The most spiritual session we've ever heard from Tenderlonious – a set that we always knew he had in him, given his playing on other folk's albums – yet one that still comes as a great surprise in comparison to some of his other records too! The set features compositions by Wayne Shorter, Stanley Cowell, Charles Tolliver, and Bill Lee – all nods to the generation that Tenderlonious evokes here on alto and flutes, working in a quartet that features Hamish Balfour on piano, Pete Martin on bass, and Tim Carnegie on drums – a group who are lean and work without any other trappings or structures – coming across maybe a bit like some Clifford Jordan quartet session for Strata East. Titles include long takes on "On The Nile", "Infant Eyes", "John Coltrane", "You Know I Care", "Poor Eric", and "Maimoun". ~ Dusty Groove
Killer trio material from drummer Daniel Villarreal – a lean, clean record that's a really great showcase for all three players involved! The music's got a vibe that's more live and spontaneous than some other efforts on the International Anthem label, and a sound that's almost funky at times – as Daniel's snapping drums get plenty of encouragement from the basses of Anna Butterss, which really sets fire to the guitar of Jeff Parker! Parker's back here at a level that we haven't heard on record in awhile, and the record seems to resonate with all his long experience with a variety of players – while also standing as a showcase for his ability to really deliver some warmly chromatic tones on the guitar. Titles include "Things Can Be Calm", "Daytime Nighttime", "Salute", "Sunset Cliffs", "Republic", "Chicali Outpost", and "Bring It". ~ Dusty Groove
Enemy, the trio of drummer James Maddren, pianist Kit Downes and bassist Petter Eldh make their We Jazz Records debut with their third album 'The Betrayal'. After their self-titled debut (Edition, 2018) and the follow up ('Vermillion', ECM 2022), the explosive yet lyrical trio is seeking new directions with the 12-track new record, arguably their strongest yet. 'The Betrayal' consists of all original material penned by Downes and Eldh. It's an album of "purposeful contradictions and a shedding of skin", a studio recording recorded within the scope of a single day, edited, produced and mixed by the band themselves. In their own words, the band "doesn't really rehearse, playing a lot live, taking risks, always writing new music, always playing as fresh as possible", and evolving in the process. Careful listeners will quickly notice how different from 'Vermillion' the new album is. Where once was echo and reverb, is now rhythmic intensity and a more compact sense of sound. The band sounds closer, their movement seems more focused. If ENEMY would have a motto, it would be "no risk, no fun". True to this, The Betrayal has its sudden twists and turns, yet the trio never loses sight of what makes the music theirs. It wouldn't be fair to call them "experimental", at least for the sake of using such a vague word, but they do experiment, having fun while at it. Listen to the three albums in one serving and you'll surely hear many directions in music being suggested, tried out, perfected, thrown out, and taken into processing again. You can also hear it within a single track at times.
A compelling chapter in the long and wonderful career of reedman Per Texas Johansson – a set that features a larger ensemble interpreting his ideas, and working with a really incredible combination of horns! The group perform three longer compositions under the direction of Johan Siberg, and there's an insane criss-crossing of instruments throughout – a variety of clarinets from Per, plus other reeds from Johan Horlen, Astrid Le Clercq, Fredrik Ljungkvist, Alberto Pinton, and Linus Lindblom – plus trumpets from Joakim Agnas, Emil Strandberg, and Karl Olandersson – and trombones from Mats Aleklint, Mats Agelid, and Lisa Bodelius! The horns really shape the sound here, but there are some other elements in the mix – vibes from Mattias Stahl, bass from Par Ola Landin, piano from Rasmus Borg, and drums from Konrad Agnas – but all elements that really step back at many points and let the woodwinds and brass direct the music. Titles include "Livet I Tre Delar", "Klarinet", and "Orosmoln". ~ Dusty Groove
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