If you've spent any time paying attention to creative music in the 21st Century, you know that there are a group of pianists who are always pushing the envelope. Artists such as Jason Moran, Myra Melford (who started out in the last decade of the previous century and has never stopped exploring), Craig Taborn, Aruan Ortiz, John Escreet, and Kris Davis. Ms. Davis seemed to spring out of nowhere with her 2003 debut on Fresh Sound New Talent and over the course of 13 albums as a leader or co-leader, she has continually expanded her musical palette. In 2016, Ms. Davis inaugurated her own label Pyroclastic Records with "Duopoly", a series of two duets each with eight artists. "Octopus" followed in early 2018, also an album of duets only this time her dialogue was with fellow pianist Craig Taborn. She also leads a trio with bassist William Parker and drummer Jeff "Tain" Watts (dubbed January Painters), another trio (this one named Borderland Trio) with bassist Stephan Crump and drummer Eric McPherson, plus she has a duo with saxophonist Ingrid Laubrock. One would not go wrong calling Kris Davis a very busy musician.
Her latest recording, "Diatom Ribbons" (Pyroclastic), is a program of 10 compositions (eight by the pianist and one each by Michaël Attias and the late Julius Hemphill) played by various sized ensembles ranging from a duo to septet with several others in between. The one constant partner throughout is drummer Terri Lyne Carrington appearing on every track with other participants including turntablist Val Jeanty (all but two tracks), acoustic snd electric bassist Trevor Dunn, vibraphonist Ches Smith, guitarist Nels Cline, saxophonists JD Allen (only on the first and last tracks) and Tony Malaby (on three tracks) plus two cuts with guitarist Marc Ribot. Esperanza Spalding adds her voice to two tracks, Attias's "The Very Thing" and "Certain Cells". Attias's song has a lilting melody that the drummer underpins with her expressive playing with Malaby's tenor pushing in the background and Jeanty's swooshes and splashes painting quite a backdrop. "...Cells" builds from Gwendolyn Brooks's powerful poem "To Prisoners" and is a tour-de-force for Ms. Carrington's robust drumming.
Photo: Peter Gannushkin
There are moments throughout the album that capture the mind. The voice of composer Olivier Messiaen moves and out of "Corn Crake" as Ms. Jeanty's electronics swirl beneath the rambling piano lines and the rock-steady drumming. Ribot's lines spew out with force on the rocking "Golgi Complex (The Sequel)" (dig how Ms. Carrington and bassist Dunn lock into the groove) then engages in a duel with Cline on the following track "Gogol Complex." That track not only pits the guitarists against each other but pay attention to the power coming from the rhythm section and Ms. Davis's thunderous piano work.
Photo: Daniel Sheehan/Martin Sarrazac
The album closes with Hemphill's "Reflections" (first recorded in 1975 on his second album as a leader "Coon Bid'ness"), a multi-sectioned piece that opens in an introspective mode with the two saxophones playing in unison behind the dancing piano lines and the counterpoint of the drums. Dunn's bowed acoustic bass moans quietly while also producing overtones as the saxophones begin to state the song's theme. A bit past the halfway point, the drums and bass drop into a funky beat, the saxophonists repeat the melody, and a highly processed proper British voice talks about learning. Both Allen and Malaby solo, dancing atop the beat and Ms. Davis's pounding piano chords, the voice jabbering in and out of the background.
One of the more delightful attractions of "Diatom Ribbons" is how Val Jeanty adds her distinctive turntable sounds to the mix. How Kris Davis utilizes her talents makes the album all the more intriguing, an integral part of a program in which all parts are integral – there is no wasted space. Ms. Davis first teamed up with Terri Lyne Carrington and Esperanza Spalding to play a series of concerts to honor the memory and work of Geri Allen. That connection pushed Ms. Davis to create this project, one that will greatly appeal to the curious mind. Dig in, pay close attention.
Saxophonist Samuel Blais came to New York City in the early years of this decade to study with saxophonist and NEA Jazz Master David Liebman. In 2012, Liebman helped the young man create a saxophone quartet in NYC that featured the two of them (on soprano and baritone saxophones) in a partnership with tenor saxophonist Donny McCaslin and alto saxophonist David Binney. They toured in Quebec that year playing compositions by all four members, the first time both Binney and McCaslin had written for this kind of ensemble. The ensemble got back together in May of 2015, entered Red Rock Studio in the Poconos Mountain in Pennsylvania and, over the course of two days, recorded the 10 tracks that make up "Four Visions" (Sunnyside Records)
Interestingly, the four musicians each only play one reed instrument throughout the program although all but Binney play different saxes. That choice gives the music more of a classical feel. The entire is composed of originals by the band members insulting three each by Blais and Binney plus two each by Liebman and McCaslin. On initial listening, one hears the influence of the World Saxophone Quartet, especially the writing of Julius Hemphill. Once you dig into each track, the composers individual voices come out. Liebman's "A Moody Time" starts as a ballad with each voice stepping out of the ensemble for short, solo, lines. Suddenly, the baritone sax falls into a groove and the soprano takes off. The tenor joins the bari while the soprano and alt take the melody and off the quartet goes. Binney's "Dunes" opens with the fours saxes sounding like a church organ but soon the quartet is off on a sonic adventure filled with melodic excursions and lightning-fast tempo changes. "Empty Sunbeams" hs a similar opening but falls into a groove, one tha bears the sound of WSQ.
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McCaslin contributes the handsome ballad "Buy a Mountain", a piece that hints at the blues, the phrases the members play when they step out echoing Coleman Hawkins, Johnny Hodges, Charlie Parker, Wayne Shorter, and others along the jazz continuum. "Et Voit Le Jour" (translated as "and see the day"), composed by Blais, has room for a handsome baritone solo but be sure to listen to what the other three play behind him. The support for the tenor solo is the same – make sure to listen to how clearly the band articulates the supporting lines.
Julius Keilwerth Saxophones
Liebman's "Inside Bach's Studio" is the longest track (15:53), through-composed yet leaves room for each saxophone to step out for solos. Those "spotlights" are truly solo (sans accompaniment) and rubato yet fit perfectly into the expansive fabric of the composition. There are several moments where one believes the piece is ending only to hear the quartet move into a new written section.
"Four Visions" is the work of four fertile minds brought together by Samuel Blais and Dave Liebman. It's such a treat to hear both Donny McCaslin and David Binney in this setting, creating music that challenges them as much as the listeners. What a treat1
Here's the Quartet in concert playing an expanded version of the piece:
Photo: Harvey Tillis
Bassist, composer, orchestrator, and arranger Matt Ulery has been a busy member of the Chicago music scene since arriving two decades. He studied at both Roosevelt University and Depaul University and played professionally with the likes of Patricia Barber, Kurt Rosenwinkel, and trumpeter Marcus Hill. he first recorded as a leader in 2007 and, since then, has worked with numerous different-sized ensembles, from trios to quintets to nonets to a brass band and a jazz orchestra. His compositions have been performed by groups as diverse as Eighth Blackbird, Axiom Brass, and the New Millennium Orchestra of Chicago. In 2016, Ulery inaugurated his own label, Woolgathering Records, with red;eases by his Loom/Large ensemble, pianist Rob Clearfield, trumpeter Russ Johnson, and saxophonist Tim Haldemann.
Woolgathering Records
His new album, "Delicate Charms", features long-time associates Zach Brock (violin), Greg Ward (alto saxophone), Quin Kirchner (drums), pianist Clearfield, and the leader on bass and all compositions. Ulery worked on the pieces for this lineup over the course of several years and the quintet went to Portugal in late 2018 where they received an ecstatic reaction from the audiences. Immediately on arrival back in Chicago, the group entered the studio. As to be expected, the music is beyond category but one can not miss the composer's love for melody, harmony, and counterpoint. The rhythm section is a major component in the music as well, not just with its use of polyrhythms but their own medic additions. What immediately stands out is the blend of the violin and alto sax – when Brock and Ward play together, the sound is so full and it's hard to tell them apart unless one is under headphones. Listen to the opening moments of the first track "Coping"; with Ulery and Brock bowing while Ward is playing, they sound like a string trio. Then, the violinist takes the melody and Ward plays the counter-melody. And, then they switch throughout the reading of the theme and verses.
Photo: Harvey Tillis
There are numerous delights on this hour-plus program. Ward, who is my choice for 2019 MVP (most valuable player) shines on "Taciturn" – his wide-ranging solo pushes Brock who follows with his own sparkling performance. Meanwhile, the rhythm section is rocking beneath them. Clearfield's piano solo at the onset of "Nerve" (the final track) has a classical feel with overtones of Appalachian folk music. The melody that follows carries on that sound with a melody that pulls at the emotions Pay attention to Kirchner's active drumming as well as to how he puts the rhythm on simmer underneath Ulery's excellent solo. Notice the soulful alto solo where the phrases take flight, reaching towards the skies.
Every track on "Delicate Charms" is worth exploring in depth. Over his career, Matt Ulery has created music that expands inside one's ears and mind, making the listener return to discover all that's in the music. With this album and July's release of "Wonderment" (a trio date with Brock and drummer Jon Deitmeyer), Matt Ulery has produced two of the best recordings of 2019!
The older I get, the more comfort I derive out of music that sounds like the musicians are having a great time playing. Not sure how I can tell other than there are occasions of one band member extorting on the others but one feels the comfort these musicians have taking chances, interacting with one another, and the "dancing" quality that inhabits the music. Drummer Ali Jackson (Lincoln Center Jazz Orchestra), bassist Omer Avital (Third World Love), and pianist Aaron Goldberg (Joshua Redman Quartet) all are busy sidemen as well as leaders – they have known each other for over two decades and, early in the 2010s, decided to form a trio. They took the name Yes! Trio and released their debut album on Sunnyside Records in 2012.
Seven years later, Yes! returns with a new album on a new label (Jazz & People, based in France) but with a renewed spirit and a whole mess of joy. "Groove du Jour" features 10 tracks with four composed by Avital, three by Jackson, one from Goldberg plus "Dr. Jackle" by Jackie McLean and the standard "I'll Be Seeing You." That final track listed is an excellent a=example of the trio's delightful approach – after a quiet beginning, Jackson settles into a slow shuffle beat and the song is permeated by the blues. Listen to the delightful piano solo. The program ranges from the powerful "Escalier", a Jackson composition that opens with the power of a McCoy Tyner that settles into a swinging groove. Avital's "Muhammad's Market" hints at a Middle eastern groove while it rumble forward on the strength of the drums and bouncing bass lines. Jackson's "Claqué" dances in on the funky drums, the high bass melody, and Goldberg's Thelonious Monk-like blues feel.
The album closes with Avital's "Bed-Stuy", yet another delightfully swinging song. Each member the trio gets to "strut his stuff" yet no one steps on anyone's toes. This music is so alive and lively you'll want to get into "Groove du Jour" many times. This is soul-affirming music from Yes! Trio!
The trio of Zach Brock (violin), Jon Deitmeyer (drums), and Matt Ulery (bass) has worked together in various larger groups and on recordings by both the violinist and bassist. But, never as a three-piece group: that is, until the last few years (the one exception is one track on Ulery's 2014 Greenleaf album "In the Ivory"). All three are composers and very busy sidemen with Brock playing with groups such as Snarky Puppy and bassist Stanley Clarke's band, Ulery playing in numerous ensembles throughout the Chicago area, and Deitmeyer with pianist/vocalist Patricia Barber and pianist Phil Markowitz.
The band's eponymous debut album, "Wonderment", is out now on bassist Ulery's Woolgathering Records. The 12-song program features four compositions by each member; yet, each piece plays to the strengths of the trio as an ensemble. Whether they are dancing delightfully (Deitmeyer's "Wokey Dokey") or creating a mysterious flow (Brock's title track) or negotiating a tricky rhythm ((Ulery's "Pumpkin Patch"), the music shines with creative interactions, well-drawn melodies, and fine solo moments. There is a full-out "rock" feel, thanks to Deitmeyer's solid drumming (he "kicks it" with such glee), on "Cry Face" and make sure to listen to how articulate and deep Ulery's bass lines sound on "Yge Bieve." Brock's blues and bluegrass sound comes to the fore on the lovely ballad "Cheyenne" – at times, the violin sounds like a voice singing a plaintive ballad.
The album closes with the high-spirited "Happy Place." Note Brock's strummed intro (sure sounds like a mandolin) and how he dances atop the funky rhythms during his solo. "Wonderment" indeed! And in fact. This music is a joy to behold from beginning to end. Playing with your friends is often great fun – to do just that in the studio is an impressive accomplishment. Enjoy this fine new CD from Zach Brock, Matt Ulery, and Jon Deitmeyer: if they are ever playing anywhere near you, go catch them in concert!!
In the months before and until the release of this album, the trio was known as Triptych. Here's the Trio live:
Alto and soprano saxophonist Jeremy Udden (pictured left) moved to Boston, MA, in the mid-1990s to study at the New England Conservtory of Music. Once there, he met, studied, and played with people such as saxophonists George Garzone, Jerry Bergonzi, and Allan Chase, pianists Fred Hersch and Paul Bley plus trombonist/ arranger Bob Brookmeyer. He also began a friendship and musical relationship with trumpeter John McNeil with whom he recorded three albums for Sunnyside Records. Udden also leads a group called "Plainville" that has recorded several albums for Fresh Sound New Talent and one for Sunnyside. He's recorded with the Either/Orchestra, pianist Frank Carlberg, Darrell Katz's Jazz Composers Alliance Orchestra, and vocalist Amy Cervini.
While in France several years ago, Udden met bassist/synthesist Nicolas Moreaux and they recorded album of duets plus the "Belleville Project" with a sextet. The saxophonist returned in 2018 and worked in a trio setting with Moreaux and American-born drummer John Betsch now making his home in Paris. Udden chose 30 tunes to present to his band mates including a number of pieces by the late soprano saxophonist Steve Lacy (1934-2004) whom Betsch had played with for two decades. The resulting album, recorded over two days in August 2018, is aptly titled "Three in Paris" (Sunnyside Records) – the 10-sonh program features two Udden originals, a group improv, four pieces by Mr. Lacy plus one each from Duke Ellington, Don Cherry, and Jerome Moross. Moross's 1954 ballad "Lazy Afternoon" is a lovely vehicle for Udden's soprano sax, Moreaux's splendid counterpoint, and Betsch's smart brush work. And Ellington's "Azure" (first recorded by the Master in 1937) has a lovely Caribbean lilt with the soprano sax lines floating over the dancing drums and melodic bass lines.
The four Lacy compositions range from the alto sax-drums conversation titled "Who Needs It" to the playful "Prayer" during which Betsch moves in a sprightly fashion over his drum kit while Moreaux and Udden (still on alto sax) carry on a musical conversation. Even more playful is "Bone" where the drums and rapidly-walking bass lines propel the alto solo forward. Udden responds by feeding off that fire, moving "out" and away from the melody. The only Lacy tune played on soprano is "The Crust": again Udden is in conversation with Betsch only and they jauntily move through the piece as if they had not a care in the world.
"Three in Paris" just might take its cues from the fascinating cover photo by Alain Laboile ("L'orielle" is its title and is part of the French photographer's series "The Family"). The music is certainly playful, a bit mysterious at times, and should be enjoyed for the interactions, the abundant melodies, and the sweet sound that Jeremy Udden creates with his friends.
Drummer and composer Jeff Williams has a career that spans five decades. Having worked with Stan Gets, Dave Liebman, John Abercrombie, and Frank Kimbrough. For the past two decades, he's split his time between London and New York City and went back to recording as a leader (after a 16-year hiatus) when he signed in 2011with Whirlwind Recordings. Since then, he's released four albums, two with his NYC-based quartet and two with his British quintet. While the music sometimes hearkens back to his earlier recordings, his style of composing and playing has certainly become his own "sound."
Album number five is here: the meeting of musical minds came about when the drummer was in New York City in early 2018 playing in saxophonist Dan Blake's "The Digging." Blake had just replaced his pianist with Carmen Staaf and Williams felt an immediate musical kinship. On the same trip, he became reacquainted with bassist Michael Formanek who has met when the young musician moved to the City in the 1970s – six months later, the trio entered the Samurai Hotel Studios in Astoria, Queens, New York and the sessions yielded "Bloom" (Whirlwind). Each participant contributed compositions (Williams has four, Ms. Staaf three, and Formanek two) plus there's one group improvisation and a lovely reading of bassist Buster Williams's "Air Dancing" (first recorded by the composer with guitarist Larry Coryell in 1988 and than the following year on his own "Something More" album with pianist Herbie Hancock.
Much of the trio's music has a joie de vivre brought on by the sheer joy of playing together. Whether they are playing introspective slow pieces (such as Formanek's "Ballad of the Weak") or up-tempo "soft-shoe (the drummer's "She Can' Be a Spy") or Ms. Staaf's modal blues ("New York Landing"), the musicians are on the same wave length. Ms. Staaf, who co-leads a group with drummer Alison Miller and works with artists as diverse as vocalist Allegra Levy, klezmer clarinetist Michael Winograd, plus is musical director for Dee Dee Bridgewater, is a delightful player – she certainly can swing but also can produce long, flowing, phrases (as she does on Williams's "Another Time"). She certainly pays attention to details, listens closely to the rhythm section (as they do to her), ands builds her solos from a combination of melodic and rhythmic explorations. Her composition "Chant", which closes the program, is an atmospheric ballad with a truly enchanting melody, brilliant bowed-bass work, and Williams's orchestral cymbal colors.
Photo:Lester Barnes
Williams and Formanek shine throughout. Whether working together to push a piece forward (listen to what they play underneath the piano solo on "Short Tune") or making space for their own solos, they are always in sync. The bassist is known for his muscular playing plus he is a top-notch composer for ensembles large and small. Check out his Herbie Nichols-inspired "A Word Edgewise"where the song, anchored by his rapidly walking bass lines, always seems to be rushing forward ever-so-sightly out of control.
In a world with so many piano trio albums released every month, "Bloom" stands out on the strengths of its compositions and the excellent musicianship of Jeff Williams, Carmen Staaf, and Michael Formanek. Willams may be the leader and producer but this subtle, swinging, and singing album truly is a group effort.
There are hundreds of albums every year that seem to come and go. In the instance of the jazz world, unless the group is touring or gets a write-up in a major publication or has a "famous" name or two, the album is set aside to make room for the next recording. For some artists who spend years playing their trade in clubs and concert halls, it's not fun to be ignored. But that part of the business has always been there. You never know what will capture the fancy of listeners or when that might happen. Numerous artists have told that sell more recordings on gigs than through the internet or in the retail world.
The trio of pianist Chris Lomheim, bassist Michael O'Brien, and drummer Jay Epstein often worked together in the years before the bassist moved to NewYork City from the Twin Cities (Minneapolis-St. Paul). All three are quite busy with the pianist leading his own trio as well as playing with other groups, the bassist working with the likes of drummer Matt Wilson, Harry Connick Jr., and saxophonist Joel Frahm while the drummer has recorded and/or toured with pianist Bill Carrothers, the late Sarah Vaughan, and saxophonist Eric Alexander (among many others). These three veterans have now recorded their debut album. "Triage" (Shifting Paradigm Records) is an odd title for this lovely group of original songs (eight by Lomheim and three by O'Brien) but don't let that distract you from listening.
Photo:Andrea Canter
While the music works as an accompaniment to a late afternoon time on the porch or to play during dinner, when you sit and really listen one hears how enjoyable these 11 pieces are. Particularly attractive is the pianist's "Even More Than Before", a medium-tempo ballad with the hint of a Burt Bacharach melody (as well as a section of the chorus that reminds this listener of the 60's hit "Goin' Out of My Head") –pay attention to O'Brien's foundational bass work and the dancing cymbal work of Epstein. The bassist's "At What Price Happiness" has a faint touch of bossa nova in its rhythm. The airy melody line, the quiet interactions of the rhythm section, and the long, luxurious, piano solo (as well as the melodic bass solo), all adds up to an enjoyable aural experience.
Photo: Andrea Canter
As one returns to "Triage", you begin to see and hear the influence of the Bill Evans Trio and the Keith Jarrett Standards Trio. Specifically in the importance of bassist O'Brien (pictured left) and how his solos plus his great ear for melody meshes with the work of pianist Lomheim. And, like Evans and Jarrett, smartly written melodies are so important to how the music opens up for the solos. Epstein's role is to make sure the music flows on a even keel yet even he get many opportunties to interact with the melodic lines and solos.
The music of Chris Lomheim, Michael O'Brien, and Jay Epstein truly unfolds when one really pays attention. Their professionalism and camaraderie makes "Triage" a delightful experience, one that should come and stay.
Over the past 13 years, bassist, composer, and record label owner Matt Ulery has proven himself to be one of the more adventurous souls in contemporary music. Sit through one of his albums and you'll hear elements of jazz, "prog-rock", art music, classical strains and much more.
That description hold true on his latest effort. "Sifting Stars" (Woolgathering Records) is his eighth album as a leader. The program is two distinctive suites played by two very different ensembles. The first four songs features the Sifting Stars Orchestra, a 16-piece unit (although all 16 do not play together on each track) along with vocalists Grazyna Auguscik or Katie Ernst on three of the tracks as well as four members of eighth blackbird, the wonderful Chicago-based chamber sextet.
Photo: Harvey Tillis
The opening two pieces have arrangements that feature an emphasis on the strings. Ms. Auguscik's voice is featured on "The Remanent of Everything" telling a story of loneliness and disconnection, all the while the strings flow in and around her with both the melody and arrangement being quite lovely. Ms. Ernst, bassist in the trio TwinTalk and a solo artist in her own right, takes the lead vocal on "Pictures in Grey", a fascinating song with lush film-noir string sweeps plus a section with a rhythmic pattern influenced by Steve Reich. The voice becomes part of the ensemble and one must literally "go with the flow' of words and melody.
The six person brass section is more prominent on the next two tracks. Ms. Auguscik returns for "I'm So Shallow" that, after repeated listenings, sounds like a blend of a Paul McCartney melody with a Philip Glass arrangement. Yet, one grasps for comparisons; other listeners will hear other songs in this music. At times gentle, over times, the music becomes darker. The fourth song is all instrumental. "The Prairie Is a Rolling Ocean" is another melody with trombones, French horn, bassoon, and trumpets blending with flute to move the piece forward. There is a splendid pianist solo from Ulery's long-time musical partner Rob Clearfield with different horns and reeds rising out of the background to create a compelling counterpoint.
The album then shifts sonic gears. "Ida" is a six-part suite performed by Axiom Brass, a quintet also based in Chicago. Ulery was inspired to write the suite after viewing the Ivan Albright painting, "Into the World There Came a Soul Called Ida" (see it here). Here, the composer creates a world for the character in the painting, what she may be thinking and feeling at the moment captured by the artist. Look and listen. Do you see and hear emotion? Are their feelings that are not easily defined by mere words but better by the sounds you hear? "Sifting Stars" is quite a recording. Not only does the music created by Matt Ulery, the Sifting Stars Orchestra, and Axiom Brass make you pay attention but it also transports one beyond the everyday, the mundane. This is an album for a cold morning as the sun rises or late in the evening when the house is quiet and the streets are still. Give this music time and you will be moved. For more information, go to www.mattulery.com. Here's one of the tracks:
Personnel:
Sifting Stars studio orchestra:
Matt Ulery – double bass and voice Rob Clearfield – piano Michael Caskey – percussion Grazyna Auguscik – voice Katie Ernst – voice Yvonne Lam – violins Jeff Yang – violins Aurelien Pederzoli – violas Nick Photinos – cellos Michael Maccaferri – clarinets Nathalie Joachim – flutes Ben Roidl-Ward – bassoons Andrew Nogal – oboes and english horns Liz Deitemyer – french horns James Davis – trumpets Chad McCullough – trumpets Steve Duncan – trombones Chris Shuttleworth – trombones
Axiom Brass:
Dorival Puccini – trumpet Kris Hammond – trumpet Melanie Erena Kjellsen – french horn Mary Tyler – trombone Kevin Harrison – tuba
Photo: The Chicago Reader
Trumpeter and composer Russ Johnson has been one of the busier musicians for the past quarter century. A list of his associations on record and the bandstand includes artists such as Lee Konitz, Steve Swallow, pianist Kris Davis, bassist Matt Ulery, alto saxophonist Greg Ward, and a host of others. He was a member of the Other Quartet and has recorded seven albums as a leader or co-leader. It's easy to hear why. He possesses quite a powerful and expressive sound plus a facile mind.
His newest album, "Headlands" (Woolgathering Records) is his third since leaving New York City for the midwest. Since 2010, Johnson has been Director of Jazz Studies at the University of Wisconsin/Parkside. Located 65 miles north/northwest of Chicago, IL on the shores of Lake Michigan, the trumpeter is often in the Windy City for gigs. The program is a 12-song suite, through-composed with six songs, 4 short improvisations (one for each member of the ensemble), plus a theme at the beginning and a longer reprise at the close (notice how the bass line is similar to that of the "hook" of Sly Stone's "Thank You (Falettin Me Be Mice Elf Agin"). Joining Johnson is bassist Ulery, Rob Clearfield (keyboards), and Jon Deitmeyer (drums) - the album recalls the work of Miles Davis in 1969 just before "Bitches Brew", the music channeling mainstream jazz, rock elements, fiery passages, and impressive interplay.
Photo: The Chicago Reader
But Davis comparisons aside, this music moves in its own creative fashion. There are moments when the blend of the active drums with the bass serving often as counterpoint to the soloist, the atmospheric electric piano while the trumpet plays flowing melody lines stand out. The handsome "Fjord" and the darker "Kapoj" are pieces that open in a quieter fashion but both tunes pick up in intensity along the way, especially the latter cut. And there are times when the quartet breaks into hard-edged pieces that push against any soft edges, with roiling sounds from both Johnson and Clearfield plus powerhouse work from the bass and drums. Tunes such as "Serpent Kane", the roller-coaster-like "Mons Calpe", and "Wellenpeitschen" offer a much different feel. The last track mentioned starts quietly with an handsome trumpet intro before the the rhythm section kicks in and the music takes off. The title can be translated as "wave whip" - one hears that in the kicking drums and the rapid-fire melodic lines.
The liner notes state that the suite is "...intended to be listened to in its entirety." That makes great sense, although s few people have the patience to do that on record. You actually do not realize this is a "live" album until the applause comes in at the end. Russ Johnson has created music on "Headlands" that may remind you of the stormy months and events of the late 1960s, a time that many people have been equating to what's been happening in the United States for the past decade. "Headlands" is an album one can play play several times in a row and discover new elements each time. Give it a try.
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