A Closer Listen
We usually separate jazz into our Experimental and Rock, Post-Rock, Folk & Jazz sections, but this season there’s so much of it (in pure and improvised forms) that we’ve given it a spotlight. This being said, we hope that our readers leave their expectations at the door, because there’s everything here from smooth, accessible jazz to raucous, dissonant jazz, with side trips to post-rock and modern composition. Jazz is notoriously undefinable, but we know it when we hear it! The variety of music heard below may be enough to challenge assumptions and attract some brand new fans.
Our cover image is based on Goran Kajfeš Tropiques’ Tell Us, previewed below!
We’ve grown accustomed to starting with 577 Records, and this season is no exception, as seven albums are already in pre-order status. Robert Mitchell‘s A Study (In The Key Of Now) is an album-length exploration played on grand piano, a slight departure for the prolific label (March 20). Ayuti Ishito‘s Roboquarians, Vol. 1 (feat. Kevin Shea and George Dragons) is nicknamed “Black Flag jazz” due to its roots in the punk movement (March 29). The self-titled album from Teiku offers rearrangements of Passover melodies, a fine release for the upcoming season (April 12). Leo Genovese, John Lockwood, Nat Mugavero present The Art of Not Playing, although they are, in fact, playing (April 21). Francisco Mela featuring Leo Genovese and William Parker present Music Frees Our Souls, Vol. 3, the latest in a series of successful collaborations (May 10). Then Francisco Mela, Shinya Lin team up for Motions, Vol. 2 (May 14) and Room 31 takes us to Crazy Town, which may be located right next door to Funkytown, but sounds completely different (May 24). Leo Genovese also appears on Joris Teepe‘s The American Dream Today, which is introduced in a one-minute video. The bassist leads a sextet on these occasionally bluesy numbers (April 5).
One of the season’s massive releases is the 5-disc Giant Beauty, which includes a 96-page book. The quartet [Ahmed] uses this space to honor composer, bassist and oud player AhmedAbdul-Malik (1927-1993) (fönstret, April 8). Another is the handsome Three Cellos, the first release in Grayfade’s new FOLIO format. Kenneth Kirschner‘s set comes with a 6.5 x 8″ hardback book of extended narratives and notes that amplify the need for liner notes in a digital age (April 26).
Silent, Listening is a great name for an album, close to the name of our site. Fred Hersch‘s intricate piano explorations allow room between the notes, using an occasionally pointillist approach. Shhh … listen (ECM, April 19). Liberski/Yoshida pairs two great forces on piano and percussion. The tracks of Troubled Water refer to ocean dangers, while the cover asks which is more insidious, sharks or debris (Totalism, March 21). Matthew Shipp‘s New Concepts in Piano Trio Jazz is self-explanatory, the continuation of a project begun in 1990 (ESK-Disk, April 5).
Those who know Shabaka as the leader of The Comet Is Coming may be surprised by the relative placidity of End of Innocence, the first single from Perceive its Beauty, Acknowledge its Grace, whose guest list is like a who’s who of the alternative jazz-funk world (Impulse, April 12). Dun-Dun Band delves into minimalism and prog rock, and if the album title Pita Parka, Pt. I: Xam Egdub is said quickly, it sounds like “Peter Parker.” The band is a direct descendent of Glissando 70 (Ansible Editions, May 3). Trumpeter Ian Carey & Wood Metal Plastic offers the vibrant Strange Arts, the artist’s 7th album but his first with this 7-piece ensemble. Hints of modern composition sneak in below the jazz, especially on “Rain Tune” (Slow & Steady, March 22).
Scott Marshall‘s The Solitude Suite was inspired first by COVID solitude, then the solitude of its aftermath. The saxophonist is joined by eager friends on bass, trumpet and percussion (March 22). Those who like their coffee smooth, sweet and just a little bit funky should love Brent Birckhead‘s Cacao, preceded by the title track. The saxophonist leads a small ensemble, while voice is included on two late tracks (April 5). Sax and electronics make Josh Johnson‘s album An Unusual Object; the album is danceable, although improvisations run rampant (Northern Sky, April 5). Sax and drum duo continues its partnership on Intercept Method, rounding out a second decade of collaboration (April 12). NZ saxophonist Lucien Johnson is in fine form on Ancient Relics, but the harp is a secret weapon, transforming the album into something more spiritual (April 1). Dayna Stephens uses Closer Than We Think as an avenue to explore similarities between nations, cultures and genders. The saxophonist’s ensemble serves as a metaphor for his message (Cellar Live, April 5). Sax, guitar, voice and synth swirl about Caroline Davis & Wendy Eisenberg‘s Accept When, imitating the cover paint (Astral Spirits, April 12).
Jim White‘s All Hits: Memories is a showcase for the drummer, whose extensive kits produce a variety of percussive sounds. We also love the dual meaning (Drag City, March 29). We’re not sure how Fiona Apple ended up on drummer Amy Aileen Wood‘s The Heartening, but we’re glad she did. By no means mainstream, the album is searching, investigatory and confident. Rolling Stops is the first single (Colorfield, April 29). Drummer Willy Rodriguez is Seeing Sounds on his debut release, his synesthetic vision strong enough to attract an octet (March 29). Kabir Dalawari makes an interesting choice on Last Call, making “Last Call” the opener; will fans stick around after the bar has closed? From the sound of the drummer’s sextet, they will (Shifting Paradigm, April 5).
Here’s a mouthful: Amalie Dahl’s Dafnie‘s Står op med solen’ (Rising with the sun). The Norwegian free jazz quartet draws members from other bands, but allows each their sonic space (Aguirre, April 5). The free jazz quartet Ivo Perelman, Chad Fowler, Reggie Workman and Andrew Cyrille is Embracing the Unknown on its latest set, preceded by the raucous (and perhaps oddly titled) Introspection (Mahakala Music, March 29).
Fire Lapping at the Creek may look like a straight-up Appalachian blues album, but the music is rife with improvisation and experimentation. Alec Goldfarb‘s ensemble brings a touch of New Orleans to the deep woods, even more surprising as the artist hails from Brooklyn (Infrequent Seams, April 12). A world music vibe is evident on Timing Birds, a lovely album from Silvia Bolognesi / Dudú Kouate / Griffin Rodriguez, featuring ngoni, kalimba, poetry and more (Astral Spirits, April 16). Jazz, rock and world music combine on Rachel Z‘s Sensual, a playful set that highlights the artist’s piano while exploring other territories as well (Dot Time, March 29).
Worlds in a Life, Two is an unusual album in that it is comprised of samples from the first six albums from Thollem. The music is ghostly and disconnected, with swirling voices worthy of a haunting (ESK-Disc, April 5).
Tonal Prophecy is a fun project for the now-octet Hill Collective. The ensemble seems energized and fluid, bolstered by the voices of the 20-strong Grand Unison Choir (April 20). Dozens of performers are included on Cassie Kinoshi’s seed., a collective whose music verges at times on big band (naturally) and even post-rock. gratitude has a widescreen sound, augmented by turntables and orchestra (International Anthem, March 22). Goran Kajfeš Tropiques also ventures beyond jazz on Tell Us, available on pretty marbled vinyl. “Hypno-jazz” is one proposed name for the sound of the Swedish quartet, with kosmische as an additional influence (We Jazz, May 3).
Richard Allen
Wed Mar 06 00:01:06 GMT 2024