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Album · 2019 · Post Bop
Cover art 3.50 | 1 rating
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Brian Scanlon is one of those musicians who you have probably listened to before, but didn’t realize who you were listening to. A long time session saxophonist, Brian has recorded with stars like Bob Dylan and Randy Newman, appeared on TV soundtracks such as The Simpsons and Family Guy, as well as movies like “La La Land” and “Crazy Rich Asians”. After a 32 year career Brian finally decided to record his first album as leader and packed “Brain Scan” with mostly his original tunes. Brian counts Coltrane and Parker as major influences, and you can also hear a good bit of Sonny Rollins and some Eric Dolphy too. Scanlon plays both tenor and alto and is a bopper at heart, always swinging, but he also works in plenty of RnB and soul on his eclectic debut.

The album opens with two modern abstract post bop tracks with Latin and fusion influences. Brian’s son, Avery, turns in a Holdsworth flavored electric guitar solo on the opener. “Re-entry” follows with some funky soul jazz that sounds like an instrumental version of a classic Steely Dan track, particularly in the guitar scratching of Andrew Synowiec. After a well written melodic ballad the band goes full tilt bebop on “I Hear Something” and a major overhaul of “Harlem Nocturne”. Scanlon turns down the heat for the closing numbers, with “My Right Foot” providing some bluesy grooves.

I’m not sure why Brian waited so long to step out as a leader, this should have happened long ago. He is an excellent writer and his constant melodic invention recalls his favorite sax mentors, but Scanlon also provides his own very smooth delivery and relaxed sound that is unique to him.

JOE MCPHEE / SURVIVAL UNIT McPhee, Rempis, Reid, Lopez, Nilssen-Love : Of Things Beyond Thule Vol 1

Live album · 2020 · Avant-Garde Jazz
Cover art 4.00 | 1 rating
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One of the early releases coming in a very beginning of a new year is a collaborative work, recorded by high class free improvisers quintet of seasoned tenor Joe McPhee and cohort of younger creative jazz stars.

Joe McPhee (probably in a pair with Charles Gayle) is one of the busiest veterans of loft jazz around playing with many today's sound names and recorded intensively. His new quintet contains such leaders of modern avant-garde jazz as sax payer Dave Rempis and Norwegian drummer Paal Nilssen-Love, rising star cellist Tomeka Reid (who toured Europe last year as Art Ensemble of Chicago's member) and relatively lesser known New Yorker bassist Brandon Lopez.

Just two compositions, recorded live at Chicagoan The Hungry Brain on December 16 2018. Each lasts less than 20 minutes.Quite surprisingly, there are only a few explosive moments on this album, slow to mid-tempo music predominates. Saxes often sound as bird calls communication with cello vibrations and lot of percussion on the back. Common mood is more philosophical than energizing, and excellent interplay between quintet members builds intellectual and rousing atmosphere. Without leaving a frames of the genre, this album belongs to a more successful examples of live recordings in prolific Joe McPhee discogs.

JOEY DEFRANCESCO In The Key Of The Universe

Album · 2019 · Post Bop
Cover art 4.00 | 1 rating
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With a title like "In the Key of the Universe", and promotional advertising that plays up Pharoh Sanders' contributions on saxophone, it would be easy to think that Joey DeFrancesco is trying to cash in on the current 'spiritual jazz' revival on his new album. Its true that there are some tunes on here that reference Sanders' past as the originator of the spiritual modal jazz style, but none of this is gratuitous or insincere, and there is also such a wide variety of music on here that the modal jams are just a part of what goes down. Also, Sanders only appears on a couple tracks, elsewhere on here the very capable Troy Roberts supplies the tenor, alto and soprano sax work. In short, 'In the Key' is one of Joey's better albums and is rife with inspired solos and top notch song writing.

DeFrancesco's rapid fire solos take the Coltrane idea of 'sheets of sound' to new levels on the Hammond B3. This is used to good effect on the energetic post bop of "Awake and Blissed", and then given a double dose on the bebop barn burner, "It Swung Wide Open". The next couple tracks feature Pharoh, who still sounds as great as ever, as he takes a somewhat laid back and mature approach to classic material such as "The Creator has a Master Plan". Some other highlights include a couple of mystical samba lounge outings and a few hard groove blues numbers.

On the two closing tracks, Joey caps things off with something we don't hear often enough, really interesting melodies set to non-cliche chord changes. Both of these songs would make for great vehicles for others to try out their creativity on. The production is a little heavy on the reverb, which sounds fine on the groove numbers, but a bit heavy handed on the uptempo ones.

EVAN PARKER Evan Parker, Barry Guy, Paul Lytton : Concert in Vilnius

Live album · 2019 · Avant-Garde Jazz
Cover art 3.50 | 1 rating
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Three British free jazz giants playing together already for some decades, recorded live during their gig at Vilnius Jazz Fest in 2017. Three names that are written in gold to European avant-garde jazz history playing in my hometown and I just listen to their playing two years later from my home sound system and not live from the dark scene of the Russian Drama Theater, a regular home for Vilnius Jazz Fest for the last few years? What's wrong with me?

Or - it's not me? In a fast changing world where even my conservatism towards technologies gives up against the comfort of paying for your Saturday coffee and eclairs with smart phone apps and using Google Maps trying to find a shorter way from small countryside town to nearest lake, free jazz, just in one day, turned into a predictable attraction. What was a blowing-your-head new experience in 60s, reinvented in loft culture in the 80s and reborn for a short time at the beginning of the new Millennium, in one day just became an artifact of the past, the world that doesn't exist anymore.

Four free form improves, near an hour of music. Well recorded, with few screams and applause from the public here and there, the music here is competent but doesn't radiate an energy of artists earlier concerts. Not explosive but more philosophically calculated, and often slightly melancholic, somehow it transfers that feeling of paradise lost very well.

As with almost any bigger free jazz artist, all three musicians never repeat same thing twice, but at the same time all what they play sounds already heard for many times. True, the difference is in tons of nuances, but do we are still interested in all these small things?

Anyway, those who love the music of the times when they were young will really appreciate the album. For young folks it will probably sound as a strange thing, but in all cases Parker, Guy and Lytton are those who left their significant footprint in a history of European jazz.

DEWA BUDJANA Dewa Budjana, Tohpati : Janapati

Album · 2019 · Third Stream
Cover art 3.00 | 1 rating
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Dewa Budjana and Tohpati are the two top guitarists in Indonesia’s thriving fusion scene, and on “Janapati”, they join forces for a musical extravaganza backed by a full orchestra. Even the album title refers to their union as it is comprised of syllables taken from both of their names. With two well known guitarists on board, one world probably expect a non-stop shred fest, but instead, the music on here is often created with lush orchestral passages which leave space for their solos, mostly on acoustic guitars. The orchestral music itself draws on both Indonesian and Western melodies, and bears some resemblance to late 19th century classical romanticism, but much of this very robust ensemble work is actually more reminiscent of Broadway spectaculars and panoramic film scores. The orchestra hits you full blast when the CD first opens, and continues to dominate for much of the album. It is a well recorded bright orchestra sound that is just massive in its scope and presence.

On a couple tracks they set the orchestra aside for some great guitar duets. 'D Romance" features some of the best fret work as they open the song with intertwining classical melodies that open into a jazzy middle section. The electric version of title track, “Duology”, is a high energy rocker that carries the most all out shredding. “Duology” also appears again later on the album, this time in an acoustic format. In some ways, the electric version may seem out of place on this album, but I would imagine fans of both guitarists wouldn’t have minded hearing some more jams in that style.

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YOSUKE YAMASHITA Yosuke Yamashita Trio ‎: Sunayama

Album · 1978 · Avant-Garde Jazz
Cover art 3.50 | 1 rating
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During early seventies, pianist Yosuke Yamashita trio were a front-line power of Japanese avant-garde jazz. Cecil Taylor-influenced high-energy percussive straight-in-your-face piano playing style in combination with Akira Sakata's free sax attacks and drummer's (Takeo Moriyama and later, Shota Koyama)rock-heavy artillery built complex,usually knotted aural constructions of surprisingly well-organized beauty. Their albums,released between 1970 and 1975 all are classics of Japanese avant-garde jazz.

On "Sunayama", Yamashita's work from second half of 70s, one can evidence quite unusual for him instrumentation. Credited to his regular trio, the album contains three pieces,recorded actually by septet/octet when Yamashita's trio is improved with brass section (and an electric guitarist on one track).

Being characteristic for his trio busy high energy free jazz under the skin, in many moments album's music sounds as avant-garde jazz big band with rich brass (and addition of soling electric guitar on "Usagi No Dance - Dedicated To Pepi"). It's interesting to mention, that intentionally or not the combo never sounds as one small orchestra - more like two group of musicians, the trio and four-piece brass section improvising each their own way.

On paper it most probably sounds as a chaos, but surprisingly enough all album long Yamashita controls the situation well and final music has its own internal order. Not such explosive as on his earlier works, this album's attraction lays mostly in a rare possibility to hear the great master trying something different. Perfectly recorded (as many Japanese releases coming from seventies), "Sunayama" is an attractive release for Yamashita fans, still probably a bit risky try for newcomers.

Being for years an obscurity, in 2009 the album has been reissued in Japan on CD so there is a bigger chance to find it now.

DIZZY GILLESPIE The Small Groups 1945-1946 Original Recordings

Boxset / Compilation · 1970 · Bop
Cover art 4.00 | 1 rating
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If you are looking for that unmistakable sound of early bebop on vinyl and don’t want to spend a bundle, then you might want to keep an eye out for, “Dizzy Gillespie: The Small Groups {1945 - 1946}”, on the Phoenix label. This is an excellent compilation that came out in the 70s and shows up in used stores and the internet for very reasonable prices. The music on here comes from five different recording sessions, every track features Dizzy, while other tracks feature varying bebop greats such as Charlie Parker, Al Haig, Sonny Stitt, Curly Russell and more.

Side one opens with a band that is more in a pre-bop swing style, but when we hit track five, Sonny Stitt and Al Haig have stepped in to push things in a more modern direction. The big revelation all through this side is Chuck Wayne’s jaggedy swinging guitar lines. Alice Roberts guests to sing a bluesy “A Handfulla of Gimmie”, and “Blue ‘N’ Boogie” features a young Dexter Gordon on tenor sax. Side two features Charlie Parker and starts off with a band that is competent, but not quite up to what Bird n Diz are capable of. For the second half of this side, Al Haig takes the piano chair and Curly Russell picks up the bass and now we are in abstract cubist bebop heaven. The recorded sound on “Salt Peanuts” is perfect for this era, unfortunately, the next three tracks fall off a bit in the high end department, but are still enjoyable and musically superb, the best tracks on the record.

CHARLIE HADEN Magico (with Jan Garbarek, Egberto Gismonti)

Album · 1980 · Post-Fusion Contemporary
Cover art 3.86 | 7 ratings
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Steve Wyzard

Whenever anyone brings up the much-discussed subject of the "ECM Sound", the first album I think of is Magico by Egberto Gismonti (guitars/piano), Jan Garbarek (saxophones), and Charlie Haden (bass). This is one of those unlikely "all-star" aggregations ECM Records specialized in during the late 1970s (see also: Abercrombie/Holland/DeJohnette and Rypdal/Vitous/DeJohnette). Released in 1980 to minor acclaim, this album today is seen as a forerunner to what we now refer to as "World Fusion".

Most listeners bring pre-conceptions to a recording like this, so let's deal with them right away. The lack of a drummer/percussionist does not make this a "quiet album", especially with Garbarek's piercing (no flute) tones sprinkled liberally throughout. A close listen also reveals this is not a "loosely structured jam session" as much thought was obviously given to the arrangements and double-tracking (especially Gismonti's intricate solo above his playing on "Magico"). While a previous familiarity with the performers will best prepare one for this aural soundscape, this album remains very accessible and was my first introduction to the music of both Gismonti and Haden over 25 years ago.

So what can one expect? Gismonti is the dominant voice both figuratively and literally: like on most of his recordings, "Bailarina" includes some brief ad-libbed vocals. There are a multitude of versions of Haden's "Silence" on the market, but this album's is the finest: 16 repeated chords on the piano above solos by Garbarek, Haden, Garbarek (again), and Gismonti. Garbarek's "Spor" features some of Haden's darkest arco playing, and Gismonti's "Palhaco" with its gospel-tinged piano is the peaceful closer with its other-worldly, haunted atmosphere.

The masterful performances throughout this album make Magico a true highlight in the voluminous catalogs of all three players. Never before has ECM's original motto "The Most Beautiful Sound Next To Silence" been more appropriate. Let it also be known that this same trio recorded a follow-up album (Folk Songs) 5 months later that is nowhere near as good as Magico. And just what is that artful cover supposed to signify: is it trees behind powerlines, or painted industrial siding super-imposed over trees?

GARY PEACOCK Tales of Another

Album · 1977 · Post Bop
Cover art 3.98 | 4 ratings
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Steve Wyzard

This is a good Gary Peacock album, but not a great album generally speaking. After the opening track, the excellent "Vignette", all of the others are buried beneath Keith Jarrett's moaning and screeching. And I don't mean for short periods or occasional intervals but for LONG stretches of time. Jarrett's vocalizations appear on most of his albums, but this is his only ECM recording I've heard where it becomes a major distraction. Whenever there is any discussion about this album, EVERYBODY mentions the unintentional histrionics, unless they pre-determine to not mention it out of respect for Jarrett.

It's really too bad that Gary Peacock's performances and compositions are not given their due, because with exception of the experimental "Tone Field", this would be a great jazz piano trio album. Peacock's playing on "Trilogy II" is especially outstanding. Jack DeJohnette plays with his usual brilliance, although from time to time he seems perplexed by the discordant directions the material sometimes takes. The group's headlong rush to the finish of "Trilogy III" is a true highlight on an album that doesn't provide as many as the all-star line-up might promise. This trio would go on to perform mostly standards for 30+ years, so to hear them play newly-composed material is greatly appreciated. Be forewarned about Jarrett's singing, however.

GIL EVANS The Gil Evans Orchestra Play the Music of Jimi Hendrix

Album · 1974 · Progressive Big Band
Cover art 4.14 | 5 ratings
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When The “Gil Evans Orchestra Plays the Music of Jimi Hendrix” came out in the early 70s, it was a big deal, and for good reason too. Attempts to merge heavy rock and orchestral music were still a new thing then and many attempts at such a merger were often a clumsy mess. Gil was given much well deserved praise in that he quite successfully took the music of Jimi Hendrix and gave it a big band treatment that somehow managed to capture the best of both the rock and big band jazz worlds. Flash forward several decades to today and this album still holds up, but since it became a blueprint for others to follow, its rockin big band sounds are hardly unusual anymore. Late night entertainment shows such as Saturday Night Live and David Letterman have been featuring big bands playing classic rock and RnB tunes for some time now and several tracks on the ‘Evans Plays Hendrix’ album sound like they would fit in well during a commercial break while Paul Shaffer or G.E. Smith is trying to keep the audience hyped.

Opening track, “Angel”, is probably the one closest to a late night break rave up, especially since it features the sax melody and solo of David Sanborn, the owner of one of the most imitated horn sounds on late night TV. “Cross Town Traffic” and “Foxey Lady” are the other two that also fall more in this direction. “Castles Made of Sand” is the first track to really head in an interesting and alternative direction as Evans introduces counter melodies that hang like dissonant clouds and totally transform the song. “Up from the Skies” is essentially a jazz song to begin with, which might explain why it works so well as Evans once again produces an appealing murkiness that takes the track towards exotic Sun Ra territory. “1983 - A Merman I Should Turn to Be” is also given an interesting facelift as it becomes a spaghetti western movie theme. The least successful track is “Voodoo Chile”, whose melody is played by Howard Johnson who sounds like he is humming through his horn producing a non-appealing kazoo type sound.

This is a Gil Evans album, so the performances and orchestrations are outstanding, its just that this album probably would have aged better if he had gone more in the experimental direction, and less in the rockin direction.

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