Steve Coleman - Live at the Village Vanguard Vol. 2 (MDW NTR) October 29, 2021 Pi Recordings

Recorded live in performance at the renowned Village Vanguard in New York City, "Mdw Ntr," finds MacArthur Fellow Steve Coleman exploring new terrain in his use of non-linear performance practices in his music. Featuring his long-running flagship ensemble Five Elements, he utilizes spontaneous and pre-composed modules, or motivic cells that can be played in any order, allowing each musicians to spontaneously jump forward or backward to different sections – even between compositions – highlighting different strata of the music and reinventing the form each time in a completely interactive way. Coleman often composes these modules by envisioning them as chains of tonal dyads that are strung together along rhythmic patterns to create melodic structures, something he sees as an analogue of DNA sequences. 

The work also reflects his research into the connection between language and music, in particular the early attempts at music notation using shapes and glyphs in ancient Egypt and the structural and functional similarities between spontaneous composition and Mdw Ntr, a transliteration of the writing system usually called hieroglyphics. Coleman’s use of complex rhythmic cycles is a consistent hallmark of his work, and the roiling, surging momentum found here is no exception. Featured prominently is a long-time collaborator, spoken word artist Kokayi, who brings a freewheeling, rhythmically-acute, almost tent revival aesthetic to the proceedings. Together, they continue to push the possibilities for spontaneous composition and improvisation. 

1. Menes to Midas

2. Unit Fractions

3. Little Girl I'll Miss You

4. Compassion (drum solo) - Ascending Numeration - DeAhBo (Reset)

5. Pad Thai-Mdw Ntr

6. 9 to 5

7. Mdw Ntr

8. Rumble Young Man, Rumble

9. Khet & KaBa

10. DeAhBo (Reset)

11. 9 to 5 - Mdw Ntr

Steve Coleman (alto saxophone)

Jonathan Finlayson (trumpet)

Kokayi (wordsmith)

Anthony Tidd (bass)

Sean Rickman (drums)

PREORDER

Steve Coleman and Five Elements - Live at the Village Vanguard, Vol. 1 (The Embedded Sets) PI RECORDINGS August 10, 2018

Steve Coleman and Five Elements - Live at the Village Vanguard, Vol. 1 (The Embedded Sets) PI RECORDINGS August 10, 2018

Alto saxophonist Steve Coleman’s Live at the Village Vanguard, Vol. I (The Embedded Sets) is his first live release in over 15 years. It captures his band Five Elements in two joyous sets at the historic New York venue where some of the most famous jazz recording from the likes of John Coltrane, Sonny Rollins, and Bill Evans have been made. Coleman’s personal history is tied deeply with the club: One of the main reasons he moved to New York City from Chicago was for the opportunity to play in the Thad Jones/Mel Lewis Orchestra, of which he was a member from 1978 to 1980. After playing there with singer Abbey Lincoln in 1984, there followed by a hiatus of over 30 years before he was invited to perform at the club as a leader in 2015. Since then, he has led his band Five Elements at the Vanguard every year, including these two sets recorded in May, 2017.

Unlike his two most recent releases, Morphogenesis (NPR Critics Poll #2 album of 2017) and Synovial Joints (New York Times #1 jazz album of 2015), both of which are highly composed and arranged, Coleman’s recent goal has been to compose as spontaneously as possible, often completely extemporaneously. Interspersing the set with tracks that feature these new compositional tactics with long-time Coleman favorites, the musicians tackle Coleman’s typically intricate music with an effortless grace. The band’s mastery over the cross-hatching rhythms, tricky counterpoint and percolating funk, inspired by the magical vibe of the Village Vanguard, is captured here at its absolute peak.

1. Horda 7:35

2, Djw 6:47

3. Little Girl I'll Miss You | Embedded #1 16:53

4. idHw 6:46

5. twf 7:16

6. Figit Time 8:05

7. Nfr 8:06

8. Little Girl I'll Miss You 7:36

9. Change The Guard 7:00

10. rmT | Figit Time 16:18

11. Nfr 9:47

12. idHw 7:42

13. twf 6:36

14. Horda 6:26

15. Embedded #1 6:58

16. Djw 7:34

17. rmT | 9 to 5 14:55

Steve Coleman - alto saxophone

Jonathan Finlayson - trumpet

Miles Okazaki - guitar

Anthony Tidd - bass

Sean Rickman - drums

Henry Threadgill 14 or 15 Kestra: Agg - Dirt… And More Dirt (PI RECORDINGS May 12, 2018)

Comprised of two full-length works, Dirt… And More Dirt, is composed for Henry Threadgill’s band 14 or 15 Kestra: Agg, which features 15 musicians (guitar, bass, drummers (2), cello, tuba, alto saxophone (3), flute (2), trumpet (2), trombone (2), and piano (2). The works are part of Threadgill’s ongoing exploration for integrating composition with group improvisation, in particular an entirely new system of improvisation based on preconceived series of intervals. They bear the unmistakable stamp of all Threadgill compositions: complex forms, multi-layered counterpoint, rigorous polyphony, and timbral contrasts all wrapped up in a swirl of rhythmic convolution. The use of multiple horns and woodwinds on Dirt… vastly expands the music’s harmonic and tonal palette at Threadgill’s disposal, adding a much wider range of color, texture, and weight. At the age of 73, Threadgill remains at the peak of his powers, yet remains completely open to all possibilities in expanding and refining his craft.

1. Dirt - Part I

2. Dirt - Part II

3. Dirt - Part III

4. Dirt - Part IV

5. Dirt - Part V

6. Dirt - Part VI

7. And More Dirt - Part I

8. And More Dirt - Part II

9. And More Dirt - Part III

10. And More Dirt - Part IV

11. Credits

Henry Threadgill - alto saxophone, flute, bass flute

Chris Hoffman - cello

Liberty Ellman - guitar

Jose Davila - tuba

Ben Gerstein – trombone

Jacob Garchik – trombone

Jonathan Finlayson - Bb trumpet, F trumpet

Stephanie Richards –Bb trumpet

Curtis Robert Macdonald – alto saxophone

Roman Filiú - alto saxophone, alto flute

David Bryant - piano

David Virelles – piano

Thomas Morgan - bass

Elliott Humberto Kavee

Craig Weinrib - drums, percussion

Igor Lumpert & Innertextures - Eleven (CLEAN FEED RECORDS 2018)

Here is the third reprise of Igor Lumpert’s project Innertextures, but this time (after “Innertextures” and “Innertextures Live”), not with the previous trio format. The band with Chris Tordini and Nasheet Waits is now a quartet, with Greg Ward playing the second saxophone and Kenny Grohowski taking the drum sticks, and in “Eleven” there’s two guests summing up: trumpeter Jonathan Finlayson on a couple of tracks and bass clarinetist John Ellis playing on another one (in the past, Lumpert had the collaboration of musicians like Robert Glasper and Jacob Bro, and even his trio was once formed with Matt Brewer and Tommy Crane).

Important to notice is the fact that Lumpert, Tordini, Grohowski and Finlayson studied together at the New School of Music. The musical formula remains the same, but now more matured and with other nuances: a kind of «hyper-mode bop» with funk elements and some aspects of Slovenian folk music (he was born in Novo Mesto), as the specialized press noted, with «odd-metered rhythmic pacing and mesmeric variances in pitch». For more than 15 years living in New York, Lumpert’s jazz is sounding more American than ever, full of verve and groove, but without losing its “trademark” of complexity and unpredictability.

Maybe the most internationally recognized of all Slovenian jazz musicians, this former pupil of Chico Hamilton and Billy Harper who played with luminaries like John Abercrombie and Sonny Simmons is really the face of the present universal dimension of this music genre, with each composition brilliantly confirming that status. A must listen, must have record, marvelously produced by Robert Sadin.

1. 13th of August 7:27

2. XmD 4:44

3. Poseidon 7:49

4. Paha 5:40

5. Eleven 8:28

6. Brela 7:29

Igor Lumpert  tenor saxophone

Greg Ward  alto saxophone

Chris Tordini  double bass

Kenny Grohowski  drums

Jonathan Finlayson  trumpet on 3 and 5

John Ellis  bass clarinet on 6

All compositions by Igor Lumpert

Recorded at Bunker Studios, Brooklyn, New York on May 10th, 2017 by Ted Tuthill | Mixed and Mastered by Dave Darlington at Bass Hit Studios

Produced by Robert Sadin | Executive production by Pedro Costa for Trem Azul | Design by Travassos

Mary Halvorson Octet - Away With You (FIREHOUSE 12 RECORDS 2016)

It would be sufficient for Mary Halvorson to just continue being an avant-jazz guitarist with broad influences and a distinctive style. She would stay busy and garner praise. But here, she steps up as a leader once again, this time with her biggest outfit yet.

The lineup is identical to that of 2013’s Illusionary Sea, with the addition of Susan Alcorn on pedal steel guitar. The other contributors are Jonathan Finlayson on trumpet, Jon Irabagon on alto saxophone, Ingrid Laubrock on tenor saxophone, Jacob Garchik on trombone, John Hébert on bass, and Ches Smith on drums. Under Halvorson’s deft guidance, the octet navigates eight labyrinthine compositions.

With an ensemble of such size, it would be hard to categorize this as a guitarist’s solo album. Halvorson’s voice herein is just one among many, though it makes clear statements. But not unlike Illusionary Sea, as well as her other works for larger outfits, Away With You is a composers showcase. The horns roll off of one another in counterpoint over ominous 6-string picking and chording, with Alcorn providing atmospherics, and Hébert and Smith contributing a busy low end. Themes morph and adjust until all players join in free-form blowouts, then the themes reprise once again.

In some ways, Halvorson’s compositional style is as disjointed and prickly as her playing. Channeling her inner Braxton, she makes sharp left turns when the listener is expecting straight lines, while leading the octet through dense non-linearities. On the other hand, her use of space is masterfully delicate, building tension for the inevitable chaotic release.

As noted above, guitar sometimes takes a primary role. However, this not to the exclusion of the other instruments. Duets between Alcorn and Halvorson are particular compelling, though taking up only bits and pieces of the album. Hébert also provides a long, powerful solo break. But Away With You is at its best when all eight players are working through complex charts, and soloing around the edges. The result is nothing short of exhilarating.

1. Spirit Splitter (no. 54) 06:18

2. Away With You (no. 55) 08:04

3. The Absolute Almost (no. 52) 09:59

4. Sword Barrel (no. 58) 04:41

5. Old King Misfit (no. 57) 07:34

6. Fog Bank (no. 56) 05:31

7. Safety Orange (no. 59) 05:14

8. Inky Ribbons (no. 53) 08:35

Released October 28, 2016 

Mary Halvorson :: guitar 

Susan Alcorn :: pedal steel guitar 

Jonathan Finlayson :: trumpet 

Jon Irabagon :: alto saxophone 

Ingrid Laubrock :: tenor saxophone 

Jacob Garchik :: trombone 

John Hébert :: bass 

Ches Smith :: drums

Jonathan Finlayson & Sicilian Defense - Moving Still (PI RECORDINGS 2016)

Moving Still is the eagerly-awaited follow-up to trumpeter Jonathan Finlayson’s Moment and the Message (Pi 2013), which was voted the top Album by a Debut Artist in the 2013 NPR Jazz Critics Poll and proclaimed “intricate and alluring, melodic but daring, riveting and rare” by Popmatters. Well regarded among fellow musicians for his ability to negotiate complex musical material and his decidedly personal sound and improvisational style, Finlayson was named the Number One Rising Star Trumpeter in the 2014 Downbeat Critics Poll. He has been a member of alto saxophonist Steve Coleman’s Five Elements for over 15 years, while also playing regularly with the likes of such cutting-edge artists as Steve Lehman, Mary Halvorson, Muhal Richard Abrams and Henry Threadgill.

Moving Still is filled with enthralling twists and turns, a hallmark of Finlayson’s compositional style. As usual, there is far more to his work than might readily appear. Even though the pieces move forward with a clear thrust, instrumental voices rarely move in unison and counterpoint almost always holds sway. This is apparent on “Flank and Center,” where the melody utilizes hockets - a series of three and two notes played in turn by three voices, a pointillistic effect that is carried throughout the piece. “Space And” is based on a traditional bell pattern of the Dagomba of present-day Northern Ghana while “Folk Song” is inspired by an Afro Cuban melody from the song cycle devoted to Oshun, a deity that reflects one of the manifestations of God in the Ifá and Yoruba religions. “Cap vs Nim” is based on a celebrated chess match between the grandmasters José Raúl Capablanca and Aron Nimzowitsch wherein Finlayson assigned harmonic values to positions on the board with the melody determined by the origin and destination of each move. Guitarist Mile Okazaki states of the music: “It demands restraint and balance. It breathes and moves along unencumbered. You join in for the trip, but travel light and watch your step, because Finlayson will surely take a turn that you don’t expect.”

Finlayson’s band, Sicilian Defense, is named after the popular chess opening counter move, and most of the composition titles on Moving Still are also allusions to some aspect of the game of chess, which he plays with great zeal. This latest iteration of the band includes guitarist Miles Okazaki, who is also a member of Steve Coleman’s Five Elements and with whom Finlayson has played with consistently for ten years. Trickster, his next release, will be out on Pi in 2017. Pianist Matt Mitchell (Tim Berne, Dave Douglas, Rudresh Mahanthappa, John Hollenbeck) has also released two of his albums on Pi. Finlayson has played alongside bassist John Hebert (Andrew Hill, Fred Hersch) for years, most recently in the bands of guitarist Mary Halvorson. And the young drummer Craig Weinrib, best known for tackling the challenges of Henry Threadgill’s music as a member of his Ensemble Double up, a band that released the acclaimed Old Locks and Irregular Verbs earlier this year.

Finlayson has been a professional musician for a decade and a half despite being only 34 years of age. It’s not uncommon for musicians years younger with far less experience to have multiple albums as leaders under their belt already yet Moving Still is just the second release under his own name. According to Okazaki: “You can’t rush Finlayson. He’s not concerned with expectations. He has confidence that his preparation will allow things to fall into place when the time is right. It has to do with timing and nuance, and allowing the story to reveal itself to those who are leaning in and paying attention.” Or as Steve Coleman puts it: “Jonathan was aware of the entire spectrum of this music from a young age and he’s always taken a panoramic view of what has come before. But for him it’s not about imitating the great players. He has the patience to find his own way and it’s important to him for his music to reflect his own personality and philosophy, to create his own style and sound. He has made a conscious choice to be on the cutting edge so that he continues to make an individual contribution to the continuum of this music.” The result is a daring work with a firm sense of purpose.

1. All of the Pieces 11:15

2. Flank and Center 04:34

3. Space And 08:33

4. Cap vs. Nim 08:58

5. Between Moves 08:08

6. Folk Song 10:47

Jonathan Finlayson - trumpet

Miles Okazaki - guitar

Matt Mitchell - piano

John Hébert – bass

Craig Weinrib - drums