Aram Shelton

Johnston/Shelton/Mezzacappa/Nordeson: Cylinder

This disc features Aram Shelton, leader of his own fantastic release from 2011, and the exciting trumpet player Darren Johnston. It has many great moments, and from track to track is as good as anything that has been produced in recent years, but taken as a whole statement, an album rather than a set of cuts, the parts don’t quite mesh. As fine as “The Deep Discipline “ or “ Sink Town“ are, their juxtaposition saps some attention and energy from each.
http://rcm.amazon.com/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=thbicibl-20&o=1&p=8&l=as4&m=amazon&f=ifr&ref=ss_til&asins=B004PCIC8Q

Cylinder is a cooperative group, which is a strength and a weakness. The former is displayed in how finely they player together, how powerful the support and communication between each is. The weakness can be heard in that there seem to be at least three different records here, each making a strong statement. As sympathetic as the parts may be to each other, there is a disjointed feeling in listening, as the music goes from AACM style free-roots playing to music that comes out of the legacy of the more modern blues-with-composition ideas of some of the great mid-1960s Blue Note records. Full of great material and eminently promising; I’d like to see this group find a little bit more mutual focus, then look out.

2011 Year's Best Jazz

This list is adapted from the ballot I submitted to Francis Davis for the 6th Annual Jazz Critics poll, which will be hosted at Rhapsody this year. I’ve consolidated his categories into one, and since opinions change with greater knowledge, I’ve rearranged the rankings after a couple of additional weeks of experience. The first four selections in particular I want to separate out as meriting extra attention for their deep ambition, as well as their sheer musical accomplishment.

1. Goldberg Variations/Variations, Dan Tepfer: Beautiful Bach playing, beautiful improvising, beautiful musical thinking. The range of expression and ideas is thrilling. The album of the year, across all genres.

2. Art of the Improviser, Matthew Shipp: Deep, gnarly, brilliant. An exploration of what this music is all about, not just idiomatic jazz but improvising in general. Shipp has been arguing with the jazz tradition for quite awhile, and this feels like hearing an artist fighting for and experiencing enlightenment.

3. Heart’s Reflections, Wadada Leo Smith: What a year for Leo Smith, book-ended last week by the release of his new, terrific disc from his Mbira group and a two night celebration of his artistry at Roulette. Six ensembles played free and electric jazz, cross-genre improvisations and structured and notated works for both chamber ensemble and chamber orchestra. It says something good about Smith’s expression as an artist and his notational technique that the modern classical players seemed immediately comfortable with and excited by his idiom, while some of the jazz players seemed to have been tossed into the deep end and asked to swim. The sets grew in comfort and stature as the music went along and Smith led with confidence and played with imagination, sensitivity and the power of a lip that belied his age (his upper register and multiphonic playing on the flugelhorn was impressive).

This double-disc is music from Smith’s guitar-heavy, thuddingly funky band Organic, and it brings together two important parallel streams in jazz that have had, strangely, a greater influence across popular music than they have with their original families: Miles Davis electric period and Don Cherry as musical griot. Jazz still holds pointless arguments about these musics, especially Miles. It’s hard to believe the basic features of Bitches Brew — a direct connection to the blues, an abandonment of popular song structure for groove and vamp, an emphasis on improvisation and group interplay rather than on getting back to the head and hitting the last cadence — and beyond were ever controversial, but they still are. But jazz is not a set of tunes, it’s a complete style of playing music, and electric Miles was about as jazz as jazz ever gets. And so is Heart’s Reflections, the best so far of Smith’s exploration of Miles legacy (his Yo Miles! bands with Henry Kaiser are strong, and you can hear the music collected in two good reissues, but Organic has a rhythmic vitality that is frequently more supple and propulsive). As Smith explained to me, stitching together all his musical endeavors, it’s about a fundamental value in and connection to an expressive idea that comes out of the blues, but needs as little of strict form and genre as Skip James, Robert Johnson, Son House and Blind Lemon Jefferson did. And that’s where Don Cherry comes in. The sound of this music is full of the colors of Bitches Brew, In a Silent Way and Jack Johnson, but Smith’s wide-ranging phrasing, ear and ability to gather together what seem to be disparate musical elements into a natural sounding whole is straight out of Cherry’s gift for speaking in musical language across cultures and idioms. Smith incorporates that implicitly, making this a true ‘world-music’ record of freely played, strictly composed, traditional, open-ended electric jazz. Almost two hours of music, each second casting a spell. An awesome record.

4. What is the Beautiful, Claudia Quintet + 1: Jazz and poetry has been a better idea in theory than in practice. Although the theory is pretty damn good. On the poetry side, it’s motivated great work by Lawrence Ferlinghetti, Bob Kaufman and others (there are two good collections of this style), but on the music side it’s mostly been the kind of flute-and-bongos-with-turtlenecks that is a cliché precisely because it’s true enough. Poets have loved jazz, and musicians have dug poetry, but more is needed to make the two work like chocolate and peanut butter. There’s a big difference between writing a pop song, even a sophisticated, complex song like “Lush Life” or “The Peacocks,” and an art song, and that’s what a composer does when they set the poetry of someone else to music. Pop song lyrics are crafted to work implicitly with music, poetry must be made to fit, and even more the composer must have an idea of what the poetry means to fit it in any way that has meaning.

That was Steve Lacy’s great breakthrough and contribution, above and beyond his great musicianship: he took poetry and made it into jazz art songs. With his pieces, there was the underlying quality of taste and judgment, the clarity that came from spending the time to read, sift, think, then make the music. His main compositional acolyte, Frank Carlberg, does the same, and his 2011 release Uncivilized Ruminations, a solid, enjoyable record but not quite as stimulating as some of his earlier discs, I think because the poetry he selects doesn’t have the same bite as Robert Creeley, et. al. A related disc is Nicholas Urie’s My Garden, big band jazz settings of poetry from Charles Bukowski. This is a strange puzzle of a record, and it leaves me wondering just where Urie stands as a reader and composer. Bukowski was never a major literary figure but remains a major cultural figure, with a large body of poetry. While he wasn’t always artful (he grew into the craft as he aged), he was always committed, and he is the great chronicler of the struggle to maintain autonomy while dealing with the necessary evil of work. He was also a tender misanthrope, an outside who wanted to be accepted on his own terms, which he eventually was.

Out of a slew of important books like “The Roominghouse Madrigals,” and “The Days Run Away Like Wild Horses Over the Hills,” Urie has selected a minor set of poetry and set it aphoristically. I have no idea what he thinks of Bukowski because I have no idea what he means. The stuff sounds good, but the words just come out of the great Christine Correa’s mouth as phonemes, as they seem to have no importance in the music. And the music itself is a problem. It’s not bad, although it’s pretty anodyne, but it sounds so much like the music of Carlberg, who handles the keyboards on the disc, that I’m not sure what Urie himself has done, other than orchestrate. I don’t think Carlberg ghost-wrote the disc, I think Urie follows the older man’s style so much that he doesn’t much exist himself as an artist.

The Claudia Quintet disc is entirely different, an important addition to the jazz art song, and completely satisfying. All the poetry comes from one source, Kenneth Patchen, an associate of the beats and of jazz poetry, perhaps most well known for his collaboration with John Cage on “The City Wears a Slouch Hat.” He was smart, irreverent, romantic, hip, and from the opening sound of the record, Kurt Elling’s dry baritone with it’s mordant edge, pronouncing the word “showtime,” you know this is going to be something special. The +1 in the title referes to Elling and Theo Bleckmann, who share the vocalist duties, with Elling only reading, and Bleckmann singing. It’s a creative, effective choice: Elling is the leading jazz singer on the planet, but he’s also an exceptional reader. Bleckmann, with his intimately insinuating tenor, conveys the poet’s cool warmth. And leader and composer John Hollenbeck has things to say about the poetry in the best way a composer can, by making the text clear, by meaning every note he sets under the words and by pushing the emphasis on certain phrases and passages. Since these are art songs, we don’t need to know a specific meaning, and that would cripple the pieces — we just need to know that they mean something to Hollenbeck. This is a key, subtle element. What does the metrically staggered beat for “Job” mean? Nothing, inherently, but it’s a way for the music to support the energy of the poem, which is an excoriation of the worst structural aspects of work, clothed in deranged absurdity. The music does not disguise, nor avoid, the poetry, but reveals it. The crafting of “Do Me That Love” is plangently beautiful, the music for the title track is a lesson in how simplicity is an essential value. This is modern jazz of the highest order, music that entertains and informs in equal, generous amounts. A gentle, thoughtful record, with great weight behind it. Special mention must be made for Elling, who is utterly masterful in his phrasing, his ability to use different colors and accents, his own comfort and confidence in what he is doing. It’s rare to hear poetry read at this high a level, not to mention, with jazz!

5. 1910, Les doigts de l’homme: This disc has grown for me throughout the year. Jazz is obsessed about its history but makes some odd value judgements about different eras, so it’s important to point our — and hear — how the era of the QHCF was so musically wonderful. In a music currently dominated by rhythm, it’s great to be reminded of how much fierce swing can be put out by hitting the downbeat. Tunes of the era and new music with period flavor, mixing joy with a rich sense of extended harmony. An absolute pleasure.

6. Steampunk Serenade, Honey Ear Trio: Creative, dynamic and totally kick-ass.

7. Blues and the Empirical Truth, Allen Lowe: This is a disc to either love or hate. Maybe both. It walks a deliberate, fine balance between primitivism and incompetence. I actually think it’s important to listen to the opening track on the first disc, “Blue Like Me Part One,” because it is both great and bad at once. With all-star support, Lowe has put together a massive project that is something like what Captain Beefheart might have done if he was a jazz musician, taking the most basic elements of the music and building it back up as some sort of alternative history, where Ornette Coleman, Robert Johnson, Otis Spann and Miles Davis formed a band, where there was no past or future, everything collapsed into the present. At times amazing, at times appalling, impossible to listen to straight through and completely necessary. Mind-cleansing and ear-opening.

8.There Was …, Aram Shelton’s Arrive: Brilliantly cool and sharp-edged take on the great legacies of Out To Lunch and Destination: Out!

9. Riptide, Gerry Hemingway Quintet: Hemingway is one of the premiere drummers, a great ensemble player and leader who at times tends to emphasize the style over the physical substance. This new disc has all his strengths and none of his weaknesses. A great band, great compositions and the indulgence in style is used as an excellent transitional device, leading the music from one concept into another. In some ways, this could be a big band record from sixty years ago, that’s the quality of Hemingway’s thinking. A crack, very hip big band. The new version of his standby, “Holler Up,” is a gem.

10. Words Beyond, Alon Nechustan: Top-shelf contemporary piano trio jazz, hitting all the notes from swing to free, with great tunes and great playing.

11. Chris Chris Parrello + Things I Wonder: On here as my debut of the year pick. Plenty of great music, but even more exciting is the sense of a young musician discovering his aesthetic values in the moment. Looking forward to a lot more from him.

12. Synastry, Jen Shyu and Mark Dresser: Underexplored territory, finely done. I wish there were more records like this, more singers doing what Shyu is doing. After Betty Carter, the next logical step is to take the voice entirely into instrumental territory, but there’s been so little of it (Lauren Newton?). Shyu is an extraordinary singer with sophisticated musicality, and the seemingly sparse setting of voice and bass is here colorful and rich (you can also hear her as an essential part of Steve Coleman’s band on The Mancy of Sound, a decent record but without the fire of last year’s release).

13. For honorable mentions: Akinmusire, Daniel Bennet Group, Endangered Blood, Mostly Other People Do the Killing, Nate Wooley Quintet, Rudresh Mahanthappa times two, BANN, Asif Kehati, Brian Landrus, Darren Johnston, Ben Kono

Jazz: Semi-Top 10 For 2011

Call it semi, quasi, ersatz, but kibitzing slowly on the heels of Jim Macnie, Patrick Jarenwattananon and Hank Shteamer, I’m motivated to put up an annotated list of what are the best jazz releases I’ve heard so far this year. These are records that were new, or at least new to me, up through June, so there are things that promise some hard challenges for these choices, like the upcoming Tyshawn Sorey release.

Like Hank, I’m excited over what has been a bounty of new jazz, new playing, new thinking, not only through this year but over the past few years. Aesthetically, the music is as strong and vital as its ever been, and the music is also exploring its own history in ways that are exciting, because there’s much more to jazz than Bird, Ellington and ’60s era Blue Note. Lists aren’t the best way to handle this, but they are not terrible and the practical consideration, at least for me, is that they help me craft some, hopeful, coherence out of my usual confusion and fatigue. And so, in no particular order (except what iTunes considers alphabetical) are the 10 best 2011 jazz releases for the first half of 2011:

Alon Nechustan: Words Beyond 

It takes time for a developing body of work to seep out to the public, even to the presumed vanguard of which I’m supposedly a part, so Nechustan’s already substantial body of work is new to me. I regret that because this is a great recording, and a total pleasure from beginning to end.

What to call this? New classic piano trio, perhaps. That group, as an interactive rather than homophonic unit, has been a stand-alone strand of jazz history since the Bill Evans Trio mesmerized the scene. Nechustan is an energetic, verbose, witty, good-natured and forceful proponent (as are bassist Francois Mouton and dummer Dan Weiss) of it. The band’s playing is full of verve. They have a real power, but it doesn’t weigh them down, everything moves and grooves, the interplay is outgoing and forward pointing. Nechustan has a highly developed two handed style and provides a lot of his own counterpoint, freeing up Mouton and Weiss to add accents, counter melodies and playfully antagonistic comments.

Nechustan as a pianist with a true, personal voice. There are touches of Keith Jarrett’s country-funk by way of Brad Mehldau’s structural sense, but he doesn’t sound like anyone other than himself. All the material is original, and there are smart and respectful bits of Monk and Ellington in tunes like “Different Kind of Morning” and “The Traveler.” He writes tunefully inside tracks that go well beyond standard blues and song forms, and he often weaves improvisation in between composed sections, which give a satisfying feeling of freshness and complexity. The record is full of the great legacy of jazz ideas, and is also completely new, and seems to improve with each listen. The epitome of piano trio jazz.

You can catch this group live, at the Cornelia Street Cafe, Sunday August 7, 8:30pm, for their CD release performance.

 Ambrose Akinmusire: When The Heart Emerges Glistening

Jazz has produced a great deal of beautiful music in its 100 years, but beauty is a quality that jazz frequently discounts: there are few musicians – Johnny Hodges being a particular exception – who have pure beauty as their main value. Trumpeter Ambrose Akinmusire is clearly dedicated to beauty, and his Blue Note debut CD is tremendously, powerfully beautiful.

Hodges idea of beauty was a certain diffident elegance of line, tone and form, a kind of Apollonian ideal. Akinmusire is a bit more Dionysian. His quintet, with Walter Smith III on tenor, Gerald Clayton, piano, Harris Raghavan, bass and drummer Justin Brown, has a powerful, plangent post-Coltrane sound, they like to sink pedal tones and toss some hefty sonic weight around. The sonic quality, which flows from the leader’s gorgeous tone, is beautiful, and the weight behind it just makes it physically and emotionally thrilling. The sound seems alive as it comes out of the speakers, forming into shapes in the air through which it moves.

The opening cut, “Confessions to my Unborn Daughter,” is the attention-getter, almost ten minutes of music that seems to be full of ever-unfolding, ever-burgeoning power. Akinmusire steps away for a great solo from Smith, who keeps his considerable fire just far enough away so we are in no danger, only delight. Everything is here from the start, and if there’s a bit of a drop-off in intensity in the rest of the disc, there’s none in quality. Everything is touched with a mature, masculine feeling for loveliness, even the short interludes variously titled “Ayneh.” There is one misstep, a sincere but unsuccessful reaction to the almost casual, horrible murder of Oscar Grant. The sentiment is worthy and understandable, the execution of the idea is not there yet. But the future is beautiful for Akinmusire.

Ambrose Akinmusire and Quintet play “Confessions to my Unborn Daughter” at Jazz Standard

 Aram Shelton’s Arrive: There Was . . .

In the Many-Worlds Theory of Jazz (which I’m making up on the spot), each new idea in the music, whether a grand conception (like Third Stream), or a development in soloing styles (modal playing, for example), leads to a splitting of a portion of the jazz universe, creating an entirely new ‘multijazzverse’ that from that moment on runs concurrent and parallel to all the current, extant jazz universes. A key element that differentiates jazz from quantum mechanics is that it’s possible to not only travel across the multijazzverses but to exist in more than one simultaneously. See here for further exploration of a similar concept.

One of these universes was created in the mid 1960s, on Blue Note records, through such classic albums as Out To Lunch, Destination Out and Point of Departure. The key features of this universe were a hard-driving, hard-bop style of swing, an exploration of non-standard forms of writing jazz tunes and harmony, a dose of free improvisation and an urgent, searching expression, full of questions without answers. A common thread was the cool, clean vibes of Bobby Hutcherson. Once that universe was created, it was left fairly moribund until the past decade, when a new generation of musicians, like Steve Lehman, set out to chart its features and possibilities. To that crew, add Aram Shelton, and this great, intriguing and unsettling disc.

By unsettling I mean this is jazz dedicated to what might be, rather than what is. Melodic lines, improvisational phrases, rhythmic patterns, these don’t necessarily resolve into neatly rearranged even lengths or consonant harmonic cadences. There is a seamless balance between notation and improvisation, and equal care and thought put into each. This band has an exciting exactitude to its sound; the lapidary coolness of excellent vibraphonist Jason Adasiewicz, Jason Roebke’s rolling bass patterns and the remarkable precision and drive of drummer Tim Daisy, sounding like a cross between the young Tony Williams (heard on many of those Blue Notes) and Joey Baron. Shelton has a big, slightly keening, slightly mournful sound. There are no standout tracks because everything is so good. Each time I try and pick an exemplary one, some other steals that attention. This is a disc full of ideas about the past and future of jazz, anchored by powerful emotional expression and wrapped in a brilliant surface. Whenever I put it on, it seems like the greatest thing I’ve heard.

 BANN: As You Like

What makes this so good? It’s a superb group playing at a state of the art level. More extensive review in this previous post. Read the whole thing for a review of another disc on this Top 10 list, Chris Parrello’s self-titled debut with his band, Things I Wonder. It’s got a few flaws, but the more I listen to it, the more the flaws sound integral to the music’s ambition, and to Parrello’s organic conception. I never imagined a band that could sound like it was forming itself, on the fly, out of a stew of jazz, fusion, prog-rock and punk. The Bad Plus cracked open this door, Parrello lopes through it, without any self-consciousness about making a statement. The Bad Plus comes to mind for the next release on this list:

 

 

 

 

 

Endangered Blood

I am familiar with the member of this band, reed players Chris Speed and Oscar Noriega, and the all-star rhythm section of Trevor Dunn and Jim Black. This is a muscular and deceptively subtle ensemble. You’d expect some thrash and a heavy rock feel with Dunn and Black, and there is some of that, but it serves as the seasoning in what is in many ways a straight-forward contemporary jazz group.

But what a group! The lack of an instrument to play chords seems to direct them towards the hard-earned values of constant interplay, counterpoint and support, in a style that comes, vaguely, out of Ornette Coleman’s concept. The sound is modern, the vocabulary is at times wonderfully archaic, like a musical cognate of the baroque, beautiful vulgarity of the dialogue from “Deadwood.” There’s an excellent examination of “Epistrophy,” the rest is original pieces from Speed, like the tender and haunting “K,” and the charmingly tipsy trad-style march, “Iris.”

It’s worth noting the sheer sound of this disc, which is upfront, natural and pleasingly rough. Part of that is Speed’s raspy tenor, but the engineering and production are excellent and unique. On a good system, it sounds like the musicians are right there in the room. And the band, along with it’s obvious might, is also relaxed, focused, witty and very humane.

Catch this band at University of the Streets, Wednesday, August 10 at 10pm.

 Honey Ear Trio: Steampunk Serenade

To my ears, Ethan Iverson’s group has not totally followed through on what they promised with their big label debut, These Are The Vistas (now almost ten years old). They proved that a group could play exceptional modern jazz with the stance and immediate excitement of a rock band, and have been doing that same thing, with varying quality, ever since. That idea is a beginning, not an end, and the Honey Ear Trio has picked it up and run with it.

The do play with a rock group’s immediate sonic and physical appeal, and do much more. While steampunk in music is pretty hard to identify, much less describe, this band gets close to it. The music reaches back into pre-jazz New Orleans marches and extends into Minute Men territory, and frequently casts the shadow of a classic power trio, with drummer Allison Miller the guiding force, bassist Rene Hart adding some screaming leads, and Erik Lawrence the front man on saxophones. These cats can really play, the musicianship is exceptional. Although they do only one standard, a rich “Over The Rainbow,” the music is full of history; with touches of Monk, moments that remind me of Steve Lacy’s great trio disc The Window, and always a persistent and most welcome flavor of the multijazzverse bequeathed by the partnership of David Murray and Butch Morris: a powerful sound that sits at the apex of the pyramid of history, and witty, pithy tunefulness, full of surprise and satisfaction.

There’s a great storehouse of musical material that the group accesses and stitches together, so the disc is full of both variety and focus. The thirteen generous tracks sound very different from each other and all of a whole. That this is a cooperative group with such a distinctive sound is even more impressive. The musicians are all new to me, and I will express my shame in that ignorance because their playing and thinking are so damn good.

 Ben Kono: Crossing

This CD, as much as I’ve enjoyed it from the start, was not in this list, nor even near it at first. But persistent listening, driven by a persistent desire to hear it more that the music clearly implanted in my head, has revealed its considerable virtues and accomplishments, and it deserves a place here.

Kono is one of the stalwart session men on the New York scene, from Broadway to the stellar big bands of Darcy James Argue and John Hollenbeck. His versatility as a player comes through on Crossing in a rich range of musical thinking; all the pieces are his own, and his writing makes excellent use of wordless voice, french horn, and his own terrific flute and double-reed playing. His writing makes the band, with Heather Laws the aforementioned singer/horn player, Henry Hey on piano, guitarist Pete McCann, John Hébert on bass and drummer Hollenbeck, sound enormous. The musical ideas come out of the contemporary legacy of sophisticated, internationally tinged jazz composition and orchestration, make use of the best lessons from the likes of Pat Metheny as well as his own colleagues. Kono places and emphasis on melody, and is a real craftsman, shifting his lovely lines through different textures and harmonies, combining sections that seem like bits of songs into larger forms and never losing track of where he has come from and where he is going.

There’s a great balance of beauty, grace and sheer cooking, and the stunning “Rice” shows this all off, with a sharp does of funk as well. Kono himself is a powerful player and an excellent improviser. My own slight caveat to the disc is entirely a bit of personal taste, and it’s that his tenor playing just a little too close to his clear forebears, Michael Brecker and Chris Potter. He has his own ideas, without a doubt, the tone is perhaps not 100% his own yet. This is not a problem on the other horns, and he appears to my ears to be at the top of contemporary jazz flutists. The surface quality of this recording may seem, at first, a bit smooth and safe, but I’m confident that the intelligence, craft and pleasure of it that rumbles under the surface will insinuate their way into your ears, as they’ve done with mine.

Matthew Shipp: Art of the Improviser 

A stupendous, monumental two disc set from an important musician, thinker and iconoclast. I’m saving a more thorough examination for an upcoming look at improvisation in general, but for now I think it’s valuable to admit that Shipp is a musician whom I’ve more admired than loved in the past. I respect his values and goals, share a number of them, but have found that the pleasure in listening to his music is often marred by a tendency towards didacticism and mannerism. There are scattered moments like that across this set, one solo and one trio recording, but they are few and ultimately overwhelmed by the incredibly depth, richness, power and mystery of the playing. If the title threatens pretensions, I would argue that it could be called The Art of Improvising and would fulfill that claim, and go far beyond it.

 MSG, Tasty!

Love the title, love the band, love the recording. Rudresh Mahanthappa, whose Apex was one of the pinnacles of 2010, is one of the cooking-est, blowing-est (and most delightful), players in jazz and blows the hell out of these eight sharp, hip vehicles, and Ronan Guilfoyle and Chander Sarjoe match him step (and stab, note, change of pace/meter/tempo) for step. Mahanthappa can torch your ears like a flamethrower when he wishes, but this session is more on the light-hearted side of intensity. He slows down for moments that explore his plangent tone, but in the main this is the kind of quick-thinking and forceful rhythmic articulation that is the welcome mainstream in contemporary jazz. Listening to Tasty! is like being driven through an exhilarating and slightly unnerving course in a Porsche, at high speed, by an expert driver. Your safety does not leaven the thrills. Delicious and satisfying.