Archive for the ‘Album review: jazz’ Category

With the great number of projects saxophonist and composer Jeremy Rose involves himself with, one could fairly expect his output to be prolific yet patchy. As one who follows Rose’s trajectory and music, I am still waiting to hear any hint of a lapse in quality and vision.

Rose’s most recent release under his own name – rather than with the Vampires, the Strides, the Earshift Orchestra or any of his many other collaborations – is Within & Without. Recorded in Germany and featuring US super-guitarist Kurt Rosenwinkel, the 10-song album holds up Rose’s impeccable standards without at all veering from his unique creative path.

Rose Within & Without2For an album concerned with themes of “opposing forces of attraction and repulsion, joy and anguish, hope and despair, pain and ecstacy” the music is beautifully cohesive and complete­­. The players – Rose and Rosenwinkel together with German bassist Andreas Lang and drummer Tobias Backhaus, as well as Rose’s long time piano foil, Australian Jackson Harrison – mesh exqusitiely, almost telepathically at times. Rarely does any soloist seem to rise sharply out of the ensemble or blown sections, the band breathing as one.

The album’s compositional cohesion is also a surprise considering Rose’s thematic material, which veers from odes to places (the lovely bijou opener ‘Trawangan’ and the Atlas Mountains drums’n’bass groove of ‘Afensou’) to a quote from a David Bowie song (‘Strange Doors’), to even a zombie-inspired piece (‘Zombie’) – the latter’s pentatonic folk melody really bringing Rosenwinkel to the fore as he plays in and around the simple bones of the tune, always shining, often startling. Rose Within & Without1

There is also the sweetly Monk-ish melancholy of Rose’s tribute to the dear departed Charlie Haden in ‘Ballad for Charlie’. Album closer, a take on the Australian bush ballad ‘Flash Jack from Gundagai’ – with its hints of the children’s rhyme ‘Incy Wincy Spider’ – (‘Flashjack’) is set over a 6/8 Afro-latin groove, allowing the Germans, American and Australians to get some simmering heat going.

I asked Rose a half-dozen questions, leading up to the launch of Within & Without over June and July.

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John Hardaker: Within & Without, which features Kurt Rosenwinkel, follows hot on the heels of The Vampires’ (which you co-lead with Nick Garbett) album with guitarist Lionel Loueke. What is it about guitarists?

Jeremy Rose: I love guitar, it has the ability to convey an incredibly rich range of textures and sounds, and has a history of amazing players. However, when I choose collaborators, it is often based on the individual: Lionel Loueke and Kurt Rosenwinkel are both unique voices on their instruments, and aesthetically, I felt they were a great match for the respective projects I was working with.

 

JH: The ensemble works superbly. How did you come to pick the players on the album?

JR: I have worked with pianist Jackson Harrison for many years now, on my Sand Lines album, and with Compass Quartet, on Oneirology. I had worked with Berlin based drummer Tobias Backhaus before, as I have been going back and forth to Berlin for the past few years also and had performed at Jazzahead with him in the Vampires. Bassist Andreas Lang was recommended by Tobias.

 

JH: What led you to playing an adaptation of the Australian bush ballad, ‘Flash Jack (from Gundagai)”?

JR: As part of my research for composing my Iron in the Blood (out on ABC Jazz), I found an excellent source of Australian folk songs, a few of which I arranged and adapted throughout the work. Flashjack was one that I liked but didn’t use for the project and thought it would work well on this album.

 

JH: Many of your pieces reflect or are inspired by your travels and adventures around the world. You are also one of our most prolific musicians, spreading your energies over many projects, with rarely a lapse in quality or direction. You appear quite restless, even driven. Is that a fair call?

JR: Yes I am driven, but grateful that I have had many opportunities and mentors to guide me along the way. I also very much love what I do, and so am incredibly lucky to be following my passion.

 

JH: What next for you?

JR: I am undertaking a residency at the OMI International Arts Centre in New York in August. Also planning some more touring with The Vampires in Europe.

 

JH: What are your thoughts on contemporary music in general – and Jazz in particular?

JR: Contemporary music is continuing to break down the barriers between styles and genres. Some of the most exciting music is happening on the borders of these known styles; collaborations between unexpected musicians, genres, and artforms.

 

Within & Without is available at https://www.earshift.com/jeremy-rose-within-without

Within & Without tour dates: 16 June, Unorthodox Church of Groove, Newcastle; 17 June, Sound Lounge, Sydney; 16 July, Jazz Lab, Melbourne

 

 

 

 

I am so glad they called this collaboration The Vampires Meet Lionel Loueke, using ‘meet’ rather than the ‘and’ – which suggests two parts less than their sum – or the amicably adversarial The Vampires Vs. Lionel Loueke, as is used often in hip-hop.

I am glad because this new collaboration between one of the jazz world’s most innovative and joyful musicians, guitarist Lionel Loueke, and The Vampires, our genre busting and straddling national treasure is a meeting in the truest sense.

A meeting of minds; a meeting of souls, and all of which that implies: both entities bring their unique voices to the mix and The Vampires Meet Lionel Loueke is the Venn overlap of this meeting.

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Maybe it is because both Loueke, and Jeremy Rose and Nick Garbett’s Vampires have much in common, both the Berklee-via-Benin guitarist and the Australian ensemble having arrived, through artistic convergence at a beautifully sympathetic musical place: world music flavours, fusions of genre and innovation within those flavours.

Album opener and album closer are two versions of Rose’s ‘Endings and Beginnings’, the first a Moorish take on the melody and the latter more African – beautiful bookends that bracket a feast of Afro-jazz, reggae, on-the-one funk and some Mwandishi space-blowing.

The rhythm section of Jon Zwartz on bass, with Danny Fischer on drums and Alex Masso on drums and percussion, maintains a warm-blooded percussive bed throughout – bubbling up here, flowing like brown river rapids there: check the rippling 6/8 of ‘Suck A Seed’ and the momentum-rush of ‘Brand New’. Vampires Loueke 1

Rose and Garbett’s compositions are a perfect fit for Loueke to work his magic across and their playing seems as inspired as ever, working around Loueke’s guitar colours and brightly imaginative comping. Garbett’s echo-laden trumpet solos and snap-funky lines are a joy. Rose once again surprises with his Ornettey approach and the human-ness of his playing. The guitar/voice and alto opening of ‘Brand New’ is a conversation between friends, complete with secrets and a chuckle or two at an in-joke.

Herbie Hancock, with whom Lionel Loueke has worked, refers to him as a ‘musical painter’. True, his playing approach seems more concerned with colours and textures than fleet soloing. He plays inside the music, deep inside, and uses everything about his instrument to paint his pictures and hatch in his textures: he scats with his guitar lines, he rubs dissonance against the melody, he utilises some surprisingly radical electronics with surprisingly human results. His playing across this album has the mark of a master innovator and a relentlessly restless spirit.

Playing with the Vampires on this album has pulled some startling performances out of Loueke and, in kind, the band rise to his fire – one catches oneself thinking they sound the best they ever have; then you realise the Vampires always sound this good.

The Vampires Meet Lionel Loueke, is a meeting of many things – inspirations, approach, attitude and musical vision. But the glue that binds this fortuitous meeting is respect. You can hear it.

We do hope they meet again.

Album available thru www.earshift.com

 

Daniel Susnjar’s debut album, 2014’s Su Su Nje, really peeled my ears back. The Perth (via Miami, Peru and NYC) drummer/composer’s intense playing and giddily-layered rhythms stood out in high relief from much else I heard that year in Jazz.

Susnjar’s recent release, Moth To A Flame, revisits the Peruvian-Jazz fusion flavours of his debut, and is peopled with many of the same fiery, empathic players. This time the intensity and the invention are taken up a notch, with compositions, arrangements and performances uniformly stunning.

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To listen to Moth To A Flame one would expect these eight densely arranged, complex and exceptionally recorded pieces to have taken a year or two of performance, and then recording, to get to this level. In fact, the album was done and dusted (bar a little extra later dusting in WA and Miami) in 24 short hours.

Susnjar explains: “I was on tour with the Gabriel Alegria Afro-Peruvian Sextet at the time. We did a bunch of gigs in the US and had a day-and-a-half off in the middle of the tour. I booked a studio in Brooklyn called Systems Two, rented a hotel for the guys and set up the drums while they were resting. We did a night session, then a full day session, then we went straight to a gig in Washington the next day.”

The drive to create within such a tiny time-window reflects Susnjar’s sharp-edged discipline and singular vision. It is this vision that has led to Susnjar picking up numerous awards as well as playing and record with artists as diverse as Chick Corea and Pharell Williams.

All across Moth To A Flame his vision is there: from the sharply named and conceived opener ‘Rhythm Changes Peru’, to the dense rhythm lattices of ‘Used to Be a Festejo’ (a spiky cousin to Jaco’s ‘Used To Be a Cha-Cha’?) and the joyously festive ‘Tondero’.

The two cover arrangements are great fun. The Leslie Bricusse chestnut ‘Feeling Good’ bounces on a springy Afro-Peruvian rhythm with sharp ensemble playing, a truly ‘felt’ vocal from Vivian Sessoms and Daniel’s father, Danny Susnjar channelling some Santana on a howling guitar solo.img

Susnjar’s take on the Charlie and Inez Foxx 50’s classic call-and-response tune ‘Mockingbird’ has great play with the rhythms and cross-rhythms; currents within currents that rise and fall.

The closer ‘Pius Bartosik’ is a lovely, impressionistic composition that won Daniel Susnjar the WAM 2015 Jazz Song of The Year. A tone-portrait inspired by the indomitable spirit of Auschwitz victim Pius Ludwik Bartosik, it moves through various moods showcasing a number of the exceptional soloists in Susnjar’s ensemble – standouts are tenor saxophonist Laura Andrea Leguia and Susnjar’s short drum solo which plays tag with the horns.

A fascinating release which will reignite any Jazz listener’s love affair with that most important and irresitable element of the art form – rhythm. Moth To A Flame deserves your ears. Your heart – and hips – will follow.

 

For more information visit: www.danielsusnjar.com

 

I was surprised when I put on saxophonist/compopser Andy Sugg’s new album. The last Sugg album I heard was when I (glowingly) reviewed the excellent Berlin Session album in early 2013.

That album was free and wild and had the colossal shadow of John Coltrane falling across the wonderful music made with Sugg’s daughter, Kate Kelsey-Sugg and players Jan Leipnitz and Sean Pentland.

The new one, Wednesdays at M’s, could not be more different. The focus is far more on composition, arrangement and timbral texture and has a decidedly fusion edge, complete with electric flavours.

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But then I was surprised that I was surprised – after all, Sugg is a searching, seeking, probing player. Why would he sound now as he did four years ago?

The Group is entirely different, too, apart from Kelsey-Sugg on piano (and vapour-like vocals on closer ‘Rings Around The Moon’). Made up of leading players such as drummer Nate Wood, Ben Eunson on guitar and Australian-abroad Sean Wayland, this is no ordinary Group.

And they need to be extraordinary to navigate Sugg’s remarkable compositions and bring them to vivid life – each tune is completely owned by the ensemble; the ensemble playing and solos leap from the speakers with a rush of blood and fire.sugg-wednes-2

The electric edge doesn’t become apparent until Ben Eunson’s guitar solo on opener ‘Djuna at One’. The groove is buoyant, rolling along on the tough acoustic bass of Matt Clohesy until Eunson’s electric guitar chops into it, right down to the bone. Eunson’s playing across Wednesdays at M’s is a highlight: biting here, fluid there, he plays with a wide range of textures that should be an object lesson to more than a few contemporary jazz guitarists. His tone is metallic but fleshed out with more than enough blues to make it sing beautifully.

The fusion thing is taken up a notch over the three part Suite, ‘Hemispheric’: Part 1 is swathed in Christian Almiron’s Zawinulesque synth washes. Almiron returns for Part 3, soloing and swooping across the brightly choppy rhythm.

A highlight of the album is ‘Mandela’. Built on a criss-crossing set of riffs, this groove pushes Sugg and Eunson to some spiraling highs. Sugg’s playing throughout is revelatory yet always with deep soul and humanity in his delivery. On the Berlin Session album he played only soprano; here he plays only tenor and it fits the tougher ensemble dynamic perfectly (it is particularly thrilling when in unison with Eunson’s Stratocaster).

Prior to recording, these eight pieces were worked up in a weekly workshop environment on NYC’s Lower East Side in a vacant dance studio belonging to ‘Mike’, hence the album title. You can hear the freedom and care that Sugg was allowed to lavish on their forming: nothing is rushed and there was obviously room for tints of other non-jazz genres to colour the music. In essence, the music was allowed to grow and evolve in a hothouse.

At the foot of his liner notes, Andy Sugg simply says ‘Thank you, Mike.’ I, and anyone who listens to Wednesdays at M’s will surely second that emotion.

 

For more information visit: www.andysugg.com

 

Cameron Undy’s new Twentieth Century Dog album, Bone, has left this reviewer speechless. Which is quite a feat in itself.

The only honest review I could give is “Go listen.” But my pen, once unsheathed, needs to talk, so talk it shall.

Listening to the remarkable improvisations that make up the ten tracks on Bone, I see not a group of separate musicians but a single organism – a big body with waving arms and heads – a Dog of Seven Heads. Surely this music cannot come from separate consciousnesses, even of those consciousnesses are as hyper-conscious as Simon Barker and Jamie Cameron and Ben Kidson on drums and percussion, Jeremy Rose on reeds, Greg Coffin on keys, Ben Hauptmann on guitar, and leader, composer, producer Cameron Undy on barking, growling bass.

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The presser says these pieces are made up out of long buried ideas “dug up, buried in the yard, dug up again” over the ten years that Undy focused his energies on his iconic jazz room, Surry Hills’ Venue 505. These ideas shape the grooves and basic motifs of the improvisations, and also form ensemble sections that rise out of the music and then are gone as soon as they came.

The Dog is big on rhythm too – with two drummers and a percussionist, as well as having a bass-player as leader, it is inevitable that there will be grooves of all flavours, and rhythm games running through the music like pulsing veins. Funk, Afro-beat, jazz: all booty-shaking but mind-bending at the same time.

‘Tail of the Dragon’s’ melodic pass-the-parcel leads to some big-fun messing with time, its play extending into the band comping behind Coffin’s solo, then behind, in and around Rose’s solo. ‘Dog Day’ is taut funk which Ben Hauptmann nips and tugs at until it is reshaped in his image. ‘Bone’ conjure’s the same skull-grinning space-griots as Herbie Hancock’s Mwandishi band. bone1

‘Broken Creak’ applies Broken-beat to some serious funk: the drummers slip in and out of sync with each other, like a musical moiré-pattern moving in and out of focus. Undy’s bass solo here is muscular and propulsive while Coffin’s soul-gospel piano passage moves against the lagging drums like a sermon that will not be denied.

Bone was recorded live at Venue 505 over two days in late 2016. The live recording brings so much out in the band (have I said before there is a strong argument at all jazz should be recorded live?), giving the album an in-the-moment electricity that charges the air.

It is not all funk and zap though; the three short interlude pieces – ‘Anagram’, ‘Sunrise’ and ‘Constellation’ – are welcome breathers from the tropical storm of Bone. Rose’s bass clarinet on the latter is particularly affecting, singing a folk-like song of universal longing.

Final track, the long workout ‘Bust Down_Parallelism’, captures everything that is good and real about Bone and Twentieth Century Dog. An almost endlessly inventive Hauptmann solo rises to a boil that bursts like a summer storm, washing away to a half-dark duskscape, only to rise through a percussion conversation into Jeremy Rose’s strutting tenor solo. Composition/improvisation. Magic While U Wait. It’s what the Dog does so well.

Ok, I will shut up now. Go listen to Bone.

 

Bone is available from Earshift Music – http://earshift

 

Published on http://jazz.org.au/ January 2017

In his between sets patter, Club MC Jeremy Sole thanks the Blue Whale audience for “not only showing up but being present“, reminding them (and us) that the two are very very different things. The same can be said of drummer Myele Manzanza and his ensemble for this electrifying live recording at the fabled LA club – OnePointOne (Live At the Blue Whale).

The word ‘present’ applies here in all its forms – the performances are in the present (the now), Manzanza and the band present (bestow) us with their present (gift) of this music. And what amazing music it is – a feast of jazz-fusion flavoured beauty created before us in a time and space that seems endless.

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Manzanza’s debut album, 2103’s One, was a stunning introduction to the drummer’s great creativity, spirit of adventure and grasp of contemporary urban styles. The New Zealand born son of a Congolese drum master, Manzanza’s vision is one of virtuosic precision which never enslaves the groove – a very African approach: complex yet irresistable. But where One used an array of samples and had the slightly claustrophobic headroom of electronica, OnePointOne is open and organic, using Manzanza’s trio augmented by the Quartetto Fantastico string quartet and two vocalists, Charlie K and Nia Andrews.

The difference is apparent on the live versions of two pieces which originally appeared on One – ‘7 Bar Thing’ and ‘City of Atlantis’. The former heats up under a bristling Mark de Clive-Lowe piano solo (acoustic piano is to the fore all across OnePointOne), whereas the latter, arranged by the Quartetto Fantastico’s Miguel Atwood-Ferguson becomes a languid, sun-dappled underwater cinematic experience.Microsoft Word - Myele Manzanza OnePointOne PR.doc

Jazz is also everywhere here, the spirit and the joy of it. Album opener ‘A Love Eclectic’ channels the spirit of John Coltrane with the bass of Ben Shepherd riffing a mutated version of the ‘Love Supreme’ bass hook (Shepherd’s solo, bonus track ‘Ben MF Shepherd’ is dazzling). The samba of ‘Absent Fade’ has Manzanza and de Clive-Lowe spinning each other off the dial, at one point tying the 4/4 bar into 7/8 knots.

A high-point for me is Manzanza’s drum solo ‘Circumstances’. He tells a story and paints his canvas and takes us down the roads of his choosing – yes, I am mixing metaphors but Manzanza does all this and more. He is one of those rare players than can keep you totally engaged with only a collection of percussion instruments and a fair sprinkling of his own magic.

OnePointOne (Live At the Blue Whale) is sprinkled all over with that magic and has made me a fan all over again of Myele Manzanza, despite his debut and this current album being remarkably different from each other in approach. And yet they are held together in style by Manzanza’s skill, vision and sense of deep beauty. I deeply recommend it.

OnePointOne (Live At the Blue Whale) is released 11th November 2106 through www.firstwordrecords.com

Myele Manzanza’s website is http://myelemanzanza.com

Published November 2016 on http://theorangepress.net

Guitarist Tim Rollinson‘s approach – that of taste, space and minimum waste – is one of the joys of anything he puts out into the world: whether it be the Acid-House of D.I.G. (Directions in Groove) or, more recently, the exquisitely urban-nocturnal Modern Congress, or all points between.

Rollinson’s new album – Nitty Gritty – keeps that chill ethos to the fore across ten tracks that conjure old-school/nu-school grooves paying homage to all that is  chilled and tasty. Along for the ride is probably the best band in current Australian jazz that you could dream-team for a project like this: Shannon Stitt on keys (an integral foil on Hammond and Rhodes), Alex Hewetson on Fender bass (as they used to say in the 70s where much of this music lives) and drummer Nic Cecire (who can do anything, but does this oh-so-well).

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Slinky album opener ‘Handful of Clay’ starts bluesy but slow-burns through to a sharply grinding coda – a very live sounding crescendo. The live vibe here is all across Nitty Gritty – in common with the blues and the best jazz, an album such as this dries up and dies on the vine if that in-the-moment feeling is not captured.

‘Gravity Waves’ has Rollinson bringing to mind the loose-wristed lines of Cornell Dupree over a relaxed funky bed (any reference I make to other artists from here on in is only for flavour – Rollinson is always Rollinson, without doubt).nitty-gritty-1

‘Criss Cross’ is reminiscent of The Crusaders‘ more trippy moments with Stitt sampling Joe Sample‘s soul in his beautifully shaped solo (the above referential disclaimer goes for Shannon Stitt as well). His sneaky electronics across the Skatalite-like title track, ‘Nitty Gritty’ bring the project up to date, as equally on the deep-cubby band-collaboration ‘Truce’ (which Rollinson counters with the country-clear steel of six-string banjo). His Headhunters‘ Rhodes makes the tough funk of ‘Hullaboogaloo’ totally Herbie-aceous.

Nice to see the blues here too. ‘Slow Motion’ has a beautiful singing single-pole solo, with the jazz-guitarist in Rollinson keeping the bends to a minimum while still saying everything he needs to say. Album closer, the moody minor mood ‘Snake Oil’, has a much blues as bop in Rollinson’s fluid solo – his vocabulary holds them all quite easily.

Nitty Gritty calls to mind John Scofield‘s enormously successful Scofield Au Go Go of a few years back and in many ways comes from the same place: a love of groove and the improvisational ideas which flower from the deep earth of funk. Tim Rollinson’s album is subtler and, in my opinion, wider in scope and colour than Sco and Co.’s boogaloo-fest.

I suggest, as a recent Nobel Prize winner said many years ago, that you dig its earth.

 

Tim Rollinson launches Nitty Gritty on 22 November at Foundry 616 – https://foundry616.com.au/product/22-november-tuesday-tim-rollinson-album-launch-nitty-gritty/

Tim Rollinson’s website is here – http://www.timrollinson.com

 

Published October 2106 on http://australianjazz.net and http://jazz.org.au