeply satisfying examination of some less explored avant-garde niches.

Eivind Opsvik’s Overseas will be celebrating their album release at Sound it Out, Greenwich House Music School, Wednesday, April 19, 8:00 p.m.

Monday, April 17, 2017

Stephan Crump, Ingrid Laubrock and Cory Smythe – Planktonic Finales (Intakt, 2017) *****

When three world-class musicians gather for a freely improvised encounter, the usual question isn’t whether they will excel individually (unless, perhaps, one of them is simply having a bad outing); the real uncertainty is whether the whole will somehow exceed the sum of the individual parts. When the magic of the finest free improvisation happens, it’s the collective nature of sound that ultimately should come to the fore, as the players generate musical power through their mutual interactions, receptive listening, and collaborative spirit of being willing to go wherever the music leads. On this record, the first involving bassist Stephan Crump, saxophonist Ingrid Laubrock, and pianist Cory Smythe, that magic is absolutely present in astonishing ways.

Laubrock and Crump have a long-established track record of working with cutting-edge groups in a number of guises. Laubrock’s compositional strategy has become especially intriguing of late (note her recent path-breaking releases Ubatuba and Serpentines), but her chops as a free improviser are similarly well-developed, as she can seemingly work in any context. Her command of tenor, soprano, alto and baritone saxophone is prodigious (although here she sticks to just tenor and soprano), and she has an uncanny knack for finding just the right technique to match the mood and direction of the piece she’s playing. Crump is perhaps best known for his pivotal role in Vijay Iyer’s trio, where his rhythmic and stylistic fluidity are essential for Iyer’s genre-spanning fusion of jazz, classical and pop idioms. He’s also worked with Mary Halvorson (in Secret Keeper) and with Steve Lehman, among others. Smythe, on the other hand, won’t be as familiar to most of the readers on this blog, as he travels first and foremost in classical circles, especially as part of the International Contemporary Ensemble. Even so, his recent work on Tyshawn Sorey’s Inner Spectrum of Variables and Nate Wooley’s Argonautica has garnered accolades and recognition of his willingness to seek compatriots from far and wide.

According to the valuable liner notes by Christoph Wagner, Crump, Laubrock and Smythe played only once previously, for an informal private jam session initiated by Laubrock; it went so well that they decided to record together soon thereafter. And it is readily apparent from the opening moments of the record that these musicians have an extraordinary rapport. On these eleven cuts, some short (six are under four minutes) and some longer (the lengthiest of the pieces, “Sinew Modulations,” runs over 11 minutes), beauty is to be found through the players’ careful, precise, and exceedingly generous ability to respond fruitfully and sympathetically to each move the other makes. Because they are so intent on following each other so closely, there are few over-the-top moments on the record where they fully let loose (the one exception being the explosive, fiery “Bite Bright Sunlight,” although at under two minutes it’s almost over before it starts). Instead, patiently explored ideas are the guiding concept, with each piece being remarkably cohesive and focused, developing its own logic as it unfolds. While it’s not composed music, one could easily be forgiven at times for assuming otherwise, as the quality of musicianship on display here is so compelling. Wagner insists that all that happened was a general, agreed-upon direction before the outset of each piece, after which the music took over. This makes the cohesiveness of the pieces all the more striking.

Although he doesn’t rely on it exclusively on the record, Crump’s bowed bass is an essential ingredient to the music. He’s able to provide essential musical direction on a number of the pieces by way of oblique passages that Laubrock builds upon, sometimes by following them directly and in other instances by winding in and out of them. (Yes, he can also do a mean walking-bass line: just listen to him on the last portion of “Sinew Modulations” for evidence.) Laubrock’s playing is typically dexterous and varied, with long, languid, dusky tones and phrases alternating with nimble flourishes and ecstatic flights. But as vital as Crump and Laubrock are, Smythe is a special revelation. Whether in long, impressionistic flurries or in shorter bursts of percussive power, or sometimes just a few delicately placed isolated notes, his role here is equally indispensable for producing this wonderful music. His expressive range on “Through the Forest” alone, with rapid single-note hammerings and cascading lower-register waves of sound, is captivating, especially as Laubrock offers her own fluttering commentary alongside him. One can only hope he continues to work within the improvised music community, as he clearly has a lot to offer.

Credit must also go to the folks at Intakt for the superlative sound quality on the record. With terrific instrument separation, it’s possible to hear all the nuances and subtleties of these musicians, each of whom relies as much on texture and feel as the notes themselves for expression. It’s obvious that this music was recorded with care, as is entirely appropriate given the unmatched artistry on display here. One of the highlights of 2017, to be sure.

Sunday, April 16, 2017

Arthur Blythe (1940–2017)

Arthur Blythe photo from SRF.CH

By Lee Rice Epstein

My first response, after seeing the announcement of Arthur Blythe’s death, was “In or out? Get you a genius who can play both.” In my mind, that sums up Blythe entirely, not a chameleon but a master, someone who excelled at every aspect of jazz, effortlessly stepping from standards to free, contemporary to retro.

One could say Blythe’s breadth is most plainly visible in the years 1978–1979, when he released both Lenox Avenue Breakdown and In the Tradition for Columbia Records. On the surface, the two albums couldn’t be more different. One a rousing free jazz masterpiece, the other an equally masterful tribute to jazz past. By that time, Blythe had already released a trio of energetic albums on India Navigation and Adelphi, which raised his profile considerably, bringing in a somewhat ill-fated deal from Columbia. Blythe’s tuba trio paired his alto saxophone with Stewart’s tuba, in something of a sister group to Sam Rivers and Joe Daley’s tuba trio work. But, as a kind of theme that would continue throughout Blythe’s career, he and Rivers came at the same group from radically different directions. And when they eventually came together for Roots, with Chico Freeman, the result was fantastic.

Although his time at Columbia is generally seen as a missed opportunity, in the 10 years Blythe recorded for Columbia, he released nine albums, including the stellar Illusions and Light Blue, a tribute to Thelonious Monk featuring an unorthodox quintet with Stewart on tuba, Bobby Battle on drums, Abdul Wadud on cello, and Defunkt guitarist Kelvyn Bell. Four of these (In The Tradition, Lenox Avenue Breakdown, Illusions, and Blythe Spirit) were compiled on a recent BGO reissue. His final Columbia release was a Blythe-with-strings style album, Basic Blythe, which is an oddball album, certainly, but serves to demonstrate his incredible range as player and composer. The group’s take on his classic “Lenox Avenue Breakdown” is textured and restrained where the original is rough and hard-charging, yet, in each, Blythe’s saxophone is bright and piercing, his tone crisp and soulful.

Blythe, a native Angeleno, first appeared as the lone horn on Horace Tapscott’s The Giant Is Awakened. And his discography is filled with seminal records on which Blythe played a supporting role, including Julius Hemphill’s ‘Coon Bid’Ness, Lester Bowie’s The 5th Power and African Children, and Jack DeJohnette’s Special Edition. He put in a stint with the World Saxophone Quartet, stepping in for Hemphill, and was a member of both The Leaders and Roots, along with Chico Freeman. All three are somewhat in/out groups, on their own quite different terms, but they reflect, as does every album he recorded, Blythe’s generous, warm spirit.

And then of course, there are several concerts available on YouTube. Here you can see him in action, with some of his most vital groups and collaborators.

Blythe, Wadud, Stewart, Battle quartet live in Berlin, 1980

Blythe, Stewart, Bell, Wadud, Battle quintet live at Montreux, 1981

Blythe, Stewart, Ed Thigpen trio live in 1995

Blythe, Stewart, Cecil Brooks trio live in 2003

Saturday, April 15, 2017

Illegal Crowns - s/t (Rouge Arts, 2016) ****

By Paul Acquaro 

Illegal Crowns is an unusual new formation for some well known collaborators - cornetist Taylor Ho Bynum, drummer Tomas Fujiwara, and guitarist Mary Halvorson already work together in a number of combinations, but by adding French pianist Benoît Delbecq into the mix, an entirely new dimensions seem to open up.

On the opener, 'Colle & Acrylique,' a spacious and hazy groove runs on a certain amount of tension. A bit of an oxymoronic description, but listen to how the piano lays down the light melodic phrases over Fujiwara's somewhat world-music beat and how Halvorson outlines the melodic contours, occasionally adding her trademark pitch bends. Bynum lurks in the mix, reminiscent (a bit) of how Miles Davis would interject melodic statements into his long jazz rock jams in the 70's. Next up "Thoby's Sister" doesn't quite lose the hazy quality of the first, but the overall score is denser. Halvorson's melodic flights hold a prominent place at the start, before a quick intense passage from Bynum that leads to Delbec's striking a few intense tonal clusters and ushering in a full group improvisation.

The subdued vibe of the album is punctuated by laser pointed playing on tracks like 'Holograms', where Bynum snarls and smears notes over Delbecq's lithe piano work and Fujiwara's taught percussion, while Halvorson fights back with slashing and biting chords. 'Solar Mail' sports a catchy melody that leads into some upbeat arranged passages before breaking down into atmospherics and finally a free playing work-out.

Illegal Crowns is an exciting release from this new configuration and one that I hope to hear more from. My only regret is that it took me so long to get to hearing it and jotting down my thoughts!

Friday, April 14, 2017

Jean-Brice Godet - Lignes De Crêtes (Clean Feed, 2017) ***½

By Derek Stone

Admittedly, I had never heard of Jean-Brice Godet before delving into his newest release for Clean Feed, Lignes De Crêtes. There were, however, a few things about the recording that immediately piqued my interest: first, a quick glance at the album's information page reveals a rather diverse blend of “instruments,” especially when considering that there are only three musicians involved - in charge of clarinets, radio, and dictaphones, for instance, is Godet, while Sylvain Darrifourcq covers drums, percussions, and zither. Second, any album that involves renowned bassist Pascal Niggenkemper is one that, at the very least, warrants close attention. As one of the hardest-working performers in the world of jazz, free or otherwise, he has routinely pumped out music of consistently high quality. Lastly, Godet himself, though not necessarily on my radar before this release, has frequently worked with musicians who are constantly on my radar, like Joëlle Léandre and Anthony Braxton. If the old axiom that “you can tell a lot about a person by the friends they keep” held true, then I was positive that Lignes De Crêtes would be a compelling listen.

With track titles like “No Border,” “No Logo,” “No God,” and “No Fear,” one would expect (and maybe even hope) the pieces themselves to be iconoclastic and even a little unruly - luckily, they often are! The first, “No Border,” opens like the start of some decayed transmission from another world - light swathes of static, tentative feelers from Godet’s clarinet, and ever-so-slight hints of dread woven in by Niggenkemper. As the tension rises, the various slivers of sound begin to coalesce, and recognizable patterns materialize. The first of these patterns is made up of Godet’s serpentine figures, notes that tumble helplessly one after another. The second consists of Darrifourcq’s martial drum-work, almost breathtaking in the way that it leaps out of the swirling stew of abstract textures. Once Niggenkemper’s dense, percussive bass-lines come in, the picture of a somewhat “traditional” free jazz group emerges, and the listener can finally latch on to something concrete. “No Logo” is a brief, creaking sigh before the second long-form piece on the album, “No God.” Compared to the near-alien soundscapes of the opener, “No God” feels like a relatively straightforward bout of music-making - well, aside from the disorienting tape manipulation done by Godet. When the latter finally switches to clarinet, the piece secures itself as one of the most immediate on the entire recording, with Darrifourcq’s elastic rhythms and Niggenkimper’s springy, restless bass-lines offering the perfect support for Godet’s frenzied cries. The final piece, “No Fear,” features Darrifourcq on zither, an instrument utilized here more for its textural possibilities than anything else. As the final ragged breaths of the zither’s strings fade off, so too does any sense that this group has any limits.