Tuesday, July 7, 2020
The new one bubbles over with the sort of high spirited, energetic state-of-the-art free-wheeling contemporary Jazz that the 4tet has become known for. There are song structures or melodic kernels and a rhythmic looseness that still tends to pulsate forward, often free but directional, swinging indirectly or directly as fits the mood, ever freely loose in the best ways. Six compositional-improvisational segments (one in two versions) make up the whole.
When such a talented and sensitively attuned group plays together intensively and extensively for a good while as the Humanization 4tet has, there is one hopes a continual growth and a resiliency to the sureness of the free expressions as they project into aural space. Believe, Believe happily shows the fruits of that sort of hands-on, mutual improvisational opening out.
Aaron and Stefan have played music together for as long as two brothers who grew up together might and with their father Dennis Gonzalez on trumpet have long been playing as the excellent and acclaimed Yells at Eels group. When you listen to the prodigious rhythm team work on this album you hear the results of talent and experience, for they are strong and sure, and form a crucial bedrock for how this band moves strikingly forward.
It is true also that the double-front line of Luis Lopes on guitar and Rodrigo Amado on tenor sax show the natural aging of togetherness, like a fine wine. So Luis springs forth with very energized abstractions on guitar that fit in well with Rodrigo's tenor effusions and the rhythm team's assertions. He does some of his best playing on disk here. And it serves notice to all who hear that Luis is happening. He is a guitarist of the highest caliber, always ready-to-hand with creative fire and poetic tone.
Rodrigo continues to shine forth as one of the very best and original avant tenors playing today. He is of course an indispensable component of the 4tet and sounds fabulous throughout.
So we have a band with all the talent and seasoning one could ask for, creating some of their most compelling and ravishing best on this CD album. Believe, Believe has all you could ask for, all you might hope for to make you a believer in this 4tet and all they do. One of their very best. Get this one and believe!
Thursday, June 25, 2020
The music making in between the bread and butter gigs spawned the idea of the Endangered Quartet. Specifically two years ago saxophonist Roy Nathanson hosted a somewhat spontaneous and informal get together in his Brooklyn living room with musical friends and associates Curtis Fowlkes on trombone, Tim Kiah on bass and Jesse Mills on violin. The idea was to form a composing collective. As Nathanson remarks in the liners "We built it around the idea of letting the instruments have a certain intimacy together, one that allowed for the compositions to breathe." The total equality of the four together without hierarchy was the other basic assumption.
The basic idiom of the group is multiplicity--in a chamber mix of classical, jazz, plus a few rock and folk elements. The lack of a drummer does tend to open up the sound, that and the eclectic mix of elements does what some of Jimmy Giuffre small groups did in their classic days perhaps. Not to put too fine a point on it but there is a similar open space for breathing yet the sound is most definitely their own, definitely that of the Endangered Quartet.
The nine originals define the sound the group is after nicely. The four "covers" help make clear the roughly hewn and lively spontaneity that subsides with the arranged milestones that set off a strong sense of intimate interplay, They also serve to illustrate just how far ranging the group traverses--A very familiar Chorale of Bach with new lyrics by Kiah, the Beatles' "Blackbird" with a band vocal and some pretty free improvising between the soundings of the head melody, Ornette Coleman's "The Circle with a Hole in the Middle" played with soul and freedom, and Leadbelly's iconic "Goodnight Irene" done with disarmingly straightforward qualities.
The melding of open expression and binding structure, vocal and instrumental, genre bending and genre grafting, the free from of contemporary improvisatory ways with classical edifice shadings, all these elements work together to create a novel freshness that wins your attention and brings surprise and pleasure if you listen with an open mind. Happily recommended.
Monday, June 22, 2020
Of course it all sets off Landrum's vibrant, nicely detailed solo style. By now it is clear that he is one of the very best of the living baritone artists, a subtle and lucid voice, too, on his other instruments, a musical star who always seems to ,maintain a consistent brilliance and spirit.The beauty and strength of the Landrus-Hersch-Gress-Hart quartet shines through. Hersch's stellar pianism sounds perfect, driving and open when comping and an excellent solo presence that spells Landrus just as one would hope for. Rodriguez and Caswell are wonderful in their spots as well. The Gress-Hart rhythm team is as good as anyone out there now. To listen to what they do in itself on this album is a wonderful listen.
The string quartet parts are strong and sweet combined, never gratuitous, ever sturdy and robust. The Landrus treatment of standardx allows us to refresh our idea of them. Landrus on solo bass clarinet on "Round Midnight" extends nicely what Eric Dolphy did so well in his last years. And the Landrus-Hersch duet on Monk's perennial "Ruby, My Dear" reaffirms the timeless beauty of the song and showcases the two at an inventive peak.
The Landrus penned items give us the amassed talent in a setting that has recognizable signposts of harmonic-line-weaving mainstreaming with all the passion such music demands to speak to us today. There are no compromises--just some stunning artistry that sounds meaningful from first-to-last. It is a newly forged classic for our time and all the better for us! I gladly recommend this one to your ears.
Friday, June 19, 2020
Now they return for a sequel, From Our World to Yours (ARC Music MCPS EUCD 2899). The music as on the first album comes out of a mutually attuned sensitivity towards the stylistic background and musical personality of the duo partner. So also there is a real-time accommodation in the mutual use of space, leading and accompanying and attention to the natural timbers of each instrument in tandem. Minor modes and pentatonic expressions join the two artists and cultures. The close dialog that results is rare and finely executed.
Some fifteen improvised segments flow through our listening senses in the nearly hour-long program. It is the most productive of cultural exchanges, a true bridging of two venerable traditions via two brilliant exponents. The masterful Gao Hong and Issam Rafea leave us with a most pleasurable and striking synergy on From Our World to Yours. It is a triumph of the globalized world we live in today, perhaps almost unimaginable 100 years ago. That it took place is cause for appreciation; that it is as brilliant as it is comes out of the sheer musical inventiveness and exceptional openness of the two artists involved. Bravo!
Sunday, June 7, 2020
Joining Simon at the piano are Frank Gratkowski on reeds, Matthias Schubert on tenor sax, Shannon Barnett on trombone, Melvyn Poore on tuba, Dieter Manderscheid on double bass and Hans W. Koch on synthesizer. The lack of a drummer opens up the articulation of the musicians into a slightly more New Music-chamber zone without negating the cutting-edge Improv orientation of it all. Some most notable of the collective improvisations give us a stunning Nabatov paving the way with his intricate pianisms--for example hear the opening "Waves" and following "Metamorph," the latter especially intriguing with its harmonic sequencing yet ultimately its pan-tonal texturing.
"Reader" follows with Gratkowski's flute handing the lead melody over a richly harmonic accompanying field of horns and piano. "Right Off" is another high point with Barnett's trombone taking center stage while dynamic pointilistic entrances to second the solo eventually prevail--the latter distinctly in a presence from Nabatov and ensemble. "Repeated" has some breathtaking piano moments. "Choral" ends us with a very memorable theme and a dramatically fitting close to a truly superlative sonic adventure.
This is a stunning program that anyone should listen to closely, anyone who wants to know what's happening in the most current avenues of Improv and Avant Jazz.
Monday, June 1, 2020
So we get some imaginative makeovers of choice lines and songs--of Charlie Parker ("Red Cross," "Barbados," and "Dewey Square"), John Coltrane ("26-2"), Ornette Coleman ("Sadness") Keith Jarrett ("The Windup"), Johnny Cash ("Ring of Fire,"). Stevie Wonder ("Overjoyed"), and some American Songbook Standards ("I Can't Get Started," "I'll Remember April")--the latter two in part Rudresh's homage to the sax trios of Sonny Rollins and Lee Konitz, and so also "Sadness" especially for Ornette's sax trio work.
This is notably Rudresh's first saxophone trio outing and it swings, rocks and opens up nicely in the hands of Rudresh and his colleagues double-bassist Francois Moutin and drummer Rudy Royston. The arrangements are subtle, open and most conducive to Mahanthappa's hard-driving, innovative line weaving and the very compatible accompaniment, the second and third improvisational voices from Moutin and Royston.
Every number undertaken sounds freshly re-minted, Mahanthappian, transformed into something very contemporary and admirably improvisatory. The trio cooks with joyous abandon yet structural smarts too. It is a most stirring outing, something you will no doubt want to hear, perhaps also to have! Recommended.
Thursday, May 21, 2020
The quartet plays a present-day kind of improvisatory Freedom Jazz that is in a line of evolution from the '60s innovators. Fred Costa has a great big tenor sound that reminds slightly of Gato Barbieri in terms of the harmonic-rich texture of his notes at times but otherwise strikes out on an original path. Gregory Sandomirsky plays high-rolling piano that incorporates the Jazz Tradition in good ways. There is a bit of stride on "Farewell Coctail" (spelled that way) along with key centered romp riffs and extended technique energy forays. Both the tenorist and the pianist sing and scat a bit and one of them sometimes sounds slightly gruff like Tom Waits but it all fits the objectives of the music at hand. They are "band vocals" more than some bid for commercial airplay. And the singing does not intrude but blends well with the overall sound of the quartet.
Vladimir Kudryavtsev on acoustic bass and Piotr Talalay on drums give us wide ranging freedom both in and out of time and play fittingly throughout.
Overall, all four as a quartet sound adventurously like themselves on this set.
According to the liners it all started out as a few gigs with tenor, piano and bass beginning in 2015. Drums were added for the Moscow tour late in 2018 (though apparently Talalay had played with the three off and on for 15 years) and this recording was made as a part of that.
After hearing Quartet Red some six or seven times I must say it sounds very good to me. It's a fully spontaneous set but shows how free players very familiar with each other's style can catch on quickly to various grooves and open-ended flings with a sureness born of familiarity and talent. Good one!