Marc Ribot - Silent Movies (Pi Recordings, 2010)

By Paul Acquaro

This quiet brooding recording with its gentle pulse of solo guitar is underscored with just a trace of foreboding, as if there were something lurking unseen just beyond its edges. With the spare instrumentation there is an absence that is more felt than heard. I write this not to scare you off, but rather to pique your interests. This is a beautifully recorded album -- where the guitarists faint breathing almost serves as accompaniment -- that asks the listener to use their imagination to fill in what is not there.

Silent Movies is quite different than some of the previous solo guitar efforts by Brooklyn based guitarist Marc Ribot. Whereas Exercises in Futility (2008) was a mind boggling array of acoustic bursts and Saints (2001) was eclectic and exploring, the songs here primarily feature a classical acoustic guitar with some instances of electronic soundscapes and loops by Keefus Ciancia. The songs are a rather ruminative blend of classical and folk styles, often employing repetitive rhythmic motifs in the lower register, with a layer of simple, spacious and effective melodies above. In fact, the opening tune uses even less; Variation 1 is a starkly played long form melody with some unexpected intervals, whispering electronics and reserved harmonic shadings. Ribot’s classical roots start peeking through on Delancey Waltz in which the haunting melody rides over a rich syncopated bass pattern inviting the listeners to add their own images to the soundtrack.

Natalia in E-Flat Major introduces the only use of an electric guitar on the album. Utilizing a buzzing, sharp tone, Ribot creates a lullaby fit for a metal eating bird, then effortlessly segues into a plaintive melody. Most songs have a deliberate pacing, though Fat Man Blues, a mid-tempo bluesy-romp, serves to lighten things up a bit towards the albums middle. A version of Batteau starts sparsely but soon builds climatically with a spirited improvisation.

The austerity of the album is its strength but it also can make it a bit daunting. While this is not challenging album to listen to, it is one that challenges you to listen deeply. These tunes, with their insistent chord patterns and simple spare melodies, will pull you in with their siren call. Recommended.

Listen and download from iTunes.

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Mats Gustafsson – Needs! (Dancing Wayang, 2010) ***

 By Guy Peters

I’m convinced that we, free jazz/improv fanatics, often underestimate the alienating impact much of our beloved music has on those surrounding us: parents, kids, husbands & wives, kindred spirits. Not to forget our friends with the huge frequency range: dogs. Especially the European school of free improvisation, with its preference for extended techniques, its dismissal of standard linearity and absence of traditional jazz/pop elements, often remains a tough nut to crack. We’ve all had the experience of a relative or neighbour asking why the hell we were vacuuming or drilling at 10PM, while we were in fact listening to the latest John Butcher or Peter Brötzmann addition to our record collection.

Even though he’s often working in more conventional (as in: not as perplexing) contexts, Swedish reed eater Mats Gustafsson is a perfect example of an artist who’s extracting the most diverse and dividing reactions from his listeners. While playing the ‘Needs!’ LP, I even heard someone asking whether everything was still okay with my record player and speakers. And for a moment, I wasn’t entirely sure. It’s THAT kind of record. Because when Gustafsson is in his DESTRUCTION-mode, he’s the Jason Statham of free improvisation: anything can happen, and more often than not the results are as fierce and explosive as the nastiest punk rock, capable of giving you a toothache or making your brain halves switch places (even though his creative and technical prowess as a musician is nearly unparalleled as well, meaning he’s also in command of the subtler possibilities of his art).

‘Needs!’ is a radical solo album. Not in the way the wonderful ‘The Vilnius Implosion’ (2008) was, but with an electro-acoustic twist to it. Gustafsson has increasingly immersed himself in knob fiddling, and this record offers the results of this merger of “live-electronics and big treatments & related activities of baritone and slide saxophones”. The two album halves each contain five songs, and all ten pieces bear dedications (much in the way in which Ken Vandermark pays tribute to influences and colleagues on his albums). The album halves also follow a similar pattern for a while: both sides start with a puzzling short piece, which is followed by longer and more confrontational piece, which in its turns is succeeded by three more short ones.

As a power player, Gustafsson is the king of bleats and squeaks, of growls and groans, but in this case it’s about the ‘little’ sounds: the tongue slapping, the hissing, the breathing and moaning, which are accompanied and/or treated by electronics to such a degree that it’s often hard to figure out where the man-made sounds end and the machine-manipulated ones begin. The pieces that start off both sides almost feel like signals from above, transmissions from outer space that are only picked up in interrupted spurts. Only near the end can you hear the slapping of the tongue beneath the murky creaking. The long tracks are even much more provocative, with buzzing and droning sound waves, as if a machine of an unknown origin suddenly starts farting. And keeps it up for a few minutes.

The shorter tracks that end each half are a mixed bunch: some are less buried below layers of electronic bricolage, pushing the wheezing air travel to the foreground, while others seem to remain at the mercy of the machines. You get the gist: ‘Needs!’ delves into the electro-acoustic experiment without looking back even once. It’s another treat for fans of Gustafsson’s excursions into the avant-garde and those who have a fondness for this kind of messing around. All the others should approach with caution.

‘Needs!’ appeared in a limited & numbered edition of 500 copies.

Buy from Instantjazz.

 

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Triangulation II (Kadima Collective #30 - 2010)

By Joe Higham

This is what my children are calling 'Ghost Music', which is a great description for such a music as this. And when I say that my children gave it this title it's a big compliment, after all I notice that children (mine at least) often hear music in another way, giving names to sounds or melodies with no prejudices about what they mean or might infer. So here we have it Triangulation II (#30) in the catalogue of Kadima Collective, a label run by Jean - Claude Jones.

The music here suits the ghost images very well as these improvisations are all based on atmosphere that could be described as cinematic - i.e. they would not be out of place on a film soundtrack. The reason for this, to my ears at least, is the interesting use of bass flute, bass saxophone and a few other 'extreme' register instruments by Vinny Golia. Due to imaginative use of wind instruments - clarinet, bass sax, flute, bass flute and others probably, the (un)usual trombone sounds of George Lewis combine with the bass playing of Bert Turetzky, much of the music builds on atmosphere and rarely melodies, except for the last piece. Commenting on individual pieces is difficult and rarely do the titles of the tracks define the music - which is where Anthony Braxton's number system for titles springs to mind as a useful way of categorizing tunes/tracks without influencing the listener as to what they might hear.

However, if one had to describe the music at all I would say that almost all the pieces are ballads in feeling. Never is there any aggressive screeching and it's almost as if the musicians hoped to keep a calm reflective sound in the music, almost serene. Of course there are aggressive moments such as "Diversion Ta Tre" which use Lewis's singing harmonics combining later with the bass. The end section of "A Low Frequency Colloquy" also uses the bass saxophone to great effect. But the general direction of the music is towards a calm contemplative sound and much of that is due to the unusual choice and use of such instruments as the bass flute and bass sax. As already mentioned the last piece "Up Is Down" has a quite amazing opening with flute, trombone and bowed bass creating an oriental atmosphere. The music gradually moves into much darker sounds only to return to the original motive at the end .... planned maybe?

All in all this is an album that reveals many details with listening. Whilst writing this review I would constantly hear sections passing which were beyond description when using words. George Lewis' unusual use of trombone sounds often become unidentifiable as such, and when combining with either the double bass of Turetzky and the wind instruments of Golia, create textures of real delicacy. A real success, and one that grows with listening. What more can one ask?

Musicians : Bert Turetsky : Double Bass - George Lewis : Trombone - Vinny Golia : Woodwinds.

Buy from Instantjazz.

    

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David Binney - Graylen Epicenter (Mythology, 2011)

By Bryan McAllister

Teaming up with some of the jazz world’s finest musicians, David Binney has recorded another fantastic album. “Graylen Epicenter,” features Chris Potter, Ambrose Akinmusire, Gretchen Parlato, Wayne Krantz, Craig Taborn, Eivind Opsvik, Brian Blade, Dan Weiss, Kenny Wollesen, and Rogerio Boccato and it is clear that this group was chosen for a reason.

The blend in the horns is beautiful, often with Gretchen Parlato doubling horn lines or adding another layer of harmony. What I really like about the pace to this album is the horn arrangements. In so many albums, the horn arrangements are too similar and remain unchanged from start to finish. Dave Binney is well-known as a talented producer, and it is more obvious than ever on this album.

Wayne Krantz’ solo on the title track is one of my favorites on the album. Lyrical and thoughtful, the dense tune suddenly opens up at the start of the solo and moves forward from there. Track eight, “Home,” features Gretchen Parlato singing a tune that Binney has recorded twice previous, but this breathy, heart-wrenching vocal version is absolutely my favorite.

This album is a fantastic marriage of cerebral contemporary jazz with raw emotion and beauty. I have never been a die-hard fan of David Binney’s music, but this album may have changed my mind.

Line-up :

David Binney (Alto, Soprano Saxophones,Vocal);
Gretchen Parlato (Vocal);
Wayne Krantz (guitars);
Ambrose Akinmusire (Trumpet);
Chris Potter (Tenor Saxophone);
Craig Taborn (Piano);
Eivind Opsvik (Bass);
Brian Blade (Drums tracks 1,2,3,4,6,8,9,10);
Dan Weiss (Drums tracks 1,5,6,9,10);
Kenny Wollesen (Percussion,Vibes);
Rogerio Boccato(Percussion)

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Mike Pride’s From Bacteria To Boys – Betweenwhile (AUM Fidelity, 2010) ****

By Guy Peters

To pin down Mike Pride on his excursions into doom jazz (with Jamie Saft), exhausting marathon sessions (with Jon Irabagon) or outsider music (on his own) wouldn’t do him justice, as the composing drummer is also capable of providing a subtle foundation in more traditional contexts. With Jason Stein’s Locksmith Isidore trio, he establishes himself as an emphatic colleague, and also on “Betweenwhile”, his second album with the From Bacteria To Boys quartet, the finesse is much more dominant than the power play.

On these ten compositions, Peter Bitenc (bass), Alexis Marcelo (piano), Pride (who wrote nine of the compositions) and Darius Jones (alto saxophone) manage to touch upon classic jazz without diluting their remarkable approach. This is is an album of subversion, albeit subtler than you might have anticipated. Opener “Kancamagus” suggests you’re listening to a traditional piano trio, just as “Rose” and “Inbetweenwhile” have hardbop written all over them. However, for each of these seemingly conventional tracks, there’s one that’s equally puzzling, or even unsettling in its refusal to play by the rules.

“Reese Witherspoon”, like many other tracks, is supposed to be influenced by R&B star R. Kelly’s legacy, which is reflected in an original rhythmic approach and misleading conception of structure. The repetitions of “It Doesn’t Stop” are arresting in their stubbornness, but soon make way for a muscular drive full of stumbling bursts and fascinating interplay. It’s also interesting to hear Jones in a completely different role than on his solo album. This isn’t about roots and wailing with gospel-fueled fervor, but about a sleek and angular approach and slithering solos. The album’s centerpiece “Bole: The Mouth of What?” was inspired by the songs of the carnies at a fair Pride visited a few years ago. Starting with an ominous piano section, the song soon develops a remarkable tension between familiarity and alienation.

The album maintains this merger of tradition and experiment until the end. “Betweenwhile” is perhaps less raw than many might have expected, but Pride’s grasp of rhythmical dynamics and challenging interplay is at least as interesting. This record has creativity and vision on full display, and that might take Pride in any direction he wishes to veer into.

Buy from Instantjazz.

Pride’s self-made video for “Bole: The Mouth of What?”

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Lol Coxhill & Roger Turner - Success With Your Dog (Emanem, 2010)

By Tony Medici

Soprano saxophonist Lol Coxhill has been on the British music scene for more than 50 years, playing in straight-ahead jazz, blues, prog rock, and, for the last several decades, free jazz groups. His solo and duo performances have been particularly noteworthy. Yet it is probably fair to say that he is often overshadowed by such fellow British musicians as Evan Parker, with his massive technical (and often pyrotechnical) abilities, and John Butcher, with his powerfully analytical approach to performance. Not that Coxhill is devoid of his own arsenal of technical and analytical tools, but what distinguishes his playing is a distinctly humane approach to the music, with performances that are filled with feeling, wit, humor, and vulnerability.

Coxhill's case also has not been helped much by a back catalog that is often as much out of print as it is in. Thus, this new release from Emanem is most welcome. The performances, with Coxhill on soprano, of course, and Roger Turner on the drum set and percussion, are from two concert appearances. The first three tracks are from a performance at the Cabaret Vauban, in Brest, on May 8, 2003, during the 5th Edition of the Festival Luisances Sonores; the fourth and final track is from a performance at St. Leonard's Church, Shoreditch, London, on August 12, 2010.

I have no idea from whence comes the album's title. I suspect it might derive from one of those characteristic British dog training shows (Barbara Wodehouse, or, more lately, Victoria Stilwell, for example); a sly protest, perhaps, at the desire for power, control, obedience. Or it might just be a bit of sheer whimsical humor (quite in keeping with Lol's general approach to things). The four tracks follow the doggy theme of the title. "Paying Through the Nose," is the first and longest track, at nearly 25 minutes. The last track, "Groomed for the Job" clocks in at 17:30 minutes. The two middle tracks, "A Collar Counts" and "Tails That Wag," average about 8 minutes each.

If I had to pick one keyword to describe these performances, it would be "intimate." I had the impression of listening to two old friends talk over events of the past that were particularly meaningful to them. The interplay between the two musicians is seemingly effortless, without ever being either facile or flashy. Turner is wholly adept at the drum kit, yet, make no mistake, the emotional and musical weight of these performances rests with Coxhill. He ranges widely through the capabilities of the soprano sax, wringing from it an array of emotions, thoughts, and feelings. And humor. I could swear that, in the first few minutes of the opening track, Lol employs the soprano to generate the sort of whines, whimpers, barks and growls that a hungry or impatient dog is known to employ to get its master's attention.

The sound quality is excellent. For those who are used to Emanem's typically stout and no-nonsense packaging, this digipak will perhaps come as something of a surprise, with its whimsical (that word again) graphics and lettering. The album is available directly from Emanem, as well as other outlets. If you want to listen to an album that does more than impress, more than knocks you around with its energy, that touches the listener in a personal way, you should give this a try.

Available from Emanem.

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New Review Team

Dear readers,

It is my pleasure to tell you that eight volunteers are willing to contribute to this blog. Their names will become known to you in the coming days as we get new reviews in.

Today features the first review by New York guitarist Paul Acquaro. The title of the album he reviews - Finally Out Of My Hands - is a pure coincidence, and has nothing to do with the review team taking over the work.

I want to thank them all for continuing this job of reviewing and promoting great music. Each reviewer will have his or her own stylistic preferences (in their appreciation of music and in their writing), and I hope they will become quite clear as we move forward.

All the best
stef

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Ches Smith & These Arches - Finally Out Of My Hands (Skirl, 2010)

 By Paul Acquaro

In the closing song of Finally Out of My Hands, there is an eight-bit electronic sound is used that is achingly familiar. The tiny melody is woven into the song so craftily that it takes me a little while to place it. It has been a long time, but it stirs old memories of afternoons spent on an Nintendo game where you jump on turtles and pop gold coins from bricks.

Nostalgia inducing sounds aside, this excellent new recording is quite fresh and original, starting with the opening moments of Anxiety Disorder, where guitarist Mary Halvorson picks out a sinewy Middle Eastern sounding theme over a lush reedy rhythm section consisting of Andrea Parkin’s accordion intertwining with Tony Malaby’s saxophone. The sax soon picks up the melody, reinforcing the guitar line, rapidly building to a rather dramatic chorus. I would consider this the anxiety part, as suggested by the title, because soon we enter the disorder. Smith’s percussion keeps steady under the chaos, drops out, then slowly, a guitar solo emerges, angular and unpredictable, soon joined by the other players. The theme re-emerges and once again we are treated again to that rather lush rhythmic backdrop.

The next song, Finally Out of My Hands, like it’s predecessor, starts out with a thick unexpected melody that leads to a hard rock plod by the rhythm. Smith’s percussion will drive the songs, but more often, he is interacting with all the players, providing more of a conversation, a collective telling of a tale, rather than traditionally structured songs. But, they are songs, melodic and captivating, structured but open and confident. Just when you think you have the tune figured out, ready for a repeat or a solo, expectations are dashed; however, the free excursions are not without reason and work back into the tune before they become frustrating.

I find the recording something I can come back to repeatedly, hearing -- or imagining -- new sounds and connections each time. The opening tune, Anxiety Disorder, also appears Calling all Portraits (2008) from Smith, Halvorson, Pavone, with Devin Hoff from Nel’s Cline Singer’s. However, the versions are quite distinct. Smith’s use of the sax and accordion as rhythm section instruments give Finally Out of Hands a satisfying, and unique, density. Halvorson’s guitar skitters and dips, adding accents and colors, providing compelling leads, support and fractured solos. Sixteen bars for jail is probably the most driving song in the collection. Smith’s percussion is almost a counter melody to the saxophone at the start of the tune, under which the collective is providing a slow moving harmonic progression. The tune builds in intensity as Malaby performs a skronking solo that leads into a group improv, with the instruments all poking in and out of the mayhem. Finally, the listener is delivered into One long minute, which functions essentially as a ballad. Overall, this recording is one of shifting textures, with interesting melodies weaving in and out of collective free improvisation and highly structured moments.

All of these musicians seem quite busy, Ches Smith’s profile lists something like a dozen current projects. He is also a regular member of Halvorson’s groups, which recently released the excellent, and entirely different sounding, Saturn Sings. Hopefully this is a group that records again, as this short recording does not overstay its welcome.

Downloadable at emusic, itunes/etc.

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Musicians of the Year 2010

Like in the previous years, I would like to highlight the musicians that I thought made a difference to me, either by being very productive or by doing things that are totally new, or both. The choice is a tough one and not easy to explain. We heard great stuff from so many musicians.

Here are the ones I think are really worth mentioning.

Martin Küchen

 Not only did he bring one of the most beautiful albums of the year with Angles' Elliptical West, he was also quite active as a solo musician, or with other musicians like Keith Rowe and Ernesto Rodrigues, Swedish saxophonist Martin Küchen clearly is one of the musicians who has been creating his own vision of music, quite often looking for adventure, taking lots of risks,but with incredible talent and passion.








Wacław Zimpel

Polish clarinetist Wacław Zimpel continued to surpass his already excellent CDs of the last few years with two stunning albums : Unidivided's  The Passion and Hera, making an incredible blend of expansive lyricism, forward musical thinking and story-telling.








Alexey Lapin

Russian pianist Alexey Lapin gave us two fantastic albums this year, one with Yuri Yaremchuk on reeds : The Anatomy Of Sound, and "Seek It Not With Your Eyes", a group live improvisation, both albums very captivating for listeners with open ears.








Ingar Zach

Norwegian percussionist Ingar Zach takes his instruments a step further into creative zones than they were originally conceived for, in the process giving shape to a new form of music, playing solo as on M.O.S, with Dans Les Arbres, Mural's Nectar Of Emergence .






Alexandra Grimal

French saxophonist Alexandra Grimal released three records and a couple of singles, demonstrating her broad range from mainstream to more free form. Her album "Owls Talk" with Lee Konitz, Gary Peacock and Paul Motian demonstrate her strong voice, and she plays at the same high qualitative level of these three jazz legends.







Katherine Young

Young bassoonist Katherine Young released "Further Secret Origins", her first - and strong - album last year, and this year's she's back with her duo "Architeuthis Walks On Land", two albums which show a pretty unique musical vision, quite remarkable for her young age and that with an instrument that it is not the easiest one in modern music.





Clare Cooper

Austrialian harpist and guzheng player Clare Cooper also pushes the limits and confines of her instrument, while at the same time opening our ears to sounds as yet unheard. I loved her "Hammeriver" a lot, a very promising album.




Not all musicians are comparable, some have achieved a lot more, others have the future in front of them, but they all share the same quality of musical vision, with great technical skills, adventurous minds and strong character.

I can only want one thing : we want to hear more of them, even if they shatter the boundaries of mental ears or bring us to sonic territory as yet unheard.


© stef

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Rahim Alhaj - Little Earth (Ur Music, 2010)

A feel-good album to start the year. Iraqi oud player Rahim Alhaj assembles musicians from around the world and with different musical backgrounds and instruments for this nice and pleasant 2-disc set. Bill Frisell, Guy Klucevsek, Glen Velez and Eyvind Kang are possibly best known among jazz fans. The music is as welcoming as its title suggests, accomodating everyone, alienating nobody.

Music as a uniting force, my wish for 2011.

Most tracks are small ensemble pieces with a selection of the musicians below.

Rahim Alhaj: oud
Luis Alberto: violin
Roberta Arruda: violin
Monica de la Hoz: viola
Jesse McAdoo: cello
Robin Abeles: double bass
Issa Malluf: darbuka
Guy Klucevsek: accordion
Katie Harlow: cello
Bill Frisell: electric guitar
Eyvind Kang: viola
Yacouba Sissoko: kora
Roshan Jamal Bhartiya: sitar
Maria de Barros: vocals
Glen Velez: percussion
Chris Dorsey: guitar
Miguel Piva: guitar
Eric Slavin: guitar
Mariano Fontana: bass guitar
Peter Buck: guitar
Lorenzo Martinez: violin
Luis Gerra: double bass
Robert Mirabal: Native American flute
Liu Fang: pipa
Stephen Kent: didjeridu
Hossein Omoumi: ney
Souhail Kaspar: percussion



Peace to you all and a happy new year!





© stef

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