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Jawanza Kobie's "Feels Better Than It Sounds" Feels and Sounds Incredible.

10/30/2013

Jawanza Kobie has just released one of the most enjoyable albums of 2013. All of the ingredients are there for the compositions themselves to be heard as they should be. There is no distracting standout that draws away from the pure sound that the listener is meant to hear. There are no flaws in recording or performance.

Jawanza Kobie intends for you to hear his compositions and that is what you hear. The balance between the musicians and the music is so well struck that the hearer is not left with the memory of a performance but rather of what was performed.

As a young boy Jawanza was taken with the music of Beethoven, Gershwin and Copland and began to study piano at six years of age. He had listened to the Jazz that his father showed him and was influenced by Oscar Peterson and Ramsey Lewis. Later his influences included Chick Corea and Herbie Hancock in Jazz plus the Beatles, Sly & the Family Stone, Bob Dylan, Quincy Jones and more.

He learned to chart his own music at nine and, as a teenager, studied music at the famed Settlement Music School in Philadelphia where he was first introduced to theory and composition. He earned his Bachelor’s degree in composition from Berklee College of Music where he lead a Jazz-funk big band. After graduation, Jawanza taught music and worked as a songwriter and producer.

Now,and finally, Jawanza has released his debut album featuring his own compositions. He is joined by brilliant musicians and together they bring to glorious light what has heretofore been in the shadows--the compositions from his own pen. The album is “Feels Better Than It Sounds” and was recorded during 2012 and released on January 15, 2013.

Perhaps intended to be a play off Mark Twain quoting Edgar Wilson Nye's remark that "Wagner's music is better than it sounds," Jawanza's title is a spot-on comment about the beautiful feeling of the music on this album.

The lead-off piece is entitled “Monk.” The groove is not the Be-bop you might expect but is instead a cool funk groove. Guitarist Buddy Frambo cuts through with equally cool jazz-funk licks and, on occasion, recalls lines from the Jackson 5’s “Dancing Machine.”

When it is Jawanza’s turn, however, the piano is straight Jazz on top of all that funk. His synth horn blasts serve as punctuations in this lyrical lecture on how to make the listener indeed feel good.

The rhythm section of Webb Thomas (drums) and Lee Smith (bass) keep the drive alive and interesting. “Monk” is a great hook for the rest of the album.

“A Pineapple Between Us” follows and it feature3 great horn work from Dwight Sutton (trumpet) and Terry Thompson (also sax). Fambro’s guitar again presents a splendid dialogue with Sutton’s muted trumpet. The quick time signatures enhance the post-Miles fusion atmosphere. It is a fascinating piece that quite simply enthralls the attention.

The third track is “The Dancer” and opens with Jawanza’s solo piano before being joined by the rhythm section. It has a light and cheerful Vince Guaraldi feels to the introduction then builds on that into the swinging Jazz trio before Jawanza backs away with the synths only to return to the piano for the uplifting close-out. The just might be my favorite track on the album.

“Webb T’s Blues” brings back the horns. Thompson’s sax just wails and Sutton’s trumpet soars. Webb Thomas’ drumming is incredibly rich and deliberate. The 6/8 waltz pacing of Jawanza’s piano has a gospel groove going on with Smith’s beautiful acoustic blues bass lines.

Some of the finest changes of the whole album are heard in “Can’t Take the News.” Bruce Middle weaves a double-helix of delicate and destructive guitar. Dexter Sims appears for the first time on this track and his approach to the electric bass is more aggressive which is perfectly suited for his interaction with Middle. Jawanza’s keyboards are almost majestic in the broad and climbing crescendo to the end.

It is almost impossible to say enough in praise of “A Good Day.” It is inspiring and encouraging and grateful. The only group who consistently creates such an atmosphere of pure joy is Spyro Gyra. That is not a comparison of the music as much as an association of emotion.

Thompson’s alto sax delightfully textures the happy swing of Thomas and Sims. Jawanza brings the jazzy piano with the percussion of Leonard Gibbs and creates a breezy jazz of jubilation.

“They’ll Only Know What You Do” is the only track to contain vocals on the album with Devon Patterson taking the lead vocals. Backing vocals are provided by Karen Domino White along with Jawanza himself.

The piece brings back Lee Smith on bass and introduces guitarist David P. Stevens in his only appearance on the album. His Carlos Santana-style guitar is so very appropriate to the drift of the song.

The piano-bass-drums are the focus of “Rare Bird Ballet” featuring Leonard Gibbs on percussion once more. It is a Latin swing that shows just how broadly influenced and nuanced Jawanza is as a composer. The employment of those Latin rhythms with the synths brings to mind the early albums of Patrick Moraz. Jawanza, however, brings a reverent maturity that escaped those early Moraz recordings.

Perhaps the most brilliantly constructed piece on the album is “Night Shift.” The galloping bass and steady ride cymbal underscore the piano’s warm chord structures as the guitar glides over all. As beautiful as Bruce Middle’s guitar is, it is the exquisite keyboards that are the most rewarding.

To my mind, this piece in particular reveals the man Jawanza Kobie. It is almost agonizingly beautiful in the chord changes. It is also open to the work of the fellow-musicians. It is democratic in its division of the attention.

The gentle loveliness speaks of a soul full of joy and kindness. This is not the sappiness of “smooth jazz”; it is the triumph of a thankful spirit. I confess. This is my very favorite track on the album and I think I listened to it about six times in a row. I can’t get enough of this very touching piece.

“Carnival de la Samba” is the album’s closing track. Buddy Fambro takes up the acoustic guitar for his role in the samba and he executes exceptionally. The rhythm section of Thomas, Sims and Gibbs carry off the support extremely well as Jawanza provides a sweeping keyboard that is both broad and profound.

The point of the album was not to highlight Jawanza’s splendid skills on the keys; it was to offer a showcase for his incredible composing. The heart of Jawanza Kobie is laid bare on this album and it reveals a warmth and generosity and affection that is touching.

The album itself is sailing, soaring and spiritual in all the right ways. And maybe, just maybe, it “feels better than it sounds”... but it sounds so good.

"Feels Better Than It Sounds" can be purchased at cdbaby.com, Amazon.com or on iTunes.

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"Roots Run Deep"--meaningful metal from Pseudocidal.

10/28/2013

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Pseudocidal began when Kevin Montgomery and Jeff Divoky were friends in high school. They dreamed of being a metal band even back then--now over 20 years ago. They played in the shed and found their sound. They remained friends over the years, played when they could and kept waiting for the day. That day is today.

According to Kevin, Jeff send him some rough charts of songs that Jeff had written and the Pseudocidal phoenix caught fire again. Anthony Petrizzo (drums) and Jay Thomas (bass) got on board quickly and they got a couple of tracks recorded that were released in October of 2012, one (“Vigilante”) as a video release. Finally, however, the EP is complete.

“Vigilante” is the anchor track of the whole album. The video release on October 26, 2012 was very well received. It is an excellent lead-off for the whole disc.

The song itself opens with Jeff’s guitar giving the “roar of the minotaur.” It turns into a good riff to pave the way for Kevin’s vocals. The lyrics are drawn from images in Greek mythology but are well-suited and intended for the 21st century’s revolt against the greed of financial institutions--the modern Minos.

“Open Palm/Closed Fist” continues the metal drive behind the intelligent and meaningful lyrics that are reminiscent of the Doors, if Jim Morrison had been backed by Metallica. Jeff Divoky has great moments and good hooks. JT and Anthony create a cool groove and these guys stay tight in the pocket.

While “Bomb, Bullet or Knife” is a hard grind on the moral disintegration that is all-too-often inescapable in the experiences of the individual soldier. It is not callous; it is tragic.

In “Renunciate” there is an occasional hint “Iron Man” in the chord shifts without being the least bit derivative. In fact, this is much of the fascination of the recording; it honors early-era metal without being restricted by its history. It is a blast into 2013 from a 1990 launch-pad.

A beautifully vicious account of historiography is found in “Timeless.” A great groove pushes Jeff into rocking this like a monster as Kevin growls in aggressive understanding, “Push out, Breathe in, Cycle back just to begin again.” The rhythm section is flawless in the execution of pushing the music forward.

“The Dogs of Pompeii” is another exposition on learning from history. Jeff skitters his lightning-effect guitar and creates an imagery that illuminates Kevin’s vocals. The song was recorded as a demo but it is extremely well-suited for inclusion on this album.

The whole recording is a display of instrumental ingenuity and vocal/lyrical honesty and transparency. This is what keeps metal alive now. It is a fresh view on the original form and performance that keeps this genre interesting and inspiring.

This is not sentimental emotionalism--it is sensory explosion that speaks from the heart and, more importantly, from the gut.

Pseudocidal's "Roots Run Deep" can be purchased here: http://www.cdbaby.com/cd/pseudocidal2

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What time is it? According to Osmany Paredes, it is "Trio Time."

10/26/2013

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Osmany Paredes Gonzalez is a pianist, composer and arranger. He calls himself a jazz player with a Latin secondary focus. He has woven together his jazz and Afro-Cuban roots into a fabric that is not soon separated from each other.

He is Cuban-born and began his musical education at the age of five--taught by his father Guillermo Paredes. Guillermo schooled his son early on about Afro-Cuban rhythms. At eight years of age, Osmany began his formal education in classical piano.

He graduated with honors from the renowned National School of Music in Havana in 1991.It was playing with the charanga group Orquesta America, the jazz group of Bobby Carcasses and later the charanga group Orquesta Enrique Jorrin that really gave him his education in Cuban music, jazz and performance.

Osmany moved to Mexico in 1992, playing with various artists and groups in many Jazz festivals throughout Latin America and Europe. In January of 1998, he recorded his first Latin Jazz CD in Mexico entitled "Osmany Paredes con Menduvia.” He moved to the United States in 2003 and now lives in New York City.

In March of 2013, Osmany recorded his first trio album at Sala De Audio in Mexico City. This album is entitled “Trio Time.” Osmany on piano is joined by Jorge Molina on bass and Giovanni Figueroa on drums. Seven out of the nine tracks are composed by Osmany himself.

The album opens with “Tumbaito Pa’ Ti” and a cowbell and solo piano introduction before the bass and drums kickstart the trio. It is that delicious piano-bass-drum sound that so rewarding. This is one such instance. Jorge Molina’s bass is in the deep background and creates more of an augmented piano sound instead of separate piano and bass. Molina sounds like Osmany’s left hand here, while Giovanni Figueroa shows his percussive virtuosity right from this very first track.

“Crossing La Alameda” showcases the emerging trio and they are in sweet unison. Molina’s solo is understated and elegant. Figueroa’s short drum solo is a glimpse of things to come and creates an expectation for more.

The third track is entitled a “Simple Waltz for My Son.” It is a charming melody. The rhythm section creates a sturdy baseline for Osmany’s excursions. That capticvating melody is developed sweetly and emotionally. Easily the most emotional piece on the recording. The coda winds down until you hear Osmany’s son calling out to him. Like I said--charming.

A cool Jazz vamp on top of impressionistic chords, “Improv 2013” is proof that Osmany cannot give up cold turkey on solo piano. This is a quick Jazz venture that rapidly enthralls the listener.

“La Tedezco” is the first track not from Osmany’s pen. It is a danzon composed by the creator of Cuban musical nationalism, Manuel Saumell. Saumell almost prophetically established those Cuban rhythms that would become the for all Cuban music that would follow after.

Osmany takes Saumell’s piece and recreates the classical composition into a Jazz juggernaut. The rhythm of the danzon is faithfully rendered by Giovanni Figueroa. A good suggestion is to hear the track and focus on the rhythm section first, then hear it again with the melody on top.

The sixth track is “A Song.” The title can’t be much more minimalistic but the piece itself is anything but minimalistic. Molina and Figueroa swing like they mean it, and turn in some of their best work on the album right here.

Molina lays down a melodic bass solo that is lyrical and not all punch and run. While not really soloing on this piece, Figueroa delivers what has been expected and he gives with both hands.

Perhaps the most engaging, endearing and enthralling piece is “Boston Nights.” It is almost Gershwinesque in its elegance and beauty. It is the longest track on the album and it should be. The hot rhythm section lays low for this piece and this truly serves to elevate the loveliness of the melody above all.

Molina’s bass solo does not betray the fragile beauty of the melody. He takes a sideroad, to be sure, but it is only to allow a sidelong glance at the melody that returns with Osmany’s piano. It is a sweet melancholy.

“Winds of L.A.” has Molina and Figueroa holding down an extraordinary groove and keep holding it even after Osmany’s piano joins in. The piano is almost the servant of the rhythm section in this piece. The listener’s attention is constantly pulled to the bass and drums. The piano is quick and engaging but it works its own magic below the surface of the groove. Cool syncopated moments highlight the end of the piece.

The album ends with a dual composition by Sindo Garay and Manuel Corona. These two were both trova artists and rivals. Taking a composition from each of them, Osmany combines them into a dialogue.

The trova style began in Santiago, Cuba and was characterized by singing one’s own compositions, accompanying themselves on guitar and treating the piece poetically. Osmany certainly does the last of those three, treating these forebears of Cuban music with great poetry and praise. The music that was produced by rivals has been diplomatically woven together to create a harmonious unity of opposites.

Osmany himself has created an album of the most genuine and emotional charm and beauty. This album does not move one to tears; it is not that kind of emotion, even in its most melancholy moment. Rather, it moves the listener to smile a smile of satisfaction.

"Trio Time" can be purchased here: http://www.cdbaby.com/cd/osmanyparedes

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The Rhinebeck Sessions by Spyro Gyra

10/19/2013

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There is really no band out there that can produce a sense of pure joy as consistently and as often as Spyro Gyra and they have been doing it since their 1977 self-titled and self-produced first LP. That album would later be re-released under the Amherst Records label and would make it to Billboard’s Top 40 Jazz albums of 1978.

Spyro Gyra has gone through many personnel changes but Jay Beckenstein and Tom Schuman have been on every album and Julio Fernandez has been with them since 1984. Scott Ambush joined them in 1992 with Lee Pearson coming along in November of 2011. “The Rhinebeck Sessions” is the first album for the current line-up.

After repeatedly charting in Billboard’s Top Jazz Albums, their Grammy Awards (4) have been in the Best Pop Instrumental Album category. A bit perplexing since they have constantly employed the best Jazz musicians as session players: the Brecker Brothers, Steve Gadd, Tom Scott, Marcus Miller, Toots Thielmans and so many more.

It was the live band, however, that was the true core of Spyro Gyra. Staying with the core has been the band’s best strategy since 1999’s “Got the Magic” album. Aside from guest vocalists, it has been just the quintet who have done the studio work, as well. The once-divided aspect of Spyro Gyra has been replaced by a unified sound both live and in the studio.

Few sounds “just feel good” as does Jay Beckenstein’s sax alongside Tom Schuman’s keyboards. However, add Julio Fernandez’ guitar and Scott Ambush on bass with Lee Pearson on drums and the feeling can only be described as “Ah, Spyro Gyra!”

And that is just the feeling with the album’s opening track “Serious Delivery.” Those splendid Afro-Cuban rhythms--so well done by Lee--plus the Latin changes and runs have led those of us who grew up in South Florida to adopt them as our own; they sounded like they came from Miami, not Buffalo. There is a beautiful piano solo that is just captivating and Tom knows how keep the listener always wanting more. Julio grabs a couple of brilliant guitar solos and Jay weaves in and out in well-positioned sax interludes. All in all, this was a hot start to a wonderful album.

“Wishful Thinking” begins with that cool keyboard, bass and drum sound that is supported by Julio’s scratchy guitar. When Jay’s sax joins in, the swing is well-established and he stands right atop it. This is the “hold-your-baby-close” number on the album. The groove is light-hearted, even wistful. I deliberately avoid using the term “smooth” and you know why. Whatever term, it is sweet.

Perhaps it was the intimate setting of the studio in upstate New York or just the long association of brilliant musicians but there is an intimacy that emerges that is warm and welcoming. The album takes on an atmosphere of being entertained by close friends in a living room.

“Not Unlike That” is punchy with Scott Ambush’s slap-funk staccato. While some bassists may be accused of using that technique to masquerade a lack of talent, Scott uses it because it is appropriate to the percussive needs of the composition. Scott’s techniques and stylings have always been song-appropriate. The piece also has those signature sax-keyboards moments of being in lock-step between Jay and Tom wherein Lee again shows his unique contributions to a band accustomed to great drummers. Hidden beneath all of that, listen to Julio’s flawless timing of guitar support with a splendidly understated but oh-so-clean solo. Scott’s slap-funk solo brings the listener out of their seat and the unified march to the end is almost rapturous.

Julio introduces the next track with his own R&B guitar. As cool as the title suggests, “Sorbet” puts forth a syncopated backdrop from the rhythm section for Tom’s Fender Rhodes-sounding keyboards. Julio’s guitar lead follows after the keyboards and is in turn succeeded by Jay’s sax lead, all with Scott and Lee keeping the groove intact.

Once Jay takes back that lead, the other four musicians continue to build on what has gone before. However, it is Julio who just owns this piece. I mean, he just owns it. The song fades out the way it was introduced--with Julio’s snappy guitar. Clean as a whistle.

Lee opens “I Know What You Mingus” with chops to equal the great Dannie Richmond from the Mingus bands. Jay alone joins Lee for the first bars until the rest of the band hops on-board this lively piece, a piece that contains exciting piano leads, some of the jazziest percussion, a cool andante bass and that roaring sax.

It has been rightly said that it is impossible to explain Charles Mingus. One thing is assured, though, and that is that Spyro Gyra understands the feel of Mingus. This isn’t a tribute to Mingus or a cover of a Mingus piece. It is a celebration of the sound of Mingus as performed by seasoned Jazz musicians who have developed their own unique sound and who have employed that sound to praise another.

The Clubhouse Studio in Rhinebeck, NY

While the addition of Lee Pearson was greeted with high expectations, after hearing this album one would think that it should have been heralded by angels from on high. Especially on this “I Know What You Mingus.”

“Off the Cuff” is a showpiece for some of Jay’s hottest sax work. There is a hard drive to the introduction and that is relieved by the gentleness of Tom’s piano followed by the deliberate delicacy of Julio’s guitar. Jay’s sax slides back and forth between the glide and the grind. While Tom’s keys maintain the sweetness of the piece, Lee’s drumming creates its own melodic intent next to Scott’s argumentative bass. The debate between the musicians in “Off the Cuff” indeed carries extemporaneous moods and expressions--declamation to dialogue to diatribe to denouement.

Julio opens “Clubhouse Jam” with cool funk and the rest of the group falls in line. The “Clubhouse” is a reference to the Clubhouse Studio in Rhinesbeck, NY and thus the title of the album “The Rhinesbeck Sessions.” This is the track wherein Julio works the hardest. But there is an open-endedness in the approach from sax, keys and guitar and--like a good jam should--the trades are generous and energetic.

But that rhythm section! I should come clean that Scott Ambush is one of my favorite bassists. Now to hear him with Lee Pearson...well, as Lee would say, “To God be the Glory.” There is indeed a musical-spiritual harmony between these two that is so clear, so close that it is almost like telepathy. The steadily shifting times provide ample example of that single-mindedness between them.

Julio gets great moments again in “Odds Get Even.” The title may be a nod and a wink to the Shadowfax song “The Odd Get Even” which has a similar feel on an emotional level. Alternatively, perhaps it is simply a reference to the changing meters of the tune that go from odd times to even times. No matter, it is a brilliant piece for Julio’s licks. Jay is always so lyrical in his tone and phrasing and he is no different here. It is a demanding piece that is handled with precision and perfection.

This is almost the quintessential Spyro Gyra piece. Dynamism, lyricism, virtuosity and volatility, throw in a European police siren phrase and this song displays everything beloved of Spyro Gyra. This is beyond entertainment; it is enlightenment. The one with ears to hear cannot remain unchanged.

The album closes with “Who Knew!” It is a quirky tuned and timed piece which also exhibits masterful self-control in the understatement of each musician. The song has instances of surging like it is about to take off but is then reined in again while, in the background, someone is laughing like a teaser. The discipline is required of the player and the hearer as the jester/composer mocks everyone. Very intriguing.

With “The Rhinebeck Sessions,” Spyro Gyra have reached another mile-marker. They have never disappointed. They have often surprised. They have always delighted.

It began with “Shaker Song” from the 1977 LP and seeing a fresh, energetic group in August of 1978 at the Renaissance Plaza Hotel in Detroit. Move forward 18 years to “Westwood Moon” from “Heart of the Night” and hearing a much more experienced band at Chastain Park in Atlanta in 1996. Then another 14 years before “What It Is” from “Down to the Wire” and seeing a greyer, older but incredibly more intuitive and interactive band at Esther Short Park in Vancouver, Washington in 2010.

I confess. I have admired Spyro Gyra since that very first song on the very first album through every single one of the albums since. I own them all. They have brought joy where there was none. They have grown, they have changed and they have changed me.

"The Rhinebeck Sessions" by Spyro Gyra can be purchased here.

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Arborescence--the solo debut album from Aaron Parks (ECM)

10/13/2013

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Aaron Parks’ ECM debut “Arborescence” is like Galahad completing the quest for the Holy Grail. It is ultimately about finding oneself in the right place at the right time with the right heart. Parks belongs at ECM Records and this album proves it.

Aaron Parks was a child prodigy, attending the University of Washington with a triple-major in Mathematics, Computer Sciences and Music. Now consider that he did this at the age of fifteen.

He has taken third place at the Jas Hennessy Piano Solo Competition at Montreaux, third place at the Thelonious Monk International Jazz Piano Competition and was the champion Cole Porter Fellow of the American Pianists Association. He has appeared as a sideman for Terence Blanchard five times (three of those on Blue Note Records) and with Will Vinson , Mike Moreno, Kurt Rosenwinkel, Christian Scott and with Joshua Redman on the “James Farm” project. His first album as a quartet leader was on 2008’s “Invisible Cinema.”

Finally, Parks has released his first solo album, to be released October 15, 2013 from ECM Records. The album was recorded at Mechanic’s Hall in Worcester, Massachusetts. The low lights and warm acoustics were essential for this November, 2011 recording.

Parks lists his influences as Paul Bley, Ran Blake, Bela Bartok and Herbie Hancock. Then there is the unmistakable influence of Keith Jarrett. That sweet influence is evident from the first track.

That opening track is “Asleep in the Forest” and is a perfect example of why the album is called “Arborescence” with its aspect of growth, seeking and adaptation. The pieces are developed in the moment like “living things,” as Parks himself puts it.

There is a fluidity in the movement of the piece but also created is the feeling of repose and reflection. This music--indeed the whole album--is personal and introspective. That feeling is carried on in “Toward Awakening.”

The barely audible humming from Parks emerges from the sense of aloneness but it is accompanied by inspiration as the modulations create the a feeling of gratitude and achievement. Perhaps this is Parks’ most Jarrett-like moment.

Aaron Parks

The retrospection continues in “Past Presence” where the mood shifts from joy to melancholy like a slideshow of faces and events recalled to mind. Followed by “Elsewhere” which moves the listener to a contemplation of possibilities as shown in the measure-long shifted treatment of Beethoven’s “Ode to Joy.” This, however, is a thwarted look at joy.

“In Pursuit” creates the very imagery of chase. Whereas woodland creatures may be conjured in the mind, the pursuit is onward-drawing and bold. Parks speaks of the flow of this album in his description that “it often felt less like conscious intention and more like something half-dreamed, half-remembered.”

The left-hand chords of “In Pursuit” take on a majestic feel succeeded by the right-hand arpeggios which force a circular sensation. The pursuit, in other words, is unending and recalls the words of the Zen roshi who says “the journey is the destination.”

A delightful, playful quality is portrayed in “Squirrels.” It is charming and peaceful with that “half-remembered” quality while “Branchings” has more of the “half-dreamed” feel. Parks’ vocalizations weave in and out like talking in one’s sleep.

“Branchings” begins with a four-note motif that is modulated in the left hand throughout the body of the piece only to move back to the right hand. That motif slowly fades until on the first two notes of the motif and played and fade, like reaching the end of the branch. A brilliant track.

A mesmerizing, if not enchanting, susurrus is developed in “River Ways.” Soft and delicate, it is the stuff of meditation. That delicacy is brought forward and expanded in “A Curious Bloom.” There is a true sense of wonder and inquisitiveness in this exploration of tone and phrasing. It is the touch and not the melody that is on display here. Where touch is usually the servant of the melody, the reverse is true on “A Curious Bloom.”

“Reverie” is reminiscent of another of Parks’ influences being Bela Bartok’s traditional Hungarian folk songs of the early 1900s. The dream-like dance is gorgeously presented here.

“Throughout the recording,” Parks explains, it “was a priority for me, that quality of being open, of being open to possibility, wherever it took me.” That priority is nowhere clearer than on “Homestead,” the final track of “Arborescence.”

There is indeed an exquisite openness. It casts a wide view on endless possibilities, on limitless vistas
of still-possible dreams that begin at the homestead--that leaping-off point between unfulfilled past and bright, unrestricted opportunity. It is Galahad come to Camelot.

"Arborescence" by Aaron Parks can be ordered here.

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"Shadow Man"; the new album from Tim Berne's Snakeoil (ECM 2339)

10/9/2013

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Composer-saxophonist Tim Berne’s acoustic quartet Snakeoil was greeted with almost universal praise for the self-titled release of their first album in 2012. With such an enthusiastic reception of the debut album, the second album needed to rise to the enormous expectations—and it has done just that.

It has been said that “Snakeoil is a band that loves to rehearse, developing and honing Berne’s exacting compositions to the point of second nature.” For musicians such as Berne (alto saxophone), Oscar Noriega (clarinet and bass clarinet), Matt Mitchell (piano, keyboards) and Ches Smith (drums, vibes and percussion), perfection is not enough; it must be perfection-at-ease. It is exactitude and precision that has disciplined to the point where freedom and improvisation can be trusted.

With that trust, Berne can compose for his fellow musicians with complete confidence and no restrictions. Those compositions are excruciating in their demand but these four have taken complete ownership of the pieces.

His albums before these were almost always in live settings where that "comfortable perfection" was achieved. After the first Snakeoil album—a studio recording—Berne has continued the studio recordings for ECM where that quality continues on "Shadow Man." Produced by Tim Berne and David Torn and engineered by Joe Branciforte, this is a crisp and distinctively understandable recording. Berne says that "Shadow Man" was recorded with the aim of “capturing what we sound like live, except with studio-quality sound so that you can hear detail in the writing that often gets lost in a live setting,”

The album begins with “Son of Not So Sure” (Berne, composer) as pianist Matt Mitchell follows Ches Smith’s percussion lead-in who later moves to vibraphone and back to percussion. This piece is the jazz of rhythm.

“Static” is a Tim Berne/Marc Ducret piece. The trading between Berne and clarinetist Oscar Noriega is an adventurous launching into the deep as Mitchell and Smith allow the reeds to broaden the acopustic horizon. Mitchell’s piano-work is particularly fascinating with ita heavy percussiveness. Ches Smith, meanwhile, creates a spray of rhythmic color between drums and vibes while never over-playing.

Paul Motian’s “Psalm” is played so openly, even expansively, that it creates a meditative—perhaps mesmerizing—air of thought and imagination. For fans of Motian, the Snakeoil interpretation is a reverent but well-interpreted treatment.

“OC/DC” (Berne, composer) is the first of the extended pieces, coming in at 22:55. The trembling bass clarinet is a brilliant interpretive instrument. The song is built on a groove that is so intuitive that it fashions a quality of inevitability. Berne breaks from that groove only to reinforce the power of it.

Guitar virtuoso and teacher Jay “Bird” Koder instructs “Think about what you want to play, then DON’T.” So often in “OC/DC” you can almost hear what Smith wants to play but doesn’t. “That,” says Koder, “is how you create space for other players.”

Noriega’s intriguing clarinet solo is another walk-off that brings sax and piano in tow. The discipline is immeasurable. Smith sits out the third quarter of the piece but returns with industrious rhythms that literally steal the attention in what may very well be the linchpin of the whole album.

Matt Mitchell’s piano solo introduces “Socket.” Another extended work (18:52), Mitchell carries the heralding solo for two full minutes before being joined by drums and reeds. The synchronicity of sax and clarinets leads one to believe that one heart must be driving them or at least—as Jung would have it—an “acausal connecting principle.” That connecting principle is the same inevitability as mentioned before.

Smith and Mitchell craft some of the most powerful rhythmic structures of the whole album on this piece. Mitchell is brilliantly melodic and percussive at the same time. Smith’s high-hat solo is something not seen since Max Roach.

It is also on “Socket” that Noriega offers some of his most captivating solo work. The fade-out is almost Afro-Cuban in its rhythmic intensity and variation. At 18:52, “Socket” is exactly as long as it needs to be.

The album closes with “Cornered (Duck),” another Berne tune, featuring the bass clarinet alongside the alto sax. This is where Matt Mitchell has his best moments, especially as supported by Ches Smith. Mitchell and Smith are in harmony together no less that Berne and Noriega. The feeling is that this is an album of duets by duos.

The four come together again after the 10:00 mark and that hard-groove carries them all to the end. It leaves the hearer saying, “What? No! It can’t be finished!”

The sound quality really is amazing, but then nothing less would be expected of Berne, Torn and Blanciforte (himself a drummer and composer).

ECM has struck gold again.

“Shadow Man” can be purchased here: http://www.amazon.com/Snakeoil-Tim-Berne/dp/B0066GT7CY

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"Zero Cool" by SHARP THREE

10/1/2013

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SHARP THREE is the trio comprised of guitarist Goh Kurosawa (guitars), his brother and co-founder Kai Kurosawa (basses) and Chuck van Haecke (drums and percussion). Goh has released three previous solo albums—the latest being 2013’s “Energy”—while SHARP THREE has released one previous self-titled album.

While Goh’s solo releases have been magnificent essays in expanding musical influences and interests, the collective efforts of SHARP THREE have, on this album, crossed those borders without a passport; you can't tell where they are coming from or going to.

As has been often stated, Goh continues to transcend genres and styles. His music and that of SHARP THREE can truly be called—not World Music—but Global Music. The same can be said of Kai Kurosawa and his writing. World Music is music from various parts of the world, referring to the collective of African, Brazilian, Arabic, Japanese Music and more. The music of SHARP THREE is a sonic offering from all those influences to the world.

However, at the heart of SHARP THREE is the precision, technicality, emotions and traditions of Japan. Goh has been called a “Musical Wakonyosai,” meaning one who retains the heart and spirit of Japan while discovering the world. An interesting linguistic note is the inclusion of “Wa” in the phrase; “Wa” meaning “unity.” For Goh and SHARP THREE, unity is the essence of music and life—unity of purpose and unity of heart.

The album opens with a Kai Kurosawa composition entitled “Away.” Kai starts it off with a delicate look homeward. Goh carries the rhythmic line as Kai’s bass introduces the melodic line. Kai’s bass instrument of choice is the 24-string Beartrax “Big Mama Bear” that Kai himself designed. It is best described as a Chapman Stick on steroids.

Goh Kurosawa

Goh and Kai exchange leads in a tug-of-war between them like the emotional gravitational pull exerted from both home and destination simultaneously; the pull of old-home and new-home. All the while, Chuck van Haecke creates a wafting of cymbals that separates the two guitars like the waves that separate Japan and America.

There is a great explosion of gear-work on “Boom!” The pedal effects, the rhythms and the bass lines forge what can only be called “techno-prog.” This song—a Goh composition—is the love child of King Crimson and the Chemical Brothers. In the midst of all that, Chuck finds the groove and anchors the movement of Kai’s thunderous bass-work.

Goh explains, "For the musical mathematicians, it is in 15/16 for three bars then a bar of 7/8. Kai plays that twice before the drums kick in."

The solo improvisational "explosion" at the end is all Kai. He is actually holding down the bass line at the same time. Goh says, "As far as I know, he is the only one alive who can play this way on a stringed instrument."

From the court of the Crimson King, we are led to the streets of Rio de Janeiro in another Goh song, “Danza Samba Ganva.” Goh picks up the flamenco guitar and—with Chuck and Kai—they create a combination of Brazilian samba and Central African rhythms. The result is a dance for the nations with the emotional attraction of all the souls in the world in liberating unity and celebration.

“Lullaby for a Content” is from Kai’s pen and his skill with the 6-string bass proves that Kai is not a gear-head who relies on technology but rather on technique, not machinery but musicianship. The piece is a bluesy rejoicing that, despite the title, is not relaxing but quickening and affirming. The song is like reading Tolkien before bed-time; the imagination is set to wander the loveliest paths of the mind.

Kai Kurosawa

The fifth track is Goh’s “Believe.” The introductory sitar-guitar riffs recall Steve Howe’s opening of “And You and I” by YES. In fact, the whole piece sounds like it belongs on “Tales from Topographic Oceans.” At 12:02, it is the longest track on the album but is still too short.

It was written shortly after the March 11 earthquake in Japan. Calls call it his "hope for for Big Happy Energy."

“Nina” follows quickly on the heels of “Believe.” It is fast-paced with an almost retro feel as if influenced by 1960s music—and that is not a bad thing! It is almost like Santana meets…well, Santana. It catches the listener from the first notes and holds on relentlessly until the very last note.

A Goh composition, “Nina” features a superb rhythmic backdrop created by Kai and Chuck that really swings. It was always obvious that Chuck van Haecke was an excellent drummer but he is truly stunning on this song.

“Purple Monk” (Kai Kurosawa, composer) shows Chuck again laying down a cool jazz groove that paves the way for a brilliant fusion track that is precise, propelling and poetic. Kai’s bass-line is intriguing and sets the hook deep. Although sounding like a mixed-meter piece, it is almost entirely in 9/8.

Chuck van Haecke

Goh returns ever-so-briefly to the electric guitar on Kai’s “Lovely Youth Square.” It is an introspective and melancholy stroll. Chuck’s brushes and Kai’s harmonic bass are perfect compliments to Goh’s touching bluesy guitar. A lovely andante ballad.

The final track is Goh’s “Chikara” meaning “strength.” Goh picks up the flamenco guitar for only the second time on the recording which may very well be his strength. There is an elegance in this strength. This is not the power of aggression; it is the power of discipline. The very distinctive discipline found in SHARP THREE is nowhere more evident that on this, the last piece of such a mesmerizing, charming and intriguing album.

The entire album is like the spinning of an elementary school globe with small fingers tracing the paths of places we want to visit and explore and taste. From America to Brazil to Africa, Spain, India and finally to Japan, SHARP THREE has proven to be the most magnificent of guides.

The album is set for release on Wednesday, October 2, 2013. And if you thought this was fun…now watch the DVD. The DVD contains four bonus tracks. Listen to the CD, then watch the DVD.

“Zero Cool” by SHARP THREE on Onigawara Records. Available at: http://sharpthree.bandcamp.com/

SHARP THREE

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