"Lower Bottoms" - Matt Nelson

Released yesterday, Matt Nelson's first solo album delivers a far out investigation in sound and technique.  Nelson's curiosity and experimentation, coupled with a tremendous use of guitar effect pedals, treats our minds to a feast of noise, sound, and concepts

With electronic manipulation and a healthy dose of feedback the saxophone is delivered fresher than ever before.  Nelson showcases smooth, hypnotic moments intertwined with disjointed assaults.  Allowing us to peek into Nelson's expanding approach to his instrument.

Nelson's tonal range is on full display thanks to the production efforts of engineer Eli Crews.  With a nice system dynamic highs, warm mids, and boomy lows are all brought to light.  I'm not much of a low-end guy, but the moments that sound like my speakers are beneath the floorboards are some of my favorite parts.

... I can guarantee that no other 2014 release comes even close to Lower Bottoms.

Matt Nelson will be performing in Portland next Monday, 10/27, at the Habesha Lounge.  You can also catch him play in Battle Trance, an all saxophone quartet, on 11/02/14 at the Habesha Lounge.

2014 - Tubapede Records

New July Releases From OutNow Recordings

Gordon Beeferman Trio, 
Out In Here

This collection of improvised music places us into Beeferman's new piano trio outing. At times Out In Here possesses a physical dominance that's pulled from Cecil Taylor's early 60s work, and at other moments evolves into textural and fluid bits much like a Paul Bley piece. These strong structural landscapes are carried through the entire recording. Production-wise this CD is a dream. With a wide stereo image Out In Here comes off clear with tight pacing. 

• Gordon Beeferman - Piano
• James Ilgenfritz - Double Bass
• Michael Evans - Drums

Yoni Kretzmer / Pascal Niggenkemper / Weasel Walter, ProtestMusic

Right out of the gate, from the album title to the very first note, ProtestMusic elicits emotional, reactionary movements. If these two CDs were Abstract Expressionists, ProtestMusic would be Jackson Pollock while Out In Here would be Barnett Newman. 

ProtestMusic is raw and organic. Pulling from the stylings of Frank Lowe, Charles Gayle, and Pharaoh Sanders, Yoni Kretzmer's dense tenor playing appears front and center in this piano-less trio. With Kretzmer as the nervous system, Pascal Niggenkemper and Weasel Walter form a strong (and deformed) skeleton to complete this disjointed body.  

• Yoni Kretzmer - Tenor Saxophone
• Pascal Niggenkemper - Double Bass
• Weasel Walter - Drums

New York Is Now!

I'm just off off the heels of visiting friends & family in New York.  Lingering on our time spent there I've been dialed into Ornette's 1968 Blue Note masterpiece, New York Is Now!



Although I haven't posted about this album, I'm probably the most familiar with it from Coleman's large discography.  It's simple, well stated, and prominant in its presence.   Since this session is backed by Elvin Jones and Jimmy Garrison, a unique back drop is created for Coleman to work within.  

In typical Blue Note fashion this album swings, swings, and swings some more.  I love Jone's heavier use of the kick drum here.  It anchors the group with pops and flutters behind Coleman's melodic playing.  And Dewey Redman's presence is a welcomed contrast to Coleman's concepts.

New York Is Now! is a must listen for fans of Coleman, Coltrane's Classic Quartet, and post-bop.   It warrants re-listens, and appears to fit in the background of most situations.  

It's a small drop in Ornette's Large discography, and along with its sister release, Love Call, stands out from anything else he's released.

April Jazz in Oregon / Plus new things from Northern Spy Records

Couple of show announcements ...

Wednesday, 4/16, at Mississippi Studios you can catch the Chris Speed Trio, featuring Dave King of The Bad Plus and Chris Tordini, with the Blue Cranes also on the bill for the night.

Northern Spy recording duo, Jooklo Duo, will be hitting three locations throughout Oregon.  Thursday, 4/17, at Interzone in Corvallis, OR as part of their The Red Room: Improvised Music Series, along with two dates in Portland: Friday, 4/18 at Valentines, and Easter Sunday, 4/20, at Reed College.

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... Speaking of Northern Spy artists, I've been really into Locus by the Chicago Underground Duo.  This amalgamation of genres feels like a love child between The Art Ensemble of Chicago, Aphex Twin, and Thurston Moore. 

We hear processed sounds that are pulled from analog and digital sources, and derive anywhere between a synthesizer and a Game Boy. Rob Mazurek and Chad Taylor take us on an adventurous sound experiment across the realms of music.  Heavily rhythmic within its melodies, Locus creates a sense of eagerness from one cut to another.  Each track is like a layer revealing a next step onward into uncharted territory.  Through every listen I find myself wanting to re-cue this record once the last note hits.

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April 19 is Record Store Day.  Northern Spy has an exciting lineup of RSD only releases.  So check in with your local haunt for some shiny new wax from J. Spaceman & Kid Millions, or a Deerhoof + Marc Ribot / Ceramic Dog split 7".

Chicago Underground Quartet

 

I only recently discovered this album this year and it has been in regular rotation for me. I am only somewhat familiar with the musings of Rob Mazurek and Chad Taylor's successful Chicago Underground Duo and Trio with Noel Kupersmith, but once I learned Tortoise guitarist, Jeff Parker, is a long time collaborator with Chicago Underground I was happy to stumble across this CD. 

Chicago Underground Quartet is a near flawless listen which is partially owed to its stylized production. With a nice amplifier and good set of speakers you're treated with lush low ends complimented by bright highs, and the warmth of acoustic meets electric happenings in between. This is particularly observed in Four in the Evening where a simple theme is tooled between Kupersmith's bass and Mazurek on cornet. It's a short spacey piece that leads right into my favorite track, A Re-occurring Dream. Another minimalist themed composition that highlights licks over a simple blues line. For me, I can't help but think of "Audrey's Dance" from Twin Peaks.

Those two slow paced tracks are the perfect setup for the fast tempoed, free-form movement, Welcome. Which begins with a burst of cymbal splashes and an intriguing guitar melody. The melody is repetitively emphasized here before the formation of the Quartet's improvisation skills kick in.  It may seem abrasive at times but everything is weighted nicely here.

Total Recovery mixes it up with a tight groove that offers a platform for Parker and Mazurek. It's the perfect piece before the next improve cut, Sing, Charge, Fixture. Where, different from Welcome, the spacing and silence is as much a part of the composition as the instruments being played. Nostalgia, the concluding track, sounds as if it would fit perfectly over an obscure Science Fiction movie with the galactic sounding moog. It's the perfect segue out the album's atmospheric setting. But even afterwards, there is a short Easter Egg for those who are patient enough.

The self-titled Chicago Underground Quartet is a strong album. I would imagine that anyone who is interested in the Chicago Underground Duo probably already owns it, but if you are fan of contemporary jazz and experimental music this is a must for your library. 

2001 - Thrill Jocky.
Noel Kupersmith - Bass; Rob Mazurek - Cornet, Electronics; Jeff Parker - Guitar; Chad Taylor - Percussion, Vibraphone.  

"... isn't it too dreamy?"

ESP-Disk' Findings and Burton Green in Portland

Couple of recent vinyl purchases from Burton Greene and Gato Barbieri.  Both ESP-Disk' titles.  Each of them fierce in their own way.  Greene offering a physical enduring adventuring while Barbieri drives your spiritual sensations.  

I have had digital versions of both albums for years, but I love the opportunity to rediscover records on vinyl.  It's all about the surface noise.

Burton Greene visited Portland back in April for two live performances.  I caught one of them at the Camellia Lounge in NW Portland.  Greene is a legiy improver and seeing him at work was electrifying and immersive.  It's refreshing to see players like Burton Greene continue to push musical boundaries in person.

"Life In The Sugar Candle Mines" - Black Host

The new Northern Spy release from Black Host, Life In The Sugar Candle Mines, is textured and far out.  Cooper-Moore (piano, synthesizer), Brandon Seabrook (guitar), Darius Jones (alto sax), and Pascal Niggenkemper (bass) join drummer Gerald Cleaver here.  Much like Art Blakey and his Jazz Messengers, leader Gerald Cleaver allows Black Host to act as catapult for the collective endeavor of his bandmates. Yet each individual identity from this quintet acts as their own appendage within this improvising ensemble.

Life In The Sugar Candle Mines is a collective romp that certainly stands out within Avant-Garde Jazz.  And each cut seems to be more exciting than the next.  The first two pieces, "Hover," and "Ayler Children" present a fierce momentum early on in the record, but later tracks such as "Test-Sunday," and "Wrestling" still anchor my attention with their building intensities.  While numbers such as "Citizen Rose" and "Amsterdam / Frames" offer spacey explorations reminiscent of prog/psychedelic and thrash rock.  I bet Thurston Moore listens to this album on repeat.

Still, there are melodic parts along with creative ensemble bits that inspire a conceptual motive here; much like succussful visual, abstract artists.  If you're into experimental music but are searching for the right diving off point for the Jazzier side then Life In The Sugar Candle Mines will hit the sweet spot.  With its forward-looking approach and strong roots in the NYC Avant-Garde scene experienced listeners have an album worth checking out as well. 

A Moonship Journey with Sun Ra

Yesterday was Sun Ra's birthday.  99 years ago he arrived on this minuscule rock in our universe.  And with his arrival Jazz was changed forever.  Sun Ra oozed creativity, diversity, and change during an era of Jazz that needed all of the above.  His discography is deep and eclectic offering a magnitude of atmospheric music for any mood. 

I like to think Carl Sagan listened to Sun Ra. [Image Source]

With the advent of his birthday, I am making an excuse to dive into his discog for a few days.  I have been listening to Sun Ra for years, and still only feel like I am at the surface of his enormous catalog.  But there's one album I continue to return to, Cosmos.  A mid 1970s recording issued on the Cobra label; I am reminded of Pharoah Sanders' Impulse cuts from the decade earlier.  Perfect ambient tones along with exciting ensemble sections.  

Solo and ensemble wise, the horn parts are immaculate here.  And the warm buzz of the low ends of electric bass amalgamates with Sun Ra's Rocksichord playing.  My favorite track is "Moonship Journey."  It starts off with a 45 second melodic solo by Mr. Ra before he kicks into a rhythmic groove setting a precident for the Arkestra as they begin chanting, "Prepare for the Moonship journey... Journey on the Moonship."  Which is exactly what you need to do for Cosmos.
1976 - Cobra.
Sun Ra - Keyboards [Rocksichord]; Danny Davis, Marshall Allen - Alto Saxophone, Flute; Danny Ray Thompson - Baritone Saxophone, Flute; Eloe Omoe - Bass Clarinet, Flute; Jac Jackson - Bassoon, Flute; Larry Bright - Drums; R. Anthony Bunn - Electric Bass; Vincent Chancey - French Horn; John Gilmore - Tenor Saxophone; Craig Harris - Trombone; Ahmed Abdullah - Trumpet.

Other This Shape of Jazz posts on Sun Ra here.
My friend Devan Cook wrote this feature from the April 2011 issue of Propeller.

"Omens & Talismans" - Farthest South

Farthest South is an electric/electronic group from Israel that focuses on individual and group improvisation.  "Omens & Talismans" brings jazz improviser Albert Beger into the recording studio as they bring us new, uncharted territory to conquer.

I can't help but think I am listening to a David Lynch soundtrack here.  In the opening cut, A Lesson Learned - Part I - Creating Transformation, a contrast of pulsating and ambient tones along with thrashing guitar licks and flowing cries of a tenor sax offer an intense listen.  A Lesson Learned - Part II - Lecture instantly grabs your attention with a hard hitting electric beat that still gives evidence to a non-existent narrative that I want to insert into this music.  

The second half of the record brings Concrete - Part I - Godshall and Concrete - Part II - Mantram.  Part I - Godshall is the most ambient and atmospheric song in this album.  An exploration that certainly highlights Beger's saxophone over dissonant and jagged electronics.  And even though there is a strong Eastern sensibility in this whole record, Part II - Mantram emphasizes this even more creating a reasonable exit to the suite.

You can listen to "Omens & Talismans" on their Bandcamp page, where it is also available for digital download.
2013 - Fairsouth West Records.
Yair Etziony - electronics, bass; Barry Berko - guitar; Yair Yona - bass guitar, effects; Alber beger - saxophone. 

Tri-Centric Foundation comes through for a last minute gift idea.

The last two years I created a couple of gift guides for Jazz Geeks like myself (and here).  In anticipation of all the 2012 top of, worst of, best of lists we'll be seeing I decided not to bother.  However, an email in my inbox from Tuesday prompted me to spread the news.

The Tri-Centric Foundation is pivotal in the archiving and releasing of Anthony Braxton material.  For a limited time, members can download a rare solo bootleg entitled, "Solo (Carnegie Hall)1972,"  for free, and non-members can purchase it for a mere $6.99 for a limited time.  It would make an ideal last minute gift for that Avant-Garde fan in your life. So jump on it. 

An example of the recording equipment used.  Photo by Kyoko Kitamura

From Tri-Centric Foundation:

Recorded when Anthony was 27 years old, this bootleg which was discovered earlier this year is the only available audio of the event that we know of...

...We can only offer this recording to you because of your generous support. As manyof you know, TCF was revived in 2009 by a dedicated group of volunteers. We are proud to have accomplished much in three short years but we need your help to keep going. Here is an appeal from the Tri-Centric Foundation president Taylor Ho Bynum. 

I am writing to you in the hope that you share my conviction that the music of Anthony Braxton can have a transformative effect on artists and audiences alike. Personally, Braxton’s artistic innovations have not just changed the way I listen to and make music, but have taught me profound lessons about community, creativity and idealism. If Braxton’s work has been similarly important to you in your life, I ask you to consider donating to the Tri-Centric Foundation.

Best regards, 

TCF Team 

"On This Night" / "New Thing At Newport" - Archie Shepp

 I spent Thanksgiving in the MCM wonderland known as Palm Springs, California. Modernity stretched to every corner of this world.  Driving back to San Diego to catch our flight I tuned into their local Jazz station. The drive was soothed by a broadcast Archie Shepp's On This Night.... Man this was good. And I haven't heard it before (shame on me!).  Shepp is a master at having balance in his music.  He fuses delicate arrangements with strong willed playing.  This, along with his arrangements and raspy tonality are an ideal equation for the New Thing style.

Since I do not own this record, I am reluctant to write about it. However, this recording immediately brought to mind the Split LP he did with John Coltrane entitled New Thing At Newport.  Which makes sense because NTAT was released right after On This Night.  For me, Archie Shepp always seemed to bridge the gap between Post Bop and Free Jazz.  A reason why I put him on such a high pedestal.  I completely admire his recordings, personally, and thoughts regarding the history and continuation of Jazz Black Art Music.

Leaning on the freer side, New Thing At Newport offers a rare glimpse at a quartet that featured Bobby Hutcherson on vibes, Barre Phillips on fiddle bass, and Joe Chambers on drums.  I mentioned Shepp's raspy tonality above. A sound that is created by substantial drive on the reed of his saxophone, this aesthetic also reminds me of older Rock/R&B music.  Shepp's tonality allows him to stand out from a sea of tenor players.

Shepp is typically rooted in the blues.  A nice anchor to have when traversing abroad to the freer side of music.  No matter how rare or obtainable it is, early Shepp recordings are a gem.  Whether he is playing far out or far in, I always sense that feeling of the Blues.  Another reason why I applaud Archie Shepp.
1965 - Impulse.
Archie Shepp - Tenor Sax, Vocals; Bobby Hutcherson - Vibes; Barre Phillips - Bass; Joe Chambers - drums.
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Music of the Cosmos, meet headphones of the Spaceways

[Full Discloser: my brother works for the company that makes Polk Audio products.  He sent these headphones to me.]

UltraFocus 8000 Headphones

A few things have prompted me to write about Sun Ra.  One: last week Portland's KMHD Jazz Radio featured Sun Ra's music all week long as part of their Artist Spotlight series.  Two: this summer I took up reading more Sci-Fi novels, and I feel this has reconnected me with Sun Ra's intergalactic themes.  And three: these new Polk Audio headphones sound fucking great.

"Sun Ra and his band from outer space will entertain you now"

What I am listening to here is Sun Ra's College Tour: The Complete Nothing Is.  The original ESP-Disk' LP contained 39 minutes of audio from a live set at St. Lawrence University in Potsdam, NY.  This two disc CD version contains the full 70 minute set along with a "partial second set from the same evening."  We can thank Sun Ra archivist Michael D. Anderson for all this new material.  Overall, the Nothing Is... is a feast to the ears.  Total ear candy in the highest Avant-Garde sense.  Great arrangements, great sound, great solos, and just plain-great Jazz music.

CD cover left, original LP cover right

Audio engineer David B. Jones captured a wonderful performance here, and this remastered version fills the role using my UltraFocus 8000 headphones.  The 8000's drivers provide a sound quality that allows the highs and lows to come through individually without conflicting with one another.  Along with the natural sounding mid-range tones, the highs, mids, and lows create a true harmonious listening experience.  For example, Ronnie Boykins bass slapping sounds killer on It Is Eternal.  There's a lot of room for the audio to breath, yet picking up little noise from the outside world thanks to the noise cancellation; which cleared out the hum from my window A/C and Mac Pro Fans.
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Ok.  So listening to 320kbs MP3 files is one thing... But the proper question is, how do these sound with Vinyl?

Keeping with the intergalactic themes, I tethered myself to the receiver with the company of Ornette Coleman's Science Fiction.  Particularly to the cuts Civilization Day and Street Woman.  The two tracks containing the [original] original Quartet line up.  

Agnes Martin scoping the UltraFocus 8000 Headphones

There was once a time when young folks wanted the loudest stereos.  Now, we keep the music to ourselves thanks to iPods and Smartphones.  However, I can't remember the last time I sat with headphones while listening to an actual piece of Wax.  For one, I sit and what else is there to do but read the liner notes?  I just said to my wife the other day, "people don't read liner notes these days."  Which I followed up with, "do people even write liner notes for new music?"

To answer my question, Howard Mandel has work doing so, but I don't know the answer in the "Pop" music sense.  However, my original point is that I am thankful these new headphones gave me the chance to read some liner notes oppose to just having music in the background.  And boy, does Ornette's Quartet sound good on these puppies.  Of course I still hear the snap, crackle, and pop of the LP, but I don't think I have ever heard Billy Higgins sound so good.  I mean, I can really differentiate between each drum head and cymbal.  And along with Charlie Haden's chromatic use of his finger board on Street Woman, the Quartet appeared more unstoppable than ever before.
The Complete Nothing Is... 1966 - ESP-Disk'
Sun Ra - piano; John Gilmore - tenor sax; Marshall Allen - alto sax; Pat Patrick - baritone sax; Robert Cummings - baritone clarinet; Teddy Nance - trombone; Ali Hassan - trombone; Clifford Jarvis - drums; Ronnie Boykins - bass, tuba; James Jackson - log drum, flute; Carl Nimrod: sun horn, gong. 

Science Fiction, Civilization Day & Street Woman. 1972 - Columbia
Ornette Coleman - alto sax; Don Cherry - pocket trumpet; Billy Higgins - drums; Charlie Haden - bass.

"Man On The Moon" - Ornette Coleman

Yesterday (8/25/12) Neil Armstrong left us.  Not to travel to the moon and back again, but instead he is forever a part of the Cosmos that exists beyond our tiny Spaceship we call Earth. 

In 1969, Ornette Coleman released a 7" single to celebrate the Moon Landing.  This rare, out of print gem was issued by Impulse and was only available in France.  It's no surprise that Ornette would create music in response to Space travel.   His music looked to the future (and still does) in time that was stepping into the future.

Ornette Coleman - alto sax; Don Cherry - trumpet; Dewey Redman - tenor sax; Charlie Haden - bass; Ed Blackwell - drums; Emmanuel Ghent - electronic devices on "Man on the Moon."

"Weight" - Yoni Kretzmer 2Bass Quartet

This is another ambitious record from the Brooklyn based label, OutNow Recordings; which is their second that features Yoni Kretzmer as a leader.  In OutNows' eighth release, Weight provides a solid example of how the Avant-Garde remains fresh in today's music scene.

Weight contains a double bass quartet.  OutNow states that "this quartet's sound is obvious yet unfamiliar simultaneously."  I couldn't agree more with that testament.  While Kretzmer is drawing on the similar platform to his standard trio, these eight cuts were composed with the double bass quartet specifically in mind.  With extended amounts of double bass (quadruple bass? jk) we're left with warm, low tones that interact well with one another.  Sort of like a mega bass player in the personnel, everything is anchored but there is still a significant unbalance that lends to a unique listening experience.

The jagged percussion by Mike Pride, and the accompaniment of bassists Sean Conly and Reuben Redding provide the perfect atmosphere for Kretzmer to display his craft.  In my humble opinion, Kretzmer is one of the finest contemporary saxophonists of the genre.  He knows how to create wonderful melodies and licks that are surrounded by, what seems to be, a controlled chaos.  Which allows breathing room for each player to have their moment under the sun.  

2012 - OutNow Recordings

Yoni Kretzmer - tenor saxophone; Sean Conly - bass; Reuben Redding - bass; Mike Pride - drums.  

"Evidence" - Steve Lacy

I can't think of a more modern sound on the soprano sax than Steve Lacy's.  Well maybe Coltrane's, but it's like apples and oranges.  This 1961 album from Mr. Lacy contains two thirds of Ornette Coleman's back up group and is a collection of two Duke Ellington tunes along with four of Thelonious Monk's.

Yet another exploration into Monk's music, Steve Lacy can really bring his own, unique style to a Monk composition.  He knows his way around a Monk tune, and even though this quartet isn't far out in Avant-Garde territory, Lacy's phrasing, licks, and arrangements are quite forward thinking.

Don Cherry is also very notable in this session. Bringing to the table a straight ahead approach to his trumpet.

This LP makes for great winding down music; whether it'd be after work, before bed, or reading a book. I often find myself throwing it on once I need a mental break from a project.
1961 - New Jazz
Steve Lacy - soprano saxophone; Don Cherry - trumpet; Carl Brown - bass; Billy Higgins - drums.


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"Streets" - Charles Gayle Trio

Northern Spy continues to release boundless music with the recent drop of Streets by The Charles Gayles Trio. Consisting of himself on tenor, Michael TA Thompson on drums, and Larry Roland on double bass, this session is spiritual as it is heavy hitting.  A blast of supersonic sounds for one full hour, out of the gate it is one of the best jazz releases yet for 2012. 

The title alone draws attention to Gayle's own history from his homeless days. "Streets" is also an alter ego Gayle portrays which exhibits him in clown ensemble. 

photo by Geert Vandepoele

Like much of Gayle's music, Streets pays homage to religion and God. For example, the track "Glory & Jesus." A tune that has a ton of augmented and contrasting rhythm, Gayle solos here for nearly six minutes. For the title cut, we hear Gayle create notes that appear longer, and a little bit more slurred. Perhaps this is "Streets" creating a dialogue with us.  I don't know... Is that a cheesy thought?

Streets is a seriously good listen.  With much replay value, ultimately listeners can expect a complete improvised performance from play head to finish.  This album looks back as much as it looks forward, and Streets is clear evidence that Charles Gayle is still a prime player on the scene.   It's refreshing to hear an album that sounds like it could fit perfectly into the Avant-Garde of the 1960s, while still sounding unique and original today.

OutNow Recordings creates a great first impression.

Calling Brooklyn its home, OutNow Recordings is producing some seriously good avant-garde music by a solid crew of Jewish musicians. Jewish tradition, and even Klezmer music, has always had a strong influence on Jazz. In fact, the 2011 Portland Jazz Festival presented this connection as its theme. I must admit, beside's musicians like John Zorn and Perry Robinson, it is a part of Jazz that I am not overly familiar with. But luckily with Spotify it isn't too difficult to get exposed.

OutNow Recordings is the muses of Yoni Kretzmer, Yair Yona, and Ido Bukelman. Out of the initial six releases from this crew they maintain the Jazz medium while straying off with world music and even rock influences. I am particularly hip to Yoni Kretzmer's group Tel Aviv with their album Overlook. Employing many riffs and jaunting rhythms that remind me of the noise rock I used to enjoy in my youthful days (and still do), the drums swing, the the deep tones of the tenor sax and bass clarinet moan with intensity, and the rhythm is constantly flowing. There are faster tempoed pieces alongside ballads that turn into colorful expressions.

Ido Bukelman's Cracked Song pulls from many influences. I can't help but think of Joe Morris and Michael Gregory Jackson. The music is quite textured and overall an interesting listen. There are different stylings through each track with a mixture of acoustic and electric pieces. Bukelman also has a release entitled Solo, which is what it implies. Primarily acoustic, Bukelman creates the same obscure music with unique and interested tones not typically heard on a Martin guitar.

In their fist studio session, Electric Free Trio (EFT) features Ido Bukelman again with the inclusion of Daniel Davidovsky (electrics) and Ofer Bymel (drums). Pulling from free jazz and rock, this improvising trio really showcases the power of in-the-moment creation.

On the album East of Jaffa, Ehran Elisha (drums), Harold Rubin (clarinet), and Haim Elisha (piano) join forces for a session of improvised music. Father and son duo, Haim and Ehran Elisha, work with clarinetist Harold Rubin to create a unique sound. With the lack of a bassist and classical influenced piano playing, William Parker's Clarinet Trio seems like the opposite spectrum to this clarinet trio. Quite melodic and containing Eastern influences, patience is required by those listening who are then rewarded with a rich listening experience.

Ehran Elisha returns with a duo recording alongside Roy Campbell on trumpets, flute, and percussion. A dynamic and complex record, Watching Cartoons With Eddie is a real treat to listen to. These are players that can cook, react to each other, and show their venerated statuses at the same time. The album pays tribute to Jazz masters of history's past. With titles like "For BD" (Bill Dixon) and "The Dizzy Roach", even the title track is homage to Ed Blackwell. Which contains trumpet playing reminiscent of Don Cherry and a generous drum solo by Elisha.

This is forward looking, contemporary Jazz. A testament to improvised music, and proof that neither Jazz, nor Avant-Garde Jazz are dead. Be sure to stay up on OutNow Recordings as they have much more in the works. An Albert Beger release is slated for next month. Follow their Facebook, Twitter, and Tumblr accounts for updates.

"Nice Guys" - Art Ensemble of Chicago

Back in August I discovered a new record shop in Northeast Portland called Beacon Sound. It had a small, yet focused, Jazz vinyl selection with a good percentage of avant-garde discs that I would've gladly purchased. I restrained myself by limiting my purchase to one LP, Nice Guys by the Art Ensemble of Chicago. Nothing too rare as it was a cut out, but the price was just right at $6.

I have owned a digital version of this album for some years now. It's not one the Art Ensemble's strongest works, but it sure exemplifies their compositional style and sheer force as they perform in the studio. Like most music on vinyl, I have been listening to it a lot more now. It must be something to do with putting a record on the turntable over and over again that feels right. Rather than using my Click Wheel to access it.

Nice Guys is the first album the AEOC cut for the ECM label, and also the first after a five year break from recording. Probably what is the most satisfying part of the record is the final track, 'Dreaming of the Master'. What is Joseph Jarman's high tribute to Miles Davis, the whole album seems like a culmination that ultimately feels like a spiritual breaking down during this closing tune.

In 1990 'Dreaming of the Master' was reintroduced in a new album entitled, Dreaming of the Masters Suite: Music Inspired by and Dedicated to John Coltrane. Released on the Japanese Label DIW, it's a mixture of Art Ensemble and Coltrane compositions.

1978 - ECM (1126)

Lester Bowie - trumpet, celeste, bass drum; Joseph Jarman - reeds, percussion, vocal; Roscoe Mitchell - reeds, percussion; Malachi Favors - Maghostus bass, percussion, melodica; Famoudou Don Moye - drums, percussion, vocal.

"The Will Come, Is Now" - Ronnie Boykins

Listening to The Will Come, Is Now on my iPod as I type; I can't help but revisit this ESP-Disk' release at least once a month. Ronnie Boykins' first and only release as a leader has so much replay value and it it leaves me wanting more and more. A bassist that is as versatile to play along with Muddy Waters, Marion Brown, Steve Lacy, Bill Dixon, Sam Rivers, Mary Lou Williams. Rashaan Roland Kirk, at many others, Boykins is mostly famous for his time with the Arkestra. Where we can hear Boykins providing the bass lines for some of the most pivotal Sun Ra LPs.

In an era when Jazz was becoming more and more fusion as well as electric, Boykins rejected the norm and recorded this earthy, acoustic session in 1974. It's very rhythmic, with bass licks that draw from eastern music and polyrhythmic influences from African drumming. Yet his beautiful arco playing on the upright amalgamates classical western sounds with eastern and African influences.

The opening title track exemplifies everything I described in the prior paragraph. However we then make a left turn with the following cut, "Starlight at the Wonder Inn." A buoyant ballad pulling from traditional jazz melodies that even a composer like Strayhorn would write. Although Boykins' technique allows it to be off teetered enough to comprise of its own aesthetic. Fitting perfectly with the rest of the album.

"Demon Dance" is the most Post-Bop in nature, but once the theme is played the whole ensemble wails together as if they were a New Orleans band from the earlier part of the century. It's swinging while offering a change of pace just as the album starts to really grip hold of you.

The closing track, "The Third I," comes in strong similar to Art Ensemble of Chicago recordings. Very heavy rhythms, free form, and demanding on the listener's ears. Requiring your endurance for ten and a half minutes, Boykins then stops everything with a satisfying bass line. Here, the horn sections remind me a lot of Anthony Braxton's composing. This theme is short, creating quite the tease. Leaving me wishing I can hear more Ronnie Boykins. Guess I'll have to go through my Sun Ra records this afternoon.

1974 - ESP-Disk'.
Ronnie Boykins - bass and sousaphone; Joe Ferguson - soprano and tenor saxophones, flute; Monty Walters - alto and soprano saxophones; James Vass - alto and soprano saxophones, flute; Daoud Haroom - trombone; Art Lewis - percussion - George Avaloz: congas.

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"XYX" - The Spanish Donkey

The good folks over at Northern Spy have been putting an impressive catalog out. They're doing it right by featuring a diverse selection of artists, good stories behind the music, and unique packaging to deliver it all to adventurous listeners (CDs, digi downloads, and cassette tapes).

I was eager to set my eardrums on the new release by The Spanish Donkey, XYX. A trio featuring today's free form guitar hero (video game pun not intended) Joe Morris, dynamic keyboardist Jamie Saft, and the responsive percussionist Mike Pride.

Timeless, yet of it's time. XYX is reminiscent of some of the electrifying, innovative loft era jazz while meshing metal, punk, and noise rock. I easily think of the mathematically timings of Lightning Bolt and Hella, while also glimpsing into the electrical tendencies of George Lewis and imaginative stylings of some of the European Free Improv players.

This was all improvised right in the studio. The liner notes hint at categorizing the album as "avant metal." Yet without a doubt it still swings at times thanks to the help of Mike Pride's cymbal work. If your ears are in a dire need for something new then go get XYX RIGHT NOW! The album definitely sends you on a powerful trip. It feels like I'm in the head of that character from Gaspar Noé's Enter the Void.

2011 - Northern Spy

Joe Morris - guitar; Jamie Saft - MiniMoog, Roland Jupiter 6, Roland SH-01, Korg Lambda, Korg CX3, Yamaha CS-01, bass guitar; Mike Pride - drums, percussion & nose whistle.

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