Daniel Levin, New Jazz Cellist, and His Adventurous Chamber Outing "Organic Modernism"

Organic Modernism (Clean Feed 212). I think I get it. It's a modernism that flows naturally out of the non-pretentious music-making of this chamber quartet, namely Daniel Levin, leader and cello, Nate Wooley, trumpet, Matt Moran on vibes, and Peter Bitenc on doublebass.

This is music that may have a walking bass underneath it now and again, but the give and take is of an unforced avant sort. There are compositional elements but the main thrust is the improvisational space, individually and collectively, between the distinctive musicians, each with his own way. Now I wont say this is destined to get lots of airplay on those middle-of-the-road jazz radio stations, which at any rate seem to be diminishing in number again in part thanks to the economics we are I hope seeing enter a more solid phase, though just the beginnings.

I learned long ago that if you want to hear music of a certain sort, in many ways you have to become your own virtual radio station. Commercial free, target market one, two, or maybe three listeners at a time, no income, no expenses (well, now just a minute, life has expenses at all times, so cancel that last thought). Support jazz radio of course. But start thinking for yourself too.

My point is only that to cultivate tastes in certain adventurous music, like Mr. Levin's quartet date here discussed, you have to follow your nose and take advice where you can find it.

So here's my advice: Organic Modernism is a very serious set of music, where a very seriously developed set of new musicians create something of their own from the ether, as it were.

This is pretty abstract fare. You must listen closely to get an understanding. It shows that Mr. Levin is a cello principal in the free-er echelons of jazz, that Matt Moran is somebody to take seriously, and Nate Wolley--he's carved a reputation that this recording does nothing to take away from. He sounds good. Peter Bitenc may not be a name on everybody's lips right now but he fits in well and does nice work.

This is not an album that is going to set the world on its ear. It's very good and very sophisticated fare though. Recommended.

Soulstorm: Ivo Perelman in Very Good Company

Tenorman Ivo Perelman arrived in Portugal for a series of gigs and a recording session in April of 2009. He was slated to appear with an interesting configuration: Daniel Levin on the cello and Torbjorn Zetterberg on upright bass. It all culminated in the newly released two-CD set of the three improvising in the spirit of adventure and discovery.

The resulting release is dubbed (not inappropriately) Soulstorm (Clean Feed 184). This is concentrated, seriously intent music. The cello-bass-tenor combination gives the group sound a darkly expressive bent. All three get the chance to interact in depth and they succeed quite well in giving the music a spontaneous yet considered spin. Ivo clearly appreciates the chance to stretch out in such a context, and puts in some fine work. Daniel and Torbjorn respond with sometimes dense, vividly thick textures and a maelstrom of bowed and plucked sounds, sometimes building to a carpeted barrage of dissonance and energy.

This is not a causal listen sort of set. It demands your attention. It rewards in kind with improvisatory flights the likes of which one seldom hears. If you put three other very good improvisers in their places (on the same instruments) it might be very good as well, but it would not sound like this. The three have put an indelible stamp of identity on the music. Those willing to work their ears as hard in response as they did in execution will be the beneficiaries of what makes improv so interesting these days.