Monday, April 10, 2017

Peter Bruntnell, Nos Da Comrade

If you revel in the serious guitar jangle and outstanding songwriting of post-Beatledom, like with the Smithereens, XTC, or some selected others, you will be very happy to hear Peter Bruntnell's new album Nos Da Comrade (MVDAudio MVD9722A).

Keep in mind this is achingly alternate music. It may be bad enough that it may be the end of the world, but Peter is going to miss it--he will arrive late, or in other words not at all.

There is a hint of retro but it is also right now. Peter sings the lead vocals, plays guitar along with Dave Little and James Walbourne. It is strumming and picking tied properly to the song and so you do not sit up and exclaim, "Hey, those guitars!" There is some effective soloing here and there in a Neil Youngish way, to try and tie to a name.

In the same way Little and Walbourne's keys are firmly harnessed to the demands of the songs, as are Peter Noone's bass and Mick Clews' drums.

The tracks do what they do with near perfection and in the end you (or at least I) want to hear this one again, and then again.

Song connoisseurs of the contemporary rock landscape take note. I am very pleased with this music. Maybe you will be, too? I think so. Give it a chance!

Thursday, April 6, 2017

William Parker and Stefano Scodanibbio, Bass Duo

For those with keen ears or with the wish to acquire them, there are important releases coming out that give the hearer a wealth of subtle and strongly musical depth, texture and immediacy. One such release features bass master and father figure of the current New York free jazz scene, Maestro William Parker in a live duo performance with Italian bass master Stefano Scodanibbio. Bass Duo (Centering Recordings 1013) is the matter-of-fact name of the album.

It is a documentation of their very fruitful collaborative appearance at the Udine&Jazz 2008 Festival in Udine, Italy. It marks the only appearance of the two together. Given Scodanibbio's too early passing in 2012, there will not be any other. But what they did that day together gives us a great deal.

Scodanibbio like Parker was bassist, composer and leading light--in the former case was central to the new music scene as contrabass exponent in advanced works by the likes of Xenakis, Ferneyhough, Globokar, etc.

In many ways this duo reminds us that, certainly in terms of technique and expanded sonic extensions if not in various other ways, there is synergy between the most advanced free improvisation proponents and those who open up parallel universes of sounds in the avant new music sphere.

Mark Dresser in the liner notes draws out the differences in approach that mark the different camps. I will not reproduce that here but refer you to the CD jacket itself.

William and Stefano transcend those differences by close listening and free inventions that set off the mutual dedication both contrabassists have to the sound color and weighted attack expressive possibilities of the modern instrument. So both make excellent interplay out of extended bowing in all its varied richness, harmonics, sounding in various positions bowed above and below the bridge, bowing attack, etc.

They also create some exhilarating double pizzicato passages.

One hears inside the notes to a microscopic sound world when William and Stefano get rolling. Fully getting it demands a focused, concentrated listen. The effort pays off as one contemplates how complete the instrument can be, and with two masters in good form here, we hear a nearly orchestral variance of tone and timbre.

This is music bass players will be fascinated by, for sure, but it is an all-encompassing listen as well for anybody who opens up to it.

Stefano Scodanibbio was and William Parker still is in the handful of bass pioneers, breathtaking virtuosos of the new. This summit meeting reminds us how much MUSIC can come out of the creative virtuoso contrabass greats when allowed free space and time, a sympathetic audience and the inspiration of the moment.

It is some fantastic interplay, a high point of contrabass duo possibilities. Get it if you can and listen carefully. You will go places.

Monday, April 3, 2017

Terra Guitarra, Of Sea & Stars

Terra Guitarra is a well-burnished mix of acoustic classical guitars in a modern synthesis of the flamenco and South American guitar traditions and a contemporary sort of progressive tunefulness, oft times in a minor mode. Their new album Of Sea & Stars (Earthsign Records 0020) gives us captivating mood music that will appeal to guitar-critical listeners as well as a general audience seeking something mellow.

What distinguishes this from a faux ambiant new age typicality is the pronounced sophistication of the melodic content and the artfulness of the guitars. Bruce Hecksel and Julie Patchouli are responsible for the attractive multiple guitar parts as well as the accompanying instruments (bass, drums, keys, cedar flute, hand percussion).

The result is a very listenable set foregrounded by some fine guitar craftsmanship.

Check it out!

Wednesday, March 29, 2017

Velkro, Too Lazy to Panic

Put Velkro's album Too Lazy to Panic (Clean Feed 404) on and within seconds you enter a universe of sound made riveting by guitarist Stephan Meidell's rich feedback-laced sound along with its more pure-toned counterpart. Then drummer Luis Candelas gets your ear with his rich, rock dense but free pulsating drumming. Finally we note saxman Bostjan Simon strong entrance on sax.

From that point on we take a ride into extraordinarily attractive outside, electronically rich hybrids of psychedelia and free jazz. It's an album that got me to mutter "wow" from the first hearing on.

Guitar pioneering fans will no doubt take to Meidell's hugely sensitive feel for sound and attack. It is something you cannot miss. But then the trio moves forward continuously into fascinating and (for me) riveting zones, intricate and strong, bracing and exciting.

I reviewed and appreciated their earlier Don't Wait for the Revolution on these pages. Type "Velkro" into the search box above for that.

This music travels far beyond ordinary words and must be listened to more than talked about.

I am in a very happy place hearing this album. You with a sense of adventure will no doubt feel the same way if you give this one a chance.

A real discovery! Get this platter onto your system as soon as you can--and feel it.

Thursday, March 23, 2017

Nick Millevoi, Desertion

I am running a little late thanks to a technically difficult cold season. Now it is time to catch up. First in that series is the recent album by cosmic guitarist Nick Millevoi--Desertion (ShhPuma 024).

It's an excellent set from Nick, the always game Jamie Saft on organ and piano, Johnny DeBlase on acoustic and electric bass and Ches Smith on drums.

This one has a tune orientation with some very catchy ones from Nick. The overall balance is as expected a sort of jazz-rock psychedelic approach, but a bit more structured and less overtly power-driven than some of Nick's earlier albums (I've reviewed a fair number here). But what that does is open things up for the harmonic-melodic aspects of the Millevoi approach. It shows us that his "anything goes" openness can include the compositional realm with very worthwhile results.

This album gives you a good chance to hear Nick's inventive guitar outness in all its fullness, but in ways that will gain him perhaps a wider audience. It is a somewhat more thoughtful context, but not more "commercial" for that.

Everybody is tuned in for the date and the more you listen, the more things you hear. This is first-rate Millevoi and a great listen all around. Check it out.

Friday, March 17, 2017

The Michael Blum Quartet, Chasin' Oscar, A Tribute to Oscar Peterson

Something unusual today, a tribute to jazz piano great Oscar Peterson by a very hip guitarist, Michael Blum and his quartet, on an album entitled Chasin' Oscar (Michael Blum Music).

Some swinging contemporary jazz is what we get, most of the music associated directly or indirectly with Oscar. Blum much of the time has adopted Oscar's recorded solo from each tune and made it live for guitar. He is seconded very nicely by pianist Brad Smith, bassist Jim Stinnett (whom Blum cites as an important teacher and mentor) and drummer Dom Moio.

Michael also sings on "Tenderly" and that sounds good as well.

This is music of high artistry, from a guitarist who has absorbed Peterson's ethos and made it over in his own image and sound design.

I must say I enjoy this album thoroughly! Take a listen.

Friday, March 10, 2017

Mark Whitfield, Grace


As we proceed through our musical lives, we generally find ourselves within earshot of a  number of artists who do things that catch our ears, that somehow express a simpatico musical vision that speaks to us. Guitarist Mark Whitfield and his new album Grace (Marksman Productions 8.2268533147-3) resonates with me in this way. It's him and his well accomplished guitar, his sons Davis and Mark, Jr. on piano and drums, respectively, and Yasushi Nakamura on bass. Vocalist Sy Smith drops in for vocals on the title cut.

The music is in the straight-ahead zone, alternately swinging and funking its way through some attractive Mark Whitfield originals (with help from Dave on one, lyrics by Sy on the title cut).

Everyone is in the pocket, Davis plays some hip piano, but in the end it is the considered fluency and inventiveness of leader Mark himself that wins the day.

Good-o~ 

Thursday, March 9, 2017

Lisa Mezzacappa, avantNOIR

Lisa Mezzacappa is a formidable avant jazz acoustic bassist and composer. She is someone with a good idea of where she is going, as you can hear from her latest CD avantNOIR (Clean Feed 401 CD).

This is avant jazz that reflects the black and white noir sensibility through eight interconnected numbers that give us an Asphalt Jungle sort of musical narrative. Lisa on bass, Aaron Bennett on tenor, William Winant on vibes and percussion, Tim Perkis on electronics and Jordan Glenn on drums give characteristic voice to the charts and solo well as needed.

The compositions are out front, but then the solos are inextricable from the finished result. Lisa sounds great on bass, John has a good out feel on guitar, but then Aaron's tenor is pivotal to the ensemble as is William's vibes.

Of course John Zorn has something to do with the noir jazz uprising and you can hear his influence here. Ultimately, though, it all steps forward nicely into Mezzacappa territory.

Mezzacappa gives us richly constructed music that leaves us with a very modern take on NOIR sensibility.

A good one! Very recommended.

Monday, March 6, 2017

Trevor Giancola Trio, Fundamental

From Toronto we have a hard-swinging, line-creating contemporary outing from guitarist Trevor Giancola and his very together trio, in an album dubbed Fundamental (self-released).

Trevor and his companions Neil Swainson on bass and Adam Arruda on drums give us a beautiful set of originals, standards and some deserving jazz composition chestnuts (Elmo Hope's "La Berthe" and "De Dah," Joe Henderson's "Punjab," etc.).

It's a fully enabled trio, which means that bassist and drummer not only swing forward greatly but contribute worthy soloing as well.

Giancola has a lining knack and a very nice harmonic sense. The changes underneath go by effortlessly in the hands of Trevor and the trio.

Here's a tasteful and important new voice on the guitar. The trio makes it all a joy!!

Hear this!

Friday, March 3, 2017

Obake, Draugr

We heard some nice guitar confluence a while back from Eraldo Bernocchi and Prakash Sontaake (see my posting from November 23 of last year). Now Bernocchi returns as part of the hard rocking prog-avant outfit Obake. Their album Draugr (Rarenoise CD or vinyl 34849) has much about it that I like, especially in its refusal to cave to formula, something far too many, possibly untalented bands can do these days. Not Obake.

The band is Bernocchi on very electric guitar and electronics, Lorenzo Esposito Fornasari (LEF) on very respectable vocals and electronics, Colin Edwin on electric bass and Jacopo Pierazzuoli on drums.

This is super-heavy stuff with riffs but a pronounced tendency compositionally to meld it all together in creative ways. Bernocchi can get very out there in space and that makes for some very nice moments. And they get that very big spaced-out sound that roars at you with a nice hugeness.

Now will everybody that reads this take readily to the music? Possibly not, but my job is to thrust forward interesting musics that the adventurous ear might find as absorbing as mine does.

So if you are in the mood for led-heavy astronautics, by all means check this one out!

Thursday, March 2, 2017

Josef Woodward and Charlie Haden, Conversations with Charlie Haden

You do not know Charlie Haden? Anyone reading this column needs to know if they don't. Simply put, Charlie (1937-2014) was a titan of the acoustic bass, among the select handful of the most important and influential bassists of the second half of last century.

And a new book is out that will give you a bird's eye view of why he matters. Conversations with Charlie Haden (Sillman-James Press, 235 pages, paper, $19.95) is an insightful series of interviews Josef Woodward had with Charlie from 1988 to 2008.

The dialogs reveal Charlie as a thoughtful, aesthetically consistent artist who ever strived to realize himself  without compromise, no matter where that took him, from his precocious beginnings as a singer in the family hillbilly band with a regular radio broadcast from age two onwards, his polio and its sharp curtailment of vocalizing, the subsequent lifelong commitment to the contrabass as his principal medium of expression, his rise to fame as the innovative bass voice in Ornette Coleman's breakthrough quartet and its carving out of avant free jazz, and his subsequent involvement with other collaborations, the advent of his Liberation Music Orchestra and later, Quartet West.

All that is covered thoughtfully. Charlie gives us great insight into his involvement with and understanding of Ornette's harmolodic approach, of his bass as fulfilling the role of piano in that band, only being fed the harmonic implications of Ornette's lines rather than the reverse.

But there are lots of other things to gain from this book. Charlie's view of the importance of finding yourself and who YOU are musically is a recurring theme, for example, great advice for any aspiring artist.

It's a book that practically reads itself. Compelling commentary from a jazz titan! Read it by all means.

Friday, February 24, 2017

Joëlle Léandre, A Woman's Work..., 8-CD Boxed Set

 
World-class virtuoso double bassist and vocalist Joëlle Léandre was not on my radar in the years when graduate school, then overwork and low pay forced me to rely on my fellow traveler's avant discoveries to broaden out my knowledge of new improvisational trends. Working as a review writer for Cadence Magazine fortunately gave me access to a world of artists previously unknown to me. As it happened Bob Rusch sent me a Joëlle Léandre CD to review in a batch of new releases, around ten years ago. It was Joëlle on bass and vocals and another vocalist in a live duet set. As is often the case when confronting the truly new I at first did not know what to make of the vocals, though the bass playing was beautifully strong. In time I came to appreciate her artistry both on the bass and vocal front, as I did Cecil Taylor's vocals after some exposure.

Time has passed and I have happily been the recipient of a good number of subsequent Joëlle Léandre albums, and by now I know that her high, very creative level of avant jazz is a given. When she performs (or composes), you can depend on her to be one of world's most important and original avant jazz improv contrabassists and startlingly original vocalists alive today, someone who whether in solo, duo, trio, quartet or larger contexts will give spontaneous form to the proceedings while bringing out the best with those she performs with.

So when I heard from Joëlle that an eight-CD boxed retrospective was in the works, I jumped at the chance to give it all a close listen and, as you see, write up my thoughts when I emerged from the brown study of aural enlightenment.

So, to give you the complete title info, this is A Woman's Work. . . 8-CDs nicely packaged and available on the Not Two label (MW950-2). If I call it a retrospective I do not mean it is a sort of "greatest hits" collection. This is music we have not heard previously, most from 2015, each a special combination of Joëlle and her bass (one in solo), Joëlle and a live audience, Joëlle interacting in duo, trio, quartet, etc. with a select set of improvisational partners, many well known to the vet avant listener, some less so, but all entering into intensely rewarding dialogs with each other.

So we appreciate the collaborators and how in each case they engage Joëlle and vice versa for some excellent free music. Most of my readers will recognize some or all of the collaborators: Jean-Luc Cappozzo, Agusti Fernandez, Fred Frith, Zlatko Kaucic, Mat Maneri, Lauren Newton, Maggie Nichols, Evan Parker and Irene Schweizer.

There is nothing tired or stale about this music. To quote Joëlle from the very informative accompanying booklet, "The sound of a musician is what he has in his guts, in his soul, is what he has to say. Sound is tough work! It's your identity!" Amen! What we have in this box set is a gathering of major sound masters caught in the real-time process of actualizing themselves, through personal sound generation in an endlessly open field. In the process it gives you a definitive guide to the sound artistry of Joëlle Léandre today, bassist of endless productive creation in close conversation with like-minded free spirits, all masters of the sound fingerprint.

Is this all too much? Not at all. I do not suggest you sit down and try to listen to all 8-CDs in one sitting. Take them one or two at a time, then return to them all repeatedly. This is most emphatically NOT music to tire of. Each listen brings new awareness of another aspect of all the things going on, which is a considerable lot.

I would even say that this might indeed point the avant improv novice in the right direction, teach her or him to open the ears, to listen! Get the set and sequester yourself. And for those who know  Joëlle and the style it is a beautiful collection of contrabass profundities, a series of very fruitful avant summits, a collection to treasure, but yes, to help you learn to hear!

And it reminds us just how seminal Joëlle Léandre is in the music of today.

Friday, February 10, 2017

Frank Kohl Quartet, Rising Tide

An articulate phraser who can give great nuance to each and every line, Frank Kohl joins with a very simpatico quartet for some swinging contemporary jazz on Rising Tide (Pony Boy 50186-2).

It's Frank along with Steve LaSpina on acoustic bass, Tom Kohl on piano and Jon Doty on drums in a well-paced program of Kohl originals and a couple of standards. Everybody (maybe even the drummer!?) has internalized his way around changes and has something soulful and interesting to say throughout. Frank has a strong sound that gives the lines torque, a percussive edge that may remind you of vintage Benson but finds its own way around the changes.

Frank is a guitar tastemaker, a true arteest. Hear him out!

Wednesday, February 8, 2017

John Abercrombie Quartet, Up and Coming

As we proceed through our lived experience of important and influential jazz giants of our times, we come to realize that many artists, taken as a whole, have had more than one artistic period. John Abercrombie is no exception. There has been more than one way for him. His initial emergence as a fusionist culminated in the Gateway Trio with Holland and DeJohnette, then there were the progressive years where he was extroverted yet spacey, and finally there is the period he has occupied for the last 15 years, give or take. Once he jettisoned his pick, he remained the consummately brilliant  line and chord improviser, yet there was a new coolness that by now has become subtly brilliant. His tone has been burnished so that it is not that far from a Jim Hall, yet nonetheless he blazes his own trail in the adventurous journeys from A to B.

You can hear that beautifully in his latest quartet album Up and Coming (ECM 2528). The excellent foursome of John plus Marc Copland (piano), Drew Gress (bass) and Joey Baron (drums) is deliberately understated in its quietude, yet capable of monstrously exceptional improvisations in realms where we might not have expected them to dwell a decade ago.

Miles' "Nardis" centers the program of what is otherwise five Abercrombie and two Copland originals, sprawling long form improvisational vehicles where great things happen so quietly you have to focus and dig into the excellent details of what is going on to fully appreciate it all.

Once you do, there are some incredible performances that come into your experience, wonderful things.

Do not overlook this one. John is doing some of his best work and the quartet is a breathing improvisational entity one must experience in focus to appreciate.

A bit of a milestone, this. Bravo!

Thursday, February 2, 2017

Massimo Discepoli, Daniel Barbiero, An Eclipse of Images

On the CD player this morning is a very well-conceived, spacey opus from drummer-electronician-electric bassist Massimo Discepoli and contrabassist Daniel Barbiero, namely An Eclipse of Images (Acustronica).

This album nicely incorporates cosmic soundscaping, bowed and pizzicato bass, drums in a free and sometimes rocking zone, an electronic backdrop of concentrated outwardness, and an overall arching organic quality.

Daniel sounds great on bass, Massimo on drums and the conceptual totality rings out nicely. It almost seems like a concerto for bass, drums and electronics, the latter acting as a sort of orchestra.

From first to last this hangs together well, reminding at times of early-mid Soft Machine for its psychedelic minimalist spaciousness. But that is only a rough indicator of what you'll get here.

A very enjoyable listen! Recommended for sure.

Monday, January 30, 2017

Samo Salamon, Stefano Battaglia, Winds

I am lucky to get a steady stream of music for consideration. I listen to it all and there are plenty of times when I uncover a gem that I would not otherwise have had a chance to hear. One of those today is up for review. I speak of guitarist Samo Salamon and pianist Stefano Battaglia in the nicely conceived duo date Winds (SAZAS-Klopotec 037).

The music is an appealing mix of spacy soundscapes, jazz-rock-avant improvisations, and progressively oriented adventures in sound sculpture.

It shows both Samo and Stefano as sensitive, powerful players with a clear set of direction, sometimes spurred on with composed elements, always showing a stylistic originality and a confident sense of where to go at any given point.

Samo has an excellent melodic feel and sense of purpose; Stefano's piano presence does a great deal to make of it all something worthy as well.

I like how Samo uses a fair bit of electricity to put the guitar sound into near-rock territory and at the same time constructs lines which extend the sound into further outwardness. Stefano similarly ranges far and wide with a very musical way about him.

For another worthwhile album by Samo, see my March 3, 2006 review on these pages.

Excellent!

Tuesday, January 24, 2017

Brian Kastan, Roll the Dice on Life

I had no idea about Brian Kastan, composer, guitarist, bandleader. Until now, that is, and his double CD Roll the Dice on Life (Kastan Records 1001). From the moment I put this one on for the first time I heard something I immediately knew was different, unheard of and very accomplished.

There is something Zappaesque, Beefhartian to it all, yet not. It is Kastanian. His guitar work is overarching everything with an exceptional structural sense. There is melodic-harmonic surprise at every turn. And the compositions have a real twist to them.

It is Brian in a quartet setting. Miles Griffith's mostly wordless vocals are a thing apart, articulating the complex melodic lines like nobody else, scatty and musically strong, yet very off the wall in the way he mumbles, grumbles, and musically growls the lines.

Steve Rust on bass and Peter O'Brien on drums are very important to the sound, too. They play some beautiful lines both as composition-realizations and as improvisation-openness.

I must say that there is something astonishing going on here, on the fringes of involved rock but most definitely within the reinvented confines of it all.

Holy cripes! This is DIFFERENT. Get your ears on it, definitely.

Monday, January 23, 2017

ROJI, The Hundred Headed Woman


The duet-plus-guests configuration of ROJI, as we hear on The Hundred Headed Woman (ShhPuma 023) makes for a compelling and joyful noise thanks to the throughly musical avant timbre and tone of electric bassist Goncalo Almeida and the fully aware timbral depth and rolling creativity of drummer Jorg A. Schneider. The addition of Susana Santos Silva on trumpet for around half the album and baritone saxophonist Colin Webster for the other half fleshes out the sound without decreasing the very large presence of Almeida's bass or the rolling thunder of Schneider's drums.

In either case Silva's trumpet or Webster's baritone adds to the remarkable frenetics of ROJI without subtracting the hugeness of the duo in the least. Only one cut features the duo as duo. But we do not, or at least I do not feel anything but the rigor of electric-boosted continuity from first to last.

It sounds like Goncalo is playing a five- or six-string electric much of the time, as there is the deepness of the amped-up bass tones plus sometimes a counterline played in the upper range of the instrument, with or without a slide but in any event more guitar than bass-like. In either case Goncalo gives us a distinct avant fullness that is original as it is bracing.

The entire album rockets forth with great energy, noise, and timbre. It is as much psychedelic-laced rock as it is new thing and new music. And it is not just that they do this consistently but that they also do it so well.

In this extraordinarily fragile and frankly disturbing age we live in ROJI transcends the instability of the present with fearless musical courage.

And to me it signals the need to stop questioning an avant garde whose conviction that what they are doing is worthwhile and right comes at a time when many of these artists have little or nothing to gain from devoting a lifetime to evolving their sound. Fame they do not get. Money perhaps very little. There is sincerity and great talent in the best. You can hear that in ROJI. Celebrate a free world creativity! Get this album and play it!

Friday, January 20, 2017

Joshua Breakstone, The Cello Quartet, 88

Guitar jazz adept Joshua Breakstone returns with his Cello Quartet for a look at some fine composer-pianists within the hard-bop and related jazz idioms of the fifties and early sixties on 88 (Capri 74144-2). Pieces deserving a new look combine with some fine swinging modern jazz soloing from a top-notch group.

Breakstone is a fine chordal colorist and an excellent lining soloist who combines smarts and soul. Mike Richmond adds much to this quartet with nicely thought through pizzicato lines in a post-Pettiford manner. Lisle Atkinson's bass and Andy Watson's drums give the set a groovingly solid foundation at all times.

Breakstone gives a tributory nod to the pianists in his original "88." From there we get a worthy handling of some beautiful and lately somewhat or completely neglected masterpieces: Mabern's "The Chief," Clark's "News for Lulu," Walton's "Black," Waldron's "Soul Eyes," Hope's "Moe is On," Harris' "Lolita," Dameron's "If You Could See Me Now," and Tristano's "Lennie's Pennies."

The combination of the pianistic classic repertoire and the Cello Quartet instrumentation gives us a very fresh take and some very nice playing. This is surely one of Breakstone's best and I suspect any jazz loving listener out there will find plenty to like.

Very recommended!

Tuesday, January 17, 2017

Mili Bermejo, Dan Greenspan, arte del duo

In jazz the duo may be one of the most challenging configurations. It does not give you that absolute open form of the unencumbered individual, but neither does it provide an extensive backdrop for the solo. When you have a duo of voice and contrabass there are further challenges. These sorts of thoughts recede to the back of your mind, though, when you listen to vocalist Mili Bermejo and bassist Dan Greenspan carry forth on their recent album arte del duo (Ediciones Pentagrama 707).

These are song form excursions. Many (around half) were written by Mili and they are sparkling, but she also falls into wordless improvising and sometimes, something in between. Her songs are substantial but then she takes on some others (that you might know) and in every instance gives it all a vocal presence that is beautifully original.

Dan Greenspan plays excellent bass here as well. He works within the implied changes of any given tune and delivers an exceptionally mindful set of bass parts/improvs that define the duo as much as Mili does vocally.

There is a South American lilt to it all, not always quite bursting into full rhythmic cadence as much as they allude to what they hear but leave out. Then again, they sometimes let loose with the linear heat they have internalized and so we feel a thrusting forth as well as a hiding and a conscious partial erasure,

This is pure brilliance!

Thursday, January 5, 2017

Ian Faquini & Paula Santoro, Metal na Madeira

Anyone who loves Brazilian samba jazz as I do will welcome Metal na Madeira (Ridgeway 005) by Ian Faquini & Paula Santoro. Ian wrote all the music for the album and it is excellent. He plays a well-put-together rhythmically and harmonically vital acoustic guitar in the idiom appropriate for this music. Paula Santoro is in charge of the vocals and she is brilliant in the role.

The minimal of the two together is supplemented on the various songs, respectively, by bass plus drums and percussion, or accordion and pandeiro, or drums, or electric piano, drums, bass, horns and backing vocals, or accordion, or clarinet. Everyone does the right thing to forward the music beautifully.

This is far and above one of the nicest samba jazz outfits I've heard in years. And the originals have everything going for them, as do Paula's vocals and Ian's acoustic.

Wow! Do not miss this one!

Monday, January 2, 2017

Eric St-Laurent, Planet

From Canada we have electric guitarist Eric St-Laurent and his album Planet (Katzenmusik 06). The trio-quartet involved is a nice conflation of St-Laurent's picking and plying axe combined with a woody and solid bass from Jordan O'Connor, nicely gauged percussion from Michel DeQuevido and when he is playing, some interesting piano from Attila Fias.

They do originals and classics like "Donna Lee," and it all sounds bright and contemporary. A big surprise is the theme from Beethoven's Piano Sonata No. 8, Second Movement. It works.

In the end we hear a guitarist who goes his own way, convincingly, and a band that sounds fresh and can PLAY.

I plan to post much more on here this year. I ran into snags the last half of 2016 which I hope are remedied! Onward.