Republic of Jazz: Feb 26, 2018

Monday, February 26, 2018

Actual Trio - Act II (2018)

Ranging from joyful tributes to Sonny Rollins, Lee Konitz and the Golden State Warriors to an anguished response to the 2016 election, the disc solidifies and deepens the Bay Area trio’s original, adventurous, groove-driven sound.

Heading Back

I.O.U.S.

Actual Strut

Shock (11.09.16)

Bring Yourself Back

Dray Break Express

Are You Trying (To Get Me Killed)?

Selfconsciously-Lee

Bass Song

Sworn To Sonny

John Schott guitar

Dan Seamans bass

John Hanes drums

Acoustic Tarab Alchemy - A.T.A. (ODRADEK RECORDS 2018)

Taking the Sufi mysticism of Houcine Ataa’s songs as a starting point and adding the contribution of our harmonies, our respective instruments and our different musical experiences, we went through a progressive transmutation of languages into a single new musical expression.

Houcine Ataa

A.T.A. (Acoustic Tarab Alchemy) was created by Tunisian artist Houcine Ataa to give shape and sound to the Sufi singing with which he grew up. Islamic spirituality goes beyond the boundaries of tradition to meet and blend with different and apparently distant musical languages, including jazz piano, with double bass and percussion evoking timbres of the Arabic and African musical worlds. All this creates a sound alchemy which is hard to define: a style which is contemporary without losing sight of its origins.

Houcine Ataa was born into the Sufi tradition but has embraced an array of musical influences, including jazz and blues. With his fellow musicians, each bringing their own voice to the mix, he has drawn these styles together, like an alchemist blending ingredients to produce something new and wonderful. The result is a joyous soundworld which aspires to ‘tarab’ – a state of musical ecstasy.

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Aloft Quartet - First Year (AMP MUSIC & RECORDS 2018)

«First Year» is the debut album of jazz ensemble Aloft Quartet and features original compositions by all of the members of the ensemble.

An album that showcases a diverse blend of inspiration from today's modern American jazz, combined with a recognizable nordic sound. One can hear the detailed and intimate musical interactions building up under the melodies. Interesting soundscapes are generated by layering subtle effects over the natural sound from their instruments by questioning the instruments roles in different ways.

With highly structured chord progressions and melodies, combined with distinct improvisation, the album will take the listeners on a journey of joy, melancholy and rapture, with songs composed to reach further than just to the listeners ears.

1 MPC 6:07

2 Kort Sikt 4:39

3 Delayed Travelers 6:54

4 Flimmersne 5:46

5 The Stoner 4:09

6 Quick Fix 1:32

7 Recreation Pt. I 4:01

8 Recreation Pt. II 5:32

Simon Balvig - saxophones

Rasmus Sørensen - piano

Jon Henriksson - double bass

Amund Kleppan - drums

Nutria - Call To The Air (BREAKFAST FOR DINNER RECORDS March 1, 2018)

Named after the infamous South Louisiana swamp rat, Nutria performs genre-bending contemporary jazz compositions with an emphasis on collective improvisation. The trio's music creatively explores jazz, chamber music, and traditional music of the African diaspora and Eastern Europe, as well as the avant-garde, while staying true to New Orleans jazz and groove traditions.

"Showing a clear strategic intelligence and inventiveness and a substantial depth of artistic resourcefulness" (No Depression magazine), Nutria has toured throughout the United States playing art centers, jazz clubs and dive bars. In 2017, they performed on the Millennium Stage at the John F. Kennedy Center for the Performing Arts in Washington, DC. In 2016, they were commissioned by the New Orleans-based Marigny Opera Ballet to compose "Wary Heat," a new ballet that was premiered in February 2017 and reprised in January 2018.

Nutria was formed in New Orleans in 2014 while its members were graduate students in the renowned jazz studies program at the University of New Orleans and active in different corners of the local music scene. Their sound reflects a diversity of influences yet a deep commitment to the jazz idiom.

The members of Nutria have performed with a wide array of leading talents in New Orleans and around the world, including Ed Petersen, the Revelers, Mahmoud Chouki, Nduduzo Makhathini, Sarah Quintana, and local favorites Los Po-boy-citos. Nutria has performed at venues such as the Kennedy Center (Washington, DC), the New Orleans Museum of Art, the New Orleans Jazz Museum, Twins Jazz Club (DC), Chris' Jazz Cafe (Philadelphia), the Jazz Gallery (Milwaukee), the Chatterbox Jazz Club (Indianapolis), and Elastic Arts (Chicago).

1. Hopscotch & Four-Square 08:53

2. First Sight 03:44

3. Funny Honey 06:02

4. Shackleton's Hill 03:55

5. Call To The Air 12:49

6. Lapeyrouse 07:57

7. Ghosts Before Breakfast 09:58

NUTRIA is:

Byron Asher - Tenor Saxophone, Clarinet, Bass Clarinet

Trey Boudreaux - Bass

Shawn Myers - Drums

Recorded at Bear America Records, New Orleans, LA on August 23 and 24 2017

Recording Engineer: Carson Thielen

Assistant Engineer: David Hart

Mixed and Mastered by Jeff Albert

Matt Booth & Palindromes - Matt Booth & Palindromes (BREAKFAST FOR DINNER RECORDS 2018)

1. Ipswich

2. Zingaro

3. The Sundown

4. Drum Music / Garden of Eden

5. The Lilypad

6. Tapped Out

7. Birdsong

Matt Booth: bass

Brad Walker: saxophones

Chris Alford: guitar

Doug Garrison: drums

Tracks 1,5,6 written by Matt Booth

Track 2 written by Antonio Carlos Jobim

Track 3 written by Ennio Morricone

Tracks 4 and 7 written by Paul Motian

Recorded December 30 2016 by Chris George at The Living Room in New Orleans, LA

Mixed by Chris Alford

Mastered by Jeff Albert

Art design by Brad Walker

Cover photo by Matt Booth

Richard Koch Quartett - Wald (2018)

The Sound Of Humus!

Im Wald mit dem Richard Koch Quartett

Die Trompete sucht immer das Holz, sagt Richard Koch. Einen natürlichen Resonanzraum. Na, und wo findet der Mensch das Holz?! Im Wald. Albumtitel gefunden.

Aber Richard Koch hat die Stücke auf seinem Debütalbum tatsächlich auch im Wald komponiert. Und zwar nicht in einem naheliegenden Forst in Brandenburg oder Mecklenburg, sondern auf der niederländischen Insel Vlieland. Auf so einer Insel ist ein Wald ja selbst eine Art Insel. Ein Zufluchtsort. Ein Schutzraum. Ein System im System. Das Spiel der Elemente: Für Fische sind Seen Inseln, wusste schon Alexander Kluge zu berichten.

Auch Richard Koch ist ein Psychedeliker der feinsten Sorte. Immer findet sich bei ihm das Große im Kleinen, und im winzig Kleinen wiederum das ganze Große. Melancholie und Witz übergeben seine Quartettmitglieder einander wie einen kostbaren Staffelstab, dabei hat der Herr Koch immer einen klaren Ton auf den Lippen und ein offenbar großes Vergnügen daran, im Klangwald mit allen Elementen zu verschmelzen und zu verwachsen.

The Sound Of Humus!

Den 1979 im österreichischen Tulln an der Donau geborenen Trompeter und seit fast zwanzig Jahren in Berlin ansässigen, interdisziplinären Künstler beschäftigen vor allem die fließenden Übergänge: Von der Wurzelschicht (der Bassbereich?) bis zur Baumschicht (die Obertöne?) und als fallendes, welkes Blatt schließlich wieder nach unten in Richtung Wurzelschicht. Ein Zen-Trompeter!

Richard Koch erinnert uns mit seinem leichtfüßigen, Hans-guck-in-die-Luft-Spiel an den großen Tijuana-Trompeter und Entrepreneur Herb Alpert. Oder an den gedämpften Donald Byrd. Aber immer wieder wird es in seinem Quartett kindlich verspielt, rappelnd und aufbrausend wie im Willem Breuker Kollektief. Wir befinden uns schließlich auf einer niederländischen Insel. Aber bevor es zu clownesk wird, spielt Richard Koch uns lieber wieder weiterkomponierte, besinnliche Fugen der Photosynthese vor, die ihm erst gestern die Waldvögel mit auf den Weg gegeben haben. Aber nicht nur die Vögel - der ganze Wald musiziert! Ein komplexes, organisches System. Ein Orchester!

Der Wurm lockert den Boden, bloß um wenige Minuten später im Schnabel eines Vogels zu landen. Der Vogel trällert zum Dessert eine Melodie. Und zwischen den Bäumen in einer kleinen Lichtung, da steht Richard Koch mit seiner Trompete, aufmerksam zuhörend, das Naturschauspiel genießend, bevor er begeistert mit einsteigt in das wilde Nahrungskettenensemble. Ist das Jazz?

Unbedingt.

Das Richard Koch Quartett ist eine der großen Entdeckungen des Berliner Jazzjahrs 2018 und hoffentlich noch weit darüber hinaus. Mit dem Schlagzeuger Andi Haberl, dem Pianisten Michael Hornek und dem Bassisten Andreas Lang verfügt das Quartett über alle musikalischen Fähigkeiten, die Musik des Waldes - auf einer Insel wohlgemerkt – ewig formvollendend in unsere Städte zu tragen.

Auf so einer Bühne steht man schließlich auch in einem Stück Wald. Richard Koch steht ansonsten gerne mit dem Andromeda Mega Express Orchestra auf der Bühne. Und die sehr gerne mit The Notwist. Aber auch mit Peter Fox oder den Beatsteaks hat er immer wieder zusammengearbeitet. Und falls Sie auf dem neuen Nils Frahm Album eine Trompete hören, dann wird es sicher auch die von Richard Koch sein. Ein umtriebiger Trompeter.

Aber zurück auf unsere Insel - also den Wald! Wir können es nicht mehr auseinanderhalten. Ein Zufluchtsort jedenfalls, in der Hektik unserer metrischen Zeitordnung. Auf dem Tonträger bringt uns das Richard Koch Quartett gleich den ganzen Wald in die Wohnung. Die Trompete sucht eben immer das Holz. Und das wird sie sicher auch in ihren vier Wänden finden.

Maurice Summen

1. Moped

2. Mond

3. Jan+Erna

4. Wald

5. Regen

6. Wolpertinger feat. Ron Spielman

7. Der Herbst

Richard Koch - trumpet

Michael Hornek - piano

Andreas Lang - bass

Andi Haberl - drums

Special Appearance by Ron Spielman (Guitar on Track 6)

Marc Hannaford and David Tolley - The Vivificationists (2018)

Six duo performances from master improviser David Tolley and Marc Hannaford, followed by two longer improvisations that add three of Australia's most accomplished improvisers, Ren Walters, Scott Tinkler and Allan Browne, to the group.

Below this essay are David’s original notes for the release of our recording, The Vivificationists. Given the profound effect David had on my life as a musician, and coupled with the fact that he is no longer with us, I feel justified in adding a few personal remarks. For a more complete account of David’s philosophies of art making, musical and otherwise, I highly recommend his website davidtolley.net Also highly recommended are John Whiteoak’s Playing Ad Lib: Improvisatory Music in Australia 1836-1970 (Currency Press Limited, 1999) and the edited volume Experimental Music: Audio Explorations in Australia (UNSW Press, 2009). While neither volume discusses David’s work at length, they provide a fascinating background and context for the work of many Australian artists and musicians, his included.

David had the ability to conjure interesting performances out of musicians. He possessed both an open attitude to music making and a well-formed idea of what he thought made good music. These qualities made for some of the most thought-provoking and transformative musical experiences I have ever had both as a listener and performer.

When, in 2013, I began improvising with David I already had a reasonably clear idea of the kinds musical materials I was most concerned with; I had already spent a significant amount of time exploring polyrhythm and various intervallic constructions for use in my musical improvisations.

When many music theorists discuss how improvisers “connect”, they often invoke the notion of a shared musical vocabulary. Like spoken language in everyday life, a mutually shared language allows agents to recognise commonalities and thus helps create a sense collectivity. This is the model often used to describe Jazz ensembles, where each player’s knowledge of a particular part of the jazz tradition is regarded as a prerequisite for improvising together.

As soon as David and I began playing together, however, it was clear that our musical materials were starkly different. That’s not to say that our improvisations didn’t “work” - we were both very excited to continue working on musical improvisation together - but that our mode of musically connecting was not through a shared musical vocabulary. Instead, our connection developed through an understanding that improvisation might also constitute a mode of being.

Improvisation, in a broad sense, is closely related to the notion of flexibility. Good improvisers find ways to “work around” problems. It’s what good interviewees do when asked unexpected questions, conversationalists do when surrounded by people from extremely diverse backgrounds, what sports people do when the game-plan becomes obsolete, and is evident anytime the under-resourced cobble together bits and pieces to form a tool that gets the job done.

An improvisational mode of being creates a shared space in which collectivity is created whilst also preserving difference. This balance is achieved through flexibility, or “open-ness”, on behalf of the performers in regards to differences within the group. This is what David showed me. Within this shared space David and I were able to maintain our respective musical languages, recognise differences between them, and allow those differences to exist as part of our work together. In contrast to the jazz group model discussed above, where, difference beyond a certain point of the jazz tradition is treated as an obstacle to playing together, the differences between David and my musical language were not simply incommensurable, but were productive precisely in their incommensurability. There was strength in difference.

Improvised-music ensembles provide excellent opportunities to study how differences between individuals are balanced with group identity. The improvised-music group has the potential to demonstrate that difference, eccentricity, and even inadequacy, may be productive given certain circumstances. I’d argue that an improvisational mode of being is a crucial step to produce such circumstances.

I feel that improvised music can demonstrate that difference need not be feared and eradicated but, with the aid of improvisation, can be productive in a way we never thought would be possible, or that we hadn’t even imagined could exist. It’s what David showed me, and one of the things I’ll remember most about playing with him.

I miss David, his music, his art, his advice, and his thoughtfulness, immensely. Receiving the thumb drive containing these recordings just days after his death was a potent reminder of the brevity of life. I hope these recordings serve both as a reminder of David’s greatness, but also as a demonstration of some of the ideas I’ve suggested here, and, ultimately, as a testament to what improvisation can teach us about ourselves and each other.

David made some artwork for this release. I have slightly modified his images so as to include our essays.

Personally I’d like to thank all of the musicians who played in each of the concerts of the Vivificationists, Martin Jackson and The Melbourne Jazz Co-opertative for giving David and I the opportunity to present and document this music, Bennetts Lane for hosting us, Nicholas Croggan for his assistance with this short essay, and James Savage for recording, mixing and mastering.

The VIVIFICATIONISTS

In Feb 2013, David Tolley and Marc Hannaford began a collaboration to explore the unconventional in the conventional jazz piano/bass duo. David recalls hearing some of Marc’s solo pieces and determining that he should make some improvisational music with this “extraordinarily inventive young musician”. Moreover, it was not long since he had returned to his beloved contra bass (made by Sydney residing Luthier Neville Whitehead) after an absence of several years. This project was an opportunity to make a contribution the long-standing jazz piano/bass duo tradition.

Martin Jackson and The Melbourne Jazz Co-op saw fit to feature a three night VIVIFICATION Series at Bennetts Lane, Melbourne in 2013. This recording is of the final night in the series.

Set 1 of each VIVIFICATION performance comprised TOLLEY/ HANNAFORD Duo improvisations commencing, at Tollley’s insistence, with a Hannaford solo. Set 2 featured various ensemble improvisations. These incorporated ALLAN BROWNE, completing the so-called "rhythm section", and two so-called "front-line" players: Concert #1- CAROLYN CONNORS and SCOTT McCONNACHIE, Concert #2 - TONY HICKS, and BRETT THOMPSON and Concert #3 - REN WALTERS and SCOTT TINKLER.

At various times Tolley introduces laptop material and a loop sampler triggered by the bass.

They decided to commission James Savage to record Concert #3, August 6, 2013. Track 1 – 3 of the TOLLEY/ HANNAFORD Duo were recorded in a session prior to the doors opening, Tracks 3 – 6 comprised Set 1 of the TOLLEY/ HANNAFORD Duo recorded live and Tracks 7 and 8, the live recording of the VIVIFICATIONISTS.

1. No Files If I Can Help It 11:52

2. Resume 09:16

3. Anti-Indoctrination 05:28

4. With Affection 06:25

5. Visitors 07:54

6. Sanctuary 05:23

7. The Vivificationists, Pt. I 28:25

8. The Vivificationists, Pt. II 20:41

Throughout:

Marc Hannaford: piano

David Tolley: double bass and electronics

Tracks 7 and 8 only:

Scott Tinkler: trumpet

Ren Walters: guitar

Allan Browne: drums

Recording, Engineering, Mixing, Production: James Savage

Co-production by David Tolley

Marc Hannaford / Sam Pankhurst / Allan Browne - Monday Dates (2018)

Al, Sam, and I played together often for the three years this trio existed, 2010–2013. We shared a love of the history of jazz and a desire to tap into the elements of it that resonated most strongly with us. The only other commercially released recording of this trio, "Lost in the Stars," documents a project of ours that combined compositions by Mary Lou Williams and Karlheinz Stockhausen, with the central theme being signs of the zodiac. This recording reflects the repertoire that the trio played gig to gig, week to week. It is a testament to our musical rapport and friendship.

Al was a part of many great piano trios in the history of Australian jazz—with Paul Grabowsky and Gary Costello, Tim Stevens and Nick Haywood, and Andrea Keller and Tamara Murphy, to name the ones I listened to the most. I feel lucky to have played with Al so often and over a relatively long period—my first gig with him was in 2005, and we formed our first trio with Sam Anning in 2007.

The trio on this recording played many, many Monday nights at Bennetts Lane Jazz Club in Melbourne. The two performances that comprise this recording each mark endings, in a way. The first was the last time this trio performed together before I moved to New York City, and the second was the last time I performed with Al before he passed in 2015. Al’s sincere, poetic, and witty style of announcing was a striking feature of all of his gigs. For that reason, we decided to include some of his announcements on this recording.

Al was, in retrospect, a catalyst and sustaining force for my loving explorations of jazz repertoire. Whenever I sit down to play some Monk, Jelly Roll, play “Where or When” or “Body and Soul,” or hear Billie Holiday sing, Al is on my mind. I think of and miss him every day.

1. Introduction 02:29

2. Pound Cake 09:41

3. Day Dream 14:35

4. Without Peer, Jetty, or Breakwater 01:46

5. The Mooche 08:39

6. Wow 06:40

7. Star Charts 01:18

8. Warm Canto 10:42

9. Skippy 08:39

10. The Bush Kangaroo 00:41

11. Where or When 11:36

12. Dance of the Infidels/Outro 06:13

Marc Hannaford: piano

Sam Pankhurst: double bass

Allan Browne: drums

Recorded live at Bennetts Lane Jazz Club by James Savage July 22, 2013 (“Intro,” “Pound Cake,” “Daydream,” “Warm Canto,” and “Skippy”) and January 12, 2014 (“The Mooche,” “Wow,” “Where or When,” and “Dance of the Infidels”)

Mixed by James Savage

Mastered by Philip Rex

39th Montreal Intl. Jazz Fest: Kamasi Washington, Dee Dee Bridgewater, Holly Cole, Brian Blade, Ian Anderson/Jethro Tull and more...

Every year the Festival International de Jazz de Montréal – June 28 - July 7, 2018 – is a highlight of my summer.

It's a truly international festival with 3,000 musicians from 5 continents performing in some 500 events, many of them free and open to the public.

Ticketed shows already announced include Kamasi Washington, Dee Dee Bridgewater, Holly Cole, Ian Anderson presents Jethro Tull 50th Anniversary Tour, Chris Botti, Brian Blade and the Fellowship Band featuring Dennis Chambers and Tom Kennedy, Keyon Harrold and more! (See press release below.)

I so agree with Michael Bourne who wrote in DownBeat Magazine that it's the "Best of the Fests.... Bigger! Better! Best, actually..." Playboy Magazine says it's "the best urban music festival in North America." Mitch Myers writes in the Hollywood Reporter that the Festival is "a compelling summer destination....the multicultural and cosmopolitan nature of Montreal is reflected in the festival's diverse programming, showing a great respect for music, the artists and culture in general." And Under the Radar notes that the Fest "is known for its impeccable curation that sees living legends nestling among newer names with some real curveball surprises."

In addition, the Festival is family-friendly, featuring a special kids park with a walk-on playable keyboard, saxophone slide, face painting, special performances and much more.

The full schedule, which includes jazz in every style, world music, soul, and electro-pop – from blue-chip tickets to newcomers, from home and abroad, will be announced later this spring.