2° étage - Grey Matter

Just because we think we know everything doesn't mean we do. And even if we do there's going to be something new that we don't know and so we don't. As a graduate student at the University of Chicago I'd sometimes go through a spell where there were no classes for a day or two and I'd start thinking I was smart, I was something else, that the world was round and I knew where everything was located. Then the Monday afternoon seminar would come along. Some poor invited guy would come and give a presentation on what he was doing. Following that the faculty would proceed to make mincemeat out of him in a question and answer segment. Then I knew! I knew that I didn't. Eventually I started understanding why they were about to make hamburgers out of somebody, what theoretical heresy or logical gaff he was unravelling up at the podium. So I learned. But then my life changed and new things came that I needed to know. When you are by yourself you can start thinking all kinds of things, but in the face of life in the social setting, you'd better adjust to what IS! And cut the crap.

I am thinking such thoughts as I sit down to review the album by 2° étage, Grey Matter (No Business NBCD 63). Sure this is free, avant jazz. But that doesn't mean that somehow automatically you are gonna know what it's like. The group is a trio of Christine Wodrascka on piano, Jean Luc Cappozzo on trumpet and bugle, and Gerry Hemingway on drums/percussion. This is a live gig recorded in France in 2012.

I came to this recording only familiar with Gerry Hemingway. And he comes through with a sensitive creativity that he is known for in the free zone. Jean Luc Cappozzo gets a rather formidable spectrum of sound colors from his horns and can blast off some really interesting phrases, too. Christine Wodrascka plays some smart things inside the piano. On the keys she is out and unpredictable in what she is going to do. And that surprise and spontaneity is good in itself--but her timing is almost speech-like, which makes her even more fascinating to hear.

This is new music freedom closer to MEV or AMM than Cecil Taylor, mostly. But it is in its own zone, too.

So in the end I couldn't say I knew everything that's been done before I heard this one--because this wasn't included and it isn't quite like anything else. So once again I know that you can't know what's next; once again I learn not to be cocky. This is a good one if you want something out-there that follows its own sense. And maybe shakes your sense of surety up just a little! That's good.

Lauren Kinhan, Circle in a Square

New York Voices' singer Lauren Kinhan has a new album of her own out, Circle in a Square (Dotted i 1001). It gives us the exposed version of her consummate artistry, so to speak, and shows her as a songwriter of genuine talent.

She does this all with an excellent backing band that includes keyboardist Andy Ezrin, Will Lee on bass, plus special guests Randy Brecker, Donny McCaslin and Gary Versace, among others.

The title tune is a real winner but the others are too. It's modern contemporary jazz song smithing of the highest order. And her singing has the marvelous nuance that makes her formidable.

In this particular case that truly does cover what you get. You should hear this one. It's more than a keeper; it's a killer in what it does to/for you!

Stranahan, Zaleski, Rosato, Limitless

The advent of the contemporary modern jazz piano trio takes many forms these days. I use the term "contemporary modern" to distinguish the style from neo-trad and/or hard-bop inspired outfits, groups that also don't quite fit into the free-avant camps. Admittedly there are lots of fine lines in groups where things mix together, but not always, and not today. What's happening with one such contemporary modern group to come along, Stranahan-Zaleski-Rosato? Their second album has perked up my ears and so today I talk about it a bit. It's called Limitless (Capri 74130-2). I reviewed their first a while ago. Type in "Anticipation" in the search window above for that.

The trio to be more precise consists of Colin Stranahan on drums, Glenn Zaleski on piano and Rick Rosato on bass. They are rather new to the scene but nonetheless have forged a sound that bears hearing--different in interesting ways. Other than a version of Monk's "Work" they feature original compositions by Zaleski and Rosato, plus one by Stranahan. The approaches in the compositions and the follow-through in improvisations that come after are key. Compositions have a capital /C/ with these guys and do distinguish them from some others.

"Work" has a touch of the classic Bill Evan's trio. The rest branch out with that idea as a touchstone but then take it beyond. All three are first-rate players. The drumming of Stranahan has dynamics and strength. Zaleski has a well developed modern harmonic pallet and invention as a constant. Rosato has the fundamentals strongly down pat. He gets a beautiful tone. He can solo in ways that are worth hearing and his ensemble work is impeccable.

You could say the above about many players. What strikes me listening is that as a trio they thrive on some hip ideas that are rooted but stand on their own with a refreshing newness. They are the sum of the parts as much as they are more than that--meaning that each player is doing something good and the trio-as-trio hangs together as an entity well ahead of the norm.

I don't know these days what "making it" means, how as a part of many new folks on the scene people will be able to keep it together as a working group, and whether that will be a living for them. These three deserve a chance to continue because they really have something of their own and the hearing of it makes you think that such groups can have a future. I of course have heard others, but this is one for sure. An excellent one. Patronize the new names and the old. They need your support.

Definitely recommended. Good luck to them!

The Puppeteers, O'Farrill, Ware, Blake, Affoumado

When a group has much in the way of cooking heat it almost doesn't fit to call them a "straight-ahead" outfit. Art Blakey's Messengers were too blistering to be mainstream. Not exactly. And much of what is now "straight-ahead" was at one time "avant garde". Bird.

So when I am contemplating the new jazz outfit known as the Puppeteers, as I audition their first album (puppet's records), I think these thoughts. Because this band is hard swinging all the way. With Arturo O'Farrill manning the piano chair, there is a Latin tinge going for it, too.

The band is a quartet. Arturo plays a very hard-charging piano, no surprise there, with bop through Tyner and Latin being channelled inimitably with his excellent presence on the album. In Jaime Affoumado on drums they have a secret weapon for the drive they achieve. He has the push, the feel, the chops to liven up anyone, and these players take advantage with great spirit in response. Bill Ware, an excellent vibist, brings mallet color and definite accomplishment to the stage, infusing Bags, Burtonian and Hutchersonian roots with his own sense.

Then we have electric and acoustic bassist Alex Blake--who solos with the best of them, sometimes singing along with the bass notes in the manner but not the Popeye voice-quality of Slam Stewart. In the ensemble he is the right driving force to team with Jaime.

So the band is excellent and hip at that. But they would not be as interesting or vital had they not the tune-smithing chops of all four. Eight of the nine numbers are penned by band members and they are very good at getting things burning in the manner of their distinctive selves. . . the Puppeteers.

I would imagine that this is a band to hear live. If you happen to be around Manhattan this March 20th, they are celebrating the release at Birdland starting at 6 p.m. The album speaks for itself in any event, and what it says is "join us and get the spirit!" If you want the immediacy and satisfaction of cooking with a real potful. . . here it is.

Excellent!

Mikolaj Trzaska, Devin Hoff, Michael Zerang, Sleepless in Chicago

On the jazz front with these blogs I get exposed and in turn expose you to a fair number of names you may not know well. In the free-avant realm that has something to do with the underground nature of much of the music. I am glad to hear the music a great deal of the time--and pass along the news when something seems worthwhile to me.

In the instance of Sleepless in Chicago (No Business NBLP 70) we have another in the admirable series of small-quantity release LPs No Business devotes to artists of merit who for whatever reason are not expected to win a gold record in the near future.

In this case we have the trio of Mikolaj Trzaska on alto sax, Devin Hoff on double bass, and Michael Zerang on drums blowing free and fruitfully on two long cuts recorded in 2011 and 2012 live in Chicago.

Trzaska is a dynamic firestorm with no shortage of inspiration here. His is a wind that blows without end, in the best sense. I won't say he sounds like x, y or z because he does not. He's got the wail, the jazz delivery and the endless stream of ideas--all that is a gas to hear.

His compadres in avant outness are where they need to be to make this work. Devin Hoff gives Trzaska a notefull backdrop that's harmonically open and dynamic. Michael Zerang has everything from a maelstrom to a light spring breeze to contribute--depending upon the moment.

Open form free jazz, to say the very least, has often a total dependence upon the moment and what gets constructed in it to succeed. Sure, there are players who can and do get by in moments where the spirit may flag by relying on various devices--and the more original and interesting the devices the less the flagging moment actually flags. Sleepless in Chicago never seems to enter those pockets where one goes to the pre-disposed. And that's because Trzaska never runs short of expression and his bandmates seem continually to inspire and cajole him to keep going with his explorations into space.

And that's probably one of the highest complements one can pay a free improviser--that his cup virtually never stops runnething over. Not here. Especially not in the first half. There are only 300 copies of this album pressed. I won't say "run to your nearest record store" because...there may not be one around you anymore. (Though Record Store Day is coming up and you should patronize!) Still, this is one to have. Seriously. If you are into the muse, the improvised news, that has no words, that warbles like the birds! Spring ahead for this one!

Richard Bennett, New York City Swara

Who knows what's next? In life it's impossible to know for sure. In music you don't know exactly either. So Richard Bennett and his digital-only release New York City Swara (Times Music) when I received it was just another release in the "great (or not-so-great) unknown". That is, until I heard it.

It's Indian fusion, featuring his piano and melodica teamed with a talented group of New York jazz and classical Indian instrumentalists.

Bennett plays raga-like improvisations on his instruments that also have harmonic & contemporary jazz and even modern minimal components. He's good and unexpectedly so in the way he genuinely combines it all. The instrumentalists have nicely composed elements to work off of and/or spots for improvisations. The music hangs together with a kind of brilliance.

Surely this is one of the most successful endeavors in this realm I have heard in a long time. It has a real South Asian feel to it but then is very New York, too.

If you like these sorts of intersections this one will get you! And even when you know what's coming in a general way, it surprises. Put your ears on and dive in.

Dana Lyn, Aqualude

Dana Lyn, Dana Lyn. A name that sounded vaguely familiar to me when I received her latest, but no clear recognition came to me. She's living in Brooklyn, which right away said something to me. Seems like everybody is living in Brooklyn now, almost. Well not everybody. I am over on the Jersey side. Some still can manage Manhattan somehow, but it's usually because they have been in their space a long time and etc.

So Dana Lyn. Violinist. Composer. She plays Irish folk sometimes. Not here. Her background is quite variegated. Is that the right word? No. Google says "exhibiting various colors". Well that works actually, if you think of colors in the musical sense. There are classical influences, rock and jazz, a folkishness and an undefinable something, which is originality.

Her first album (she's already working on a second) is Aqualude (Ropeadope), music that has something to do with the sea, among other things. It's one of those musical offerings virtually "beyond category". Dana is on violin, Clara Kennedy on cello, Mike McGinnis on clarinet, Jonathan Goldberger on guitar, and Vinnie Sperrazza on drums. On three cuts an unusual instrument called the "angel door" is utilized. It looks something like a Kalimba attached to a door-like frame. Is it bowed? I think so.

Beyond that is what especially counts. The album is a real gem. The music has classical-meets Brooklyn avant-meets new fusion-meets modern postbop. Very post- postbop.

Uncanny? Well there is such originality here that uncanny works for me. It's essential if you want something so unusual that it will take a while for people to catch up. But the music is not "difficult", as can be the case for ahead-music. Sometimes the lineage of Zappa, when he was writing music beyond what anybody expected, comes to mind. Though it's not that she sounds like him, though. It's beautiful. It's not brimming over with solos, though it has them (and they are cool), because this is more compositional.

A glorious surprise! Get it!