John Stevens' Away - At Home (2013)

John Stevens' Away - At Home (Loose Torque, 2013)

Personnel:
John Stevens: drums
Robert Calvert: saxophones
Jon Corbett: trumpet
Nick Stephens: electric bass
Nigel Moyse: guitar
Martin Holder: guitar

Tracklisting:
01 - Openersanni
02 - Just a Matter of Time
03 - Relative Space
04 - Whoops a Daisy
05 - Homewhats That

A funk and soul music binge undertaken by John Stevens when he was laid up after surgery was the impetus for the group Away. Though it remains dwarfed next to Stevens’ accomplishments with the Spontaneous Music Ensemble, Away was the drumming giant’s unique way of tapping into the jazz-rock craze of the mid and late 1970s. Away released several albums on the Vertigo label in that time period, and recordings have been sporadically released in the years and decades since, but for the most part, much of the group’s output has been largely unavailable, existing only as assorted notations in the mind-boggling John Stevens discography. Over the past few years, however, Away bassist Nick Stephens has taken to releasing some vintage recordings on his own Loose Torque label, and it’s a wonderful thing. You see, Away was a group that made most fusion bands sound like mere fission.

Away at Home was recorded in 1978 at the Plough Stockwell, a frequent haunt of the band. For this gig, Jon Corbett joined the group, creating a formable funk-jazz sextet of sax, trumpet, drums, bass, and dueling electric guitars. While there’s no question this ensemble was wading into the same waters as Miles Davis, Weather Report, and others across the pond, there’s an energy continually present on Away at Home that seems sorely lacking from a lot of American electric jazz. Away at Home presents an unsubtle, driving music that both embraces the intoxicating headspace of a tightly locked groove and captures the intensity of the classic free jazz free-for-all. Away feared no tempo or crescendo.

Away at Home features four long tracks (and a short fifth piece), most of which are extended mash-ups of tunes from Away’s Vertigo LPs. “Relative Space” makes its mark with an unbearably catchy descending horn line, the track rocketing along until it eventually segues into the  funky, cymbal-driven beat of “What’s That.” The beat is reprised much later at the end of the band’s set, sending the audience through the roof. It’s a perfect encapsulation of what made Away more remarkable than so many of their contemporaries: a small club exuberance that always trumps the bloated, arena-rock detachment that would become fusion’s downfall.

Away at Home is piece of jazz-rock history worth grabbing on to, especially when there’s currently so little from this group to go around. It’s also a side to John Stevens that some of his fans might not be aware of, and a great reminder of what a tireless, passionate force he was in all realms of this music. [Free Jazz Blog]

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Faruq Z. Bey With Northwoods Improvisers - Infa'a (2006)

Faruq Z. Bey With Northwoods Improvisers - Infa'a (Qbico, 2006)

Personnel:
Faruq Z. Bey: tenor & alto sax
Mike Carey: tenor, alto sax, flute, kalimba
Skeeter Shelton: tenor, soprano sax
Mike Gilmore: vibes
Mike Johnston: bass
Nick Ashton: drums

Tracklisting:

A1. Oncala        
A2. Ethiopia        
B1. After Death        
B2. Ode To E. R. 

"Qbico often has cool color-swirled vinyl, but this time it seems like it’s mood-vinyl, a soothing and fervent green spins around the turntable almost as an entrancing as this release itself. There are minor flashes of red and blue and white…but the green is elemental and rich. This supports the garden of sound cultivated here, Bey’s sax takes deep roots, often shadowed and wrapped with brotherly vines from fellow saxmen Mike Carey and Skeeter Shelton. Nick Ashton’s drums drop dewdrops on all the players, moist with cymbals plenty. Mike Gilmore’s vibes are what make this so green…so alive…hell they even make a track called “Ethiopia” sound lush. That has a nice mystic run to it, and in the latter half bassist Mike Johnston and Ashton get one of those infinite grooves ala Parker and Drake going, magic carpet rise! Again Gilmore is the sonic photosynthesis here..listen to him wrap up that “Ethiopia” number. On the flipside we explore life on “After Death” with Mike Carey communicating via kalimba and Bey slowly stirring the song along. Again an almost Egyptian flare rises from the ashes, if anyone stumbles on this review by way or searching jazz and Gilmore, as Sun Ra built an Arkestra that took to the skies, in Detroit Faruq Z. Bey and his Northwoods are in full bloom. Pristine earth soul jazz." Thurston Hunger KFJC FM on-line review
"The music exists in a space cleared long ago by Coltrane's tireless modal searching and Sun Ra's insinuating pulse, yet it still appears fresh and purposeful - a music pleasingly at ease with it's own history". Julian Cowley; The Wire Feb. 2007 [Qbico]

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Angel Ov Death - Live in Space and Time (2008)

Angel Ov Death - Live in Space and Time (Veal Records, 2008)

Personnel:

Andrew d’Angelo: alto sax, bass clarniet, computer

Jamie Saft: guitar, bass guitar, organ, synthesizers

Mike Pride: drumset, vocals

Tracklisting:

01 - Live in Space and Time

ANGEL OV DEATH = Andrew d’Angelo, Mike Pride, and Jamie Saft live in New York City. Stunningly captured by video artist un:ART:ig. An incredible document of Angel Ov Death’s first NY show! Recorded live at the Stone, this is the ultimate meeting of Metal, Hardcore, Free Jazz, and Noise stylings!

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Mostly Other People Do The Killing - Red Hot (2013)

Mostly Other People Do The Killing - Red Hot (Hot Cup, 2013)

Personnel:
Peter Evans: trumpet
Jon Irabagon: saxophones
Moppa Elliott: bass
Kevin Shea: drums
and
David Taylor: bass trombone
Ron Stabinsky: piano
Brandon Seabrook: banjo/electronics

Tracklisting:
01. The Sickshinny Shimmy
02. Zelienople
03. Red Hot
04. King of Prussia
05. Turkey Foot Corner
06. Seabrook, Power, Plank
07. Orange is the Name of the Town
08. Gum Stump
09. Bird-in-Hand

Yes, our heroes are at it again, mock-saluting - and sincerely saluting - every jazz movement in existence and naming songs after Pennsylvania towns.  This time the main focus is on the hot jazz of the 1920s, but pretty much every other sub-genre of jazz gets a shout-out.  You know the drill.  If Woody Allen ever went back to making the kind of comedies he wrote and directed at the beginning of his film career (it would be a self-conscious move of revisionism that would surely suck but), MOPDTK's “Red Hot” would make the perfect soundtrack for them.

Kicking off with “The Shickshinny Shimmy” (Hello PA!), the band moves in and out of the 1920s w/ characteristic speed and smart chops, featuring the super-hot rolling dixieland banjo strum of new member Brandon Seabrook.  The standard line-up is also augmented this time around by the magnificent Ron Stabinsky on piano and bass trombone star David Taylor.  The in-and-out pattern becomes fully established on “Zelienople,” which opens with a drum solo from the always astonishingly excellent Kevin Shea.  The decades crash into each other from 40 years apart, as Shea plays free underneath some good ol' hot jazz.  Sonny Murray plays with King Oliver for awhile and then Bill Evans shows up.  Then Bill Dixon joins in, courtesy of Peter Evans (who was also King Oliver, of course).  How this can seem like par-for-the-course for any band is beyond all logic, but this band calls it home.

The title track begins with electronic gurgles and blasts alternating with Seabrook's banjo.  Then the band joins in, full dixieland, full Jelly Roll, full fun.  These smart asses take the piss out of the earnest hot jazz revisionist groups so well, but there is a slight feeling of “sore winners” about it.  They're running past the other guys at the finish line and giving them the finger and laughing while they do it.  I'm not saying I don't approve; I'm just saying that's what it sounds like.

On “King of Prussia” Stabinski does a piano solo mash-up of various pianists / songwriters.  Scott Joplin and Joe Jackson stand out pretty obviously.  (He does a mean McCoy Tyner during “Orange is the Name of the Town.”  This guy can do anybody.)  The whole band plays a slow bawdy stomp while Seabrook bows his banjo through a reverb effect, giving the 1920s a touch of 1950s sci-fi.  Inexplicably, the track winds up in lounge jazz territory.

Band leader Moppa Elliot takes a bass solo at the beginning of “Turkey Foot Stomp,” which takes on a Foghorn Leghorn vibe as the music traverses through the barnyard carelessly and confidently.  The harsh, zero-sustain attack of a banjo lends itself well to the overall landscape, often providing relief when things get a little too self-conscious or serious.  On “Seabrook, Power, Plank” this tack goes so far as sounding a bit like Naked City at Dollywood.

Saxophonist Jon Irabagon opens “Gum Stump,” a traditional 12-bar blues (no foolin') with a whole bunch of over-the-top freakouts in it.  The 12-bar blues format is held steadily for over five minutes; and then it's back to business as usual.  Cross Cab Calloway with Django Reinhardt in a Shakey's Pizza in New Orleans and you get “Bird-In-Hand,” the album's closing track.  It also stands as the most concise piece of music on the disc; and in a perfect world it would be a hit single on top forty radio.  (Does that still exist?)

Red Hot is an irreverent tribute to 100 years of jazz masquerading as a take-off on 1920s dixieland.  It could have only been conceived at this time, where the “jazz wars” between the sub-genres are (finally!) almost non-existent.  I can't imagine any other band attempting such an idea, let alone succeeding in its execution and making it seem so effortless.[Free Jazz]

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Arthur Doyle Electro-Acoustic Ensemble - Patriotic Act (2006)

Arthur Doyle Electro-Acoustic Ensemble - Patriotic Act (Qbico, 2006)

Personnel:

Arthur Doyle: kinetic sax kaboom, village voice
Nuuj: electronics
Leslie Q:  guitar
Vin Paternostro: Roland 505
Dave Cross: turntables
Ed Wilcox: drums

Tracklisting:
A1. Homo      
A2. When The Shit Goes Down      
A3. Milk Brain      
A4. Butt Call   

"that was rec. at the 1st No Fun Festival, i was there, been done just few days after the 1st unite @ Tonic. it was pretty crowded and Arthur was in a good mood... Dave came up with the titles (on the his-story page there is a pic of him from that night); artwork is from Roberto private collection." qbico

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Goran Kajfeš Subtropic Arkestra - The Reason Why Vol. 1 (2013)

Goran Kajfeš Subtropic Arkestra - The Reason Why Vol. 1 (Headspin, 2013)

Personnel:

Goran Kajfeš: Trumpet, Cornet
Jonas Kullhammar: Tenor Saxophone, Alto Saxophone, Flute, Lyricon
Per "Ruskträsk" Johansson: Baritone Saxophone, Sopranino Saxophone, Flute, Piccolo Flute
Andreas Söderström: Electric Guitar, Acoustic Guitar
Jesper Nordenström: Organ
Robert Östlund: Organ, Electric Guitar
Mats Äleklint: Trombone
Johan Berthling: bass
Johan Holmegard: drums

Tracklisting:
01 - Yakar Inceden Inceden
02 - Storstad
03 - Desire Be, Desire Go
04 - The Nodder
05 - Okwukwe Na Nchewube
06 - Badidoom
07 - Es War Enmal
08 - Karina

Goran Kajfeš Subtropic Arkestra reveals the DNA of X/Y on new studio album The Reason Why - Vol.1.

2011 Nordic Music Prize winner and his large jazz ensemble reimagine Turkish psych, Brazilian soul, German psychedelic electronica and progressive jazz/rock on the follow up to the hugely successful X/Y. In preparation for his fourth studio recording, trumpeter Goran Kajfeš trawled his personal record collection to choose seven pieces of music that join the dots between the diverse array of influences in his music.

The Reason Why - Vol.1 sees Goran Kajfeš’ Subtropic Arkestra reimagine such colourful music as the Turkish psych of Edip Akbayram, the soulful groove of Brazilian singer Arthur Verocai, the German psychedelic electronica of Cluster and the progressive jazz/rock of Soft Machine, Bo Hansson and Tame Impala, among others.

The Reason Why - Vol.1 is in many ways a direct extension of his ambitious X/Y project and acts as a tribute to Kajfeš'  myriad inspirations and also as an attempt to push jazz away from the beaten track and into new territories.

Croatian-born (Sweden-raised) Kajfeš is a tireless innovator and a key figure of contemporary Swedish culture. In addition to his work as a bandleader, sideman and producer, he has worked with film, theatre, art and dance. In 2012, he released X/Y, an ambitious two-part recording through which he expressed contrasting aspects of his musical personality. Described as "a total work of art" and awarded 5/5 by The Independent (UK), given 4/5 by MOJO (UK) and voted Best Album of 2012 by Rob Young (The Wire) in Artforum Magazine, X/Y earned Kajfeš the prestigious Nordic Music Prize ahead of favourites Bjork and Lykke Li.

With a nod to Sun Ra legendary cosmic jazz ensemble, the 10-strong Subtropic Arkestra comprises the cream of the contemporary Swedish music scene with saxophonists Jonas Kullhammar and Per Johansson, guitarist Andreas Söderström (Ass, El Rojo Adios), bassist Johan Berthling (Fire!, Tape) and drummer Johan Holmegard (Dungen, The Amazing), Andreas Werllin (Wildbirds&Peacedrums, Tonbruket) among others. [Headspin]

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The best jazz album of year so far! Hardly recommended!

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Endangered Blood - Work Your Magic (2013)

Endangered Blood - Work Your Magic (Skirl, 2013)

Personnel:
Chris Speed: tenor saxophone, clarinet

Oscar Noriega: alto saxophone, bass clarinet

Trevor Dunn: bass

Jim Black: drums

Tracklisting:

01 - Kaffibarinn

02 - Blues in C Flat Minor

03 - Ah-Le-Pa

04 - Argento

05 - Manzanita

06 - Nice Try

07 - International Four

08 - LA#5

The out-jazz supergroup Endangered Blood is no less adventurous on their second album, but they’ve added more nods to conventional jazz this time.

The first album did have “Epistrophy,” but it was a version darkened by crinkly bass clarinet. Work Your Magic has “Argento,” a breezy swing tune with Jim Black’s bustling racket going on behind the straight-faced horns. “Blues in C-Flat Minor” really is a blues, albeit in 7/8 time and propelled by some bubbly, unconventional drumming.

And “LA#5,” apparently a nod to Lester Young, is a sweet ballad. Black goes into quieter mode for this one, using brushes for a more subdued style (as on his piano album, Somatic). Trevor Dunn gets a a nice bass solo before Chris Speed’s tenor sax takes over with his tart sound.

Most of Speed’s compositions reach further afield than that, though. Manzanita” starts with written counterpoint lines for alto sax and clarinet, sometimes with one player pulsing one note while the other one weaves in and out of the fabric. It’s a summertime cerebral jazz, played out politely until the group careens into speedier form. “Kaffibarinn,” named for an Icelandic bar, uses light Glassian arpeggios and a heavy melody of stern chamber music.

It’s all executed well, as you’d expect from these guys. Speed (tenor sax/clarinet) and Jim Black (drums) have been together since the ’90s in groups like Human Feel and Tim Berne’s Bloodcount. Oscar Noriega (alto sax/bass clarinet) has been on the post-downtown scene almost as long, and he’s most recently gotten airtime as a key part of Berne’s Snakeoil band. Dunn (bass), a darling of the out-rock set, has also been delivering solid jazz chops for any number of groups, including some great Bay Area groups in the late ’90s.

You do get more of the jazz in Speed’s playing on this album, and less of the wandering microtonal musings that he often favors. I like that. There are plenty of sax or clarinet solos over a bass/drums jam, certainly, but there’s also space for untethered improv duets (as on “Ah-Le-Pa,” which includes a nice Dunn/Black workout), criss-crossing composed lines for the reeds, or delicate chamber-jazz moments.

Further toward the outer edge of things, “International Four” (written by Hilmar Jensson, who’s played with these guys in other contexts) starts with free improvisation at a fast jog, full of sax/clarinet squawking, then gets into a composition of attractive long lines, a long path of bursty notes. [Wedgeradio]

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