Tuesday, April 19, 2022

New Orleans Based Extended Trio Release "Without Notice"

Immediately after dropping their 2019 critically acclaimed sophomore release, Harbinger (Origin Records), New Orleans-based trio Extended set to work assembling the material for Without Notice. Embedded in the previous album were flashes of the long-form, highly improvisational yet through-composed and thoroughly collective approach to songwriting that has become their signature, and this new album is their calling card.

Without Notice is full of twists and turns and surprises – it is their most musically adventurous album to date, the material largely worked out on stage over several years of active local gigging and touring. In that process, they've expanded their palette of sound worlds, adding 90s hip-hop grooves (“Central Standard”) and unexpected post-production overdubs (“Impairment Process”), to the Debussy textures (“The Ineffable Allure of Shadows”) and Keith Jarrett-tinged jazz-rock phrasing (“The Gardens”) that listeners have come to expect. Ironically, it is now, on this third release that they have finally found an occasion to swing (“Sphere”).

The title cut is the newest tune in the book, written during the early days of the Covid-19 shutdown. By comparison, it is a simple tune, yet it is an example of the way their music can turn on a dime, offering something different at any moment. As an album title, it is a reminder of how the year 2020 unfolded, and luckily, Extended was in a position to take advantage of the unexpected free time of the shutdown and dive headfirst into preparing this recording. This is their pandemic gift to us.

Each member writes equally for the band, drawing on their disparate life experiences – Rossignoli grew up in Honduras, Webb in South Louisiana, and Booth outside Washington, DC. They began playing together in the boil pot of the New Orleans music scene in 2016, and despite their diversity of influences, they have done what all bands strive to do. Extended has developed a singular ensemble sound. This is contemporary piano trio music from a band that knows who it is, where it came from, and where it is headed.

EXTENDED is Oscar Rossignoli on piano, Matt Booth on bass, and Brad Webb on drums. They all compose for the group, with the particular musical personalities of the group foremost in mind, an approach that has thrilled locals and has reached audiences worldwide. Their sophomore outing, Harbinger (Origin Records), improves upon the solid foundation set with 2017's eponymous debut, exhibiting a new attitude and focused maturity after three years of development. Offbeat Magazine named the album one of the Top 50 Best of Louisiana Music in 2019, and as stated by their Geraldine Wyckoff, “Harbinger manifests superb musicianship creatively employed to produce a highly individualized yet collective artistic endeavor that is a privilege to experience.” Their debut LP from the spring of 2017, released on Breakfast 4 Dinner records, received praise for its distinctive compositions and dynamic group interplay.

Since their first release, Extended has toured within the country and continues to play shows that leave audiences invigorated and fulfilled. As the whole world knows, the city of New Orleans knows no shortage of the highest caliber of players in the world, but in the last few years locals have been thrilled to see the development of a new collective - EXTENDED - that has quickly come to find a place among our brightest stars.


International Reggae Band Dub Inc Announces Their Debut West Coast Tour

The prominent international reggae band, Dub Inc. is excited to announce their 2022 Spring West Coast U.S.A. tour! It has been over 10 years since the French superstars have been in the United States and they are beyond excited to return once again. Kicking off in May at the 11th edition of California Roots Festival, Dub Inc will embark on their debut West Coast tour with Hawaii’s own Mike Love. 

In 2011 Dub Inc first came to the United States for their debut East Coast tour where they dazzled audiences with their unique blend of reggae, dancehall and world music stylings. It was a major milestone and dream for the seven piece band who began in high school in 1998. They are fronted by the singers Bouchkour and Komlan whose vocals and lyrical prowess embody the band's diverse but complementary influences. Embodying a universal message whether the song is French, English or Kabyle (an Algerian language), their music is influenced by their diverse backgrounds and they are upfront with topical issues like how important acknowledging mixed race and mixing of styles are to honoring one's heritage. 

With over 22 years together the band has impressively stayed intact. Based in Saint-Etienne, France the band is comprised of: Hakim "Bouchkour" Meridja (Singer), Aurélien "Komlan" Zohou (Singer), Jérémie Gregeois (Guitar), Grégory "Zigo"Mavridorakis (Drums), Frédéric Peyron (Keyboard), Idir Derdiche (Keyboard), Moritz Von Korff (Bass), and Benjamin Jouve (Sound engineer). 

With their largest audiences in Europe, Africa and Latin America, Dub Inc is an international sensation selling out concert halls and headline festivals. They typically perform for audiences in the tens of thousands all over the world and are looking forward to growing the U.S. fan base. The idea of the U.S. tour first came about with their collaboration with the renowned band Stick Figure. Dub Inc had invited Stick Figure to join them on a European tour. The fantastic pairing yielded an amazing line-up which won the hearts of fans and critics alike. It was there that the U.S. tour was seeded, Stick Figure invited Dub Inc to come to his home state California and beyond for a West Coast run. Once connected with Stick Figure’s team at Ineffable Music Group, the plan for their US return was laid. Thomas Cussins, head of Ineffable comments, "Dub Inc is one of the greatest reggae bands in the world. Their incredibly tight sound is captivating, regardless of language there is no barrier to enjoyment and the beats are sure to keep everyone dancing. I am looking forward to seeing Dub Inc take over in the U.S. and I will certainly be at many shows to enjoy the music!" 

The band will be performing in support of the iconic reggae artist Mike Love. Dub Inc bonded with Mike Love while on tour in France in December 2019, both sharing similar passion for positive and powerful messages. The band is delighted to reconnect with Mike Love in California commenting, "Dub Inc is one of the most passionate and energetic live bands I’ve ever seen. Their show is very fluid and dynamic, with powerful grooves and intimate ballads. American audiences are gonna go nuts for it. I can’t wait to  be there!” 

Dub Inc shows will feature a blend of classic hits and new material. They will be touring with the full band and audiences will be able to hear and enjoy the songs as intended. The tour starts at Cali Roots on May 28th, from there they head to Oregon and Washington with performances in Seattle, Portland and Tacoma. Then back to Nor Cal for a show at the Cornerstone in Berkeley and Mystic Theatre in Petaluma, before they head to So. Cal to hit L.A. and San Diego. 

With a catalog of over 9 records, three of which went Gold, and a handful of riddims, fans will be captivated and moved by Dub Inc’s range. Most recently the band released “Resist and Fight” riddim produced by Collie Buddz that appeared on Cali Roots Riddim 2020, and also their critically acclaimed political album Millions (2019) that confronts current cultural themes of borders, critical thinking, and political authenticity. 

Reflecting on their journey the band commented, “We’re really happy to go on this tour, it’s a dream come true. We’ve been waiting for it since 2020 (it was postponed twice). We’re particularly excited because we love to surprise people with our performances and having new audiences discover our music. It’s a real pleasure to go back to the basics and to have to win over an audience that doesn’t know us.” 

They continue, “We’re really looking forward to finally meeting the Californian audience!

New York ten years ago was a real success and we’re more than excited to come back to the United States!” 

 Tour Dates:

05/28 - CaliRoots Fest / Monterey, CA

05/31 - Arcata Theatre / Arcata, CA

06/01 - WOW Hall / Eugene, OR

06/02 - Star Theater / Portland, OR

06/03 - The Crocodile / Seattle, WA

06/04 - Airport Tavern / Tacoma, WA

06/07 - Felton Music Hall / Felton, CA

06/08 - Mystic Theatre / Petaluma, CA

06/09 - Cornerstone / Berkeley, CA

06/10 - Ventura Music Hall / Ventura, CA

06/11 - Observatory / Santa Ana, CA

06/12 - Belly Up / Solana beach, CA

New Music: Diego Baliardo And The Gypsy Revolution, Francesco Amenta, Judy Wexler, Jeremy Monteiro / Jay Anderson / Lewis Nash

Diego Baliardo And The Gypsy Revolution - Este Ritmo

Diego Baliardo, one of the founders of the world-famous Gipsy Kings, is carrying on the group’s tradition of playing their unique blend of musical styles with a new generation of musicians steeped in Romani culture. Baliardo is releasing Este Ritmo (This Rhythm), the debut release with his new group, The Gypsy Revolution. The Grammy-winning Gipsy Kings have performed all around the world, selling over 20 million albums in their 35-year career, making them the biggest selling musical group to come out of France. The band blends traditional flamenco styles with Western pop and Latin rhythms as well as elements of Arabic music, reggae, and jazz guitar reminiscent of the French Gypsy master Django Reinhardt. It is hard to sit still listening to the music on Este Ritmo. The polyrhythmic styles are infectious and have a joie de vivre that makes you want to get up and dance, as so many fans do at their live performances. The music is highly textured with three guitars and a mix of percussive instruments, like congas, shakers, timbales, tambourines, triangles, and guiros, that add sudden pops of color that keep each tune fresh and interesting. Fronting all this happy music is Diego Baliardo’s expressive and plaintive vocals and energetic rhythm guitar. The moods of the songs on Este Ritmo range from tongue-in-cheek, like on “No Tengo Dinero” (I Don’t Have Money), to wistful, like “Mi Niño” (My Child), to romantic, like “Cara Bonita” (Pretty Face). Yet each is firmly rooted in the flamenco with other Latin influences and a distinct pop flair. Diego Baliardo is the rare kind of musician who can bridge both diverse musical cultures and different generations, all in the service of keeping the music original and engaging while preserving a proud heritage that is over 1,000 years old.

Francesco Amenta - Midtown Walk

Francesco Amenta is releasing Midtown Walk, his second album as a leader, featuring mostly original tunes penned by the composer, tenor saxophonist, and pianist. Amenta was born and raised in Italy but has been living in New York City since 2017, where he has become a regular on the city’s jazz scene. Midtown Walk comprises seven of Amenta’s compositions and one piece by Duke Ellington, “Come Sunday,” which Amenta wanted to record because of his love for Ellington’s music. The other seven tunes convey Amenta’s impressions of his life in the United States. Amenta’s sax playing has a rich, full tone. There is a lyrical quality to both his playing and composing that is very inviting. He easily conveys feeling and warmth without being emotional or cloying. “For me, composing is storytelling,” says Amenta. “I might write about my family and my experiences. Or I might write a piece just about my impressions of a beautiful day. What’s important for me is the emotional immediacy of an experience, which I try to capture in my compositions.” Amenta’s genuinely warm personality shines through his playing and compositions on this album. Backed by a top-notch band that is completely in sync with his attitude and approach, Midtown Walk is an auspicious American recording debut for Francesco Amenta.

Judy Wexler - Back To The Garden

Vocalist Judy Wexler is known for her soulful, heartfelt vocals and her ability to find under-exposed gems and imbue them with warmth and wit. Back To The Garden, her 6th CD, is a departure from Wexler’s previous albums, which featured modern jazz songs and selections from the Great American Songbook with just a smattering of pop tunes. On this new recording, Wexler points her gaze to interpreting iconic, well-known pop/rock songs from the 1960s with reimagined arrangements. According to Wexler, “Music is truly a reflection of the times, and the music of the 1960s reflected the turbulence engendered by war, political protests, and the rise of important social movements like feminism and racial justice. Fifty years later, we’re still struggling with those same issues and more.” Wexler has a sumptuous voice and approaches a song like an actress inhabiting a script. Eschewing vocal pyrotechnics, she focuses on lucid storytelling.  She wields her formidable vocals chops, like her spot-on phrasing and sophisticated approach to melody, with great subtlety to capture the emotional essence of a song. NPR’s Susan Stamberg said, “Based on the evidence, Judy Wexler can sing almost anything.” UK’s Jazz Journal writes, “An always engaging demonstration of contemporary jazz singing at its best.”

Jeremy Monteiro / Jay Anderson / Lewis Nash  - Live At No Black Tie

Pianist Jeremy Monteiro considers himself a very fortunate man. Renowned as one of the premier jazz pianists in Singapore, he is presently entering the 45th year of a career spanning concerts, education, and music administration. He has played and recorded with many of the world’s greatest jazz artists, including James Moody, Benny Golson, Michael Brecker, Bobby McFerrin, Randy Brecker, Lee Ritenour, Herbie Mann, Paulinho DaCosta, Ernie Watts, Charlie Haden, Terumasa Hino, Al Foster, Carmen Bradford, and Toots Thielemans. Monteiro’s latest album Live At NO Black Tie finds the pianist at the helm of another all-star trio. Bassist Jay Anderson and drummer Lewis Nash rank among New York City’s most in- demand jazz musicians, but Monteiro did not come to New York to record with them; rather, it was Anderson and Nash who made the trip to Kuala Lumpur to work and record with Monteiro. Live At No Black Tie was recorded and mixed by exceptional sound engineer Sunil Kumar in Kuala Lumpur and mastered by Klaus Endel in Germany. Monteiro has received many awards and honors in his career, including the coveted Cultural Medallion (the highest artistic recognition available in Singapore), two literary awards from the Golden Door Awards (for his memoir, Late-Night Thoughts of a Jazz Musician), and a Silver Medal for Best Music Score from the International Radio Festival in New York for his original composition, “Overture in C Major: The Story of Singapore.” Live At No Black Tie is his 45th jazz album, and Monteiro hopes to reissue several of his older albums on his own label within the next few years. As is appropriate for a very fortunate and talented musician.

Monday, April 18, 2022

New Music: The Chris Saunders Band, Kerry Moffit, Antonio Adolfo, Dave Flippo and Dedications

The Chris Saunders Band - Dancing With The Widow St. James

The Chris Saunders Band’s newest album, Dancing With The Widow St. James, is rooted in soul jazz and blues with a subtle reference to pop thrown in for good measure. Saunders is a cornet/trumpet player, singer and songwriter. He has a smokey, soulful voice whose timbre and phrasing sound much like his horn. As a singer, he has been heavily influenced by Joe Williams, Tony Bennett, Sarah Vaughan, Lou Rawls, Dr. John, Tom Waits, Howlin’ Wolf, and Louis Armstrong, with whom he has an especially strong connection. A native and current resident of the San Francisco Bay Area, he and his group have been performing together for 10 years and are mainstays on the Bay Area music scene. Saunders is the frontman, but it has always been about the band and the sum of its parts. On Dancing With The Widow St. James, Saunders includes a mix of covers and originals, which he co-wrote with his collaborator, pianist and group co-founder Ken Cook. The original songs on Dancing With The Widow St. James by Saunders and Cook reflect Saunders’ poetic nature and political leanings.  Saunders along with co-producers Cook and Michael Aragon chose to cover several songs written by composers with whom they share a deep affinity. Saunders’ singing, cornet/trumpet playing, and composing on Dancing With The Widow St. James exude the soulfulness of an artist who has absorbed life’s tough lessons but has transformed them into the joy and solace that making music affords.

Kerry Moffit - What Goes Around Comes Around

Kerry Moffit has been a professional musician for 41 years, performing regularly around the country and around Europe. He has performed with and written arrangements for all types of groups, from large jazz orchestras to small ensembles, and he has appeared on over 70 recordings as a sideman. Moffit has accomplished much over his long career, but he has never released a project under his name until now. What Goes Around Comes Around, Moffit’s debut CD as a leader with his band, Turning Circles, is an impressive showcase for this brilliant trumpeter’s performance and compositional talents. Moffit has a good reason for not putting out his own project until now. He served as a proud member of the United States Air Force Bands for nearly 25 years. The Air Force Bands are among the premier musical organizations in the country. Moffit enlisted in 1991, and throughout his service, he played trumpet in concert bands, ceremonial bands, jazz ensembles, and pop/rock bands for both military and civilian audiences. What Goes Around Comes Around features four jazz standards and four original tunes penned by Moffit, who also arranged all the music. The album is a stellar debut for an artist who has had an amazing career despite the fact he is unknown to general jazz audiences. Moffit is at the top of his form as a musician and composer. His warm trumpet tone and hip phrasing pare beautifully with his sophisticated compositions. Like a fine wine that has had time to age, his music is intricate, full of vibrant colors, and eminently pleasing to the palate.

Antonio Adolfo - Jobim Forever

Antonio Carlos Jobim has been one of the brightest, most influential stars in the jazz firmament since winning multiple Grammy Awards for the 1965 release of Getz/Gilberto. His music has been enjoyed by millions of people around the world and recorded countless times by musicians across many different genres. His songs are so ubiquitous that it is very difficult to find a fresh approach to his music. It takes an artist of the caliber of Antonio Adolfo to layer Jobim’s music with a new sensibility and truly transform it into a personal statement. On Jobim Forever, Adolfo imbues nine of Jobim’s iconic tunes from the 1960s with his own, unique artistry. Adolfo is a pianist, arranger, composer, and bandleader. He has recorded over two dozen albums as a leader in the U.S. and Brazil. He has been nominated for several Latin Jazz Grammy Awards, and more than 200 of his original compositions have been recorded by major artists like Sergio Mendes, Earl Klugh, Herb Alpert, Stevie Wonder, Dionne Warwick, and many others. Adolfo chose Jobim’s songs from the 1960s because he wanted to celebrate a great era of music, when Jobim’s innovations helped make Rio de Janeiro an important capital of world culture. The work of two modern Brazilian masters is on display on Jobim Forever. Adolfo’s modern jazz sensibilities, cultural heritage, and elegant and beguiling aesthetics are the perfect ingredients for creating a new paradigm for Jobim’s well-travelled music.

Dave Flippo and Dedications - Jazz From Planet Flippo

When Dr. Dave Flippo told his bandmates that he wanted to write music for each of them for his new album, he asked what elements they wanted him to include. He found their answers surprising and challenging -- like writing a waltz in four or a song about a giraffe. But Flippo, a Chicago-based jazz pianist, composer, vocalist, bandleader, and educator, was certainly up for the challenge. On Dedications – Jazz From Planet Flippo, he includes eight original tunes and three by well-known pop artists re-imagined in the jazz idiom. Each tune is dedicated to a member of the band and to friends, family, and other artists whom he admires. Flippo began his band in 1992. Although there were some personnel changes in the ensemble over the years, the one thing that has remained consistent is Flippo’s wide ranging musical interests. His current band comprises some of the top Chicago-based jazz musicians who have now been with Flippo for 10-15 years. The range of styles on Dedications displays Flippo’s prowess as a composer and arranger. With its eclectic styles, odd meters, and accessible melodies, Dedications – Jazz From Planet Flippo is a showcase for Flippo’s broad interests, erudition and inventiveness. It is an eminently fun album that features a tightly knit, top-notch band all in tune with Flippo’s expansive imagination.


 

New Music: Mark Winkler, Brent Laidler, Jorge Garcia, Juan Carlos Quintero

Mark Winkler - Late Bloomin' Jazzman

Late Bloomin' Jazzman, the newest album by vocalist and songwriter Mark Winkler, is an homage to growing older and all the blessings and drawbacks that come with it. The album is Winkler’s 20th CD as a leader. Each of his previous projects has received stellar reviews and consistently topped the jazz charts. Rex Reed has said, “Mark Winkler is a musical marvel and a true original!  At last, a writer who sings and a singer who swings!” Winkler wrote lyrics to eight of the 12 tunes and covers a lot of personal topics on this album. He writes about his love of George Gershwin, film noir, and the songs of Rio. He also writes about losing his husband, finding love again, and about a close friend ravished by Alzheimer’s disease. Although Winkler is a popular performer and recording artist, he is also a very successful songwriter, and Late Bl;oomin' Jazzman is a wonderful showcase to highlight both. To paraphrase his lyrics in “Late Bloomin’ Jazzman,” his “finest flower may finally be here."

Brent Laidler - Wouldn't Be Here Without You

On Wouldn't Be Here Without You, guitarist Brent Laidler presents ten eclectic, original compositions that celebrate the friends, mentors, and fellow musicians who have helped and supported him on his journey through music and life. The album is Laidler’s second project as a leader and follows No Matter Where Noir (2017). All About Jazz said, “This is an album where the gestalt is king, and one that gets more enjoyable with repetition as that gestalt sinks into the listener's bones.” Laidler does not have the national name recognition his playing warrants because his many music-related activities prevent him from extensive touring. Besides being a jazz guitarist, he is also a film/commercial composer, arranger, clinician, radio host, and successful small business owner. Laidler was originally going to name the album after his composition, “A Second Chance,” referring to the fact this is his second jazz album as a leader. But while he was planning material for the album, he lost both his father and friend and mentor Tony Zamora, the beloved director of the Black Cultural Center at Purdue University, within a day of each other. Their passing caused Laidler to rethink his concept. With influences that include Jim Hall, Kenny Burrell, Barney Kessel, Pat Martino, and Ed Bickert, Laidler eschews pyrotechnics on Wouldn't Be Here Without You for a warm, more accessible sound. This album is a wonderful introduction to a musician who deserves wider recognition.

Jorge Garcia - Dedicated To You

Although his name is not known to jazz fans nationwide, Cuban-born guitarist Jorge Garcia has worked with many esteemed musicians, including Tony Bennett, Cécile McLorin Salvant, Chuck Redd, Jon Faddis, and Ignacio Berroa. Garcia’s new self-released album, Dedicated To You, celebrates his collaborations with two other jazz icons, Richie Cole and Hendrick Meurkens, along with some of his favorite local musicians from South Florida. Garcia’s association with the late alto saxophonist Richie Cole dates back to the late 1990s, when Cole was living in Key Largo, FL, and in the process of forming a new edition of his Alto Madness Orchestra. Garcia was not only a member of the band, he also performed with bassist Rick Doll and drummer James Cotmon on Cole’s big band gigs. Richie Cole played clubs and concerts in the Miami area on several occasions, and whenever he was asked to assemble a band, Garcia would be Cole‘s first-call guitarist. In 2009, Cole was back in Southern Florida, and Garcia offered to pay for the studio rental if Cole would be willing to record. Cole readily agreed, and the band’s rhythm section of Garcia, Doll and Cotmon were reunited for the date. While the tracks on Dedicated To You seem retrospective in nature, Garcia continues to perform regularly, and we should expect to hear more fine music from Jorge Garcia and his very talented friends.

Juan Carlos Quintero - Table For Five!

Table For Five! features Quintero’s longtime musical compatriots Eddie Resto/bass, Joe Rotondi/piano, Aaron Serfaty/drums, Joey Deleon/percussion, and Quintero on electric guitar. Quintero, who is known for his stylish, tasty work on the nylon string guitar, decided to record for the first time on the semi-hallow electric guitar to highlight the new direction of his music and label. Rather than focusing on the Latin repertoire, Quintero performs jazz standards, expanding the scope to include World Music as well as music from the Great American Songbook. Table For Five is the first of his own albums that Quintero produced since his debut album in 1988. “Participating as a player while being responsible for all aspects of this recording was a daunting task,” says Quintero. “But my bandmates, my brothers, had my back in every way.” Although Quintero was the sole producer, the arrangements were a collaborative effort shared by the entire band. Quintero says, “We all had input in the process. We basically worked from an outline of the arrangements, improvising the music as we went. I didn’t want to over arrange the songs so much that we changed them into something completely different. I feel you need to trust the composer and honor his or her intention. The core of the music needs to survive your treatment.”


 

 

JOYFULTALK | "Familiar Science"

Following two laser-focused, trance inducing albums, JOYFULTALK returns with a series of gnarled excavations that see composer Jay Crocker transmuting musical forms from a forgotten era into startling new expressions of modern existence. The pieces on Familiar Science are twisted, throbbing, touched and very much lived-in: smudged iterations of contemporary jazz. Combining influences from late 80s M-base music, Ornette Coleman’s harmolodic funk years and Crocker’s own histories as an outré improviser, the album features eight enthralling cuts, each held together by stunning musicianship and daring compositional choices.

Starting from flipped drum samples and expanding outwards, Crocker built the album piece by piece, collecting and reflecting little sonic clusters along the way. Forming the head of a given composition from a blend of dusted archival material, spliced-up off-sessions and his own bass, keys and midi sequencing, he then sought out responsive contributions from longtime collaborators, Albertan percussionists Eric Hamelin (Ghostkeeper, No More Shapes, Chad Vangaalen) and Chris Dadge (Bug Incision, Lab Coast) as well as Nova Scotia-based saxophonist/flautist Nicola Miller (Ryan Driver, Doug Tielli) and in-demand bassist Kyle Cunjak (Olympic Symphonium, David Myles). With the live contributions in hand, Crocker set to enmeshing the materials further, building pieces that blur the line between a spirited combo feel and sampler jamz from realms beyond. One vital thread that flows through the collection is the reconstituted percussion of Eric Hamelin, who sent Crocker a series of virtuosic, improvised drum sessions to be cut up and harvested. The ghostly boom-bap bone rattle of opener ‘Body Stone’ (which sounds like a cut from Squarepusher’s revisionist jazz classic Music Is Rotted One Note via the cinematic mind of John Carpenter) initiates the rhythmic seance. Persisting from there, Familiar Science offers up oblique rhythmic pathways throughout, leading to quags of heady jazz, streaks of Black Dice-like delirium and elevated states of revelry.

With a few careers’ worth of material, genres and experiences in his rearview, Crocker can’t help but bring a kaleidoscopic mind to a given project. In that sense, Familiar Science finds the composer folding time: diving further into his present-tense, rurally-isolated solo practice in Nova Scotia, and revisiting his former life as a bustling jazz collaborator in Calgary, Alberta. Not only does the album feature a series of archival samples from live sets by late Calgarian saxophonist Dan Meichel (Musk Cup, Jazz Snob Eat Shit), songs like ‘Take It To The Grave’, ‘Stop Freaking Out!’ and the album’s titular track feature Crocker’s skewed guitar work, something that hasn’t appeared prominently in his own music for the better part of a decade. It’s a welcomed voice amidst the compositional mélange, cutting through with an angular playfulness; a close approximation might be the lean progressions of Mary Halvorson, though Crocker’s lurking melodic gestures feel uniquely his own. While these pieces act as catalysts for some of Familiar’s heaviest contortions, the album’s more honeyed moments, ‘Blissed For A Minute’ and ‘Ballad In 9’, center around Miller’s absolutely spellbinding alto and flute work.

If this all sounds like a lot, it is: Familiar Science is a multifarious feat of imagination and (re)combination. It’s a credit to Crocker’s compositional character that music containing so many intersecting textures and rhythms feels so focused and effectual. As each composition unfolds, the music reveals new phenomena and ways of moving through sound. It pulls you into sneaky wormholes, heaves you up into rarefied ethers. It drags you into the ditches: spun off the road, headlights busted. The umami of earth, freshly disturbed. And through all this, as the collection works to a close, a kind of serenity shines through. Joy, even.

Sunday, April 17, 2022

New Music: Ariane Racicot, Adema Manoukas Octet, Deanne Matley, Way North

Ariane Racicot - Envolée

Envolée is the debut album by Montreal pianist and composer Ariane Racicot. This audacious new  modern jazz recording consists of five original compositions that fuse a range of styles together:  from latin jazz to fusion, and from modal jazz to progressive rock. Her rock bonafides are tested and true: many listeners may already be familiar with her from her 22,000 subscriber-strong YouTube presence, where her cover of Queen’s Bohemian Rhapsody has racked up 18 million views. With Envolée, Racicot has established herself as an exciting new pianist to watch. This recording is the result of years of studying many of jazz music’s most progressive, genre-bending jazz pianists, including the likes of Hiromi Uehara, Tigran Hamasyan, Chick Corea, and Keith Jarrett. You can also hear the influence of the metal bands Racicot listened to in her youth, particularly on À ciel ouvert, where she calls on a second drummer to help turn up the heat. This album is a deeply personal project, recounting several years worth of musical and personal experiences. The title – ‘Takeoff’ – evokes her passion for music, her need for expression, her intensity, her perseverance, and her strength. Envolée will be released on all digital platforms on Friday, May 6, 2022 via the Montreal label Multiple Chord Music. The release will be celebrated with a concert at Dièse Onze in Montreal on May 6th.

Adema Manoukas Octet – New Roots

Coming on the heels of his first full-length album demiLAN, (“teeming with originality and confidence” – Yoshi Wall, The WholeNote), trombonist Nick Adema has teamed up with saxophonist Alex Manoukas for a new recording project with their newly formed band the Adema Manoukas Octet. These eight young Toronto all-stars have been performing together in various combinations for years, providing an alternative perspective on the Canadian jazz sound. Together, they offer a glimpse of a new music full of blistering solos, thought-provoking melodies, and world-class ensemble playing. With their debut album New Roots, it is clear that the next wave of talented Canadian jazz artists is knocking on tomorrow’s door. This record is a refreshing celebration of the music of today by the musicians of tomorrow. Throughout this album, the octet masterfully weaves through stimulating original compositions by both Adema and Manoukas, engaging listeners with charming melodies and captivating swells of harmony. These lyrical pieces will stick in your head without losing any of the captivating, modern energy that is present throughout the entire album. The record also also includes masterful modern interpretations of songs by Dizzy Gillespie and Thelonious Monk, arranged by Adema and Manoukas.

Deanne Matley – The Alberta Lounge

Welcome to The Alberta Lounge, the club where Canadian jazz legend Oscar Peterson was first discovered in Montreal; Alberta – which also happens to be the name of the province where vocalist Deanne Matley grew up and started her music career ten years ago. Inspired by the Canadian jazz great, The Alberta Lounge features two new tunes of Matley’s: The Alberta Lounge and If You Were Here Today. She also made sure to include two Peterson originals, the haunting Hymn To Freedom and the tender ballad When Summer Comes. The rest of the album’s repertoire was chosen from Peterson’s vast recorded catalogue, including Lionel Hampton and Jeri Jones’s Je ne Sais Pas, for which Matley had the utmost honour of writing original French lyrics. The album also features a remarkable jazz-funk cover of Jorge Ben Hor’s Mas Que Nada, which Matley sings in Portuguese with added vocal harmonies for extra fun. For the project, Matley recruited some of Montreal’s premier jazz talent, including pianist Taurey Butler, bassist Morgan Moore, and drummer Richard Irwin. Also appearing on the album are her long-time pals pianist Paul Shrofel and guitarist Steve Raegele. Throughout the album, Matley shines as a first-rate vocal stylist. Her contemporary sound is still deeply rooted in the jazz tradition, but is unafraid of pushing the musical envelope. This anniversary album is dedicated to all Canadians. To quote Oscar, “People are Canada’s greatest resource.” 

Way North - New Dreams, Old Stories

Way North is a cross-border mash-up of Canadian and American artists born out of the joy of playing together. Formed in Brooklyn, NY in 2014 by three Canadians and a New Yorker, the band features saxophonist Petr Cancura (Charlie Hunter/Down Home - JUNO nominee), trumpeter Rebecca Hennessy (Kevin Breit/Women’s Blues Revue bandleader), bassist Michael Herring (Peripheral Vision - JUNO nominee) and American drummer Richie Barshay (Herbie Hancock/Chick Corea/Esperanza Spalding). The quartet brings together four improvisor/composers with a shared love of folk and world music, whose unique creative connection touches audiences and builds community everywhere they play. Their third album, New Dreams, Old Stories, follows the release of two critically acclaimed records: Fearless And Kind ("a celebration of sound, with a rapturous elasticity" -AllAboutJazz); and Kings County, which was picked by the Ottawa Citizen as one of the best jazz CD’s of 2015. Way North’s music is a roots stew, seamlessly threading together blues, old-time, New Orleans, and South American folk music with jazz and improvisation, creating a unique sound that has been referred to as “Avant-Trad” (Nou Dadoun, 100.5 Vancouver).

New Music: Oli Astral, Greg Amirault, Noam Lemish, Jazzlab Orchestra

Oli Astral – From The Astral 

Oli Astral is a musical universe where the sound of modern jazz guitar merges with digital music technology and visual projection. The group keeps a balance between technology and a more organic approach to music. There are computers on stage, virtual instruments, MIDI controllers, and Frederic’s Modular Synthesizers that serve the imagination. The musical values thought, are still deeply rooted in the tradition of Jazz. Things like Improvisation, group interaction, and risk-taking are very important in the creative process. The importance of Melody might be the number one thing. If poetry is the only truth in the world of words, then Melody is the only truth in the world of sounds. During the production process of the album, digital audio processing techniques were used to create musical textures. The audio artists who worked on that are Thibaut Quinchon, Derek Orsi, and Olivier Grenier Bedard. Creative mixing, creative editing, computer sound design. The purpose of these is to widen the sound of the Trio with musical textures, loops, and overdubs.The Live experience is a little more immersive. After recording, the group worked with Visual Artist Bruno Scabini, From Buenos Aires. He illustrated and animated the music with creative drawing techniques and cinematic effects.  In addition to the rest, there is a video image on stage that merges with the music. A video image that transforms the Live experience into a journey into the universe of the group.

Greg Amirault – News Blues

Originally from Yarmouth Nova Scotia, guitarist Greg Amirault has been living and performing in Montreal for over 30 years. A long time faculty member of the jazz programs at McGill and Concordia University, Amirault is a past winner of the Grand Prix de Jazz at the Montreal International Jazz Festival and the Prix d’Opus. For decades, he has been a mainstay of the Montreal jazz scene, and one of Canada’s most notable guitarists. News Blues is Amirault’s third recording as a leader. It features three of Canada’s finest jazz musicians: pianist (and Greg’s brother) Steve Amirault, bassist Adrian Vedady, and drummer Jim Doxas. This recording consists of nine tunes: seven of Greg Amirault’s original compositions, and two classic jazz standards. This album offers a variety of moods and textures: there are straight ahead swingers like News Blues and Uninvited, more modern sounding pieces like Tribute Tune and Meeting the Master, and the folk influenced Song for Nova Scotia, an homage to Amirault’s birthplace. The recording also features two solo guitar arrangements of a couple of Amirault’s favourite jazz standards, the ballads If You Could See Me Now and Embraceable You. These four musicians have been playing together in  a variety of formations for over twenty years. This albums is a testament to the strong connection they’ve nurtured together.

Noam Lemish – Erlebnisse

Toronto based pianist Noam Lemish celebrates the release of Erlebnisse, a piano solo album of improvisations that blurs the lines between jazz, western art music, Eastern European Jewish music and Israeli popular song. It may be that Lemish’s hyphenated identity as an Israeli-American-Canadian has helped inspire his multiplicity and general disinclination to follow stylistic guidelines. In Erlebnisse we encounter an artist who clearly enjoys living “in between” genre boundaries and embraces the liminality inherent in improvisation. Each note is an affirmation of the present moment, each moment of silence and pause an inviting space vibrating with possibility. Erlebnisse is German for “deeply felt experiences”. Each piece is completely improvised, recorded in a single take, and played in “real time”. Each selection serves as a sonic portrait that captures a unique “deeply felt experience”: an Erlebnis, all told through spontaneous improvisation. The music traverses wide ranging emotional terrain and Lemish’s pianism is at once deeply lyrical and fierce, displaying textural richness and dynamic variety that masterfully exploits his instrument and exhibits a fearless, adventurous spirit. Following six previous recordings under his name, Erlebnisse marks Lemish’s first piano solo release. As a recording that whole-heartedly embraces free improvisation as process and artistic expression, it manifests Lemish’s long held belief in improvisation as a practice that is simultaneously inwardly and outwardly revealing and rewarding. Erlebnisse thus invites the listener into an intimate, vulnerable and open space that is filled with the joy and excitement of in-the-moment creative expression.

Jazzlab Orchestra – LOGUSLABUSMUZIKUS

Montreal’s JAZZLAB ORCHESTRA has been a Canadian jazz institution since 2004. For over 15 years, the multi-generational ensemble of Montreal’s finest improvisors has explored a wide variety of musical styles and approaches to writing and playing. Always original, every project they’ve undertaken has been inspired and audacious. Practically the only group of its kind in Canada, the group has released seven albums and performed more then 300 concerts at many of the most prestigious festivals and venues across North America and Europe, including New York’s Jazz at Lincoln Center, the New Morning and Café de la Danse in Paris, Casa del Jazz in Rome, the Grande Teatro in Sicily, the Jazz Station in Brussels, and at the Budapest Music Center. Over the years, their concerts have featured guest appearances by many of jazz music’s leading lights, including Donny McCaslin, Mark Feldman, Ted Nash, Michael Blake, Zhao Ke, Francois Théberge, Stephane Belmondo, and Don Thompson. LOGUSLABUSMUZIKUS – Jazzlab’s newest opus – features nine new pieces by bassist and composer Auguste Le Prez, all of which reflect the spirit of modern jazz today. It’s an exciting and dynamic record executed masterfully by the band. Each member manages to simultaneously lift the band up while also staking out their place as a distinct individual voice in the group. As Jazzlab Orchestra continues to evolve, the temperature continues to rise…

New Music: Bernie Senensky Quartet/Quintet, Yves Léveillé, Karl Silveira, Ori Dagan

Bernie Senensky Quartet/Quintet – Don’t Look Back

A previously unissued recording of legendary Canadian pianist Bernie Senensky, featuring saxophonist Bob Mover and trumpeter Sam Noto. Born in Winnipeg, Manitoba in 1944, pianist Bernie Senensky has been a stalwart member of the Canadian and international jazz scenes for over 50 years. He has toured with a multitude of his own ensembles over the years, and has played with a diverse array of internationally celebrated jazz artists, from Chet Baker to Moe Koffman, and from Elvin Jones to Pharoah Sanders (to name but a few). Senensky continues to play and tour extensively. Despite his kind and soft-spoken personality, his assertive keyboard style and consummate melodicism has ensconced him as a lynchpin of the current jazz scene.Senensky fits smack dab in the middle of the hard bop tradition. For those looking for a delightful romp through some new tunes in the style of the masters, you could do worse than to try out the Bernie Senensky Quintet. Bernie’s style sparkles with a lightness and playfulness that makes his solos so easy and fun to listen to. You don’t have to reach for anything; it’s all there. 

Yves Léveillé – L’échelle du temps

Over the past twenty years, composer/pianist Yves Léveillé has established himself as a key figure on the Quebec jazz scene. Drawing from both contemporary and traditional jazz, classical, and world music, Léveillé’s distinctive musical aesthetic is noteworthy for its refined approach to melody and harmony. Hailed for his ability to suspend time with a musical phrase, Léveillé’s music explores the  endless possibilities for interplay between tradition and experimentation. His work always feels poetic and intimately human. Léveillé has recorded nine albums for the Effendi and Atma-Classique labels, all of which have been received enthusiastically by audiences and journalists alike. His latest recording L’échelle du temps isa beautiful collection of eight pieces for piano and string quartet – a unique instrumentation in the world of jazz. For this recording, Léveillé recruited a top-notch ensemble of musicians, all virtuosos on their respective instruments, each with an uncommon capacity for expression and sensitivity. Léveillé and company deftly balance written and improvised material, creating a dynamic sonic world that is at once introspective and energetic. Léveillé has performed throughout America, Europe and China. He has been nominated for multiple awards in his career, and won the Opus Awards for Concert of the Year and Best Jazz Album two years in a row. In September 2018, he was the recipient of the the André Gagnon Award (for instrumental music) from

Karl Silveira – A Porta Aperta

Toronto trombonist, composer, and University of Toronto educator Karl Silveira‘s debut album A Porta Aperta was recorded over the course of two intensely focused days in July 2021. This recording represents the culmination of a composition project that began in the early days of 2020, one that saw Silveira exploring two distinct aesthetic directions: one contemporary, and one more traditional. As a performer and composer, Silveira draws inspiration from a wide variety of musicians, including Mark Turner, Lennie Tristano, Thelonious Monk, Steve Lehman, and Wayne Shorter. Through intensive listening, he has cultivated a unique approach to composition and improvisation informed by many different aspects of the jazz tradition. Silveira’s writing covers a lot of ground emotionally as well as stylistically: his music can be energetic, introspective, thoughtful, and humorous. As a composer, Silveira’s primary conceptual focus is on the theme of multiplicity. His music often features musicians playing parts that are independent from one another, but that interlock in unexpected ways, presenting the listener with multiple possible focal points. The album title reflects this idea, depending on whether it’s interpreted as a phrase in Latin or in Portuguese (Silveira’s first language.) It can mean either “the open door” (in Latin) or “the door squeezes” (in Portuguese). While an open door can lead you to new places, you may also find yourself needing to shrink yourself in some way in order to fit through.

Ori Dagan – Click Right Here

Is life online in the 21st century a blessing or a curse? One could make a case either way, but if you’re Toronto-based vocalist and songwriter Ori Dagan, one thing is certain: there’s great material to be mined for a lyric, something Dagan always delivers with a wry and agile sense of swing. Click Right Here, praised by John Devenish of JAZZ.FM91 as “fun, provocative, fancy-free and spirited,” and by journalist and author Jeanne Beker as “the perfect balance between modernity and nostalgia,” is Dagan’s first album of original material. It offers a joyful escape from, and timely reflection upon, a world spinning out of control. Themes include online dating, social media, technological troubles and the quest for freedom and equality in a divided world. Dagan’s rich bass-baritone is unmistakable; his irreverent songcraft speaks to the lineage of Nat Cole novelty numbers and the impeccably swinging humor of the late Bob Dorough and Dave Frishberg. His scat singing has the natural, fluid, bop-inflected feel of the best in that idiom. Click Right Here, his most ambitious project to date, is sure to take him to new destinations, onstage and online. 

Saturday, April 16, 2022

Ron Jackson | "Standards and My Songs"

Coming out of the pandemic lockdown, distinctive and versatile jazz guitarist Ron Jackson re-emerges boldly with his latest solo album, Standards and My Songs, released on his own Roni Music label. The album spotlights Jackson's clean-burning, clean-toned guitar voice mostly in trio format with Willie Jones III and Ben Wolfe (drums and bass, respectively), and serves as a bookend sequel to his pre-pandemic 2019 outing, Standards and Other Songs, with a critical difference.

“It is a sequel,” Jackson states. “On the earlier album, I played standards, some pop songs and even a Drake song that I adapted to jazz. This one is, standards and my songs. I took a couple of hits like soft rock tune ‘Brandy’ and R&B tune ‘Secret Garden’ by Quincy Jones, and adapted them to jazz.”

Song choice is key to the success of the new album’s portrait of Jackson's broad musical aesthetic, with a program opening with a jazz-flavored arrangement of the 1972 Looking Glass hit “Brandy (You’re a Fine Girl)” (one of two album tracks with cameos by organist Brian Ho) and, to close, a gorgeous solo version of the standard “Time After Time.” The latter showcases Jackson’s unique skill on the 7-string guitar, which the guitarist has been focusing on for a decade and is one of the instrument’s prime jazz proponents. Between those repertoire extremes comes a menu of diverse original tunes, creative new arrangements of Charlie Parker's “Moose the Mooche”—spiced up with a jazz/hip hop groove--and a 5/4 take on the standard “This Nearly Was Mine,” and more, adapted to and by Jackson's special touch.

As heard through his warm, unaffected hollow-body guitar sound, Jackson’s seminal influences include Wes Montgomery and George Benson, but he has listened to and studied with a range of other important guitarists on the jazz scene. Two of those lineage points—Bucky Pizzarelli and Pat Martino—passed away in the past two years and are paid tribute to on Jackson’s album. “This Nearly was Mine” nods respectfully to Pizzarelli, who strongly encouraged Jackson to take up the 7-string ten years ago.

Jackson’s radiant ballad “For Pat” pays homage to Martino, and is loosely modeled after Martino’s own ballad “Country Road.” Martino, Jackson comments, “taught me a lot and has obviously influenced some of my lines. There are so many things I learned from Pat, things I continue to work on.” 

As for the “My Songs” portion of program, Jackson was careful to sample the diversity of his interests when deciding on originals, from the calypso “Roundabout” (featuring trombonist Clark Gayton)—linking to Jackson’s past work with such St. Thomas-born artists as Ron Blake and Reuben Rogers-–to what he cites as the “Freddie Hubbard-inspired” tune “From Dusk to Dawn.” He leans into a post-bebop energy on his “Walk Fast,” and makes a soulful turn on “She is Love,” co-written with his wife, Michelle Etwaroo.

Looking back at his work, Jackson, whose vast resumé makes him a respected and well-traveled veteran in the jazz universe, asserts “I feel that it’s the best album I’ve done so far. I had to figure out a way to put the music together and there was a lot of pressure. I thought seriously about what tunes I wanted to put on there, a mixture in which half of it was my originals. I am very happy with the end result.”

Jackson points out, “my goal would be to have other guitarists pick up the instrument and for the listener, to be more aware of it.” This effort is shown on an album cover design that boldly states “7 STRING JAZZ GUITAR,” which draws your attention to the low “A” string of the Eastman guitar that he’s holding.  

Since the 1991 release of his debut album A Guitar Thing, featuring Benny Green, Cecil Brooks III and Lonnie Plaxico, Jackson has steadily built a robust reputation as a sideman and solo artist, whose new Standards and My Songs is his ninth title as a leader on his independent label Roni Music. Born in 1964 in the Philippines, though mostly raised just outside of Boston, Jackson started out as a rocker, but fell deep into the jazz realm under the influence of such legends as George Benson, Wes Montgomery and Pat Metheny.

After studies at Berklee School of Music, Jackson lived and worked in Paris before moving to New York City and launching his high-profile jazz career, playing on dozens of albums (such as Ron Blake, Hal Singer, T.K. Blue) and working with such artists as Oliver Lake, Dee Dee Bridgewater, Gary Bartz and Randy Weston. His diverse musical life also includes various facets of education—as teacher and published educator--playing on Broadway and other modes of gigging, while carving out his evolving and expanding solo artist persona.

Bop'n Bossa Nova, contemplative cool, & frenetic big band — E.G. Phillips' "Alien from an Alternate Earth"

After a foray into country for his EP, Nashville Recordings, Vol.1, San Francisco songwriter E.G Phillips returns to the jazz idiom with his new album Alien from an Alternate Earth.  

As with his previous outing At Home at Sea and “The Albatross Song,” this collection’s title is derived from the refrain of one of its tracks — “The Octopus Song,” which was inspired by The Soul of an Octopus by naturalist Sy Montgomery and written to promote a show at Oakland’s Octopus Literary Salon.  While the pretext of the song might be cephalopod perceptions and origins, its underlying purpose is much more personal — a meditation on the singer’s current situation and place in the world — a re-emerging theme throughout these songs.

We open with the breezy Bossa Nova “Till We Have Faces Again” (which alludes to the vagaries of the pandemic as well as C.S. Lewis’s retelling of Cupid and Psyche) and then explore a variety of textures and emotions — from the venomous, knife twisting swagger of “That May Not Be Good Enough” (which is nasty as Dylan ever was) to the ethereal, music box like “Ode to the Wildhorse Cafe.”  The album is capped off with the frenetic encouragement of the big band number called “Brave Heart, Luna!”

This project was the result of a chance encounter with producer Chris McGrew and keyboardist/vocal arranger Kevin Seal (both of punky prog rock Griddle and Seal Party) at a recording session at the famed Hyde Street Studios in San Francisco (where Santana and Herbie Hancock laid down classic tracks).  This led to McGrew (who also plays drums on the album) assembling an all star cast of local luminaries to provide that old school, 1950s feel Phillips was looking to imbue into these recordings.  Desmond Shea (Division Hi-Fi, Faith No More) was on hand to act as recording engineer (as well as provide his unique insights).  Mastering was done by Gary Hobish, a veteran of Berkeley’s Fantasy Studios and San Francisco’s CD Studios.

Alien from an Alternate Earth is a tight volume of E.G. Phillips songs where his characteristically cinematic and whimsical lyrics are backed by an imaginative ensemble of the Bay Area’s best jazz players who create a sound that is both classic and striking.

Nicholas Payton | "Smoke Sessions (Remixed)"

Though it’s never simple (or advisable) to pin Nicholas Payton down to a particular genre or style, the renowned trumpeter, keyboardist, and composer’s two recent releases for Smoke Sessions Records have found him in relatively traditional acoustic trio mode. He was accompanied by the powerhouse rhythm section of bassist Peter Washington and drummer Kenny Washington on 2019’s live Relaxin’ With Nick, then with the generation spanning trio of drummer Karriem Riggins and legendary bassist Ron Carter on 2021’s acclaimed Smoke Sessions.

But Payton, it turns out, had more transformative intentions in mind for the latter session. On his new EP Smoke Sessions (Remixed), due out March 8 via Smoke Sessions Records, he turns the raw material of four of the album’s tracks over to Riggins and the rising star multi-instrumentalist producer Tomoki Sanders to create remixed versions of the tunes refracted through the lens of the hip hop generation.

This post-modern hybrid approach to what others may view as disparate genres is central to much of Payton’s discography, so it certainly makes sense that he would hear the potential for such electronic reimagining in the music he recorded with Carter and Riggins. “Many of my projects have a remix component built into them already,” he explains. “I felt giving those types of production treatments to an all-live acoustic session would speak more to the times in which we live. It gives the folks a bit of both worlds.”

Riggins, the drummer for the original Smoke Sessions album, puts on his producer hat for three of the four tracks on the remix EP. It’s a role he’s as comfortable playing as the one he essays behind the drumkit – he’s done production work for many of hip hop’s most creative artists, including Common, The Roots, Erykah Badu and Kanye West.

“Production and mixing [are] a significant part of Karriem’s body of work,” Payton says. “I hired him as the drummer on the session with this in mind.”

For his part, Riggins refers to Payton as, “one of those geniuses… He set the bar high and it’s always super inspirational being around him and playing music with him."

The original “Levin’s Lope” already brought inspiration full circle, taking a Ron Carter-inspired bassline from Payton’s “Cyborg Swing” and giving it to the man himself; the oft-sampled Carter now provides robust inspiration for a new Riggins beat and swirling melody. Payton’s Rhodes playing on “Gold Dust Black Magic,” which also featured guitarist Isaiah Sharkey, ripples out into a cosmic dub beat in Riggins’ hands, while guest saxophonist George Coleman’s sultry tenor sound is shrouded in stark, airy new atmospherics until a bold, funky new beat hammers into place.

The EP’s final track is another case of ricocheting inspiration. The young, uncategorizable multi-instrumentalist Tomoki Sanders, who Payton calls, “one of my favorite up and coming musician/producers,” provided a beat that helped inspire the original version of “Hangin’ In and Jivin’;” his remix amplifies and reconstructs the muscular groove at the heart of the tune.

While he insists that, “it’s never my intent to decide what anyone gets from my music,” Payton does hope that Smoke Sessions (Remixed) helps cement in listener’s minds his notion that all music co-exists in a continuum, and that genre classifications are inherently limiting. It’s an argument that on these four tracks he makes through the most enticing and infectious of means.

“I hope it highlights there’s not such a disparity between more traditional styles and current ones,” he says. “It’s all just music.”

Friday, April 15, 2022

Oan Kim Releases Debut Album 'Oan Kim & The Dirty Jazz'

Fusing together his different musical influences, Oan Kim takes us on a journey of stylistic exploration with his new album Oan Kim & The Dirty Jazz. The former Film Noir and Chinese Army members’ new direction is  jazzier and more experimental, whilst nodding to his past so far in contemporary classical music and electro rock. Oan explains ‘ It was a deliberate decision to give the jazz saxophone a front position on what would otherwise be an indie music album’.

Writing, recording and producing the record in his home studio in Paris, the multifaceted musician and filmmaker’s DIY approach allowed the tracks to evolve freely ‘without ever knowing where they would take me, operating almost in a vacuum of space and time gave me a lot of freedom’.

‘Pop music will never have that miraculous improvised flair of a good jazz solo, while jazz rarely has the enthralling efficacy of pop music. But who said music had to be as polarized as politics? So I wanted to bring together the best of both worlds.’

From the memorable motifs of ‘Agony’ to the atmospheric noisy sound beds heard in ‘Smoking Gun’, and free flowing jazz saxophone of ‘Quintet’,  Oan’s music feels assured yet honest,  imaginative, boldly creative and daring. Also contributing to the album are acclaimed French jazz musicians Edward Perraud, featuring on The Judge and Wong Kar Why, and Nicolas Folmer playing trumpet on Quintet, Symphony for The Lost At Sea, and Fuzzy Landscape.

Throughout the album, Oan takes influence from a range of artists including but not limited to Kurt Vile, Stravinsky, and James Holden, whilst taking note from classic jazz artists such as Miles Davis. On his style, Oan explains he puts himself ‘somewhere between Pharoah Sanders and Radiohead’.

Such influences can be heard throughout the album, with an array of different sounds and styles established. The latest single from the album ‘Agony’, inspired by Cold War Kids, features a catchy ostinato with the piano neatly interplaying throughout.

Further along the album tracks such as Thelonious are more atmospheric, with intricate details and noises, and an emotive ambience with delicate vocals to match. The track, titled referring to his son's second name (a homage to the great Thelonious Monk) is described by Oan as ‘like a lullaby’. 

Having also worked as a photographer and filmmaker, receiving awards such as Swiss Life 4 Hands Award, Silver Horn of the Krakow Film Festival, Emerging Documentary Filmmaker at DMZ festival and more, Oan also takes inspiration from films throughout the album. Reflecting on his writing process, he explains ‘Hitchcock used to say: once you're finished with the screenplay you can write the dialogues. I feel the same way about songwriting. Themes of each song come out of the music itself towards the end of the song writing process’.

With a visually driven imagination, film references to Wong Kar Wai, Fight Club, and Naked Lunch emerge on the album. The first two singles from the project Wong Kar Why and Mambo also followed with music videos directed and filmed by himself. The video for Wong Kar Why? A documentary short described as a chronicle of a romance, features candid shots of his wife Katherine that have been taken between 2016 to 2021 in various locations including Paris, Seoul, New York and Marseille, described by Oan as a ‘video of a portrait of the person I met and fell in love with over the years’. 

A melting pot of sounds and influences, Oan Kim & The Dirty Jazz is sure to set Oan as one of the most exciting talents to emerge on the jazz scene. 

New Music: Marius Billgobenson, Mike Allemana, High Pulp, Luke Stewart's Silt Trio

Marius Billgobenson - The Spirit Love

The title of Congolese born, Stockholm, Sweden based singer/songwriter Marius Billgobenson’s album The Spirit Love embodies his life’s work and mission as a concerned and compassionate musical citizen of the world with a commitment to bridging cultural divides. Over the course of 11 heartfelt and provocative, urban jazz meets world music tracks, the multi-talented artist – also an award-winning anthropologist with a deep passion for ethnomusicology - creates a deeply visceral and empowering autobiographical fusion of pop, soul, blues and jazz, infused with the spirited rhythms and vocal sounds indigenous to the Congo. Helping him immerse into the Smooth Jazz world are Paul Brown, who wrote and produced two tracks, and Chris “Big Dog” Davis, who helmed six others. ~ www.smoothjazz.com

Mike Allemana - Vonology

A wonderfully surprising effort from guitarist Mike Allemana – a secret hero of ours in the Chicago jazz scene for many years – as a player who first worked with tenor giant Von Freeman, and later with guitarist George Freeman – and who's gone on to be both a supporter of and champion for their rights in jazz history! Here, Mike pays tribute to his first mentor – but with a sophisticated suite of tracks that's unlike anything we might have expected – beautifully rich sounds delivered by Allemana on guitar, Victor Garcia on trumpet, Greg Ward on alto, Geof Bradfield on tenor, Tomeka Reid on cello, Kendall Moore on trombone, Matt Ferguson on bass, and Michael Raynor on drums – the last of whom also played with Von Freeman too! The vibe is very different than the small combo jazz of the south side scene where the Freemans and Allemana regularly played – more painterly in sound, with these vibrant strokes of color and tone that paint a wonderful portrait – on titles that include "The Mediator", "Welcome Enter", "Communion & Renewal", "Libra Channeling", and "The Mentor's Benediction". ~ Dusty Groove

High Pulp - Pursuit Of Ends

High Pulp have always been one of those groups that are nicely hard to define – but this time around, they seem to be coming across with a jazzier vibe than ever before – and a new sort of musical sophistication that really has their music falling into place! The Seattle combo's always had a wide ear for influences, and that's really helped them put together the pieces in their music – yet here, they also really seem to be speaking strongly in their own voice too – with a mixture of complex yet compelling rhythms, rich tonal colors, and soaring solos that fill the album with promise and life! The group themselves are already great – and they open the door to guest work from Jaleel Shaw on tenor, Jacob Mann on keyboards, and Theo Croker on trumpet – adding their own shades to the group's rich palette. Titles include "All Roads Lead To Los Angeles", "Ceremony", "A Ring On Each Finger", "Kamishinjo", "Wax Hands", "Blaming Mercury", "You've Got To Pull It Up From The Ground", and "Chemical X". ~ Dusty Groove

Luke Stewart's Silt Trio - Bottom

Bassist Luke Stewart is fast becoming one of our favorite talents on his instrument in recent years – an artist who first grabbed our ears with his work in Irreversible Entanglements, but who seems even better suited to stand out front as a leader! The performance of the trio here is wonderful – complex, but organic – very rhythmic, but also never tied to the groove – maybe a bit in the spirit of the UK group Ill Considered at times, but with a direction that's very much its own! In addition to Stewart on bass, the always-amazing Chad Taylor is on drums – really given the space here to remind us how brilliant he can be – and the group also features Brian Settles on tenor, carving out these really beautiful lines over the top. Titles include "Roots", "Angles", "Reminiscence", "Circles", and "Dream House". ~ Dusty Groove

LinkWithin

Related Posts Plugin for WordPress, Blogger...