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"Eternal Monomyth"--the Hero's Journey of Gene Ess.

5/27/2015

Eternal Monomyth on Simp Records (SIMP141105)

“Eternal Monomyth,” the May of 2015 release from Gene Ess is a continuation of his previous album “Fractal Attrraction.” On both albums, Ess explores the interplay of instruments and the female voice. Also on both albums, the female voice is that of Thana Alexa who provides the powerful and lovely vocals for Ess’ now delicate, now aggressive guitar.

Ess has been a fixture in the Jazz world since he was 14 years of age and has played with giants such as Ali Rashied, Ravi Coltrane and Clark Terry. He is joined on “Eternal Monomyth” by John Escreet (piano), Thomson Kneeland (bass) and Clarence Penn (drums) along with Thana Alexa.

It has been two years since the release of “Fractal Attraction” and his own hero’s quest has continued into what Ess calls “the peaks and valleys… of performance.”

Born in Tokyo and raised in Okinawa, there are inescapable themes and motifs that are evident from both of those cultural environments. Joined with Japanese and with Okinawan musical aesthetics (and they are not the same) is his reading of Joseph Campbell and Arthur Schopenhauer. It is, in fact, Ess’ understanding of Campbell that provides the context of the present album.

“Forsaken Island” is the introductory track on the album. Thana Alexa’s intonations open the piece. Gene Ess continues where he left off on “Fractal Attraction” and his artistry is sterling. John Escreet’s piano work is crystal. Alexa is marvelous.

Alexa has stated, “This divide between vocalists and instrumentalists was very much a problem for me. Whether it was through the curriculum or just through the psychology of the musicians, vocalists were oftentimes separated and classed as something different.”

It is clear on this album, however, that Gene Ess has focused on the instrumental aspect of Alexa’s voice and in pays tremendous dividends. The two of them have managed this arrangement very well in their two recordings together.

“The Trials,” like all of the compositions on “Eternal Monomyth” is by Gene Ess. Clarence Penn turns in some straight-up Jazz drumming and Escreet is on fire. The paired vocals and guitar is exciting stuff.

Penn gets to introduce “Entrance/Exit” with his imaginative percussion. Alexa trades with Ess and Escreet, then follows her own vocal improvisations that are picked up by Ess’ brilliant guitar work. Kneeland’s bass is so steady and subdued that he can get overlooked. He bears close and appreciative attention. The song is superbly crafter and is extremely enjoyable.

“Summer Cantabile” is again written by Ess but with lyrics by Alexa. The lyrics are, most assuredly, well sung but the words themselves are developed remarkably well. Ess accompanies on acoustic guitar and together they create a splendid interlude to the energy that surrounds the track before and after.

Percussion and progression follow with “Drakaina.” It is a lovely piece with tight cohesion between piano, bass and drums. The swing is counter-balanced by the vocals and guitar duo. Penn may have been at his best on this track but, then, the same might be said for Escreet and Kneeland, as well. This could be the tightest track of all.

“Blues for Ryo” follows “Drakaina.” The name Ryo may be a male or a female name in Japanese—one of the few such names. The track starts off with Ess’ solo guitar. Alexa’s improve is vivid and fun and Escreet’s accompaniment is finely subdued. The bluesy shift is handled so well by Ess who weaves a gorgeous blues with Kneeland and Penn spot on.

“Mono No Aware” (Transience of Things) is a rae moment of enlightenment. Like George Harrison’s “All Things Must Pass,” it is the profound understanding that “things fall apart,” to quote Achebe. It is Ess’ philosophical assessment of the 2nd Law of Thermodynamics—entropy increases. In his liner notes, Ess mentions the principle of wabi-sabi. It is the concept of beauty that acknowledges its nature of imperfection and incompleteness. It is always an unfinished work. Ess sums it up as his approach to music.

That sense of beauty is profoundly apparent on this piece with lyrics, once more, by Thana Alexa. Music and lyrics alike are deeply moving. Imperfect? By Ess’ own description, surely. But certainly not by much.

“Into the New World” is the final piece on the album. Kneeland lights it up alongside Penn with everyone expending what energy they have in reserve, so it seems. It is both smooth (I don’t mean that in a bad way) and it is explosive. A fantastic finale.

Gene Ess has crafted a work of wonder with “Eternal Monomyth.” Like the hero’s quest it envisions, it is a transcendent journey of the musical self—a tonal quest for beauty. It is the harmonic pilgrimage to transformation and we are indeed changed by it. In such a sojourn, those who accompany Ess—even as simple listeners—the travelers reach the destination where we understanding beauty just a little more than we did before.

Visit Gene Ess' web site at: http://www.jazzgenemusic.com/
Purchase "Eternal Monomyth" at: http://www.cdbaby.com/cd/geneess7
Like Gene on Facebook here: https://www.facebook.com/gene.ess?fref=ts

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"Surrounded by Sea"--Andy Sheppard Quartet's Tone Poem

5/22/2015

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Andy Sheppard’s “Surrounded by Sea”—his third with ECM (ECM2432) is a Jazz tone poem. Think of Smetana’s “Moldau” and you get the idea. Being English, as he states, has always made him mindful of “being surrounded by the sea.” The entire album creates that same awareness in the listened with its seascapes, folk songs and meditations.

The album begins with “Tipping Point.” Bassist Michel Benita introduces a nautical sensation with his steady line. Andy Sheppard wafts in with the tenor saxophone and a picture begins to emerge. The piece was written by Sheppard and Benita. With Sebastian Rochford’s drum interpretations, the colors even out in brilliance.

Sheppard, Benita and Rochford were the three members of Sheppard’s Trio Libero, also an ECM record (ECM 2252). The quartet now adds Eivind Aarset, the Norwegian guitarist of fame.

An astoundingly lovely “I Want to Vanish” shows the shining lyricism of Sheppard on soprano sax. Aarset’s ambient watercolor guitar and Rochford’s brushes turn this Elvis Costello piece into a work of Jazz wonder. Always a fan of Costello, I never imagined a transition like this.

The traditional Gaelic song “Aoidh, Ne Dean Cada Idir (Aoidh, Don’t Sleep At All), Part One” is arranged by the quartet. Sheppard had learned the song from folk singer Julie Fowlis and had initially planned a recording project with her, so each member of the quartet had worked their parts around her a capella version of it. Then, according to Sheppard, it became clear that this was a good quartet and became interesting in “forming a band with this line-up.”

When the quartet recorded it, producer Manfred Eicher urged them on, creating an extended piece. The whole recording of the song was then broken into three parts and was woven in and out of the other tracks.

In the arrangement of the folk song, the feel of drowsiness is palpable. Rochford’s drumming is low-key and subtle. Aarset’s guitar is awash with mood and dream. Sheppard’s soprano sax stabs at wakefulness in the most imaginative of ways.

Andy Sheppard’s “Origin of Species” follows with warmth and hope. There is an optimism in Sheppard’s changes and tones. Benita’s double bass is a procession of ascent. An exquisite piece

Sebastian Rochford composed “They Aren’t Perfect and Neither Am I.” The listener is easily taken with the rhythm section in Rochford’s altered beats and Benita’s bowed bass. Aarset’s guitar adds cleaner tones along with the odd pickings and slight distortion. Sheppard’s intonations are thought-provoking and fascinating.

Aarset and Benita briefly introduce “Meditation” (Sheppard, composer). Sheppard then joins in harmony with Aarset, who then holds the melodic lines and allows Sheppard to explore the ever-widening expanse created.

The piece begins mantra-like and then opens into wider examination and exploration for Sheppard, as Aarset and Benita hold the groove. The breathy tones of Sheppard begin to fade, leaving Aarset’s mantra in place. Beautifully done.

The second part of “Aoidh, Na Dean Cadal Idhir” follows in harmony for only the briefest of moments before giving way to Sheppard’s piece “The Impossibility of Silence.” The track has a long, quiet fade-in before the tenor sax proves the truth of the song’s title. There is a nocturnal element that is doubled by Benita’s elegant bass. Sheppard is masterful and Benita has episodes of running in lock-step harmony with the sax.

Aarset’s guitar is almost like cosmic background radiation to the works of Jazz creation by Sheppard and Benita. The track fades as slowly as it began.

Another Andy Sheppard work, “I See Your Eyes Before Me” is the ninth track and sees all four artists following separate musical pathways until all attention begin to focus into a single vision. It is an interesting and fulfilling stroll.

“A Letter” (Michel Benita, composer) has Sheppard back on soprano sax in a melancholy recitation that witnesses some of Benita’s most open and thoughtful bass work. Rochford keeps the rhythm understated with the brushes as Sheppard takes off on brief moments of fancy and wistfulness. Beautifully melodic.

Part Three of “Aoidh, Na Dean Cadal Idhir” closes the inter-weaving of the folk song. I confess to playing the three tracks (3,7,11) consecutively to hear the complete song. A thing of enchantment, to be sure, but the weaving effect is an imaginative and rewarding choice. Kudos to Manfred Eicher, producer.

“Looking for Ornette” by Andy Sheppard is probably a description of every sax player’s quest in some way or other. In Sheppard’s words, “When I composed and whenever I play ‘Looking for Ornette’ it’s exactly what I am trying to do.” Love him or hate him, every Jazz lover must come to confront Ornette Coleman. Sheppard shows why this is true.

In an album speaking of England, Andy Sheppard has brought together artists from Norway to Britain to Algeria. They have accepted and answered his vision to create the extraordinary.

The compositions and arrangements are fluid expressions of Sheppard’s main theme. The artists are well-disciplined in knowing exactly what to play and—more importantly, perhaps—when not to play. The space they create is never void but is, rather, filled with vivid expectancy. The=is quartet is the logical, even inevitable, next evolutionary step for Andy Sheppard’s musical vision and leaves a deep anticipation of what is to come.

"Surrounded by Sea" will be released on June 2, 2015.

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Jeff Richman Walks the "Hotwire."

5/21/2015

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I was all in from the start of this album—or maybe before—seeing that Jeff Richman is backed up by George Whitty on keys and the one-two punch of Jimmy Haislip (bass) and Vinnie Colaiuta (drums). That alone made me want to break into a chorus of “Hallelujah” (Handel, not Cohen). Of course, Richman's resume is long and storied and "Hotwire" (Nefer Music Records) only pads that brilliant career.

Colaiuta’s kick and high hat opened the album on “Hit Spot.” Fold in Whitty, Haislip and Richman and you’ve got the makin’s! Not only does Haislip handle to bass but produces the album, as well.

George Whitty contributes extraordinary keyboards to make any fusion aficionado stand up in salute. Jeff Beal on trumpet is a sweet addition to the track which, at 7:24, is the longest track of the album. It gives a broad vision of the shape of things to come.

“Seven Up” drops the fusion approach and becomes more melodic while that rhythm section keeps things lively. Joining Beal’s trumpet is Brandon Fields on sax and these two combine with Whitty and Richman for a little bit of a Jazz-Funk exercise.

Like all the tracks but one, Jeff Richman wrote “Chloe” and is more of a ballad which is taken up by the quartet alone. The pace is leisurely and sweet without losing itself in sentimentality. It is playful and energetic and thoughtful and, obviously, dedicated to his daughter.

Jan Hammer’s great composition “Oh, Yeah?” follows next with Jeff Lorber sitting in for Whitty. Jimmy Branly sits at the congas and the result must be exactly what Hammer had long ago envisioned. Richman is at a harmonic high and creates a fascinating version of the song with Richman taking over Hammer’s keyboard parts. A great swag track.

A complete reshuffling of the line-up occurs for “North Shore.” Anthony Jackson takes on the bass with Gary Novak on drums and Mike Stern doubling Richman on guitar. Gary Fukashima accompanies on acoustic piano and performs beautifully atop the driving rhythm section in support of Richman’s sweeping color. Josefine Löfgren provides lovely backing vocals that remind of the great vocalisations from Nana Vasconcelos. Richman and Fukashima are splendid together and equally reminiscent of Pat Metheny and Lyle Myles together.

Colaiuta and Whitty return for “One Last Kiss” with Dean Taba on acoustic bass and Mitchel Forman on acoustic piano. It is a more straight-up Jazz ballad with Richman alternating between the clean and the fuzzy so very compellingly. The support group is more subdued here as Richman takes true center-stage. There is a melancholy sweetness that is highlighted by Forman’s acoustic piano and Whitty’s swells and shimmers. So well done.

The original quartet returns with the addition of Scott Kinsey on piano for “Little Waves.” Whitty introduces a cool, churchy approach against Richman’s advancing and ascending lead guitar. Scott Kinsey’s piano gets a good solo turn backed by the staggered rhythms of Colaiuta. Jazz goes to church here.

“Solar Waves” keeps Haislip on bass but the drums are handled by George Borlai. Kinsey remains on the keyboards. The chord changes grab the listener’s attention throughout the piece. Haislip offers what sounds like a tip of the hat to John Wetton in a couple of spots. Kinsey gets some spotlight time and holds the door open for Richman’s coolest moments. The coda is smoking hot.

One of the most well-crafted pieces on the album is “Golden Arrow.” The core musicians are back with Beal on flugelhorn. The pearl-stringed doublets create a nice groove and Beal lights it up with that flugelhorn. Enter Jeff Richman who takes complete command. Haislip rejects the doublets and maintains a steady stride behind the theme, in step with Colaiuta.

It is a piece that seems predictable but the switched up drum patterns and bass runs stagger against the melodic line and creates something unexpected. Beal is fascinating in his pacing with Whitty and Richman. It is perhaps his standout moment on the album. It is also one of Richman’s greatest moments in an album full of great moments. The composition itself is a monument.

The album concludes with “Miles Per Hour.” The line-up for the finale is the same as on “North Shore” with the sole omission of Josefine Löfgren’s vocals. The title is probably in reference to Richman’s son named Miles.

It is a fun and raucous romp with exciting rhythms and Richman himself cutting swaths of merriment throughout the piece. The rhythms are more straight-forward here which allows greater emphasis on the melody and harmonies. A nice closer.

“Hotwire” is Jeff Richman’s seventeenth album as a leader and is as exciting as anything that has gone before in his 35+ year career. It is another grand meeting of compositions and performances. The supporting artists are absolutely top-flight and they are spot-on for Richman’s compositional mastery. Richman assumes whatever role the piece requires—lead or support—and the music is allowed to truly shine through. Fortunately, he has the virtuosity to meet or even exceed his writing brilliance.

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"Eternal Monomyth"--the Hero's Journey of Gene Ess.

"Surrounded by Sea"--Andy Sheppard Quartet's Tone Poem

Jeff Richman Walks the "Hotwire."

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