Jazz 2020, Lisbon, Portugal. Part I

© Fundação Calouste Gulbenkian – Vera Marmelo

By Paul Acquaro

July 31, 2020

Prolog

It is quiet in Lisbon, relatively speaking. The same streets that were teeming with tourists this time last year, even impassable at times, now allow for wide berth. Even the precipitous, winding streets of Barrio Alto, with its (at best) foot wide sidewalks, seem spacious.

The seats of the Gulbenkian amphitheater, a mid-century modern theater, which sits on a carp pond ensconced by trees and surrounded by lush garden, are also more spaced out this year. One seat open, two seats taped off. Reducing capacity by two thirds is a big deal, but the Gulbenkian Foundation has taken recent health measures seriously, from social distancing to requiring masks for the entire time anyone is in the theater. However, they feel it is worth it to continue the tradition of the Jazz em Agosto in light of the global pandemic that has impacted just about every aspect of public life this past year. It is also worth noting that Jazz em Agosto is not necessarily happening this year either ... rather Jazz 2020 is a modified, re-thought festival, both more local and more spread out than Jazz em Agosto, with a solid roster of Portuguese musicians and groups peppered over two weekends in Lisbon and the cities of Porto and Coimbra.

It is around 6 p.m. on the first night of shows (like Jazz em Agosto, there are shows Friday - Sunday on two consecutive weekends) and the evening big-band, Coreto, from Porto, is sound-checking. It's exciting to hear some live music - even if it's just snippets - in the air.  

"The musicians haven't really had work in 3 or 4 months," says Jazz em Agosto musical director Rui Neves, "it's really important to do this."

The Jazz em Agosto concerts have been going on for 36 editions, and number 37 was ready to go. "We were going to announce the line-up," says Neves, "but it became obvious that it couldn't happen as planned, so we decided to do something different."

At the at the start of the pandemic, the Gulbenkian Foundation put together funding to support artists, José Pinto, Deputy Director, Calouste Gulbenkian Foundation Music Department, adds. Then, re-thinking the festival concept, they began to work in cooperation with the Jazz ao Centro Clube (JACC) in Coimbra and Porto Jazz in Porto, two groups that support musicians and create opportunities in their respective regions of the country, and organized Jazz 2020, featuring more local talent. 

The local focus is nothing to sniff at says Neves. In fact, readers of this publication will have no trouble identifying albums and musicians that support this sentiment. Especially in regards to labels like Lisbon's own Clean Feed, Creative Sources, and Coimbra's Cipsela, to just name a few, the impact of the region on improvised and avant-garde jazz has been astounding. Ironically, the organizers note that if that there is one good thing from this situation, is that it is nice to have a chance show off these musicians.

The band finishes up their soundcheck and the bits and pieces of sound wafting over the empty seats subsides. Soon enough, those seats will be full, as the weekend's concerts are already sold out.


Night 1: Coreto

Coreto © Fundação Calouste Gulbenkian – Vera Marmelo

The day was cooling off, the breeze was picking up. The sky a deep purple and a few bats flittering in the air above the stage reflect from the lights below. The amphitheater has a calming atmosphere, the trees towering over and the orange glow on the stage makes it feels cozy. The band emerges from a stair well that pops out of the lawn behind the stage and take to their instruments. Coreto is a 12-piece band led by saxophonist/flutist and composer João Pedro Brandão. The players arrange themselves in two layers: a semi circle of wind instruments: alto sax, two tenor sax, baritone sax, two trumpets, and two trombones, and in front, piano, guitar, bass, and drums. It is a big group with a lot of musical possibilities, of which Brandão's compositions and arrangements makes expert use. 

The group opens with a repeated arpeggiated figure played by the guitar. This is overlaid with a somber melodic line from the horns, chord tones shift a bit and then the ostinato moves to the piano and the group kicks in with a graceful lumbering melody. The first solo passage is from trumpeter Ricardo Formoso, who introduces flowing lines over the undulating rhythm. The next piece begins with an austere bass figure, which is soon joined by a languid, full-bodied melody. The tune could almost be described as smooth, except there is some rhythmic mischief happening. Ripples of polyrhythms bubble up under the smooth surface. These figures grow stronger, a more forceful presence measure-by-measure. When trumpeter Susana Silva Santos takes over the solo line, she overlays elongated tones with touches of dissonance. The accompaniment reduces to the front-line, which helps the trumpeter outline the unseen edges of the music. A promising start, by all means. 

The next tune began in the free jazz tradition with blips and whooshes, percussive taps, and spluttering horns. Soon solidified by a bass and drum pattern, the reeds take over with an interval leaping melody. Guitarist AP takes the first solo, playing with an effected modern jazz guitar tone, he builds slowly and without flash, slowly picking up tempo and playing denser and denser lines until reaching a solid peak. Then, there is a contrast for Andrea Santos' trombone solo, which she plays over a much starker accompaniment. 

The fourth tune was perhaps a centerpiece, not just in the timing of the generous hour and a half show, but also from the recording that most of the songs of the evening's show were sourced. Analog, from 2017, and out on the Porta Jazz label, is built around Brandão's music. The songs are detailed, and robust combinations of styles and approaches, appropriating a lot from traditional big band voicings and tropes, but interjecting unusual transitions, unexpected twists, and shifting time signatures that keep the listener hooked. There is plenty of room for improvisation, which all of the players use to breath even more life into the songs. However, back to the fourth tune, 'Analog II: SOS,' begins with a series of 'bits' of morse-code, overlaid with a recorded voice over saying "rhythm is the key to good sending. If your code is to mean anything to others over the radio-net, then you have got to sent rhythmically." A bit tongue-in-cheek, but also seemingly a mission statement for the group.

The band has the potential for creating a powerful sound, but this is approached with discretion. Precision, smart arrangements, and a mindfulness of tradition, and of each other, helps craft their use use of volume and balance. No one voice dominates, though there are some stand-out moments. For example, on a later piece pianist Hugo Raro's near solo interlude is one. With his hands in seeming disagreement, he developed an off-kilter and delicate melody leading back to the powerful entry of Rui Teixeria on baritone sax. To interject one criticism, there were also moments of near kitsch, purposely so, but after stronger moments like the aforementioned one, the lightness of these moments seemed perhaps a bit too light. Coreto wrapped up with a tune that featured a powerful, edge trombone solo from Diniel Dias and an engaging moment with Brandão on flute and the other horns providing squiggling accompaniment.

So, perhaps the concert could be seen as a wonderful re-entry to live music for many in attendance. Set in the amphitheater against the lush gardens, with generous musical arrangements from the stage, and a socially distanced audience ready for the experience, there was little more to hope for - except for maybe no global pandemic.

Listen to Coreto's "Analog" here: 

Coreto © Fundação Calouste Gulbenkian – Vera Marmelo

The band:

João Pedro Brandão Alto saxophone / Flute
José Pedro Coelho Tenor saxophone
Hugo Ciríaco Tenor saxophone
Rui Teixeira Baritone saxophone
Ricardo Formoso Trumpet
Susana Santos Silva Trumpet
Daniel Dias Trombone
Andreia Santos Trombone
AP Electric guitar
Hugo Raro Piano
José Carlos Barbosa Doublebass
José Marrucho Drums

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Hard Rubber Orchestra - Kenny Wheeler: Suite for Hard Rubber Orchestra featuring Norma Winstone (JTR, 2018) ***½

By Kian Banihashemi

Kenny Wheeler's output as an artist is one that should be greatly admired. He collaborated with nearly everyone; from members of the jazz avant-garde to artists like David Sylvian. He remained busy playing and composing until the last year of his life, and even then his legacy remains forever in works such as this. The Vancouver based Hard Rubber Orchestra is a jazz orchestra that mostly tours Canada, playing original compositions a few times per year. This recording from 2016 is material that Wheeler composed for the group along with singer, and longtime Wheeler collaborator, Norma Winstone. My experience with Wheeler's music has been mostly centered around his ECM recordings, a label in which his music has served to support and expand its aesthetic. The 1976 album Gnu High served as my entry point into the ECM and Wheeler catalogs; it's an important record that showcases Wheeler's improvisational ability in a small setting. When I got around to the nearly two hour long Music for Large & Small Ensembles, I was blown away by the sheer composing power and intimacy Wheeler was able to produce in a "big band" environment. I see that same composing capability on this album, performed by some of Canada's finest and most dedicated jazz musicians.

The suite is made up of five sections with three improvisational duos in between. Lasting for about half an hour, this album seems to go by in the blink of an eye. The whole recording has a rich bombastic sound that transports the listener to the the dynamic atmosphere of a concert. "Movement I" leads with a swaying saxophone that is eventually joined with the array of horns, piano, and drums. Norma Winstone joins the conversation; her wordless vocals stimulate a back-and-forth that the other musicians eagerly respond to. Winstone's airy siren song builds in intensity until broken by a soulful, moody saxophone. This theme continues until the high energy finally, finishing up the longest movement on the album. One could mistake this as the finale, but the following bass and trumpet improvisation helps trigger a mysterious and anxious setting. The next two movements breath even more life into the music, Winstone and the trumpet solo on "Movement II" seem to be reaching up into sky beyond this terrestrial performance. There's quite a bit of swing going on here especially throughout "Movement III", as the music takes on an almost prideful summer feel. Winstone basks in this warm sunshine and leads the orchestra to rejoice in this same aura and comfort.

By this point I felt thoroughly surprised and ecstatic about this suite as a whole. I expected this to be a horn or trumpet heavy album, but in reality it's quite well rounded and eclectic in soloing and style. While all three of the improvisation sections do contain a trumpet, the duos are diverse in their approach and form. My favorite of these has to be "Improvisation II", as the piano and trumpet players seem to be on two totally different streams of thought. Normally I wouldn't find this to be preferable, yet they both find common ground and finish off as almost one entity. In those three minutes, these two talented musicians provide a narrative that is cinematic and engaging. "Improvisation II" is representative of the whole suite; while this album may take uncertain twists and turns, it always reaches the ideal destination. "Movement IV" expands upon that idea with smooth horn sections leading directly to a lamenting piano and mournful trumpet. The rhythm section adapts well too, as they're not as limited as they initially appear from the first few movements. There's a deeper dynamic going on that isn't readily heard on the first listen. "Improvisation III" focuses more on the trumpet and is probably the closest this record gets to achieving the atmospheric mood of ECM. The last movement sums up the performance in a very fulfilling manner, making some connections to the first movement along the way. The ending moments are respectfully grand without being pushy or excessive.

In many ways I wish this record was longer and that even more dynamic experimentation was displayed. Yet the short length allows multiple, relaxed listening sessions within a manageable period of time. Even after all these listens the music remains fresh, as if just plucked ripe from the tree of Wheeler compositions. While there isn't a clear focus on any certain musician or section, my ears gravitate towards the trumpet solos and Norma Winstone's voice. I'm sure there's some bias in there, but I also believe that without the necessary reinforcement their efforts would not be successful as they are. Thankfully those elements are present and serve as an integral support system for the risks that Winstone and the soloists are allowed to take. With all these creative excursions, one also discovers the captivating melodies that pitch their tents in the listener's ears. I often found myself humming some of the themes and musical phrases days after listening to this, without any sort of prompting. This suite is an excellent culmination of Wheeler's musical experience throughout his life, resulting in music that is exploratory while appealing to a broad audience. I'm not a huge fan of "big band" or jazz orchestras, but I trusted Kenny Wheeler to deliver and he surely did. This is not niche music, it's music for those who love to feel and are willing to take some risks along the way. Wheeler's music deserves to be played by talented devotees who translate his ideas into every note they put out. Hard Rubber Orchestra does exactly that.

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Leap of Faith Orchestra – Helix (Evil Clown, 2017) ****

By Troy Dostert

One thing you can say for sure about David Peck (PEK), the founder and inspirational force behind the Leap of Faith Orchestra: he’s on a mission.  A relentless mission, if the ever-expanding discography of the group is any indication.  A quick glimpse at Leap of Faith’s bandcamp page reveals dozens of recordings made within the last few years alone—and eight already in 2017.  A good number of the group’s releases are live recordings, such as Helix, recorded at Third Life Studios in Somerville, Massachusetts in March of 2017, and released the day after the performance, with PEK using a portable recording set-up he describes in a post to a previous review on this blog.  There is a classic DIY ethic to the group’s approach, equally evident in the making, producing, and selling of the music.  While the cumulative effect of this strategy can be a bit overwhelming for the listener/consumer—how exactly does one choose from this bewildering array of releases?  Where even to begin?—you have to hand it to PEK for utilizing all the resources at his disposal in pursuing his musical calling with fierce independence and tenacity.  This is no-holds-barred improvisation in its most challenging, uncompromising form, and it takes a special kind of resilience, determination and, perhaps, quixotic idealism to forge ahead with such an endeavor as long as PEK and his comrades have been doing it.

So what’s particularly interesting about this recording that might help distinguish it from the myriad other releases in the Leap of Faith catalogue?  It’s really a “double” release, in the sense that the first half of the recording is comprised of four roughly 15-minute improvisations played by “sub-units” of four members each from the larger orchestra, while the second portion consists of a longer, 50-minute improvisation involving all thirteen members of the orchestra.  While there have been plenty of performances with larger groupings of the orchestra, PEK points out in his notes on the recording that this is the largest assemblage of Leap of Faith to date in which the goal is (almost) totally unstructured improvisation.  In the past he’s used various scripts and rules to prevent the larger group from falling into chaos during unfettered improvisation, but here there was only one constraint: that every member of the orchestra had to lay out for twenty minutes of the performance.  (Leap of Faith typically uses a large digital timer in its performances to allow for rules like these to be followed.)  So with Helix, then, we get to hear the musicians in both formats: the smaller-scale, more intricate improvisations made by just four members at a time, as well as all the power and (semi-) controlled cacophony the larger group can offer.

The sub-unit performances are quite strong overall, with each offering distinctive possibilities through intriguing instrumental groupings.  PEK, who plays a sizable assortment of horns, as well as tube-o-phone, slide whistles, and many other items, is featured on the first, “Arc,” along with long-standing Leap of Faith member Glynis Lomon (cello), Matt Scutchfield (violin), and Matt Samolis (flute).  Lomon and Scutchfield define a lot of the terrain, as Lomon’s huge, extravagant sound is a constant dominant presence, with Samolis and PEK offering their own multifarious explorations, PEK in particular drawing from the astonishing array of sounds his range of instruments can create—and yes, manic vocalizations are also present.  Sub-unit #2’s performance, “Torsion,” showcases the guitar of Grant Beale and guitar synthesizer of Chris Florio, along with Zach Bartolomei’s own menagerie of horns (including not only alto and soprano sax but melodica and slide whistle as well) and Kevin Dacey’s drums.  Dacey’s percussion provides a somewhat more cohesive feel to this track, generating periodic bursts of collective fire, although with plenty of room for the others to maneuver as they see fit.  Sub-units #3 and #4 are similarly varied in both instrumentation and dynamics, with creative touches throughout, especially in percussive effects, something that Leap of Faith uses extensively; many members of the group have a range of options (glockenspiel, crotales, various metal objects, etc.) that they can use to complement their primary instrument(s).  This is critical to the anything-can-happen aspect of the group’s identity.  The listener has to be prepared at all times for bizarre juxtapositions and anarchic flourishes when listening to this music.

As for the 50-minute improvised extravaganza with the entire orchestra, “Helix,” it begins with what PEK calls a “wood cloud texture,” with most or all of the group members employing a barrage of percussive implements, before the piece starts to assume a shape formed around musical fragments introduced by several of the players.  The overall mood of the first section is a reticent one—perhaps conditioned by the 20-minute rule mentioned above, which would seem likely to subordinate individual self-assertion in the interest of maintaining group cohesion.  Witness the dusky, chamber-like segment between pianist Eric Zinman, cellist Lomon and guitarist Beale about ten minutes in, with plaintive phrases from PEK riding overhead, for example.  But it doesn’t take too long for the intensity to build, and as Dacey’s drums begin filling the room one senses the surging power waiting to explode.  It never quite does completely, and things do generally stay under control—perhaps a bit too much, in fact, as at times the performance does seem to lose energy—although there are some hair-raising moments along the way capable of startling and challenging even the most experienced listeners of freely-improvised music.

“Helix” is a striking example of what can be done by larger ensembles within the realm of free improvisation.  Perhaps PEK will soon give this a try with even larger permutations of the Leap of Faith Orchestra.  Given the group’s trademark spirit of intrepid risk-taking, it’s hard to imagine he won’t.

Note: the following YouTube links include the entire recording, and they really are valuable in shedding light on the group’s music.  Especially with the frequent switching of instruments, having a visual referent adds another level of interest to this fascinating ensemble:

(Sub-unit #1 – “Arc”)

(Sub-unit #2 – “Torsion”)

(Sub-unit #3 – “Curvature”)

(Sub-unit #4 – “Tendril Perversions”)

(Leap of Faith Orchestra – “Helix”)

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Nathan Hubbard/Skeleton Key Orchestra - Furiously Dreaming (Orenda Records, 2016) ****

By Paul Acquaro

What better way to end a week of big band reviews than with a two-disc release featuring a total of 49 musicians? Californian drummer and composer, Nathan Hubbard and his Skeleton Key Orchestra's Furiously Dreaming is a sprawling mixture that features in all 49 musicians and encompasses many styles and approaches over its two hours of playtime. It's a lot to take in, and the breadth of musical styles is, well, breathtaking. Picking just a couple tracks to talk about hopefully is enough for a good introduction.

The opening track, 'Crows on the Roof', begins with a mash-up of Crimsonesque power and Soft-Machine sax work, which eventually leads to a mix of electric guitars, electronically processed percussion, and reed and horn sections revelling in juicy counter melodies -- by which all I really mean to say is that it is pretty damn intense! There is even a spoken word passage lending an air of intrigue and mystery. The second track, ‘Mirror Forget’, is more a free playing session. Accompanied by a chattering electric guitar that seems to bind the group together, they rise and fall in swells of large group improvisation and smaller improvising units. The follow-up, “sleepsdreamsilence’ is an abrupt change of pace, in which a string section creates a lush, tense, soundtrack like atmosphere, just right for a spoken word passage delivered by Roger Aplon and Sister Rez. Finally (for this review), title track 'Furiously Dreaming' begins as an angular piece - guitar, piano, drums and strings scratch, skitter, and pluck but ends with a composed melody underscored by a chorus of voices.

There is a lot more to hear, as the album is a showcase of Hubbard's expansive musical concepts. The eight tracks of the album are a diverse set that was recorded over the space of three years (2007 - 2010). While a mix of styles, each generously portioned track stands on its own. It's a really interesting recording that beckons for repeat listens, and I've only just begun!

For a full list of the musician's, please see here.

To listen, click play!

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Leap of Faith Orchestra - Supernovae (Evil Clown, 2016) ****

By Paul Acquaro

When you invite 21 musicians onto a stage, with probably two to three times the number of instruments between them, you better have a plan! Boston-based musician and band leader David Peck (aka PEK) certainly does.

PEK's reinvigorated Leap of Faith quartet came out of hiatus a few years ago and since they have been busy creating music - and in the case of the orchestra - expanding rapidly. In addition, several  Leap of Faith offshoot projects have also formed, and when the time it right, they come together as the orchestra. For a bit of background, Leap of Faith's Bandcamp site is a rich archive, where many of the Leap of Faith quartet, orchestra, and side-project gigs are meticulously recorded, packaged, and made available for a very reasonable price.

Now back to the plan. The large ensemble does not follow a traditional score, rather what PEK has developed is a scripted sequence of events, where he has blocked out the passages and envisioned collaborations, but relies on the individual musician's improvisational prowess to fill in the details. The secret weapon here is time, as the script's movements are synced with a large digital timer that dictates the shifts. With PEK's direction and the clock's ruthless advance, the music is made (dig in a little deeper and check out a sample of the notation). When the orchestra convened this past November at The Somerville Armory in Somerville, Massachusetts, and embarked on bringing PEK's score to life, they created some highly engaging and unique music, generating layers upon layers of sound and texture. The overall feeling is organic and vital, balancing space and density.

It's best to describe this music as an experience, as there is little to suggest what will happen next, and no repeated melodies or extended themes, rather it's a sequence of improvised events that culminate into a greater whole. An earlier orchestra recording reviewed here possessed a certain dark and turbulent nature to the music, however, Supernovae, while still packing a punch, exudes a more subdued approach - at least for the first 49 minutes. Then, the storm arrives, and the instruments begin to howl, voices rise from the orchestra, and turbulence builds.

Each visit with the Leap of Faith folks reveals new ideas and revised approaches. Supernovae strikes me as a milestone in PEK's vision and his group's cohesion - less aggressive, more nuanced and spacious. A neat addition to an expanding musical universe.

Listen:




Buy at Downtown Music Gallery


The full Leap of Faith Orchestra

• PEK - clarinet, contraalto clarinet, alto, tenor & baritone saxophones, oboe, dulzaina, contrabassoon, bass trombone, sheng, daxophone, flex-a-tone, rachet, plate gong, aquasonic,fog horns, taxi horn, wind siren, metal 
• Glynis Lomon - cello, aquasonic, voice 
• Yuri Zbitnov - lead gong, drum set, daiko, festival drum, balafon, metal, wood
• Andria Nicodemou - vibes, crotales, metal 
• Bob Moores - trumpet, large temple bowl 
• Forbes Graham - trumpet, Tibetan bowl, flex-a-tones 
• Dan O’Brien - clarinets, bass clarinet, alto & tenor saxophones, flute, Tibetan Bowl
• Zach Bartolomei - soprano & alto saxophones, clarinet, rachet, melodica 
• Kat Dobbins - trombone, Tibetan bowl, plate gong
• David Harris - trombone, tuba, rachet 
• John Baylies - tubas, flex-a-tones 
• Mimi Rabson - violin, flex-a-tones 
• Matt Scutchfield - violin, Atlantis gong, flex-a-tones
• Helen Sherrah-Davies - violin, flex-a-tones
• Brendan Higgens - bass, rachet
• Tony Leva - bass, rachet
• Drew Wesley - guitar, rachet 
• Grant Beale - guitar, flex-a-tone
• Peter Cassino - piano
• Kevin Dacey - drum set, vibes, timpani, metal, wood
• Sydney Smart - electronic percussion 

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Darcy James Argue’s Secret Society - Real Enemies (New Amsterdam, 2016) *****

By Lee Rice Epstein

Somehow, I discovered Darcy James Argue not through his music but through a blog post of his about the death of author David Foster Wallace in September 2008. This was a few days after my birthday, and my wife was weeks away from giving birth to our first son. Wallace was, for me (as well as for Argue, it turned out) a massive influence, a thoughtful, curious light who seemed to be leading a way forward. I had (again, like Argue) consumed Wallace’s Infinite Jest upon its publication, reading it twice within a year and writing a portion of my senior thesis on some of its familial themes. It must have been through Facebook or Twitter, but someone had shared Argue’s blog post about Wallace, and it stuck with me, partly for the similarities in our experience (not that unique, among Wallace acolytes, if I’m being honest) and partly because I was suddenly curious about this so-called Secret Society. This was still several months before he would release his debut, Infernal Machines, and promptly rock my world.

I’ve been an avid, vocal fan of Secret Society for nearly ten years, playing the albums on loop, streaming and downloading live recordings from Argue’s old website, and eagerly anticipating any new album. The third, Real Enemies, was released last year and really pulled off an interesting trick of sorts. Similar to the previous album, Brooklyn Babylon, the premiere of Real Enemies featured a multimedia program that augments the music. Unlike its predecessor, however, Real Enemies is so fully realized that I’m not sure I ever care if I experience fully.

For those unfamiliar with the Secret Society, on the surface it looks like a traditional big band, with 18 members plus Argue as composer and conductor. Secret Society includes some names who have appeared on the blog, but most, I think, may be new to readers: The winds are Dave Pietro, Rob Wilkerson, Sam Sadigursky, John Ellis, and Carl Maraghi; the brass section is Seneca Black, Jonathan Powell, Matt Holman, Nadje Noordhuis, Ingrid Jensen, Mike Fahie, Ryan Keberle, Jacob Garchik, and Jennifer Wharton; and the rhythm section is Sebastian Noelle, Adam Birnbaum, Matt Clohesy, and Jon Wikan.

As with Wallace’s writing, Argue’s music is both reverential and referential, a knotty collection of highly original compositions, comprised of themes and callbacks that build successively, creating a wholly unique sound world. Conceptually inspired by modern conspiracies (the cover art suggests one of those conspiracy walls that keeps popping up in TV and film), Argue takes a series of ideas and pursues them musically, pairing titles and samples with ideas that chase down the effect of both actual conspiracies and the threat posed by imagining webs looming larger than what we comprehend. It’s something of a mix between a meditation and a thesis.

“The Enemy Within” opens with a funky bassline that recalls ’70s political thrillers, which only fully comes to fruition on the opener of “Dark Alliance,” a jazz dancefloor single begging to hit the jukebox nearest you. With samples of Nancy Reagan intoning “say yes to your life” and one of the most, yes, addictive melodies I heard all year, “Dark Alliance” is winking and delirious. It leads into the cloistered, tense “Trust No One,” a theme that continues to resonate and deepen far beyond what Argue could have intended. “Silent Weapons for Quiet Wars” features a lengthy group improvisation, lead primarily by Noordhuis and Garchik, with Birnbaum’s tense piano line threading its way through the background.

The midpoint of the album, “The Hidden Hand” opens with JFK, in 1961: “We are as a people inherently and historically opposed to secret societies, to secret oaths and to secret proceedings.” This sets of a dark, introspective sequence that leads from “The Hidden Hand” through “Casus Belli” and “Crisis Control,” into the lengthy “Apocalypse Is a Process.” There’s an ethereal, space-age vibe to the opening of “Never a Straight Answer,” which slowly morphs from a Birnbaum solo into Clohesy’s bass synth-driven funk dirge. The finale is a pleasingly chaotic group improvisation that leads directly into James Urbaniak’s excellent narration on “Who Do You Trust?” The album is bookended by “You Are Here,” which features excellent solos from Sadigursky and Jensen in both parts, as well as a piercing narration and chilling samples.

Real Enemies is a striking and wildly successful work of art. In the final minutes, Urbaniak narrates, “When citizens cannot trust their government to tell the truth, they become more susceptible to that dread disease, conspiracism. They become less likely to trust their government to do anything, to conduct fair elections, say, or spend their tax money, or protect their children, or their planet.” The tone is urgent, a warning of sorts against slipping into paranoia. But hearing it today, Argue’s work also seems to ask both “why are you paranoid?” and “are you paranoid enough?” In the world we’ve woken up to today, Real Enemies serves as both fierce polemic and critical analysis, both a call to action and a call for reflection.





“The Enemy Within”

Behind the scenes:

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Taylor Ho Bynum - Enter the Plustet (Firehouse 12, 2016) *****

By Lee Rice Epstein

I’m going to get into this review from a slightly odd angle, which is to say that, as a tremendous fan of Taylor Ho Bynum’s music and writing, one of my favorite of his projects remains relatively undocumented, his acoustic bicycle tour. It’s a solo project, very much aimed at pushing oneself to a physical limit, both in the distance and time spent bicycling and in the range of performances. There are clips on Soundcloud and a video documenting the West Coast tour, but the project itself was never fully and formally recorded, probably because much of its beauty stems from its inherently transitory nature. Enter Enter the PlusTet.

At the PlusTet’s core is Bynum’s sextet: Jim Hobbs, Bill Lowe, Ken Filiano, Mary Halvorson, and Tomas Fujiwara. That group is magnified by trumpeters Nate Wooley and Stephanie Richards, Vincent Chancey on French horn, Steve Swell on trombone, saxophonists Ingrid Laubrock and Matt Bauder, violinst Jason Kao Hwang, cellist Tomeka Reid, and vibraphonist Jay Hoggard.

The PlusTet isn’t Bynum’s first foray into big bands, but at 15 members with three lengthy, massive pieces, it is easily his most realized project since his sextet. Positive Catastrophe, a ten-piece “little big band” was co-led by Bynum and Abraham Gomez-Delgado. A few years ago, Bynum put together an octet playing his eclectic arrangements of Prince’s music (featuring a Prince-meets-Prime Time rhythm section anchored by Stomu Takeishi and Pheeroan akLaff!). Some clips surfaced on YouTube, but he seems to have moved on. It seemed like a loss, at first, because it’s clearly a passion project for Bynum. He’s written about his love for Prince, and the group brings together a lot of different threads of interest that hadn’t surfaced previously, until the PlusTet.

“Sleeping Giant” calls upon Bynum’s work with Braxton, using some of his orchestral signifiers and theoretical concepts. But the sound and structure of the piece is so identifiably Bynum. After an throat-clearing interlude, the rhythm section lays out an interlocking rhythm for Swell and Reid to solo over. Meanwhile, Bynum conducts the group in ebbs and flows, with melodic lines rising and falling in way that reminded me of Navigation, where the same piece was assembled and reassembled. Filiano takes the lead, following a duet with Hwang, and guides the group towards an extended collective improvisation that resolves with a lovely, robust take on Bynum’s Prince ensemble, while suggesting Sam Rivers’s RivBea Orchestra. The melody soars, and Bynum, Wooley, and Richards all shine during this section, with Reid and Halvorson shading effortlessly throughout.

“Three (for Me We & Them)” opens with a grand Halvorson solo set over Hoggard, Filiano, and Fujiwara’s throwback swing. Bynum layers on horns and winds, before quickly peeling them away to expose a thick groove. It’s textbook big band; the dedication is to James Jabbo Ware’s Me We & Them Orchestra, and the song was originally written for that group. The early sections call to mind Positive Catastrophe before turning towards the bluesier end of the spectrum. Throughout, Filiano and Hoggard are superb, moving from unison lines to gentle plays off each other’s walking rhythms. Fujiwara steps mightily into a late solo that resolves with a rousing statement of the theme.

Bynum explains the title “That Which Only… Never Before” is a reference to something Bill Dixon said just before their final concert together, “Play that which only you could do, but that you’ve never done before.” Bynum was an integral part of Dixon’s outstanding, late-career ensemble albums, and Dixon’s influence is one of the strongest on Bynum (perhaps second only to Braxton). The piece opens with a pointillist improvisation that rapidly builds in both pitch and intensity. Fujiwara and Bynum drive for the first several minutes; their longtime collaboration has been one of the most fruitful in modern jazz. As the full PlusTet assembles itself, Bynum and Fujiwara’s foundation supports the layered improvisation that coalesces around them. Remarkably, this track is the shortest on the album, though it’s packed with ideas that could easily spawn further compositions. One concept from Braxton that echoes through Bynum’s work is the notion of subgroups operating within a larger group. That structure leads the group towards the final section, with its multiple lines drawing together towards a powerful, elegiac finish.

A dense, rousing, and emotional album, Enter the PlusTet feels, beyond just its size, like a culmination of Bynum’s many projects and ideas. The album is highly recommended, and those in
New York can check out the band live at Roulette this March.

Available at Bandcamp:

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Eve Risser White Desert Orchestra - Les Deux Versants Se Regardent (Clean Feed, 2016) *****

By Lee Rice Epstein

Whenever I approach a new Eve Risser project, I’m reminded of an old William H. Gass line, “Let me make a snowman and see what comes of it.” There’s a sense of open-ended experimentalism to her approach. Like setting a Rube Goldberg machine in motion, if half the machine was unassembled at start, and the project consisted of Risser assembling the rest in front of our eyes. Each time I play Des Pas Sur La Niege, a part of me expects it’ll sound completely different, such is the strength of her improvisation. The same is true for En Corps, her trio album with Benjamin Duboc and Edward Perraud. Naturally, for an artist with such a pronounced, singular voice, this begs the question, what happens when you multiply Risser by ten? What does an Eve Risser big band even sound like?

One notable thing about Eve Risser’s tentet White Desert Orchestra is that it succeeds in sounding like much more than Risser writ large. I was familiar with about half the members of White Desert Orchestra before hearing this album. In addition to Risser on piano and prepared piano, the lineup includes: Sylvaine Hélary on flutes, Antonin-Tri Hoang on alto and clarinets, Benjamin Dousteyssier on tenor and bass sax, Sophie Bernado on bassoon, Eivind Lønning on trumpet, Fidel Fourneyron on trombone, Julien Desprez on electric guitar, Fanny Lasfargues on electro-acoustic bass guitar, and Sylvain Darrifourcq on drums, percussion.

I’ve cited many times a notion of democracy within an improvising group, of any size, and here Risser succeeds tremendously. The project is very much hers, from concept through execution, drawing on inspiration from a visit to Utah’s Bryce Canyon. But moment-by-moment is clearly, definitively guided by the members of group. It’s a very delicate dance between the two, beginning with the opener, “Les Deux Versants Se Regardent.” Following 30 seconds of an echoey piano preparation, the group begins a steady, careful introduction of notes, phrases, and ideas. The first several minutes elliptically called to mind Olivier Messian’s own monument to the American southwest, Des Canyons Aux Étoiles. And yet, about six minutes in, at the moment of intersecting counterpoint between horns, guitar, and winds, the project comes vibrantly alive. Lønning, and Hélary each take restrained, heartfelt solos during the latter half, and long textural interpolations are buttressed by improvised conversations between Risser’s prepared piano and Darrifourcq’s percussion.

Truthfully, I expected the title track to preview the album in miniature, and I was unprepared for Desprez’s urgent, staccato solo that opens “Tent Rocks.” The horn section responds with a quick call and response. Then, Darrifourcq enters on drum set, and the whole group is jumping and swinging on a bright, fluttering melody. This is one of two big showcases for Risser, who takes a long solo near the middle and plays some phenomenal runs near the end. This is followed by “Eclats,” which is an intriguing rock/chamber hybrid of sorts. There’s a strong electro-acoustic current here, tipped just to the edge by Risser’s piano preparations. It’s a fantastic piece, with strong playing by Lønning and Fourneyron. As a side note, I’d be interesting to hear a further exploration of this direction with someone like Birgit Ulher on trumpet (n.b., can we crowdfund a Risser/Ulher duo album?).

“Fumeroles” again features Desprez at the start, but in a much different mood. Slower, more contemplative, this is something of an act break for the album. The remainder of the album is a sustained, full-throated showstopper. Framed by the miniatures “Homme-Age” and “Homme-Age, Pt. 2,” three tracks make up the back half of the album: “Shaking Peace” (originally a John Hollenbeck composition, dedicated to Risser), “Earth Skin Cut,” and “Jaspe.” On “Shaking Peace,” Risser goes for broke, taking several long solos. It’s really delightful having her come to the fore, mainly for the sheer joy in her playing. “Earth Skin Cut” romps forward on an augmented march, with strong playing from Hélary, Bernado, and Hoang.

In many ways the opposite of the opener, “Jaspe” opens with a somewhat restrained, mellow air that gradually cedes to a heavy funk-rock rhythm from Desprez, Lasfargues, and Darrifourcq. The track builds for several minutes before the three, along with Risser, smash the hell out of the thing. It’s another unexpected yet wildly satisfying, dynamic stretch. The rest of the tentet returns for a unison line that suddenly drops out to make way for Risser’s extremely brief solo, “Homme-Age, Pt. 2,” which abruptly ends the album. The effect is dramatic and welcome, for an album as packed with surprises and discoveries as this one. Highly recommended, of course, but just as highly recommended is listening to it multiple times. The group packs the album with intricacy and detail, I’m rewarded each time I listen again.

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Michael Formanek’s Ensemble Kolossus: The Distance (ECM, 2016) ****½

We're working our way through the combinations - recently we had solo, duo and trio weeks, and this week we check out some larger than average bands, starting with one that has been waiting far too long for a review on the Free Jazz Blog...

By Paul Acquaro

Baltimore-based bassist and composer Michael Formanek has a concise but impressive list of recordings as a leader, including Rub and Spare Change (2010) and Small Places (2012) on ECM, and a very impressive list of recordings as a sideman. He was most recently mentioned on the blog with the group Thumbscrew, with guitarist Mary Halvorson and drummer Tomas Fujiwara, who also are a part this powerful big band recording from early 2016. The Distance is not only a new notch in the bassist's discography, but an incredible showcase for his compositional prowess, and a sumptuous listening experience for the rest of us.

This review is nearly a year late - The Distance was released around this time in 2016. As winter turned to spring, summer, and fall, it continued to 'ripen' on my harddrive. When I finally cleared away all the other music to give the Ensemble Kolossus due listening, it somehow was winter again. While I kick myself for waiting so long, I can only say the music is timeless. This album is a gorgeous big band recording that embraces a sound that only a large ensemble can bring to life with its orchestral voicings, imaginative solos, unusual song structures and clever references to the big band genre.

The album begins with the unhurried title track. Formanek displays the rudiments of his sound - long flowing chords that move gracefully from phrase to phrase. There are few individual voices here to start, instead, we hear a flowing and dramatic melody delivered by the ensemble (see a list of all participants below). A lovely saxophone solo emerges from the soothing waves and then is subsumed again. Next, we move into the 'Exoskeleton' suite ...

The prelude begins with a similar gentleness but soon reveals a deeper pathos. To start, Formanek is out front with a plucked solo passage which is then joined by a flute and clarinet playing a legato refrain. Tension is built out of austere sonic surroundings. 'Exoskeleton (parts IV - V)' take a different approach. A cool jazz introduction states the melody and loops along at a comfortable gait, the score interweaves the horns nicely, and the first solo a trumpet takes the lead in ramping up the intensity. The melodic interlude between soloists, the guitar comes to the fore next ushering in a high tide of activity, musical waves cresting, overlapping each other, and then receding. When the guitar solo begins, the approach has changed, and for a bit the large group mostly drops out, leaving it to just the drums and piano to underpin the staccato guitar lines.

The piano takes the lead spot in 'Exoskeleton (parts VI - VII)'. The ocean has grown choppy, too. The accompaniment comes in short urgent bursts, and soon the clarinet moves into the solo spot, dropping in quick melodic lines. The final movement, 'Exoskeleton (part VIII)' is a short but effective summation of the suite. Its start is almost chaotic, the many voices in the group playing freely, but they're power is soon directed into an intense swirl of color and texture.

Formanek's The Distance is a delight, so easy to get caught up in and swept away. It begins with a deceptive gentle swell but the undertow will drag you into its heaving and churning depths.

The Kolossus Ensemble:

• Saxophones/Woodwinds: Loren Stillman (alto saxophone); Oscar Noriega (alto sax/ clarinet, bass clarinet); Chris Speed (tenor sax, clarinet); Brian Settles (tenor sax, flute); Tim Berne (baritone sax)
• Trumpets: Dave Ballou, Ralph Alessi, Shane Endsley, Kirk Knuffke (cornet)
• Trombones: Alan Ferber, Jacob Garchik, Ben Gerstein, Jeff Nelson (bass trombone, contrabass trombone)
• Marimba: Patricia Franceschy
• Guitar: Mary Halvorson
• Piano: Kris Davis
• Double-bass: Michael Formanek
• Drums: Tomas Fujiwara
• Conductor: Mark Helias

Watch:

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Greg Ward & 10 Tongues - Touch My Beloved's Thought (Greenleaf Music, 2016) ****

By Paul Acquaro

Touch My Beloved's Thought is an audacious undertaking that draws inspiration from the drama, passion, and presentation of Charles Mingus' 1963 recording Black Saint and Sinner Lady. Chicago based saxophonist Greg Ward typically leans toward edgy modern jazz, with nods towards classic hard bop and free jazz, but on Touch My Beloved's Thought he takes it much further, creating a dazzling score for a 10-piece group comprised of trusted colleagues.

The inspiration came in form of a commission to honor Mingus' masterwork, and from this, the piece was developed, like the original, with an accompanying dance production (choreographed by Onye Ozuzu). The resulting performance, the one from which this recording was made, was debuted at Constellation in Chicago in August of 2015.

While going back to the Mingus album certainly enriches the listening experience, it is not required, as Ward explains, the connection to Mingus's piece was more of inspiration and continuation rather than a rewriting. The composer took snippets, intros, arresting intervals, and fleeting moments as jumping off points to create something unique. Even the title refers back to the sub-title of the original.

Kicking off with 'Daybreak', a sequence of chords played by the saxophones beckons, as the listener is drawn to the layered opening fanfare. Right away the composition is striking, especially as the theme is recast again and again, gaining depth and heft. The saxophone solo at the 4-minute mark is a delicious break, especially against the rich accompaniment. The opening truly sets the stage - the follow up 'Singular Serenade' breaks down the big sound into a more intimate scene - driven by piano and steeped in the blues. There is a vaguely nagging familiarity to the melody.

In 'With All Sorrow, Sing a Song of Jubilee', a ballad, introduced by piano hosts an extended trombone solo that harkens back to an older style of jazz, but fresh enough to underscore how good music is timeless. The follow up 'Grit' is a perfect encapsulation of a Mingus riff, bold and joyous, and something to grab onto. Finally, let's listen together to the incredible horn arrangement in 'Round 3' – it's a brass fantasy worthy of getting lost in. Stomps and shouts and a bass line so sumptuous it'll make you weep.

On Touch My Beloved's Thought, brash voicings and subtle changes work hand-in-hand with sizzling solos and energetic ensemble work to bring this homage alive. In this connected age, when all music is available, at any time and anywhere, and the rich well from which to draw inspiration is ever flowing, you can glance backwards but you must keep moving ahead. It's great to hear such a work being created in 2016 and would support any argument about vitality of jazz right now.

Personnel:

• Greg Ward: alto saxophone, compositions
• Tim Haldeman: tenor saxophone
• Keefe Jackson: tenor saxophone, baritone saxophone
• Ben LaMarGuy: cornet
• Russ Johnson: trumpet
• Norman Palm: trombone
• Christopher Davis: bass trombone
• Dennis Luxion: piano
• Jason Roebke: bass
• Marcus Evans: drums.

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Jason Roebke Octet – Cinema Spiral (NoBusiness, 2016) ****

By Eric McDowell

Perhaps the most efficient way to sample Chicago’s wealth of top-notch musicians would be to attend a gig by the Jason Roebke Octet. A veritable who’s-who of scene-leaders, the Octet comprises Greg Ward on alto sax; Keefe Jackson on tenor and sopranino saxes, plus contrabass clarinet; Jason Stein on bass clarinet; Josh Berman on trumpet; Jeb Bishop on trombone; Jason Adasiewicz on vibraphone; Mike Reed on drums; and, of course, Roebke himself on bass. As busy as every one of these guys is—they’ve probably all hit our blog’s pages in the two years since the Octet’s debut, High/Red/Center (Delmark, 2014)—each one brings to Cinema Spiral the full force of his power, thoughtfulness, and individuality.

While on the surface these seven tracks offer plenty to enjoy—from tight group arrangements to masterful solos to killer freewheeling group improvisation—you might need a few listens to really appreciate Roebke’s vision here. There’s a certain slipperiness to the album, a clever ambiguity that proves Cinema Spiral to be an apt title, reflecting as it does the music’s play with the line between a whole gang of film-related binaries: community and isolation, motion and stasis, parts and whole, even predetermination and improvisation. Expectations, in other words, aren’t much use.

The album opens (“Looking Directly Into the Camera”), for example, with swells of sound, tightly controlled and full of potential energy, but only twenty seconds in abruptly reroutes into a lengthy halting bass solo. As the other instruments join back in—starting with hair-raising bowed vibraphone—it becomes clear that Roebke’s structural design extends all the way across the album’s seven tracks, each one with its own quality but intimately connected to the next, like scenes in a movie. It’s not until the very end of track two, the gently swinging “Focusing,” that those opening swells return, a motif that both helps maintain the larger organization of the piece but also toys with our sense of forward movement: how did we get back here?

According to Greg Buium’s excellent and highly recommended in-depth Point of Departure feature on Roebke, the bassist calls motifs like this one “little vignettes.” Elsewhere the vignettes are harder to pin down, rising subtly underneath the matrix of group improvisation and then receding so that, kaleidoscopically, all the tumbling tonal colors pull together for just a moment, before slipping apart again. In describing his compositional process, Roebke cites Herbie Hancock’s Mwandishi as a model: “It’s not like everyone’s improvising, and then everyone’s playing written material. The way that Herbie Hancock was doing this stuff, it was like, everybody’s improvising, and then all of a sudden Julian Priester and Bennie Maupin would play some line as sort of a background, to nothing. It was not a background. It was just a thing—that somebody took and then went a different direction with it” (quoted in Buium).

Though it’s rewarding to listen for and learn to recognize these cues, as I said above, you don’t have to in order to enjoy the music. The ballad “In the Moment” features some gorgeous trombone work from Bishop, as well as another tasteful bass solo. There’s a great dual feature for bass clarinet and sax on “Getting High.” “People Laughing” starts in hysterics and somehow finds its way to whispery extended techniques. As the album climaxes it delivers my favorite two tracks last: first the grooving “Waiting,” which puts the segue model to maximal use, and finally “L’Acme,” a lush 6/8 stunner where expert ensemble improvisation meets solid writing in a perfect, fleeting balance.

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Aardvark Jazz Orchestra – Passages (Leo Records, 2016) ****

By Troy Dostert

Here’s proof that there’s always something new to discover in the world of creative jazz and improvised music. The Aardvark Jazz Orchestra, which I hadn’t heard of whatsoever before reviewing this, their most recent release, has been around for decades (since 1973, to be exact), and they’ve released over a dozen albums in that time, most of them for Leo and Nine Winds. The constant presence since the orchestra’s inception has been Mark Harvey, who founded the group and has long been a fixture in the Boston-area improvised music scene. Harvey’s well-honed compositions and adventurous improvisational strategies are what give the group its character, making this an engaging and valuable release.

The record includes four pieces: “Spaceways,” a punchy and dynamically rich Sun Ra tribute that features some especially strong ensemble work from the horns and some delightfully jagged interjections on guitar from Richard Nelson; “Saxophrenia,” a sprawling 18-minute feature for the group’s saxophonists which moves in and out of a catchy Latin-themed rhythmic structure, and which offers terrific use of the orchestra as a whole in supporting each soloist; “Twilight,” a spare collective improvisation that effectively establishes a mood of mystery and introspection; and the album’s centerpiece, “Commemoration (Boston 2013),” a three-part suite in homage to those affected by the Boston Marathon bombing of a few years ago. What is striking about this suite is its emotional range: from the jarring dissonance and turmoil of the first part, “Maelstrom,” we move into the much more somber “Aftermath” and “Elegy,” both of which gain their power not from the orchestra’s physical force but from its more subtle harmonic textures and poignant melodicism. The overall effect is quite compelling, as Harvey refuses to resort to easy sentimentality; there are suggestions of hope by the conclusion of the suite, although they are tinged with a certain irreducible sorrow, as one hears in the stirring flute and arco bass passages at the heart of the haunting “Elegy.”

A very engaging release, especially for fans of creative improvisation with larger ensembles.

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Paal Nilssen-Love: Large Unit

By Eyal Hareuveni

There are very few working free jazz big bands, if any big band at all, that toured as much as Norwegian drummer Paal Nilssen-Love's 12-piece Large Unit (including the sound man Christian Obermayer) in 2015, not even his close collaborator Mats Gustafsson’s Fire! Orchestra. 40 performances within 60 days, beginning with a European tour, continuing with a North American tour, and finishing with a second European tour. Such a busy schedule called for a unique documentation.

The resourceful Nilssen-Love, already acting as the drummer, composer, booking agent, producer, festival organizer and merchandizing tycoon (you can get the Large Unit albums in vinyl, discs and cassettes box formats plus t-shirts, tote bags, vinyl bags and even Large Unit underpants), suggested a new format - a photo book plus two live recordings of the Large Unit and a shorter EP.

These recordings feature the new lineup of the Large Unit - Finnish electronics player Tommi Keränen replaces noise master Lasse Marhaug (both are the Testicle Hazard duo), Swedish tuba player Per Åke Holmlander replaced Børre Mølstad and Danish reeds player Julie Kjær replaced Kasper Værnes, turning the Large Unit from an almost all-Norwegian band, with the exception of Swedish trombone player Mats Äleklint, to a pan-Scandinavian big band.

Paal Nilssen-Love Large Unit - 2015 (PNL, 2CD + Book, 2015) *****

2015 is a beautiful limited-edition gem, not only because of the great music, but also thanks to the insightful photos of of bass player Christian Meaas Svendsen and Peter Gannushkin, taken on-and-off-stage and the amusing notes of all the Large Unit musicians and the interview with Nilssen-Love.

The first disc was recorded at the Casa del Popolo club in Montreal and features small units of the Large Unit, one duo and three trios, playing short free-improvised pieces. The Large Unit interplay often involves such small units playing off and against each other, and these impressive pieces highlight the strong individual languages and offer new ideas for future combinations within the Unit interplay.

The second disc capture the Large Unit at the height of their powers in the last performance of the North American tour at the Earshot Jazz festival in Seattle. It feature new arrangements of older pieces - “Fortar Hardar”, “Erta Ale II” and “Fendika” and two new pieces - “ANA”, the title piece of the forthcoming Large Unit release, and “Circle in the Round”. The Large Unit plays with endless fiery energy, even when it stripped down to small units, as if possessed by a higher force. Keränen, trumpeter Thomas Johansson, Äleklint and Holmlander shine on “Fortar Hardar” before the inevitable volcanic eruption of the whole Unit. “ANA” revolves around an infectious brass fanfares and a manic driving pulse that just keeps intensifying from the first second until the last one. “Circle in the Round” is the only loose form piece, developed patiently through a series of individual solos, including a most beautiful one of Kjær on the flute. “Erta Ale II” is re-arranged as a piece that highlight the massive front line of Äleklint, Johansson and sax players Klaus Elierhusen Holm and Kjær. The whole Unit now is in tight and fiery mode, ready for the last piece, the Ethiopian-tinged explosive-addictive pulse of “Fendika”.  

The unassuming perspective of Svendsen photos, together with his intuitive sense of photo composition and the short notes of the musicians, shed light on the demanding life on the road. The complicated logistics puzzle of arranging such tours, having all the musicians packed in three dense vans, and the need to balance different needs and tastes, including between vegan and carnivores. But above all it reflects the fun that all had together between “driving, soundchecking, gigging, sleeping”, multiplied few times, as Äleklint summarizes it. But with few detours to the Niagara Falls, swimming in Lake Erie, singing karaoke at a Korean barbecue after a 6-hour performance, buying shoes and driving a Harley-Davidson. Others like Kjær and Holm comment about the different types of humor - Norwegian, Finnish and Swedish, Keränen advises where to avoid eating Polish food in Chicago, but all are very appreciative about this invigorating experience. “This is what we live for”, writes drummer Andreas Wildhagen. “Nothing can be more rewarding than creating energy and music in the moment, let the sounds flush and blow out like they should in the ‘now’”.

Nilssen-Love, obviously the most experienced working musician in this band, performing about 200 to 250 days a year, notes that the Large Unit “takes having fun serious”. He suggests insightful perspective about the importance of such tours: “a band needs experience from the road in order to develop. The music changes and people interact in completely different way if you’re out for more than a week or so”. He concludes by saying that “this feels like a beginning of it”.

He is completely right. This Unit has much more to offer.

Paal Nilssen-Love Large Unit - Rio Fun EP (PNL, 2015) ****

Rio Fun is piece that was part of the Large Unit repertoire already in 2014. This EP was recorded live at the end of the first European tour of 2015 at the Bimhuis club in Amsterdam. 

It is a 25-minutes complex piece that evolves through few phases, emphasizing the tight and fiery interplay of the Large Unit and its rich sonic language. It begins and ends with a gentle and quiet dance-like movement of brass coupled with disturbing electronics, and moves through a fierce duel between trumpeter Johansson and trombone player Äleklint, commanding solos of Holm on the baritone sax and Holmlander the tuba, amid intense and dense onslaughts of all the Unit.

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Big Bands going berserk, ballistic or ... bland

By Stef

We rarely review big bands, or mini big bands, and we wish we could get more of those. They are rare because it requires money to set them up and to maintain them. Often they can only last within subsidised structures, yet once in a while those bands escape the monetary logic and survive. We will review some of them here, even we do not do them justice by the succinct nature of the reviews, but better short reviews than no review at all. I hope that the links will give you a better idea of the bands' sounds.


Free Art Ensemble - Cap De Toro (Discordian, 2015) ****½

Wild, rhythmic, free, highly enjoyable from this fantastic Spanish tentet. What they play is composed, with a clear structure, lots of variation, dark menace, powerful uptempo moments and ominous slow moments. It's everything you want to hear from a big band : great themes, powerful soloing and incredible rhythms. It's intelligent music and very compelling. The wonderful Goya painting of "Cronos Eating His Children" fits the music well. Unfortunately I could not find a video to demonstrate their approach, but check the link below to hear the music.

Highly recommended!

The band :
Iván González: Trumpet, Gong, Bells, Percussion, Bird Call, Horn 
Julián Sánchez: Trumpet, Percussion, Bird Call, Horn 
Pol Padrós: Trumpet, Sea Shells, Percussion, Bird Call, Horn 
Oriol Fontclara: Alto & Baritone Saxophones, Bird Call 
Tom Chant: Soprano & Tenor Saxophones, Bird Call 
Albert Cirera: Soprano & Tenor Saxophones, Flute, Bird Call 
Àlex Reviriego: Doublebass & Electric Bass, Percussion, Bird Call 
Marc Cuevas: Doublebass, Percussion, Bird Call 
Ramon Prats & Arnau Obiols: Drums, Percussion, Bird Call 

Listen and order from Bandcamp.


Filthy Habits Ensemble - Gruesome Routines (Discordian, 2014) ****

From the same label, now a nonet. This album was released last year, and is equally worth looking for. It's a little more maverick but sometimes surprisingly gentle.

Pablo Selnik: Flute, Euphoric Pig Noises 
El Pricto: Clarinet 
Agustí Martínez: Alto Sax and Clarinet 
Don Malfon: Alto Sax 
Tom Chant: Tenor Sax 
Jo Miramontes: Synthesizer 
Director Wlkins: Electric Guitar 
Sebi Suarez: Electric Bass 
Vasco Trilla (Thriller): Drums 

Listen and order from Bandcamp.


Orchestre National De Jazz - Europa Berlin (OnJazz, 2015) ****

The "Orchestre National De Jazz" is something of an icon in France, with lots of upcoming young musicians joining forces under the leadership and in the company of established musicians.

In this band, under the leadership of Olivier Benoît on guitar, we have Bruno Chevillon on bass, Jean Dousteyssier on clarinet and bass clarinet, Alexandra Grimal on tenor sax, Hugues Mayot alto, Fidel Fourneyron on trombone, Fabrice Martinez on trumpet, Théo Ceccaldi on violin, Sophie Agnel on piano, Paul Brousseau on keyboards, Sylvain Daniel on electric bass, and Eric Echampard on drums.

The music is not free, but composed modern jazz with some strong improvisational moments. The first album by the band "Europa Paris" was inspired by the French capital, now the attention shifts to Berlin, the German capital. As the liner notes say : "A strange Berlin, still clutching to its breast the scars of a 20th century that symbolizes all its errors, but which grasps the remains of this heavy, omnipresent past with ever-increasing strength in order to underline its reunification, its desire for freedom, and its openness to the world". The compositions are quite fresh and memorable, and the playing is tightly arranged at times, with a band that really enjoys playing this music. As you can expect from a young band, but maybe also because of the inspiration of Berlin itself, the music is quite open to other subgenres such as free jazz, rock and electronic music, albeit within limits. It evokes the city in all its aspects, and that can lead to exuberant music, but also to more intimistic, minimal or even mysterious moments. The great thing about the arrangements are the fact that the whole band is not playing the whole time, and the shifting line-ups also lead to completely different sounds, which gives lots of variation.


Orchestra Of The Upper Atmosphere - Θ2 (Discus, 2014) ****

One of multi-instrumentalist Martin Archer's many projects, and presented as a rock band instead of jazz. The references they give themselves are 'psychedelic, rock, orchestral, dark, spacious, krautrock, new music, Terry Riley', which will give a good idea of what to expect. Or not? Clearly, the overall compositions are indeed created with rock elements and ingredients. It is one of those exuberant, expansive, hypnotic and maddening pieces of music, that you keep listening to. The big difference with jazz is that there are hardly any individual voices to be heard, but a mesmerising and repetitive behemoth of collective sound.

Martin Archer – organ, electric piano, electronics, Eb saxophones, clarinets, voice, VST trumpet 
Chris Bywater – organ, synthesizers & electronics, samples, percussion, voice, electric violin 
Steve Dinsdale – drums, floor percussion, synthesizer 
frostlake – voice, electronics, glockenspiel 
Yvonna Magda – electric violin, loops & electronics 
Walt Shaw – percussion, voice, electronics 
Terry Todd – bass guitar, effects, voice 
Mick Somerset – concert, alto and bamboo flutes, Bb saxophones 

with

Paul Schatzberger – violin
Heather Cordwell – violin
Aby Vulliamy – viola
Angela Rosenfeld – cello

Juxtavoices - choir

Listen and download from Bandcamp.

Francesco Chiapperini Extemporary Vision Ensemble - Our Redemption (Rudi, 2015) ****

An eclectic effort of jazz, rock and classical music in a tribute to the late Italian saxophonist Massimo Urbani. They do not shy away from complexities or dissonance. This is a strong avant-garde band playing solid and highly varied compositions. The only downside is that it may be too overly ambitious and/or self-centered.

The band :
Francesco Chiapperini: alto sax, flute
Andrea Jimmy Catagnoli: alto sax
Gianluca Elia: soprano and tenor sax
Eloisa Manera: violin
Simone Quatrana: piano
Luca Pissavini: cello
Marco Rottoli: double bass
Filippo Sala: drums
Filippo Monico: drums and percussions


Sin Anestesia - The Transdimensional Seduction Handbook (Discordian, 2014) ****

We're back in Spain, and again on Discordian, now with Sin Anestesia, which means as much as "without anesthetics", a nice name that will make listeners expect the worst, but if the music is adventurous and special, you can indeed listen to it without being sedated upfront. This is possibly the most open-ended and most free jazz album in the entire list, and then one where the weight of the size of the band is not actually felt. All musicians participate in the great developments of themes and activities, but respecting the floor to others by stepping back once in a while. A wonderful balance between the power of tightly arranged big band, and the minimalist timbral explorations by the various sax-players, offer an equally good balance between subtlety and power. Too bad I could not take the time last year to give the album some more space.

Teresa Gómez Ramírez: Soprano sax 
Xavier Díaz Herrera: Soprano and baritone sax 
Don Malfon: Alto and baritone sax 
Agustí Martínez: Alto sax 
El Pricto: Alto sax 
Luiz Rocha: Tenor sax 
Pep Pascual: Tenor sax 
Luís Vallès: Baritone sax 
Ferran Besalduch: Bass sax 
Núria Andorrà: Marimba and percussion 
Ildefons Alonso: Vibraphone and percussion 

Listen and download from Bandcamp.

Daniele Cavallanti & Milano Contemporary Arts Ensemble - Sounds Of Hope (Rudi, 2015) ***½

Relatively mainstream big band, with some wilder excursions, well performed, high quality throughout. Next to some own compositions, the band brings two arrangements of pieces by Wayne Shorter ("Sonia"), and Mongezi Feza ("You Ain’t Gonna Know Me ‘Cos You Think You Know Me”), and dedications to Joe Henderson, Anthony Braxton, Sam Rivers and Roscoe Mitchell, just to give you an idea of the musical span covered here. Regardless of the style, the playing is pretty intense. 

The band :
Daniele Cavallanti, tenor sax
Riccardo Luppi, alto & soprano sax, flute
Gianluca Elia, tenor sax (bass sax on Braxtown)
Massimo Falascone baritone & sopranino sax, (contrabass sax on Braxtown)
Francesco Chiapperini bass clarinet, alto sax, flute
Luca Calabrese, trumpet
Beppe Caruso, trombone
Paolo Botti viola, cornet
Gianluca Alberti, bass (right channel)
Valerio Della Fonte, bass (left channel)
Toni Boselli, drums (right channel)
Tiziano Tononi, drums, percussion, gongs (left channel)


Orquestra Jazz de Matosinhos - Jazz Composers Forum (Tone Of A Pitch, 2014) ***

Nice, but nothing more, by this Portuguese big band. The compositions by Frank Vaganée, Julian Argüelles, Steven Bernstein, Ohad Talmor, Darcy James Argue, Guillermo Klein.

The band :
Josée Luis Rego, Joao Pedro Brandao, Mario Santos, José Pedro Coelho, Rui Teixeira on woodwinds;
Gileno Santana, Javier Pereiro, Rogério Ribeiro, Susana Santos Silva, Ricardo Formosa on trumpets and flugelhorns;
Daniel Dias, Alvaro Pinto, Andreia Santos, Concalo Dias on trombones;
André Fernandes on guitar;
Carlos Azevedo, Pedro Guedes on keyboards
Damian Cabaud on bass;
Geoclandio Monteiro: percussion;
Marcos Cavaleiro: drums

The name that strikes me here is Susana Santos Silva : again! We keep finding her back these days in totally different musical environments. And that is good!


The Awakening Orchestra - Volume I - This Is Not The Answer (Innova, 2014) **

Hailed by several reviewers as one of the albums of the year in 2014, I have a different opinion. Yes, it's ambitious, yes, it's a mix of genres, from indie rock to classical music with strong jazz ingredients, but it's also very pretentious and self-indulgent. Allaboutjazz compared it to Carla Bley's "Escalator Over The Hill", and being an incredible fan of that monumental and mad and maverick musical, I can assure you that "The Awakening Orchestra" reaches the levels of the ankles of "Escalator Over The Hill", it misses its sense of self-mockery, its freshness, its rebeliousness, its inventiveness, its creativity, its instrumental magnificence, its compositional grandeur.

This is just an ambitious album, that may please some, and the technical quality is good, both of the musicians and the sound. Yet it misses all the qualities that you would expect from 'great' music.

 Kyle Saulnier: composer/conductor; Rob Mosher: soprano saxophone; David Dejesus: alto saxophone; Samuel Ryder: tenor saxophone; Andrew Gutauskas: baritone saxophone; Felipe Salles: tenor, baritone saxophones; Seth Fruiterman: voice; Daniel Urness: trumpet; Seneca Black: trumpet; Nadje Noordhuis: flugelhorn, trumpet; Philip Dizack: trumpet; Michael Boscarino: trombone; Matthew Musselman: trombone; Benjamin Griffin: trombone; Max Seigel: trombone; James Shipp: vibraphone; Michael Macallister: guitar; Aaron Kotler: piano, keyboards; Joshua Paris: bass; Will Clark: drums; Nathan Hetherington: voice.


Michael Mantler - The Jazz Composers Orchestra Update (ECM, 2014) *

There was a time when the Jazz Composer's Orchestra meant a lot to me, their first album, called "Communication" had Michael Mantler on trumpet, Roswell Rudd, Steve Lacy, Jimmy Lyons, Paul Bley, Steve Swallow, Barry Altschul, and many more. Their second album, called "Jazz Composer's Orchestra" was the real thing, featuring Cecil Taylor, Don Cherry, Pharaoh Sanders, Larry Coryell, Gato Barbieri. The music then was free, fierce, open, wild and utterly fascinating.

On this album we have the Nouvelle Cuisine Big Band Conducted by Christoph Cech, featuring Michael Mantler on trumpet, Harry Sokal on tenor saxophone, Wolfgang Puschnig on alto saxophone, Bjarne Roupé on electric guitar, and David Helbock on piano. Mantler thought the time was ripe for an update, because he thought the music had so much possibilities and still sounded so fresh after all these decades, that he wanted to have another go at it.

Unfortunately, it's not an "update", it's a burial.

It is pretentious, meaningless and unnecessary. Don't waste your money on it.

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