Vijay Iyer


Tragicomic (Sunnyside, 2008)


Vijay Iyer (p), Rudresh Mahanthappa (as), Stephan Crump (b), Marcus Gilmore (dr)

In his debut with Sunnyside Records, pianist Vijay Iyer continues to conceive a style and sound deserving of recent high critical acclaim. Iyer, who has been recognized with top honors as a rising star according to Down Beat, demonstrates a unique and highly personal understanding of the jazz language that could only be hampered by overly simplistic categorization. Iyer’s playing style combines the uncompromising energy of Bud Powell with the intense yet graceful inwardness of Matthew Shipp, while his composition touches on Vandermark-like levels of complexity. Iyer aside, the quartet, also including saxophonist Rudresh Mahanthappa, bassist Stephan Crump, and drummer Marcus Gilmore, is intently focused throughout – the tightness displayed here is uncanny, and indicative of unquestionable dedication and effort. Iyer’s latest release is triumphant in many facets.

- Mike Szajewski, WNUR Jazz


Heath Watts/Dan Pell


Breathe if You Can (Leo, 2008)


Heath Watts (ss), Dan Pell (dr)

“Breath if You Can” is a stunning surprise from the Philadelphia based duo of Montana-native soprano saxophonist Heath Watts and Norwegian-born drummer Dan Pell. This series of nine freely improvised pieces is injected with Watt’s musical philosophy, namely a method he calls NODOT, or Non-Objective Dynamically Ordered Tones, which focuses on the creation of pure sound rather than tangible representation and rejects structure. The result is a masterfully dynamic accomplishment, which, as the title suggests, is rarely relenting. Watts lists his major influences as folks like Steve Lacy, Evan Parker, Coltrane, and Monk, but he also displays a subtle knack for angular melody in the vein of Ayler, or, more recently, Trevor Watts, and a Peter Brotzmann-like understanding of rhythm.

- Mike Szajewski, WNUR Jazz

The Aardvark Jazz Orchestra


American Agonisties (Leo, 2008)

In their 5th album released on Leo, the Aardvark Jazz Orchestra demonstrates a unique knack for multifariousness. The genius behind the group’s sound is conductor/composer/pianist/trumpeter Mark Harvey whose musical ideas draw influence from a broad variation of interpretations of the large music ensemble; included in this spectrum are orchestral, concert band, ensemble jazz, and experimental big band sounds, along with an electric touch brought about by electric bassist Jerry Edwards and guitarists Larry Carsman and Richard Nelson. Particularly strong are the woodwinds, led by Peter Bloom and Arni Cheatham on flute, whose graceful flights contribute to the delicate sonic balance of Harvey’s vision. The sturdy tone of trumpeters KC Dunbar, Taylor Ho Bynum, and Jeanne Snodgrass is also elemental in the establishment of Harvey’s musical fabric.

- Mike Szajewski, WNUR Jazz

Garrison Fewell/Eric Hofbauer


The Lady of Khartoum (Creative Nation, 2007)


Garrison Fewell (g, perc), Eric Hofbauer (g, perc)

From Creative Nation Music, a rising big name in the free jazz world, comes “The Lady of Khartoum,” featuring a duo of Boston-based guitarists Eric Hofbauer and Garrison Fewell, both of whom also contribute on percussion. Combining a broad range of influences, including West African and Middle Eastern music along with an angular take on the blues, playing original pieces and interpreting ones from Thelonious Monk and John Tchicai, Hofbauer and Fewell create a subtly flowing set of music.

- Mike Szajewski, WNUR Jazz

Rob Brown Ensemble


Crown Trunk Root Funk (AUM Fidelity, 2008)


Rob Brown (as), Craig Taborn (p, elec), William Parker (b), Gerald Cleaver (dr)

In what is certain to be a career landmark recording for altoist Rob Brown, “Crown Trunk Root Funk,” the New Yorker leads a tight, driven ensemble, bold in both its sound and flexibility. With years of experience playing as a sideman with bassist William Parker and the giants of the New York scene, Brown has now has established himself as a crucial vanguard voice, and this truth can be heard in Brown’s music here. Supported by a rock solid rhythmic duo of Parker and drummer Gerald Cleaver, Brown grooves on pieces like “Rocking Horse” and wails away on free-jazz blowouts like “Exuberance,” two of the highlights of a set of seven original Rob Brown pieces. And the mystical explorations of “Sonic Ecosystem,” demonstrate the yearning creativity of group, specifically of pianist and electronic artist Craig Taborn.

- Mike Szajewski, WNUR Jazz

Bob James Trio


Explosions (ESP Disk, 2008)


Bob James (p, elections), Barre Phillips (b), Robert Pozar (dr), Bob Ashley (electronics), Gordon Mumma (electronics)

Bob James Trio’s “Explosion,” recently release on ESP Disk, is a baffling piece of music for two reasons. Firstly, after hearing the music, one would hardly guess that the music was generated in 1965, as it sounds more like a modern day fusion of rock, noise, free improv, and jazz. Pianist Bob James, joined by Barre Phillips on bass and Robert Pozar on drums with Bob Ashley and Gordon contributing an electronic tape collage, concocts a fascinatingly visionary sound which seems eerily ahead of its time. Aside from the use of electronics on this album, (it is believed that this is the first time that a combined use of electronic music and free improve was documented) the music is remarkably similar to the style of improvisation that would develop in the UK several years later, and considerably unlike the sound one might expect from an experimental jazz group in New York in the mid 1960’s. Even more unusual is the path that James’ career took after this session was recorded. From the mid 1970’s onward, James took up a drastically more mainstream sound, releasing a slough of crossover jazz/pop albums for labels like Columbia and Warner Brothers. A fascinating oddity of a recording, “Explosions” gives listeners a preview into what could have been but was never advanced.

- Mike Szajewski, WNUR Jazz

Never Enough Hope


The Gift Economy (Contraphonic Music, 2008)

Yet another truly unorthodox and fascinating album, this release features the compositions of Chicagoan Tobin Summerfield, known for his work with Crush Kill Destroy and Detroit’s Larval. Summerfield creates a remarkable sound, mixing an avant-rock/post-punk sound with a big band set up. Furthermore, the project features some Chicago jazz stalwarts, including Jamie Branch, Aram Shelton, Dave Rempis, Jason Ajemian, and Frank Rosaly. Big names or not, Summerfield deserves significant attention as a creative, unclassifiable musical mind.

- Mike Szajewski, WNUR Jazz

The Giants of Gender


The Giants of Gender (Edgetone, 2007)


Andy Meyer (reeds), Kyle Farell (vibes, perc), Jenna Barvitski (violin, viola)

In a developing nation-wide scene of young, ambitious, and radical free improvisers, The Giants of Gender, with their unusual instrumentation and deeply philosophical approach, have clearly made a definitive first step. Recorded in May and October of ’07, this eponymous release from Edgetone Records demonstrates the trio’s acute sense for intricate interplay as they create subtle music that can both dizzy and numb the mind. Reed player Andy Meyer and string player Jenna Barvitski speak an impeccably intertwined language on these pieces, as the two continuously compliment each other in new and unexpected ways. Look for this group to make a serious splash in the genre of improvised music in the years to come.

- Mike Szajewski, WNUR Jazz

Bill Dixon w/ Exploding Star Orchestra


Bill Dixon w/ Exploding Star Orchestra (Thrill Jockey, 2008)

The latest release from Rob Mazurek’s Exploding Star Orchestra is by no means your typical supergroup album, not even by a long shot. Firstly, it was inspired by a duel leadership of Mazurek and legendary trumpeter Bill Dixon, a pairing that is as fascinating as it is unlikely, bringing together the latest in Chicago jazz with one of the few remaining vanguard leaders of the early New York movement. But it is the visionary nature of the music that outshines the curiosity of the circumstances. Dixon and Mazurek’s pieces radiate an air of majestic brilliance, both chaotic and calculated. Jeff Parker’s artistry on the guitar beautifully cuts through the dense layers of sound. Most interesting is the work of Jason Adasiewicz, playing both vibraphone and tubular bells on the three long tracks featured in this album, and the unique decision to include the latter in the instrumentation produces a sound rarely heard in creative jazz music.

- Mike Szajewski, WNUR Jazz

Marc Hannaford


The Garden of Forking Paths (Extreme, 2007)


Marc Hannaford (p), Scott Tinkler (tp), Ken Edie (dr), Philip Rex (b)

Exploring a vivacious improvisational style, young Australian pianist Marc Hannaford, along with three fellow countrymen in Scott Tinkler, Ken Edie, and Philip Rex, will surely catch the ear of jazz listeners worldwide with this new release, “The Garden of Forking Paths.” Mastering a refined sense of controlled intensity, the young Hannaford shines as the leader of this quartet, craftily guiding the group without being dominating or overpowering in his choices. It is this approach that sets the manner of communication between the four players as they put forth an ideal blend of swirling sound. A relative newcomer to the jazz scene, having only begun playing professionally in 2001, Hannaford has now, if not yet before, proven himself to be a creative force. Tinkler’s confident, sturdy voice also adds an extra air of assurance to the overall feel.

- Mike Szajewski, WNUR Jazz

Kali. Z Fasteau/Kidd Jordan/Newman Taylor Baker


Live at the Kerava Jazz Festival: Finland (Flying Note)


Kali. Z. Fasteau (p, fl, cello, synth, voice, violin, perc, ss), Kidd Jordan (ts), Newman Taylor Barker (dr)

Demonstrating a remarkable breadth in her multinstrumentalism, Kali. Z Fasteau demonstrates a fascinatingly diverse style in her new release with Kidd Jordan and Newman Taylor Baker, featuring music from the trio’s performance from the Kerava Jazz festival in June of 2007. While Jordan’s bold sax serves as the canvas, it is Fasteau’s playing the adds a brilliant mix of texture and color to the recording, injecting an enchanting sense of mysticism and exoticness into every piece. Playing the Arabic double-reed mizmar, a piano harp, a nai flute, a cello, a synthesizer, as well as some more conventional instruments, Fasteau more than masters many trades.

- Mike Szajewski, WNUR Jazz

Peter Brotzmann/Peeter Uuskyla


Born Broke (Atavistic, 2007)


Peter Brotzmann (ts, cl), Peeter Uuskyla (dr)

With his distinguished husky, gut wrenching tone and exceptionally masterful command over the blues in all its most radical interpretations, reed master Peter Brotzmann continues to push forward the vanguard of groundbreaking jazz with this duo 2 CD release, joined here by Swedish drummer Peeter Uuskyla. The two make a perfect match, as each provides the perfect combination of focus and fluctuation; and, like all truly great free jazz performances, the intangible energy of the music is present in every note. And, given the use of 2 CD’s for only 4 pieces, Brotzmann and Uuskyla are given the space needed to fully explore the communicative potential of the duo. The emotionality of the album is established immediately by Uuskyla, whose command over a hypnotically driving rhythm elevates Brotzmann’s potential for intensity to an even higher level.

- Mike Szajewski, WNUR Jazz

The JoAnne Pow!ers Trio


Food for Thought (Unofficial Records, 2007)


JoAnne Pow!ers (saxes, cornet), Jennifer Pendur (b), Paul Baker (dr)


Leading a blistering sonic attack nearly 80 minutes long, fire-blowing saxophonist JoAnne Pow!ers has certainly made a raw, powerful statement with her new trio release from Unofficial Records. Citing influences from the early vanguard of free jazz saxophone to underground radicals like Japan’s Kaoru Abe, Pow!ers unbridled approach combined with her acute sense of rhythm and flow make provide for a remarkably executed outing as leader of this focused and inspired trio. Furthermore, her improvisational approach is also based on Middle Eastern and Indian modality, a fact which subtly adds depth to her voice. Drummer Paul Baker understated performance also gives Pow!ers the freedom to carry out her improvisation without the erratic sonic bombardment of many similar free jazz sessions. Food for Thought will certainly serve as an eye-opener for many fans of the genre, as Pow!ers puts forth a delightfully unpredictable trio sound.

- Mike Szajewski, WNUR Jazz

Keefe Jackson’s Project Project


Just Like This (Delmark, 2007)

In yet another Chicago-based free jazz super group, reed player and composer Keefe Jackson leads this 12-person ensemble, the Project Project, on an impassioned musical voyage. The pieces here feel more like movements than mere songs or improvisations, as Jackson’s ensemble takes its listeners through a whirlwind of changing feels, attitudes, and moods with purpose, meaning, and carefully considered artistry. Celebrating both the group dynamic and the capabilities of the group’s individual voices, the Project Project, which Jackson founded in 2005, will wail away in an energy-filled shout section one minute, and then proceed to give its individual members a chance to explore the direction of the piece on a personal level. The performance of drummer Frank Rosaly will immediately strike you here, as his style is sharp and his sense of rhythm is infectious. The trombone duo of Jeb Bishop and Nick Broste also adds considerable texturally complex excitement.

- Mike Szajewski, WNUR Jazz

Alberto Braida/Wilbert de Joode


Reg Erg (Red Toucan, 2007)


Alberto Braida (p), Wilbert de Joode (b)

In this new piano/bass duo album from Red Toucan, 41-year-old Italian pianist Alberto Braida proves himself to be a powerfully creative force. While he can lightly and inquisitively dance about the keys, Braida can also lead a powerfully barrage of playing, demonstrating, most notably, his remarkable rhythmic vision. Always fresh and unexpected, Braida leads this duo through a set of both short and medium length pieces with veteran bassist Wilbert de Joode. The lesser-known Braida has performed with international greats including Wadada Leo Smith, Peter Kowald, and Gino Robair. Currently, he is involved in small-group projects with the likes of John Butcher and Jack Wright.

- Mike Szajewski, WNUR Jazz

Vandermark 5


Beat Reader (Atavistic, 2007)


Ken Vandermark (reeds), Dave Rempis (as, ts), Fred Lonberg-Holm (cello, electronics), Kent Kessler (b), Tim Daisy (dr)

With their 12th release on Atavistic Records, the legendary Vandermark 5 is back at it again with yet another quest to further push the boundaries of the jazz idiom. Utilizing the same quintet lineup as 2006’s A Discontinuous Line, Vandermark guides a carefully calculated yet fascinatingly diverse set of pieces. Vandermark’s tireless dedication to composition is incredibly clear on this release, providing his band with a daring course over which they are able to apply their vast improvisational capacity. And while you can expect to hear Vandermark’s love of the groove throughout the album, don’t expect a pure funk-based rhythmic workout of the Powerhouse Sound variety, as the quintet lays down a series of eight tracks which can, at times, rock, swing, and either careen about or carefully explore the musical space mapped out by Vandermark.

- Mike Szajewski, WNUR Jazz

Szilard Mezei Quintet


Cerkno (Leo, 2007)


Szilard Mezei (viola), Bogdan Rankovic (b cl, as), Milan Aleksic (p), Ervin Malina (b), Istvan Csik (perc)

Cerkno, from Szilard Mezei, featured here with his quintet, is truly a testament to the growing interest in the advancement of creative jazz throughout the world. The Serbian-born violist leads a stellar set from the quintet’s performance in May of 2006 at the Cerkno Jazz Festival. This European rising star, who cites Anthony Braxton as one of his most prominent influences, is featured here in his second release on Leo Records. With a complex mindset, the quintet’s performance here is as rousing as it is daring, taking influence from classical, freely improvised, and European folk musical styles and applying them to a swinging style of jazz, a style which is defined here by Ervin Malina’s walking bass. Reed player Bogdan Rankovich puts forth an exceptional performance as well, whaling and swinging along with Mezei’s rich viola lines.

- Mike Szajewski, WNUR Jazz