In which the beleaguered reviewer attempts to make some headway into the mounds of CDs seeking reviews accumulating daily by providing quick hits on a few recordings at a time.
Christian Scott - "Yesterday You Said Today"
(Concord Jazz)
Christian Scott is one of the exciting young players who is taking jazz in rock and hip-hop directions, while showing respect to the masters. He also exhibits righteous anger and attempts to write protest music with a political theme. "K.K.P.D." - one such example - starts things off in such a manner on the Rudy Van Gelder produced Yesterday You Said Tomorrow. Jamire Williams' active drumming and Matthew Stevens melancholy guitar are joined by pianist Milton Fletcher and bassist Kris Funn to produce a striking opening number. Meanwhile, Scott takes his trumpet from a whisper to a scream in indignation at the New Orleans Police Department's treatment of African- Americans. Scott's cover of Radiohead singer Thom Yorke's "The Eraser" is a lovely respite from the opener - but Williams' attempt at mimicking the electronic effects of the original may throw some listeners who aren't familiar with the song. Stevens' "After All" is a moody, yet highly satisfying piece with some nice bass work by Funn. Scott combines Miles sensuality with a more traditional New Orleans approach on this post-bop gem. "Isadora" is brilliantly paced and luminous ballad with shimmering piano by Fletcher that truly shows a muted Scott working in more of a modern straight-ahead vein. The anger returns on "Angola, LA & The 13th Amendment" - named for the infamous workfarm - with powerful drumming, guitar and trumpet work, while "The Last Broken Heart (Prop 8)" is another compelling ballad. "Jenacide (The Inevitable Rise and Fall of the Bloodless Revolution)" simmers over sad and bitter piano chords. "American't" is another rewarding Scott original that shows a Radiohead rock influence, while "An Unending Repentance" and the album ender - "The Roe Effect (Refrain in F# Minor)" also also veer in that direction with distorted guitar effects and rock chord changes. Despite the rock influences - much of the music is restrained and understated. An interesting outing from a young innovator.
www.christianscott.net
Tomasz Stanko - "Dark Eyes"
(ECM)
We recently caught Polish Jazz veteran trumpet player Tomasz Stanko in concert (see our review here) - and he and his quintet performed selections from their recently released Dark Eyes - which has been garnering considerable acclaim worldwide. Stanko's previous group featured pianist Marcin Wasilewski as Stanko's primary melodic counterpart; however, the new quintet offers Danish guitarist Jakob Bro in this role, and as such, the direction taken is different and veers somewhat more toward modern rock music, albeit with Stanko's usual attention to texture and space intact. Opening number "So Nice" recalls the trumpeter's previous soundscapes, but there is no mistaking that there has been a sea change when "Terminal 7" kicks in. Driven by Olavi Louhivuori's active, yet subtle drumming and electric bassist Anders Christensen's hypnotic drone 16th notes, it is apparent that just as Miles did in his later years, Stanko is looking to modern music (and younger musicians) as a source of inspiration. "The Dark Eyes of Martha Hirsch" which mutates from a space-filled grand lyrical theme into straight-ahead bop and back before the incredible "Grand Central" shows how powerful this group can be. Great new originals like "Amsterdam Avenue," "Samba Nova" (which only becomes a samba halfway through) and "May Sun" (a beautiful piano-led piece - Alexi Tuomarila's sensitive playing is another highlight - with no trumpet at all) are joined by old favorite "Last Song" and two Kristof Komeda pieces - "Dirge for Europe" and "Etiuda Baletowa No. 3" to complete this exceptional recording. Another strong recording to add to the already impressive Stanko canon.
www.ecmmusic.com
Roberto Badoglio - "Re-Evaluation Time"
(Spice Rack Records)
Young Italian electric bass virtuoso Roberto Badoglio will blow you away with his accelerated shredding on his custom Woodtronics 5-string bass guitar on his debut recording as a leader - Re-evaluation Time. Backed by keyboardist Steve Hunt and drummers Marty Richards and Pablo DeBiasi, Badoglio presents ten jazz/rock/funk fusion originals as well as a cover of Joe Henderson's "Inner Urge." The bassist's licks on opener "Scirocco's Theory" would make a flamenco guitarist proud - and the starts and stops and shifts of the songs will please fusion fans. "Perfect Landing" highlights Badoglio's use of chords on the bass, along with Hunt's piano, organ and synths. Two solo bass compositions add to the already impressive display of technique, while the Henderson track is groovy fun, as is "Bruce Wayne on the Run." Meanwhile, "Whenever it Takes" showcases Hunt on Fender Rhodes, and "Essaouria Marketv" - shows off simply insane bass licks in a Middle-Eastern flamenco vein. However, despite the high level of - at times jaw-dropping musicianship, the nearly constant bass soloing does begin to perhaps be a bit much, and - especially in the second half - seems to outpace the songwriting, but I have faith that this young player will take steps to correct this in the future. A few less notes played at the expense of composition, harmony and arrangements will go a long way in moving this young artist from a great soloist to a true musical artist.
www.robertobadoglio.com
Mark Mommaas - "Landmarc"
(Sunnyside)
Many will be familiar with tenor saxophonist Marc Mommaas from his excellent work in the U.S. with Amina Figarova (see our review of a recent live appearance here), but he is actually headquartered in NYC where he teaches and performs - often with drummer Tony Moreno. Moreno appears here on Mommaas' fourth CD as leader, along with guitarist Nate Radley in an unusual bass-less combo. Radley is augmented by guitarist Vic Juris on three songs and Rez Abbasi on guitar and/or electric sitar on two others. This unique combination works like a charm and allows Mommaas the space in which to fully present his musical ideas on his spare and keening tenor. The opening title track's tough angular unison lines are soon joined by Moreno's free form drumming as Mommaas takes flight on some stellar soloing. But then things unexpectedly move into rapid counterpoint on this interesting composition - a hint at the sense of experimentation - including polyrhythms and time shifting to follow. But Mommaas isn't just some avant garde experimenter - the very next tune - "Folksong" (inspired by Keith Jarrett's "My Song") is a delightful ballad - with excellent work by Radley - who proves once again that his abilities are wide-ranging. "Bruch on Canvas" deconstructs what seems initially to be a swinging Lester Young-era tune. "Legend" starts off as a jaunty lark showing Mommaas' light touch and command of a melody, and features Moreno's somewhat Motian-inspired organic drum style to full effect, but mutates halfway through to an angular almost classical-sounding piece with bait of an exotic flavor - that then changes again - fascinating. Another highlight - the short aching ballad "Little One" is followed by the exciting "Orbit" - check out the great interplay between Radley and Juris during the scampering opening section. The moody, mostly sax and drums "Patience," sitar-colored "Cassavetes Caravan" and fiery "ASAP" round out this gratifying release from an up-and-coming saxophonist and composer.
http://www.mommaas.com
Torben Waldorff - "American Rock Beauty"
(Artist Share)
Guitarist Torben Waldorff starts things off beautifully on his American Rock Beauty - as opening number "Shark" is a real grabber in a funky fusion vein. Saxophonist Donny McCaslin cavorts joyously over Waldorff's beautiful ringing chords, and they are accompanied by talented players in this endeavor - Jon Cowherd on Fender Rhodes, bassist Matt Clohesy and drummer Jon Wikan. Later, Waldorff takes a solo turn and reveals a high level of technique and tone. Cowherd's delicious acoustic piano centers the country-romp "Shining Through" - which mines the same fields of Americana as Bill Frisell does. McCaslin sounds like he is having a blast playing some good-time gospel, bluesy licks - and the rest of the band fades out - leaving him still soloing away. "Waves" attempts to move the group more into a jazz sound and offers some great electric piano solo by Cowherd. The title track is lovely, with a sensitive guitar solo, while the waltzing "Late" showcases a thrilling solo turns by McCaslin and Waldorff. The second half of this recording does tend to go in a slower, more subtle direction that builds slowly - as on "Song-Ella" to a climax, while "Scape" ends this album on a peaceful note. Personally, I prefer Waldorff's more uptempo directions and find the first couple tracks the most successful, but I suspect some listeners will enjoy the gentle, lulling nature of much of his music.
www.waldorff.com
Five Play Jazz Quintet
(Auraline Music)
It is always such a rare pleasure as a reviewer to run across a recording that surprises me by exceeding my expectations: the Five Play Jazz Quintet release is a perfect example. I was unaware of any of the performers - who apparently are veteran Bay-Area musicians - and hey I put the thing on and I'm blown away. These cats can really play! Led by guitarist Tony Corman ( a former saxophone player who had to switch instruments due to a health problem) and his pianist wife Laura Klein - who write the majority of the material, the band also consists of a fine rhythm section - solid and sensitive bassist Paul Smith and creative drummer Alan Hall - whose tight interplay is an important component of the group - and sax and clarinet star Dave Tidball who is an absolute knock out. This is modern straight-ahead jazz that bristles with energy (and from the West Coast?). The band members have played together for several years and it shows in their sharp interaction. This music is so vibrant and fun that I hesitate to try to describe the songs lest I diminish the many qualities I enjoy. But let me say that as good as the playing is - and these players are all very good - the songwriting is equally enjoyable. From the dazzling opening number - "Off the Ground" through the waltzing "Flight of the Gazorple," the hard bop boogie of "He'e's Boogie" (love Klein's piano work here and throughout - she is a real gem), the Brazilian-flavored "Once Upon a Time," the Latin-esque "Indigone," bossa-fied "Amor Fati," mysterious "Fever Dream," shifting pop tune "Bright Golden Sunshine," hypnotically-beautiful "In a Grain of Sand" and album ending treat - the "fairly rambunctious" "Sidesteppin' Blues" the listener will have a hard time sitting still. No weak tunes in this bunch, I plan on keeping this one in play to absorb all the nuances. Highly recommended.
www.fiveplayjazz.com
LiamSillery - "Phenomenology"
(OA2)
Another great release from OA2 records - trumpeter Liam Sillery's fourth for the label is called Phenomenology - a modern philosophical study of human consciousness - which is an apt title for this recording - which seeks to stretch the boundaries of musical experience. The title track opens with Sillery and saxophonist Matt Blostein playing parallel lines in an almost 1960s style, but things go onto free form in the middle section with Sillery and pianist Jesse Stacken taking interesting solo turns that defy expectations nicely. All NYC artists - notice should be given as well to double bassist Thomas Morgan and drummer Vinnie Sperrazza - who comprise the excellent and muscular rhythm section. "Lifecycle" starts off in avant garde manner - with staggered lines from the horn section, but mutates into a '70s period Miles feel with block chords by Stacken and disparate solos by the pianist and Sillery and Blostein. This is edgy music that will keep the listeners on their toes, but it is not disjointed - there is a real sense of purpose and strong interplay between the band members. Meanwhile, "Holding Pattern" continues the trend of walking down the line between straight-ahead and free, with some radical unison lines and harmonies in the horn chart. Great solos and highly energetic drumming on this tune. Finally slowing things - Sillery switches over to flugelhorn on the unconventional ballad "Koi," but things return to the aggressive and vibrant on "Intentionality" Recommended for those who like their edginess in less than full-blown honking and squealing mode.
www.liamsillery.com
Gerry Gibbs and the Electric Thrasher Orchestra - "Plays the Music of Miles Davis 1967-1975"
(Whaling Sound Music)
The later "electric" works of Miles Davis have always been a source of controversy for many traditional jazz fans who believe the trumpeter "sold out" to fit in with the rock and funk music that was popular at the time, but in the years since, a consensus has been reached that Miles was simply staying true to form in that he was always an innovator and searcher for the new sound. This has led to a re-evaluation and new appreciation of his later work. In a truly unique double-CD set - Gerry Gibbs and the Electric Thrasher Orchestra play the music of Miles Davis 1967 - 1975 a modern group of musicians led by drummer Gibbs take on recreations of many of the highlights of Miles' later live work. Incredibly enough, this music was recorded in one all-day session - which included enough material for two more sides (hopefully will be released someday). Gibbs has been playing Miles' music since the late '70s and several of the musicians have been involved in his various Miles tributes over the years. Their familiarity with the music is amazing - Gibbs, keyboardist Andy Langham, guitarist Mike Hoffman, electric bassist Brandon Rivas, and acoustic bassist Essiet Okon Essiet lay down the incendiary evil grooves while horn/reed players Brian Schwartz, Doug Webb and Rob Hardt play their famous parts that at the time seemed so strange and now seem to be embedded in everyone's soul. Many of your favorites will be found here: "Nefertiti," "MIles Runs the Voodoo Down," "Black Satin," "In A Silent Way," "Pinocchio" and "Directions," but some of the perhaps lesser known compositions - for example "What I Say/ The Theme" from Live Eviland "Right Off" from the underrated A Tribute to Jack Johnson may surprise some listeners with their aggressive energy and ahead-of-their-time qualities. This fresh presentation of tracks in a free-flowing order performed by a talented and knowledgeable group truly serves as an excellent tribute to this trailblazer and reveals just how prescient this incredible musician was.
http://www.whalingsoundmusic.com
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