Sputnik - Parallax Vol. I (2016)

Label: Self Released

Source: Sputnik 

Genre: Jazz-fusion

Sputnik is a fusion jazz project which brings the talents of Leigh Fischer (Bass), Doug Northcott (Drums), Barry G. Player (Guitar), and Tristan Rivers (Guitar) together to create sounds that, though often out of this world, are always highly inventive and very fun to listen to.

Upon the release of its debut album "Space Junk" in 2012 Sputnik would find a strong voice that borrows from the Jazz world but is rooted heavily in funk and fusion. The band takes songs such as Billy Cobham's Red Barron, or Herbie Hancock's Watermelon man and plays them with passion and intensity while remaining honest and paying homage to the originals. On the flip side they can also take tunes like Stratus, and The Theme from fletch and send them spinning into sonic cascades that will leaving you reeling for more.

The band is also focused on creating a repertoire of original pieces that really showcase the talent level of these Winnipeg artists. While creating music that creates a very pleasing aura for the audience is key, they clearly also strive to push themselves as players. As amazing to watch in a small club or bistro as on a large stage, Sputnik puts on a show that simply must be seen!

Sputnik's new album, Parallax Vol. I, is comprised of all original material and set to be released Jan 09, 2016.

1. Atomic Biscuit 07:42
2. Milky Way 04:17
3. Flat Earth 00:54
4. Rooftop Garden 04:53
5. Extra Terrestrial Technology 08:02
6. Dark Matter 01:28
7. Critical Mass 08:11
8. Mars Atlas 08:05
   

Barry G. Player - guitar
Tristan Rivers - guitar
Leigh Fischer - bass
Doug Northcott - drums  

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Konrad Wiszniewski & Euan Stevenson - New Focus (2011)

Source & Label: Whirlwind Recordings

Glasgow-based saxophonist Konrad Wiszniewski joins forces with fellow Scottish compatriot, pianist & arranger Euan Stevenson in launching their genre-bending adventure New Focus on Whirlwind Recordings. Featuring an amalgamation of classical string quartet meets jazz quartet plus harp, New Focus showcases a cinematic soundscape of through-composed melodies meeting cutting edge improvisation, drawing upon influences from across the musical spectrum.

This nine-piece ensemble features The Glasgow String Quartet (comprising some of the finest virtuosos from The Royal Scottish National Orchestra, and Scotland's leading string quartet), alongside Stevenson on piano fronting the first call drum and bass team of Alyn Cosker (drums) and Michael Janisch (bass), Wiszniewski at the helm on saxophones and Alina Bzhezhinska on harp.

Stevenson's tight knit arrangements offer concise, pleasing trajectories, preserving the original sentiment of each composition, enriching them with ever changing soundscapes of strings and harp. Wiszniewski's tone tells parables of Polish ancestry while the arranger's own crystalline piano laments for pit closures in a northern mining town. A powerhouse rhythm team provides a counterfoil, never allowing the music to become sentimental.

This is music at its resourceful best; borrowing the harmonies and sonorities of the classical world, the tone poetry of Scottish Folk, the directness of pop and all mixed with the bustling edginess of jazz rhythms and improvisation. Duke Ellington famously quipped that there were only two categories of music - good and bad. New Focus most definitely belongs to the former.

"Outstanding original compositions by Wiszniewski and Stevenson. Wiszniewski brings world-class fire and spontaneous creativity." 5 Stars, The Herald.

"The most memorable concert of the 2011 Edinburgh International Jazz Festival. A real triumph." Jazzwise

1. Nicola’s Piece
2. Intro
3. El Paraiso
4. For Ray
5. Interlude
6. Music for a Northern Mining Town
7. Illuminate
8. Dziadzio
9. Leonard’s Lament

Konrad Wiszniewski - saxophones & compositions
Euan Stevenson - piano, compositions & arrangements

The Glasgow String Quartet:
William Chandler - violin
Jacqueline Speirs - violin
Ian Budd - viola
Betsy Taylor - cello

Alina Bzhezhinska - harp
Michael Janisch - double bass

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Dean Johnson - Triology (2016)

In the last few years Dean has performed with numerous groups including the New York Voices, and in special concerts with jazz artists Fred Hirsch, Jane Ira Bloom and Art Lande. He also performs regularly with pipa virtuoso Min Xioa-Fen and guitarist Steve Salerno in the Blue Pipa Trio, performing their eclectic combination of jazz, bluegrass and Chinese folk songs. As bassist for vocalist Roseanna Vitro, Dean has performed as a U.S. Jazz Ambassador in the Balkans, Kazahkstan and Kyrgystan, as well as a live recording at the Kennedy Center featuring pianist Kenny Werner, and a recording project celebrating the music of Randy Newman featuring Mark Soskin. He has performed, recorded and toured for over six years with vibraphonist Mark Sherman and a quartet including drummer Tim Horner and pianist Allen Farnham. Dean performed over the last eleven years with vocalist Kendra Shank along with pianist Frank Kimbrough and drummer Tony Moreno. Dean has an ongoing collaborative relationship with saxophonists Bob Kindred & Hayes Greenfield, guitarists Jay Azzolina & Bruce Arnold.

Born in Seattle, Washington, in 1956, Dean studied Bass Violin with a number of bassists, including the renowned Gary Peacock. Dean also studied piano and composition at the Cornish Institute, in Seattle, with James Knapp and from 1974 to 1976, attended the Berklee College of Music, in Boston, studying with bassists Rich Appleman, John Neves, and studying theory, composition, and arranging with John LaPorta and Herb Pomeroy.

Since arriving in New York, in 1980, Dean has been busy freelancing with a wide variety of artists in the Northeast, and has had the opportunity to travel extensively throughout the United States, Canada, and numerous tours of Europe, Japan, Brazil, Australia, Mexico, and Israel. Some of the eclectic array of artists Dean has been and continues to be involved with over that time include: Dave Liebman, Lee Konitz, Bob Brookmeyer, Randy Brecker, Joe Lovano, Phil Woods, Grover Washington, Dave Grusin, Lew Tabackin, Wynton Marsalis, Steve Kuhn, Dave Samuels, Ron Afiff, Dave Douglas, Paul McCandless, Nguyen Le, Art Lande, Ray Anderson, Walter Norris, Maurizio Giammarco, Bill Mays, Vic Juris, Billy Harper, Art Farmer, Nick Brignola, Ronny Cuber, Rob McConnell, Dave Kikoski, Bill Frisell, Albert Dailey, Mike Metheny, John McNeil, Hayes Greenfield, and Vocalists Sheila Jordan, Jackie and Roy, Mark Murphy, Carol Sloane and Helen Merrill.

Gerry Mulligan however is Dean's most prominent association. Dean spent over 10 years with Mr. Mulligan until his passing in 1996 in a variety of musical situations including the Quartet, Nonet, Big Band, and with symphony orchestras, including the Israel Philharmonic, New York Philharmonic and the Cincinnati Symphony Orchestra. Dean performed in these Mulligan ensembles in concerts and jazz festivals all over the world as well as numerous recordings along with a number of well-known pianists that were in the group over that time including Harold Danko, Bill Mays, Bill Charlap, and Ted Rosenthal.

Dean has also taught privately for years and has conducted clinics at the Berklee College of Music, New York University, New Mexico State University, University of Northern Colorado, Ithaca College, and at the Rotterdam Conservatory of Music.

Prior to coming to New York, Dean lived in Seattle, Washington. On the West coast he worked with a number of different musicians including, Sonny Stitt, Milt Jackson, Eddie "Lockjaw" Davis, Harry "Sweets" Edison, Clifford Jordan, Barry Harris, Ted Curson, Richie Cole, Clark Terry, Buddy Tate, Arnett Cobb, Herb Ellis, Barney Kessel, Tete Montelieu, Terry Gibbs, Bill Mays, Art Lande, Julian Priester, and singers Ernestine Anderson and Mark Murphy.

Dean Johnson's premier CD "TRIOLOGY", 'Study of the Trio' is released January 1st, 2016.

Mostly 'standards' featuring 4 different trios including:

Jim Ridl piano - Rogerio Bocatto drums

Dave Ballou trumpet - Matt Wilson drums

Art Lande piano - Tony Moreno drums

Frank Kimbrough piano - Tony Moreno drums

01. I Wished On the Moon

02. Beautiful Love

03. It Might as Well Be Spring

04. Triology, #1

05. Beija-Flor

06. For Heaven's Sake

07. #5

08. Body & Soul

09. Au Privave

10. Triology, #2

11. Black Narcissus

12. Gentle Rain

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John Stowell & Michael Zilber Quartet - Live Beauty (2015)

Anyone who has enjoyed previous collaborations by guitarist John Stowell and saxophonist Michael Zilber will be delighted to discover that nothing gets lost in the transition from studio to stage on this 2012 concert recording. It’s an intimate quartet affair, marked by the kind of soulful, instinctual interplay that fans have come to expect.

In the album’s liner notes, Stowell and Zilber briefly discuss their creative relationship, the yin and yang of opposing musical temperaments. And as the performances unfold, it’s easy to understand why they think their compatibility is as special as it is unlikely. Stowell’s probing lyricism and Zilber’s innate passion are clearly evident, especially when the reedman plays soprano, but so, too, is the desire to find common ground. Certainly the kinetic “Quantum Theory,” the noir-ish “In the Park” and a multifaceted cover of “My Funny Valentine” are proof of that.

Drummer Jason Lewis and bassist John Shifflett have integral roles throughout, shining as both players and composers. When Lewis isn’t contributing rhythmic lift with his tumbling rolls, or generating waves of second-line funk on John Scofield’s “Wabash III,” he light-handedly creates a scrim of tinted accents. Shifflett’s solos, sleek and sinuous, are particularly well aligned with Stowell’s ruminative streak, though the bassist is more often heard supporting the bandleaders with a resonant yet never intrusive sound. So even when the focus is squarely on Stowell or Zilber, the performances reveal another artful dimension that consistently heightens the album’s appeal.

Michael Zilber - Saxes

John Stowell - Guitars

John Shifflett - Bass

Jason Lewis - Drums

01. In The Park (11:54)

02. Shot Through With Beauty (11:34)

03. Quantum Theory ( 7:12)

04. Stowell What ( 7:58)

05. Cookie Monster Blue ( 9:02)

06. My Funny Valentine ( 6:21)

07. Wabash III ( 7:46)

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Chico Freeman & Heiri Känzig - The Arrival (2015)

A magic duo: Chico Freeman, 65, saxophonist, clarinettist, flute player, composer from Chicago, an eminent improvisor and Heiri Känzig, 58, born in New York, the Swiss double bass virtuoso. A transatlantic dialogue between one of America’s most versatile saxophonists and one of Europe’s most ‘all-round’ bass players.

Freeman and Känzig share that passion for the centre of gravity of the Jazz tradition, albeit with one precondition: that of transformation. And, with all their abilities for strong, heavy grooves, there is that preference for me-lody. „If you groove like hell and there’s no melody, it makes no sense.” (Känzig).

Peter Rüedi writes in the liner notes to The Arrival: „We could also read ‘The Arrival’ as something of an arrival at the centre of Jazz: Jazz, in the present tense. Or as it were: tradition in transition.

Chico Freeman: Tenor Saxophone

Heiri Känzig: Double Bass

1. One for Eddie Who 2 (Heiri Känzig) 3:51

2. Early Snow (Heiri Känzig) 3:46

3. The Essence of Silence (Chico Freeman) 6:22

4. Ancient Dancer (Chico Freeman) 4:56

5. Will I See You in the Morning (Chico Freeman) 7:28

6. Dat Dere (Bobby Timmons) 4:31

7. Song For the sun (Chico Freeman – Heiri Känzig) 5:45

8. Just play (Chico Freeman – H eiri Känzig) 3:43

9. Eye of the Fly (Heiri Känzig) 5:43

10. After the Rain (John Coltrane) 4:07

11. To Hear a Teardrop In the Rain (Chico Freeman) 4:32

12. Chamber’s Room (Heiri Känzig) 5:41

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George Crowley - Can of Worms (2015)

Can of Worms explores that happy and unpredictable space where written and improvised worlds collide, diving deep into group improvisations and compositions featuring taut, tense grooves, wailing sax-confessionals and all-out glorious free-jazz. Formed on a whim for a pick-up gig in early 2013, the strong sense of fun, interaction and joyous anarchy quickly convinced saxophonist and composer George Crowley that this was a project which had to happen properly. Some 18 months later the band have recorded their first full-length record of Crowley's original tunes and his second release for Whirlwind Recordings.

The album features a razor-sharp, interactive line-up of some of the most distinctive musicians on the burgeoning London scene. Crowley is joined by a fellow tenor saxophonist and close musical ally in the Loop Collective's Tom Challenger (Brass Mask, Dice Factory), while the rhythm duties are performed by Dan Nicholls (Strobes, Vula Viel), Sam Lasserson (Jeff Williams, Julian Argüelles) and Jon Scott (Kairos Quartet, Mulatu Asktake) with an alluring combination of precision and flexibility, order and chaos.

The resulting music is uncompromising yet warm and playful. Following hot on the heels of Crowley’s quartet debut, Paper Universe (Whirlwind 2012), Can of Worms features seven colorful new originals which gives this impressive band— and its leader— ample room to shine. Crowley’s floating introduction cues up ‘The Opener’, leading to a coruscating group theme which gives way to the first of many purposeful and inventive solos from Dan Nicholls. Elsewhere ‘Ubiquitous Up Tune in 3’ explores more familiar melodic territory with passion and intensity; 'Rum Paunch’ sees the group taking a delicate, fractured blues-like theme into searing improv while ‘Terminal’ has a glorious anthemic quality with searing solos from both tenor players and some hard grooving wurlitzer from Nicholls, underpinned by buoyant support from Lasserson and Scott. All of this takes the listener on a journey where unexpected delights litter the way.

If Crowley’s debut Paper Universe signaled his arrival as a performer and composer, Can of Worms represents a development, a shift in gears which is arresting and entertaining in equal measure.

George Crowley - tenor saxophone

Tom Challenger - tenor saxophone

Dan Nicholls - piano

Sam Lasserson - double bass

Jon Scott - drums

Recorded at Fish Market Studios, London

Mixed by Alex Bonney

Mastered by Peter Beckmann

Produced by George Crowley

Executive Producer - Michael Janisch

1. The Opener

2. Whirl

3. Ubiquitous Up Tune In 3

4. Rum Paunch

5. I’m Not Here To Reinvent The Wheel

6. Terminal

7. T-Leaf

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Joel Harrison 5 - Spirit House (2015)

By BLAINE FALLIS / allaboutjazz

Spirit House is a Joel Harrison original! Original compositions, ideas, instrumentations, and grooves. While jazz sometimes repeats itself (in style, instrumentation, or choice of songs etc.), Harrison creates completely new music worth listening to, "repeatedly." 

I say this because he wrote the music "specifically for this unique group of individuals," using electric guitar with bassoon (Paul Hanson), and the echoed voicings of trumpeter Cuong Vu. Add in veteran drummer Brian Blade and bassist Kermit Driscoll, and you have a spirit-band of professional brothers. 

For example, the first song "An Elephant in Igor's Yard" makes use of the bassoon doubling the bass line to get a lumbering but well defined elephant sound, and Cuong Vu answers by improvising as the trunk. But that description doesn't do the song justice, because throughout there is a feeling of incense or spirits floating over the band. 

Harrison says "I kept the composing fairly simple, wanting to lean on the intuitive skills of the players, and went for a feeling of openness, spirit and soul in the music." 

When I first heard Spirit House my impression was one you might get sitting in a small listening room hearing the musicians delicately and almost within arms reach, as in a small circle. 

Harrison was using an East Asian miniature structure, a Spirit House, as a metaphor for the album. 

Some tunes groove more, such as "Left Hook," which has Driscoll on electric bass playing back and forth off of Blades, while Vu solos, and Harrison adds blankets of chordal sounds, although he is apt to add rock distortions and effects. But the tune transitions into a softer section, allowing Hanson to express himself sax-like, and it all resolves into a tight, written outro. 

Johnny Broken Wing features a lightly charged but sensitive guitar intro. Harrison is able to arrive at his style in this setup, and the tune picks up when the bass and drums bring in the beautiful organic sounding head played duet style, trumpet and bassoon. The musicians are really listening well to each other on tunes like this. 

"You Must Go Through a Winter" is a light structure of a tune leaving room for trio play between guitar upright bass and drums, before Vu enters on improv. 

The band toured together on the West Coast in 2013 and was able to play through these songs for several days before recording, allowing them to take a unique approach throughout the album's nine songs. 

"Sacred Love" perhaps best captures the mood of the whole project, which has gorgeous intro lines with Vu Hanson and Harrison, breaking into a Blade and Driscoll groove. While Blade has remained soft in approach for much of the album, he's able to drive a stake in the ground on this one, and the band goes for a sort of "group hug" (LOL) improvising all together.

An Elephant in Igor's Yard

Old Friends

Left Hook

Johnny Broken Wing

Some Thoughts on Kenny Kirkland

You Must Go Through a Winter

Sacred Love

Spirit House

Look at Where You Are

Joel Harrison: guitar/voice

Cuong Vu: trumpet

Paul Hanson: basson

Kermit Driscoll: bass

Brian Blade: drums/voice

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Theo Kapilidis - Inside Views (2016)

Theo Kapilidis , guitarist and composer , was born in Greece. He was fortunate to grow up in a very musical family . During his childhood he spent much time in a record store of his father , which he came into contact with jazz early on. At the age of twelve years, Theo was playing the piano and devoted himself mainly to the guitar. The five-year jazz studies at the Swiss Jazz School in Bern (CH ) , he finished successful at age of 25 . After graduating gave Theo countless jazz concerts and participated in a variety of other projects . In 1985 he returned to his hometown , where he worked as a studio musician and has taught at the Synchronous Conservatory of Thessaloniki. First recordings were made simultaneously with the electric jazz trio. Since his return to Switzerland in 1991 Theo has worked with many famous jazz musicians. These include, among others, John Voirol , Heiri Känzig, Rätus Flisch , Michael Zisman , Matthieu Michel,Herbie Kopf, Daniel Schenker,Chris Wiesendanger,und Tony Renold.

He also played in various bands together with renowned artists such as Manny Boyd, Danny Heyes , Keith Copeland , Johnny Vidacovich.

Theo currently teaches at the Zurich University of the Arts. As a bandleader , he recently took on two new CDs : "Bright Shadows" and ''Inside views'' feat. Will Winson Sax, Glenn Zaleski piano,Rick Rosato bass, Colin Stranahan Drums. His interest in music is focused in the expression and in the unite of authenticity with a pioneering spirit .

Im paradoxen aber mit Bedacht gewählten Titel ’’INSIDE VIEWS’’zeigt sich schon jener raffinierte Hintersinn, der Kapilidis´ Musik ausmacht. Das neue Album besitzt die ganze farbliche Breite und den konzeptionellen Reichtum von traditionellem Hardbop- und Souljazz.



Die Finessen dieser Kompositionen erschließen sich beim genauen Hinhören. Kapilidis ist ein Liebhaber des Halbschattens, des feinziselierten Details, der patinierten Brillanz. Doch wer dafür erst einmal seine Anklangsnerven aktiviert hat, mag von diesem Understatement nicht mehr lassen.

THEO KAPILIDIS GUITAR

WILL VINSON SAXOPHONE

GLENN ZALESKI PIANO

RICK ROSATO BASS

COLIN STRANAHAN DRUMS

01 Behind the Shade

02 Black Narcissus

03 Inside Views

04 In the Crack

05 Ain't No Way Too Long 

06 Softly

07 John's Waltz 

08 City Nights 

09 Nostos

10 Just in Case

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Albert Sanz & Sedajazz Big Band - L'emigrant (2016)

La Suite del Emigrante es la nueva obra firmada por el pianista y compositor valenciano Albert Sanz y que presentará por primera vez al público en el Festival de Valencia. Esta suite está inspirada en la idea del viaje, de la partida en busca de una oportunidad y mejora de vida. Este es un viaje lleno de ilusión por conocer nuevos mundos y lenguajes en la lucha de la superación personal, y a la vez de honda tristeza por el desarraigo y añoranza de una tierra generadora de sentimientos enfrentados de amor y reproche.

El eclecticismo es el aglutinante de una virtuosa composición que aúna las influencias pasadas y las tendencias contemporáneas, un viaje metafórico que se hace patente en la exploración de la sonoridad y el lenguaje a lo largo de sus movimientos. La Suite del Emigrante emerge como reflejo evolutivo de uno de los músicos españoles con mayor proyección internacional. La apertura estilística de la obra la convierte en huidiza de cualquier etiqueta, a pesar de la ligera tendencia natural de clasificarla como third stream. En este nuevo proyecto se desborda la vitalidad y fuerza en mano de la Sedajazz Big Band, un gran referente en la escena jazzística española a la que en esta ocasión se sumarán especiales músicos invitados: el baterista Borja Barrueta y el contrabajista Marko Lohikari.

A la belleza instrumental de la obra, se sumarán conocidas voces: la cantante hindú Ganavya Doraiswamy, el inclasificable cantaor de Gandía Carles Dènia, la gran artista valenciana Mamen García y el propio Albert Sanz.

Albert Sanz, piano, vocals

Marko Lohikari, double bass

Borja Barrueta, drums

Ganavya Doraiswamy, vocals

Carles Dènia, vocals

Mamen García, vocals

Sedajazz Big Band

MOVILIDAD EXTERIOR

L'EMIGRANT

FUGA DE CEREBROS

BIRD'S EYE

SI DE VORA MEU UN DIA

FORET

LEVANDO ANCLAS

LISBOA ADORMECE

A BASE DE BE

ANU RANIYA

MOVILIDAD EXTERIOR REPRISE

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Fredrik Ljungkvist Yun Kan 10 - Ten (2013)

By EYAL HAREUVENI / allaboutjazz

Acclaimed Swedish reed player Fredrik Ljungkvist's key solo outfit is the Yun Kan band. This band, in its incarnation as a quintet, released two remarkable albums, Yun Kan 12345 and Badaling (Caprice, 2004 and 2007) and in recent years operated in a slimmed down version as Yun Kan 3 and as an ambitious outgrowth of the quintet as Yun Kan 10. Now, finally, more than five years after its last documentation, this ensemble has been beautifully recorded by Swedish Radio. 

Ljungkvist's ten original compositions swing between opposite sonic poles. It is a big band that rarely exhaust its full capabilities. The musical language encompasses modern, free-bop forms and new chamber music in well-crafted segments, sometimes focuses on soloists and at other times highlights Yun Kan as a musical collective. It bridges the gap between solid, intricate textures and powerful, intuitive free improvisations and between the contemplative and the ironic. It emphasizes unique sonic elements such as the operatic vocals of Sofia Jernberg, a member of Seval and The New Songs, or the vintage synthesizer sounds of Mattias Risberg. Ljungvist's playing can be fiery and expressive but also fragile and poetic. But eventually Ljungkvist and Yun Kan 10 aim to find a balance between these opposites, to find an organic forms of articulation that will cover the spectrum. 

All the compositions were arranged by Ljungkvist and are spread on a double album, make full use of the singular and resourceful voices of the ensemble members. On the first disc, "Lackritz" stresses the playful, suggestive vocals of Jernberg and the expressive tuba of Per-Åke Holmlander, a member of the original quintet as well of Peter Brötzmann's Chicago Tentet and the Barry Guy Orchestra, contrasted with the sonic searches of violinist Katt Hernandez and bassist Mattias Wellin, also of the quintet, and the free improvisations of drummers Jon Fält, another member of the quintet, and Raymond Strid. "How To Break A Fever" is a quiet and subtle piece that attempts to find middle ground between the celstial vocals of Jernberg and the low drone of the horn and brass instruments. 

Only on "Hold On To Your Hat!" does Yun Kan 10 begin to sound like a band whose musical vocabulary is rooted in jazz legacy, swinging happily over an infectious melodic theme, with passionate solos by trombonist Mats Äleklint and Ljunkvist. A chaotic, dark soundscape is formed on "Fighter," torn between the idiosyncratic vocals of Jernberg, the brooding keyboards of Risberg and the whole ensemble. "Kun Lun" revolves between the restless, otherwoldly sonic explorations of Jernberg, Risberg, Holmlander and Äleklint and calm reasoning. 

The second disc continues to present this ensemble's ability to create a colorful range of arresting forms. It opens with the poetic "Dolphinian Motion," structured around Ljungkvist and Jernberg, in a delicate dance that suddenly erupts into an energetic storm and then gradually involves other participants in the emotional dance. Drummers Fält and Strid stimulate each other on "Tuulikki" and anchor Ljungkvist and Jernberg flights in a flexible rhythmic framework. "No Panic, Just Curious" patiently matures from a reserved, chamber jazz form, featuring Hernandez, to an open-ended, collective free improvisation, linked cleverly with the powerful, orchestral arrangement of " Abraxas," concluding with a charismatic solo by Ljungkvist. The final, contemplative composition, "Russia," finds a fragile balance between all the previous forms and the highly personal voices of its members and shines with elegant creative energy. 

A masterful achievement. Ten presents Ljungkvist's musical vision at its best. One of the best releases, so far, of 2013.

CD1

Lackritz

How To Break A Fever

Hold On To Your Hat!

Fighter

Kun Lun

CD2

Dolphinian Motion

Tuulikki

No Panic, Just Curious

Abraxas

Russia

Fredrik Ljungkvist: soprano, tenor and baritone saxophones, clarinet

Sofia Jernberg voice

Mats Äleklint: trombone

Per-Åke Holmlander: tuba

Klas Nevrin: piano

Mattias Risberg: hammond, ARP pro soloist and Moog Taurus

Katt Hernandez: violin

Mattias Welin: bass

Jon Fält: drums

Raymond Strid: drums

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Fredrik Ljungkvist & Yun Kan 5 - Badaling (2007)

By EYAL HAREUVENI / allaboutjazz

Badaling is the sophomore release of the excellent Swedish quintet Yun Kan 5. The group is led by saxophonist/clarinetist Fredrik Ljungkvist, better known as one of the key composers in the Swedish/Norwegian quintet Atomic, and for his association with saxophonist Ken Vandermark in various incarnations of Vandermark's Territory Bands.

The quintet also features Jon Fält, the drummer with the Bobo Stenson Trio, tuba player Per Åke Holmlander, who is also a member in Ken Vandermark's Territory Band (as well as other forward thinking large ensembles such as the Peter Brötzmann Tentet and Barry Guy Orchestra), pianist and zither player Klas Nevrin, and bassist Mattias Welin. Three years ago, the band released its highly acclaimed debut Yun Kan 12345 (Caprice), and has since toured extensively.

As in his compositions for Yun Kan 12345 and for Atomic, Ljungkvist's work here plays with both the inside and the outside of free-bop. He incorporates elements of new music, and arranges the seven new compositions in a manner that sounds wide open, leaving a lot of space for each individual musician to sculpt the unique colors of the ensemble. The opening title track is a fine example of Ljunkgvist's composing skills. He draws the angular, clear theme on the tenor saxophone, and then in turn the piano and the tuba, the bass and the piano, the saxophone and the piano, and the piano and the drums, follow with a series of thematic reflections, until Ljungkvist takes the lead again with an elegant and nuanced solo, before leaving Holmander for a searching passage that slowly finds its way back to the theme.

The second composition, the eerie "Folkhemmet", dedicated to Swedish film maker Jan Troell and written together with Nevrin, is more concise. Holmander begins with a brooding solo that establishes the framework for Ljungkvist and Nevrin to improvise upon. "Oslo" is reminiscent of Ljungkvist's compositions for Atomic with its intense and flowing interplay between all the members of the quintet. Holmander shines again, with a subversive and ironic low-end recalibration of Ljungkvist. "Kun Lun" begins with similar interplay but leaves more space for individual solos by the articulate Wellin, the always inventive Holmander, and Nevrin inside his piano. 

"Ray Battle", dedicated to Swedish master drummer Raymond Strid, a former collaborator of Ljungkvist's, is an open-structured improvisation that features Fält as the leader. Fält explores his percussive vocabulary, while the others contribute often strikingly odd sounds, especially Ljungkvist, with an intense free saxophone solo. "Altro?" features Nevrin leading Fält and Wellin into a stormy opening before Ljungkvist and Holmander join in for a more relaxed elaboration of the theme. The closing composition, "Kopi Luwak," named after the expensive Indonesian coffee, is a cinematic piece that unfolds slowly, with short introductions by Ljungkvist on the bass clarinet duetting with Fält, and Nevrin duetting with Wellin, before the quintet rolls into a tight swinging interplay that highlights the unusual sonic combinations available to the lineup.

A varied and well executed set of thoughtful compositions played by a mature and ambitious quintet. Warmly recommended. 

Fredrik Ljungkvist: tenor saxophone, clarinet (Bb), bass clarinet

Klas Nevrin: piano, zither

Mattias Wellin: bass

Jon Fält: drums

Per Åke Holmlander: tuba

1 Badaling

2 Folkhemmet

3 Oslo

4 Kun Lun

5 Ray Battle

6 Altro?

7 Kopi Luwak

Recorded at Atlantis Studio May 2006 

Mixed at Epedemin Studio 

Mastered at CRP Recording 

Made in EU

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Fredrik Ljungkvist Yun Kan 12345 (2004)

The Swedish jazz group Yun Kan 5 was formed in Stockholm in 2003 by the composer, saxophone- and clarinetplayer Fredrik Ljungkvist. The group emerged from Yun Kan 3, which included the musicians Mattias Welin on doublebass and Jon Fält on drums. Later on, Yun Kan 3 was added by the musicians Klas Nevrin on piano and zither and Per-Åker Holmlander on tuba. They literally had their first encounter in the studio for four days in december 2003 when they recorded the debut album ”Yun Kan 12345”, which was released in march 2004 by the Swedish record label Caprice. The band made a ”Jazz in Sweden 2004”-tour (from the prestigeous Swedish Jazz Award) in October and November -04 and it also included concerts in Kongsberg (Norway), London, Beijing and Shanghai. In the year 2005 they toured in Slovenia and France. In april 2005 Yun Kan 5 were choosen as the ”Jazz group of the year” by the Swedish Broadcasting Corporation and Fredrik Ljungkvist was awarded the prize ”Jazz musician of the year”. In may 2006 they recorded their second album ”Badaling”. The record included 8 new compositions of Fredrik Ljungkvist and was released in 2007. Fredrik can also be heard in the successful and worldwide known Norwegian/Swedish group Atomic. The other members in Yun Kan 5 are also working with groups as: Bobo Stenson trio (Fält), Ken Vandermarks Territory Band (Ljungkvist, Holmlander), Peter Brötzmann Tentet, Barry Guy Orchestra(Holmlander). Fredrik Ljungkvist has been touring in Canada four times with various constellations, Atomic and Per ”Texas” Johansson are a few of them. The audience as well as the critics received his compositions and his performance with great enthusiasm. 

Reviews:

”Ljungkvist is one of the best kept secrets of the European continent..” All about Jazz

”...he explores the richness of his horn with an endless flow of ideas” Jazzreview.com

"Ljungkvist is capable of eyebrow scorching intensity as well as that trademark Nordic introspection...he's never in danger of the misty eyed sentimalism that sometimes dogs the genre." BBC, Jazzreview

”The Swedish alto and tenor man is a special case as well. A switch hitter from outside to inside jazz and back again, he initially helped organize Atomic as a reaction against so-called mountain jazz, associated with the ECM school which characterized most Scandinavian improvising in the 1970s and 1980s. He too has freer associations with Gustafsson, French guitarist Marc Ducret and even went to Chicago to play with Ken Vandermark's Territory Band in 2001.” jazzweekly.com

Tracks

01 King Kolax 6:59

02 Jag Vet Inte 5:37

03 Sunburst 7:02

04 Eddie A. 5:13

05 Västgötaklimax 5:24

06 Birger 7:16

07 Ballad För Eva 7:06

08 Abraxas 6:50

09 Rumi 6:50

10 Man About Town 3:00

Personnel

Tenor Saxophone, Alto Saxophone, Baritone Saxophone, Clarinet – Fredrik Ljungkvist

Tuba – Per-Åke Holmlander

Piano, Zither – Klas Nevrin

Double Bass – Mattias Welin

Drums – Jon Fält

Recorded and mixed at Atlantis Studio December 2003

Label: Caprice Records [CAP 21690] CD, Sweden 2004

Series: Jazz I Sverige

Producer: Per "Texas" Johansson

Genre: Jazz, Contemporary Jazz

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Sunna Gunnlaugs and Maarten Ornstein - Unspoken (2016)

Label: Self Released

Source: Jazz Amsterdam

This Dutch-Icelandic duo originated on Twitter, earned immediate praise and will now release its first album full of spatial, transparent interplay. ‘A beautiful couple’.
It clicked instantly when Icelandic pianist Sunna Gunnlaugs and bass clarinet player Maarten Ornstein exchanged messages on Twitter in early 2013. That summer they already played their first concert at Reykjavik Jazz Festival, one day after their first encounter in person. They liked playing together and the reactions were amazing, so they decided to continue as a duo. Last fall in Iceland they recorded an album with mostly original compositions. Their music is spatial, transparent and unconstrained. The CD entitled Unspoken will be presented at the Bimhuis.
‘Musically they form a beautiful couple, with flexible interplay and completely equal roles. Ornstein manages to create the sound that identifies the bass clarinet as such a magical instrument. Gunnlaugs gives the piano a friendly face and evokes power when necessary’ (het Parool).

1. One o'clock 02:00
2. Lucky 06:21
3. Misterioso 06:42
4. Unspoken 04:21
5. Crab Canon 04:53
6. Three o'clock 02:01
7. Re havi 03:21
8. La ter There Will Be Cake 05:04
9. Tear (as in wear) 06:05
10.Compliments 05:01
11.Little Rootie Tootie 02:5612.
12.Six o'clock 01:46
   

Sunna Gunnlaugs - piano
Maarten Ornstein - bass clarinet  

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