The Necessary Blues

Ches Smith – Laugh Ash (Pyroclastic Records – released February 2, 2024)

Shara Lunon – voice and vocal processing
Anna Webber – flute
Oscar Noriega – clarinets
James Brandon Lewis – tenor saxophone
Nate Wooley – trumpet
Jennifer Choi – violin
Kyle Armbrust – viola
Michael Nicolas – cello
Shahzad Ismaily – bass and keyboards
Ches Smith – electronics, programming, vibes, drums, tubular bells, glockenspiel, timpani, tam tam, metal percussion

Album photography by Billie Miro Breskin

Buy at Bandcamp
Stream at Apple Music
Stream at Spotify

Ches Smith – where to start? In 2023, he was everywhere. Smith drummed on a half dozen of my favorite 2023 albums – Echolocation by Mendoza Hoff Revels, Michael Formanek’s As Things Do, half of Matt Mitchell’s Oblong Aplomb, and three John Zorn albums – Homenaje A Remedios, Full Fathom Five, and The Fourth Way. I’m sure I’m missing a bunch of Ches Smith album credits in the last year – how do you keep up with one of the most active and accomplished drummers around? With all that sideman work, it’s hard to imagine where Smith fits in time for his own projects, but when they do come out, they are always special. Top of mind is Smith’s 2021 album of Haitian voodoo music with We All Break, Path of Seven Colors, one of my favorites of the last decade. Path of Seven Colors is a transcendent meeting of Afro-Caribbean rhythms with jazz harmony, and my love of that album has only heightened my anticipation for Smith’s new album, Laugh Ash, which is out now. Laugh Ash delivers music that sounds like a consolidation as well as a bold new statement.

Ches Smith has always had multiple ongoing bands, each revealing a different side of who he is. There’s And These Arches, which explores a beat-heavy jazz and noise improv, and the duo with Devin Hoff, Good for Cows, which creates experimental interactions of bass and percussion. Smith has a working group of Mat Maneri and Craig Taborn that released The Bell (2016), and with the addition of Bill Frisell, Interpret It Well (2021), often quiet albums that spin trance-inducing improvisations from melodic kernels. Then there’s Congs for Brums, which innovates the presentation of extended percussion with solo electronics. These are all super accomplished projects, but each one is so different and distinctive from the others that it gives a picture that’s a bit fractured. Who is the real Ches Smith? Now we have the answer. Laugh Ash is the album that draws from all these different aesthetics and then boldly strikes out into even more sonic vistas. If you’re new to Smith’s music, start here.

Laugh Ash covers so much ground it’s hard to summarize and a real challenge to write about. Not only does Smith synthesize his prior statements in minimalism, electronics, noise, and percussion, but you also can hear a swirling blend of other sounds – hip-hop, dance rhythms, opera, modern classical, prog rock, dub, jazz poetry, video game bleeps, sound collage – the list could go on. These sound ideas co-occur, and at any given moment, you might be listening to a raag melody played over hip-hop beats, filled out by 8-bit bleeps and warbles. After a few seconds, the music will dramatically shift (like on “Remote Convivial,” but almost every other track too), segueing into a sax solo over skronk-fuzz bass or another dramatic juxtaposition. This happens throughout – Laugh Ash is bursting with more ideas over fifty-one minutes than most artists have in their discographies!

Laugh Ash also represents Ches Smith’s most through-composed music to date and the most outstanding example of Smith’s imaginative writing. The amount of composition and level of detail means there’s less blowing than on Smith’s prior albums, but that does not stop this accomplished group from shining. For me, the MVP is bassist/keyboardist Shahzad Ismaily. Ismaily sounds like he was given the role of improvising bass lines underneath and throughout all of the fixed parts, and whether predetermined or not, his playing provides the album with a consistently spontaneous and alive feel, even during the densest material. Ismaily’s electric bass also sounds fantastic – it gives a propulsive undercurrent, energetic noise, and interesting texture. The album is also enlivened by the tenor sax of James Brandon Lewis, who contributes hard-hitting, angular solos on “Remote Convivial,” “Sweatered Webs (hey Mom)” and “Unyielding Daydream Welding.” The album features impressive string playing from violinist Jennifer Choi, violist Kyle Armbrust, and cellist Michael Nicolas. Anna Webber’s flute is essential to the atmospherics and arrangements, and the album would not be the same without her. Both clarinetist Oscar Noriega and trumpeter Nate Wooley have outstanding solo spots on “Unyielding Daydream Welding.” Finally, the band’s other crucial member is vocalist and poet Shara Lunon. Most of these tracks feature her vocals at the border between soul, opera, and hip-hop. Lunon wrote the lyrics, which are reprinted in the liner notes and are fascinating and often compelling, such as when she sings “the interior of grief leaves its marks in strands” on the aforementioned “Sweatered Webs (Hey Mom),” or in her spoken word performance on “Winter Sprung,” where she declares “the blood is in the roots, you can taste it.” Lunon’s presence is compelling and pushes this program even further toward the striking and unique.

Laugh Ash also embodies experimentation as a philosophical concept. Smith doesn’t play with genres merely as evocative signifiers but instead as language components used to create music that can have a transformative effect. In the liner notes, Smith identifies laughter as an expression of the way you can deal with something new: “listeners might find parts of it at least a little bit funny. As a form of catharsis, laughter is fine by me. Genuine laughter arrives unannounced, causing a fissure where time stops. If the bout of laughter is severe, you may find yourself at the point of disintegration. Afterward, if not too worn out, you can dust away the ash, put yourself back together and continue your life afresh, newly curious about what is possible.” Yes, Laugh Ash had me laughing at some of its wild combinations of ideas and Smith’s feat of imagination in creating an album that references genres and elides them, too. Smith juxtaposes musically complementary but novel elements and creates a startling, sometimes funny, and reconfiguring result. You should listen to Laugh Ash – there’s nothing else out there like it.

(Laugh Ash; L-R Shahzad Ismaily, Shara Lunon, Anna Webber, James Brandon Lewis, Kyle Armbrust, Ches Smith, Michael Nicolas, Oscar Noriega, Nate Wooley, Jennifer Choi; Photo credit Bianca Claircidor)

More Ches Smith Links:

Laugh Ash Then and Now
Smith debuted a smaller version of the Laugh Ash group at Roulette in 2017, and the audio from that performance is saved at the Roulette website here. The music is different in this early version in a number of ways, most notably that 2017 Laugh Ash has much leaner writing, and there’s a lot more solo space. This makes me so curious to hear how the current iteration of Laugh Ash will sound live – if you are in the New York area, don’t miss them at Roulette on March 20, 2014.

A Cool Video
Frank Heath created a video for the track “Minimalism” from Laugh Ash. The video is striking looking and enriches the music by exploring the relationship of humans to technology. You can find the video on Ches Smith’s website.

Interviews with Ches
Ches has given several terrific interviews, which I recommend. He discusses jazz and metal with Hank Shteamer and goes into the relationship of composition and performance with Samo Salomon. Also, his answers to “15 Questions” are insightful, going into the process of creation and including this wisdom: “Fear gets in the way, and curiosity helps a lot.” Good advice for life!

Hear Ches Rock
Listening to the above podcasts, I learned that Ches came out of rock drumming and into improvisational music and jazz. I can hear it now! He brings an authentic and hard-hitting feel into all his drumming, and his ability to combine worlds just by sitting at the drums is part of the reason he’s so loved. Smith’s first records are with the noise rock band Theory of Ruin. On streaming, you can hear their self-titled EP. If you want to hear Smith rock in a jazz context, try the albums Hammered and Finally Out of My Hands by And These Arches. Some of the hardest-hitting drums you’ll hear on a jazz album.

Amanda Gardier – Auteur: Music Inspired by the Films of Wes Anderson (released January 26, 2024)

Amanda Gardier – Alto Saxophone and compositions
Charlie Ballantine – Guitar
Jesse Wittman – Bass
Dave King – Drums

Purchase on Bandcamp
Stream at Apple Music
Stream at Spotify

Wes Anderson may have been snubbed by the Motion Picture Academy this past week, but his fans can find solace in the release of Amanda Gardier’s Auteur: Music Inspired by the Films of Wes Anderson, a heartfelt and winning album inspired by the aesthetic of the great director. When I saw the album cover for Auteur, which channels the visual style of Wes Anderson, I was immediately excited about the concept of making music inspired by film. Although musical tributes to film directors are much less common than for musicians or albums, a few examples come to mind. Enrico Pieranunazi did a stylish album dedicated to Federico Fellini, William Parker devoted one disc out of his ten-volume opus Migration of Silence Into and Out of The Tone World to Fellini and other Italian filmmakers, and Tim Hagans & The NDR Big Band did an album inspired by John Cassavetes. Ken Vandermark named a band after avant-garde filmmaker Chris Marker. I’m sure there are others, but I think tributes to film directors may be less common because directing is an inherently visual activity with no obvious musical analogue. Making an album inspired by Wes Anderson is a particularly interesting choice. Anderson’s aesthetic and stylized dialogue are distinctive and evocative, and translating this world into sound is an enticing project that attracts sympathetic minds.

Amanda Gardier’s writing is terrific on Auteur, and I think you can hear the connection to Anderson in the music. Gardier’s talent for portraying a slightly melancholy, melodically attractive sound world can be traced to the first track of her discography as a leader, “Giants,” from the 2018 album Empathy. “Giants” uses an arrangement of reeds, bass, and guitar lines to create a luminous effect that is simultaneously downcast and hopeful. The rest of Gardier’s debut and her 2020 follow-up, Flyover Country, contain more of this fine writing and are highly recommended. The compositions on the new Auteur expand on this emotional landscape and feel of a piece with the world of Wes Anderson. Gardier achieves a variety of moods, starting with the opening track, “Coping with the Very Troubled Child,” which conveys a frantic sense of displacement. Other tunes are distinctive, such as “The Incarcerated Artist and His Muse,” which features a wistful sax melody over tremolo guitar, or the joyful calypso line of album closer “Green Line.” Gardier seems to like creating intros and outros that use repetition drawn from minimalist techniques, such as at the end of “The Cycling Reporter” or “Order for Yourself.” Then there’s “Let’s Hope It’s Got a Happy Ending,” which feels like the album’s centerpiece, a thoughtful arranged, long-form composition that conveys the mixture of feelings suggested by the song’s title. However, for me, the highlight is “The Blue of Winter,” which is built around a plaintive alto melody that Gardier repeats, developing increasingly intense, forceful ideas. The last 3 minutes of this tune are cathartic, with incredible drumming from Dave King – “The Blue of Winter” is the most moving music I’ve heard so far this year.

Auteur also features strong playing from all the members of this quartet. Gardier brings back two players from Empathy, guitarist Charlie Ballantine and bassist Jesse Wittman. Ballantine, who is also Gardier’s husband, has a great sound and interesting ideas. He knows how to play in many contexts, whether rock, blues, or jazz, and has the restraint to serve the song as well as the chops to play attractive, melodic solos, which he does on “Electroshock Therapy” and “Green Line.” Bassist Jesse Wittman is much more prominently featured on Auteur than on Empathy, and his playing, especially in quick tempos such as the opening track, is impressive. Dave King, who plays in The Bad Plus, with Julian Lage and his own Dave King Trucking Company, hardly needs any introduction – he’s one of the top drummers anywhere. His playing is a delight throughout Auteur, always full of energy regardless of tempo and pulling an astounding array of textures and ideas out of his kit. But the star is Gardier herself, and while I think her writing is the primary attraction of this album, her playing is excellent, too. Her alto sax playing has a buoyant sound and a full, rich tone. On this album, Gardier displays new dimensions of her playing, such as pushing expressive tonality with the intensity of “The Blue of Winter” that I describe above or playing “off the horn” techniques with her solo on “The Cycling Reporter.” Her playing is melodic, energetic, and has a bite when the music needs it.

Auteur: Music Inspired by the Films of Wes Anderson has a great concept and is well executed. You don’t need to be a Wes Anderson fan to hear what is happening in this album. The music is quite varied, and there is a lot of beauty and a convincing rendering of a sonic and emotional space. With Auteur, Gardier has joined the small but distinguished group of musicians that use the visual medium of film as an inspiration to make music. More artists should give it a try.

Related links:

Catch up with Gardier
To prepare for this review, I listened to two good interviews with Gardier, here and here. She’s a very amiable interviewee who freely shares her debt to Miguel Zenón, and her interest in composing based on characters and themes from TV and film.

More Ballantine!
Gardier’s husband, Charlie Ballantine, is one of the top guitar players today. If you like his playing here, you’ll also enjoy checking out his records. I recommend Vonnegut,  Life is Brief: The Music of Bob Dylan, or Where Is My Mind? which all feature Gardier.

More King!
King’s drumming lifts up Auteur – well, King’s drumming is always a wonderful. Hearing him here made me jump back and listen to his drumming on the recent 2023 Chris Speed album, and also watch and listen to my favorite drum break in recent memory. (Go to 3:30 in). I also listened to two favorites, Adopted Highway and Surrounded By The Night by Dave King Trucking Company. And that’s just scratching the surface. Also, I need to mention Rational Funk, a deep resource of drum knowledge and good humor.

Here’s where I fess up
One of the reasons I didn’t try and make direct connections between these tunes and Anderson movies, is that . . . I’ve seen very few of them. I enjoyed Asteroid City, but bizarrely, it’s the first Anderson movie I’ve seen. I did see Bottle Rocket after that (I loved it), so now I need to take in all the films in between. I’ve been inspired by this album, and I ordered a giant stack of DVD’s from the New York Public Library. So, now I’ll be watching Wes Anderson with Amanda Gardier as my guide!

Mary Halvorson – Cloudward (Nonesuch, 2024)

Link to purchase at Bandcamp
Link to stream at Apple Music
Link to stream at Spotify

With snowflakes falling outside, I’m listening to Cloudward, the highly anticipated Mary Halvorson album. It’s the best soundtrack I can imagine for enjoying the first NYC winter-like landscape in two years; like the snow, Halvorson’s music moves with spontaneity and grace and, at the same time, conveys an uplifting feeling. Halvorson emphasizes the sense of hopefulness she felt when she wrote this music in 2022. In the press kit for the album, Halvorson says, “This band, for me, was quite simply working, both musically and personally, and the main thing I felt while writing the music was optimism.” That feeling of optimism is all over Cloudward, an album which showcases the leader’s strengths and her remarkable sextet.

Cloudward comes on the heels of Amaryllis, the 2022 release that capitulated Halvorson to the top of that year’s Francis Davis Jazz Critics poll. Halvorson’s new album uses the same band as Amaryllis – Halvorson on guitar, Patricia Brennan on vibraphone, Nick Dunston on bass, Tomas Fujiwara on drums, Jacob Garchik on trombone and Adam O’Farrill on trumpet. On Amaryllis, this band performed dense, knotty, and energetic music in the same vein as other Halvorson classics like Away With You (2016) and Illusionary Sea (2013). You could hear the excellence of the then newly formed band as well as the potential that they could do even more. When Amaryllis was written and performed, the pandemic had sidelined live work, but after that recording, Halvorson was able to take the band out on the road. Cloudward reflects both the opportunity for this band to develop the chemistry that comes from playing together and for Halvorson to imagine the possibilities of writing for a working group rather than a studio ensemble.

The development of Halvorson’s writing marks the biggest leap forward with Cloudward. Halvorson’s accomplishment brings to mind an oft-repeated adage about Duke Ellington that he used the personalities of his band to forge his compositions, harnessing the qualities of his player’s instrumental voices and often developing tunes as a showcase for star players. Halvorson’s compositions on Cloudward use that wisdom to great effect. For example, the second and third tracks, “The Tower” and “Collapsing Mount,” form a kind of suite for the vibraphone player Patricia Brennen in both solo and prominent accompanying roles. Brennan sounds spectacular here, and Cloudward is an excellent display of the versatility of her playing and the power of her sound and phrasing. Elsewhere, remarkable brass solos bookend the album. On the opening tune, “The Gate,” Jacob Garchik comes out of, yes, the gate with an assertive and fluent trombone solo, followed by the exuberant trumpetry of Adam O’Farrill. The two closing tunes repeat the same trick, with Garchik dominating “Tailhead,” followed by O’Farrill injecting propulsive and uplifting energy to album closer “Ultramarine.” Drummer Tomas Fujiwara provides terrific support throughout, using his rich palette to set the mood and structure of the performances. On “Unscrolling,” bassist Nick Dunston gets to deliver a memorably energetic arco solo. Also making an appearance is labelmate Laurie Anderson, who plays violin on “Incarnadine.” I like the quietly mysterious free improv here, buoyed by Anderson’s enigmatic playing. Notably, none of the tunes run through multiple back-to-back solos which sometimes happen as a consequence of band “democracy,” where everybody gets a crack at every tune. Instead, each performance on Cloudward showcases one or two band members in ways that are always in service of the compositions’ individual energy, texture, or mood. Everybody gets a chance to shine, but Halvorson brilliantly marshals this creativity within the musical structures.

As for Halvorson herself, her guitar playing is surprisingly restrained through much of Cloudward, which I think demonstrates how she has chosen to use this release to spotlight her compositions, arranging, and band-leading. However, in the mid-album “Desiderata,” Halvorson turns the volume up and delivers an unfettered, intense, metal-edged solo that bursts out of the intricate arrangement. It’s a singular moment of ferocity and a reminder of what a total badass Halvorson is on guitar. Halvorson does not take another solo like that one on the record, which might have left you wanting more, but the music and this band are so remarkable that nothing seems out of place.

Cloudward is a deep album that balances beauty and energy and achieves a wonderful variety of moods and ideas. In this release, Halvorson demonstrates her growth as a bandleader and her deep level of maturity and skill. If you’re a Halvorson fan, I’m sure you won’t miss this one, and if you’re new to her music, this is a great place to start. This band is on tour now, and it will be interesting to see how they develop and change this material in performance. Make sure you check them out live and pick up a copy of Cloudward.

More links:

One of the Albums of the Year
Unsurprisingly, Cloudward is getting lots of notice. Read excellent reviews at The Guardian, Pop Matters, Bandcamp, All About Jazz, and The Quietus.

It’s on Vinyl
We’ve been hearing for years that vinyl is making a resurgence, but the production cost for vinyl releases is still very high, so if you want to support this format, check out the vinyl on Bandcamp. Here’s Mary playing her copy.

Halvorson’s Album Picks
As part of the promotion for this album and the 60th anniversary of Nonesuch, Halvorson made a  video inaugurating Nonesuch’s album library, where she picks out favorite albums.  I love her choices, some of which I have not heard!

Guitar Corner
This video might be better suited for guitarists, but even for the novice, the gear session featuring Halvorson, Julian Lage, and Miles Okazaki is delightful. I love listening and looking as they geek out over guitars and equipment, plus you pick up some fascinating musical tidbits.

It’s All Here
The Mary Halvorson sessionography by Rick Lopez is comprehensive and outstanding. We need this type of discography available for more artists.

Matthew Shipp – Steve Swell – Space Cube Jazz (RogueArt, 2024)

Link to purchase at Bandcamp

Personnel:
Steve Swell – trombone
Matthew Shipp – piano

(released January 12, 2024, recorded November 24th, 2021, at Park West Studios, Brooklyn, NY, USA)

The new year has started with Space Cube Jazz, an album of duets from pianist Matthew Shipp and trombonist Steve Swell. Given their respective reputations in creative music and both artists’ long relationship with RogueArt, it’s surprising that Shipp and Swell have never recorded an album together until now. However, the results are excellent, and Space Cube Jazz is strongly recommended. A great way to start 2024!

This new album is also a good entry point into the huge discographies of these two musicians, as it gives plenty of space for both the pianist and the trombonist to demonstrate their personalities, show what they can do with their instruments, and create a representative sound world. In Shipp’s case, he has referred to himself in interviews as a “cosmic pianist,” which you can hear in the abstract piano sounds, as well as the title Space Cube Jazz, and song names like “Dark Matter” or “Space Warp.” The other half of the titles describe a kinetic energy, such as “Flashes” or “Electric Tip,” which capture the flavor of the record. The interactions of Shipp and Swell have a palpable fission, and the music has a density and luster that marks its excellence.

I want to share some of the highlights. On the tune “Dark Matter,” the meeting of these players is at its most simpatico and authoritative. Taken at a leisurely tempo, Swell plays in a deep blues vein and shows off an astonishing array of moans and shouts over Shipp’s left hand bass patterns. “Dark Matter” is delightfully connected to classic jazz language and sets a wonderful and effective mood. Another memorable performance is on the dirge-like “Firmament,” which reminded me of the classic tune “Evolution” by Grachan Moncur III. Swell’s trombone, like Moncur’s, digs into a deep and meditative place, while Shipp uses the tranquil setting to craft a beautiful accompaniment. The rest of Space Cube Jazz is at an equally high level. The album opens with a dynamic back and forth of “Flashes,” where you can hear the close listening and creativity of the duo partners. Other tunes show off a shared language such as on “Stairways” and “Ice and Water.” The pacing and variety of Space Cube Jazz is also maintained by using two tracks for a solo statement – Shipp demonstrates his mesmerizing solo piano vocabulary on “Space Warp” and Swell plays a kind of trombone etude on “By and By.” Space Cube Jazz brings out the distinctive qualities in both players – Shipp’s playing is evocative, angular, wonderfully moody, and highly rhythmic. Swell’s trombone has a vocal quality, and his articulate lines feel like an echo of human thoughts and feelings. This is just what you want from the duo format – both players display what makes them special and also find a middle ground where they create memorable music.

I’m glad Swell and Shipp have finally recorded an album together, and I hope they will make many more. It is a fascinating and welcome release. As usual, there is another Shipp record right around the corner – he just announced a trio album with Michael Bisio and Newman Taylor Baker coming out in April. Swell also has another RogueArt disc coming out with the PNY Quintet in March 2024. You can check out upcoming gigs at Swell’s website, with the next being live date this Sunday at New York City Jazz Vespers. Lots to look forward to in 2024!

The past couple of weeks have been list-making time, an opportunity to reflect on the great music that came out in the past year and try to distill what was best or most meaningful. I discussed my top 20 albums in this blog’s year-end summary, a slightly expanded version of the list I submitted for the 18th annual Francis Davis Jazz Critics poll. The Francis Davis poll is now live at Arts Fuse, and if you are interested in jazz or adjacent genres of creative music, you owe it to yourself to spend some time checking out the poll results in detail. In this year’s poll, the 159 critics and journalists who participated were asked to pick their top 10 new releases, three top archival releases, and make one pick each for debut artist and Latin jazz. The published results calculate the winners and publish a list of the top 50 jazz albums for 2023, along with insightful essays by poll founder Francis Davis and tireless poll runner Tom Hull. You’ll also find a list of jazz musicians who have died in 2023 and, most interesting of all, access to each of the individual ballots. Digging into the wealth of results is an excellent way of finding music you missed over the last year and getting a new perspective on the landscape in the creative music community.

In his keynote essay “The State of Our Union Could Be Better,” Francis Davis argues that the annual poll results over the last 18 years document a changing of the guard. In the first poll from 2006, only one of the top ten finalists was under 50 years old. By contrast, in the 2023 poll, only two of the top ten are over 50. Jazz is now younger, more diverse, more international, and more female – all excellent developments for the health of this art form. But the picture presented by the poll results is far from rosy. Davis also points out that the overwhelming number of the top 50 releases are on small artist-run labels. Although releasing music independently is often cast as giving artistic freedom, this choice is created from necessity. The 18 years of poll results show how major labels have largely left the “jazz” scene, and artists now have to fend for themselves. You can find the prior poll results here; the comparison is illuminating and a little distressing. Among the poll winners from the first five years of the poll were jazz albums on major labels such as Verve, EmArcy, Sony, and Concord. Even more important is the influence of Blue Note, one of the most important independent labels in jazz, but really a major label owned by Universal Music Group since 2012 and EMI since 1979. During the first 13 years of the poll, Blue Note consistently had at least one and often multiple albums in the top ten poll winners. This year, however, Blue Note released only four of the top 50 poll winners and had no top ten albums for only the second time in the poll’s history. There are really no other majors to pick up the slack – the only major label release in this year’s top ten is from James Darcy Argue on Warner Brothers-owned Nonesuch (#5 on the list). The declining absence of major labels from this jazz poll is part of a long story of disinterest in America’s art form that started with Columbia’s infamous purge of their jazz roster in 1973.

Artist-run labels have largely filled the vacuum left by the departure of major labels. First-place poll winner James Brandon Lewis released For Mahalia, With Love on Tao Forms, a label started by drummer Whit Dickey in 2020. Runner-up Jason Moran self-released From the Dancehall to the Battlefield on his Yes Records imprint, which has issued only Moran’s albums to date. Elsewhere in the top ten, independent standard bearer Pi issued three albums in the top ten (by Steve Lehman (#3), Tyshawn Sorey (#4) and Henry Threadgill (#8), while Kris Davis’s Diatom Ribbons Live at the Village Vanguard is on her Pyroclastic label (#7), and the fifth edition of Matana Roberts’ Coin Coin is on Canadian independent Constellation (#6). The top ten is rounded out at 9th place with Jaimie Branch’s posthumous release on Chicago-based indy International Anthem and the second album by Myra Melford’s Fire and Water Quintet on French independent label RogueArt. Whether the poll documents a decline in interest by the majors or a disconnect between major label support and artistic excellence is almost beside the point. The poll results show that the artists making the most vital music have had to do it on their own. Just about every month, another musician announces they are starting an imprint to self-release their new album, undoubtedly a sign of the change in times. And let’s not forget the withering of other critical sources of support to artists, such as the closing of local performance venues or the uncertainty over the future of artist favorite Bandcamp. It’s easy to feel the struggle of musicians to make a living or to read the tea leaves as to where we are headed. Part of the message is that the future of this art is in your hands – make sure you support the music you love!

But the absolute joy and pleasure of the Francis Davis jazz poll isn’t getting a roadmap of the scene – it’s getting hipped to the excellent and exciting music released in the last year. Much of this music doesn’t get the attention or notice it deserves until you have the benefit of journalists and critics crowdsourcing their accumulated knowledge, distilled into the poll results. I recommend drilling down to the individual ballots and seeing the individual top 10 lists of the 159 critics who participated in this poll. Taking in the list’s enormous variety of music is a reminder of the depth of today’s creative music and the ingenuity of the artists who create it. I can personally say I learned of at least a half dozen records that otherwise may have escaped my attention from reading these ballots. The quality of outstanding new music, the wild depth and variety of recent releases, and the genius of today’s musicians are a source of never-ending amazement.

Finally, on a personal note, it was a real honor to be invited to be one of the 159 participants in the poll. I want to publicly thank Tom Hull for the invitation. It was a responsibility I took seriously and a pleasure to listen to and ponder the best and most impactful music of 2023. Above all, I want to thank all of the artists who devote themselves to creating and sharing work that helps make the work a better place. The act of creation is what we need in the world at this time. If you want to check out my ballot, the link is here, but as I said above, I recommend reading everyone’s ballots and then going back to the music and making your next discovery. Now, on to the great music of 2024!

Your humble “jazz critic” is one of the voters!

 

This post may be called a “best of,” but let’s acknowledge that list-making is inescapably subjective. Even if we agree to look for excellence within a defined area – such as the best progressive and experimental music of 2023 – my preferences, listening habits, and context for music appreciation will differ from yours, and our lists may also be very different. So I think the value in list making is the exercise of appreciation, and hipping you to some music that means a lot to me. Sharing the love of music makes the world a better place (really, I mean that) and helps support musicians who need the community of listeners to make a living and keep on making great art.

So, while this list may reflect my preferences, I hope these personal favorites from the past year will also resonate with you. In 2023, I sought out music that stirred the imagination, provoked thought, and awakened emotion. It was an excellent year for music that checked off those boxes – this year’s experimental albums expanded the language of improvisation, freely drew from a variety of genres, used harmony, rhythm, and melody in innovative ways, drew on biography and history, or were simply beautiful. The music on this list embraces these concepts and more, helping us get through a dark world by providing enlightenment, entertainment, diversion, and appreciation for the connection that art brings. With those thoughts in mind, here are the albums of experimental music that kept me coming back, thinking, and dreaming in 2023.

1 Kate Gentile – Find Letter X (Pi)

TNB’s coverage of drummer/composer Kate Gentile started in April when I attended pianist Matt Mitchell’s album release show for the excellent Oblong Aplomb. Half of that show was duets with Gentile, who I had never heard before. I was impressed with the drummer’s fluent use of polyrhythmic patterns and odd meters, which prompted me to write a profile of her music. Little did I know that 2023 would be such a big year for Gentile; shortly after the album release gig, she started a music label (Obliquity Records) and released biome i.i, a collaboration with the International Contemporary Ensemble. biome i.i is one of the year’s best, a successful third stream vision of “jazz” drumming set against Gentile’s writing in a “contemporary classical” vein. Gentile then topped herself with the release of Find Letter X, containing three discs of music that she’s been writing and conceptualizing for years. Throughout Find Letter X, you’ll encounter a shifting kaleidoscope of ideas that quickly mutate, restlessly flowing into new and surprising musical vistas. I hesitate to use tired genre markers like “new music,” “jazz,” or “metal” because, on this release, the hybrids and interactions between those strains are so numerous that the music is really unclassifiable, moving beyond genre categories. Even within the same song, you may end up in an entirely different place than where you began and immediately jump back to the start to re-trace how you got there. Also, I have to mention the terrific band – Matt Mitchell’s synths and piano are indispensable, Jeremy Viner’s tenor sax and clarinet playing show him to be one of the most underrated reed players working today, and Kim Cass’s acoustic and electric bass are both one of a kind. An exceptional release and a benchmark for where the language of improvised music is headed.

2 Michael Formanek Elusion Quartet – As Things Do (Intakt)

Michael Formanek makes some of the most lively and interesting music around, and this album is perfectly realized by saxophonist Tony Malaby, pianist Kris Davis, and drummer Ches Smith (he plays some vibes, too). As Things Do has a terrific arc and is smartly programmed; it opens with the stormy “Bury the Lede,” followed by music that centers melody and cleverness and closes with the satisfying harmonies of “Gone Home.” More people need to listen to this great composer, bandleader, and bassist. Formanek appears to be based in Europe these days, but I hope he’ll be back in New York soon.

3 Arooj Aftab, Vijay Iyer & Shahzad Ismaily – Love In Exile (Verve)

Link to Apple Music

Link to Spotify

This much-loved record is as good as you’ve heard. Combining Aftab’s haunting vocals, Iyer’s pianos and electronics, and Ismaily’s bass produces luminescent and mysterious music. Every time I return to Love In Exile, I fall into a trance – it’s simply the most beautiful album of 2023.

4 – Mendoza Hoff Revels – Echolocation (AUM Fidelity)

With Echolocation, guitarist Ava Mendoza and bassist Devin Hoff create a program of big, loud riffs backed by wailing sax from James Brandon Lewis and Ches Smith laying out wild rock-like drum beats. For all the guitar madness, there’s a lot of detail subtly packed in here too, which makes the moments of chaotic noise that much more fun. If you’re in New York for Winter Jazz Fest, don’t miss them at Brooklyn’s Union Pool on January 13.

5 David Virelles – Carta (Intakt)

I don’t know why Carta got so little attention this year. David Virelles has proven once again he’s one of the world’s most important pianists and composers. Carta convincingly deploys Afro-Caribbean rhythms and jazz harmony and beautifully mashes up the past and the present. Virelles could only do this so well with the right support; bassist Ben Street and drummer Eric McPherson are both exceptional here, the perfect rhythmic teammates.

6 Jaimie Branch – Fly or Die Fly or Die Fly or Die (​(​world war​)​) (International Anthem)

Fly or Die Fly or Die Fly or Die (​(​world war​)​), Jaime Branch’s third and last studio recording, may be her most vibrant. Branch put together a program that gleefully romps through jazz, blues, folk and country, hip-hop, as well as her distinctive and politically prescient vocals. The album is direct, passionate, and easy to love. Jaimie Branch is a legend, and that legend will only grow – she is sorely missed by fans and musicians alike.

7 John Dikeman, Pat Thomas, John Edwards, Steve Noble – Volume 2 (577 Records)

For those obsessed with British pianist and electronic musician Pat Thomas, the year 2023 brought a lot of interesting electronic experiments (the fascinating Burdah Variations and two more volumes of synths as WAZIFAH, vol. 1 and vol. 2), but less of the piano-led group albums that are Thomas’ forte – no [Ism] or [Ahmed] this year. I should also say there was a lot of great “jazz” Thomas in 2023 – Fathom (with John Butcher, Dominic Lash, and Steve Noble), which focused on unusual group dynamics, Know: Delirium Atom Paths, which pairs Thomas on synth with Chris Sharkey’s guitar, and Scatter (with Phil Minton, Dave Tucker and Roger Turner) which brought Minton’s idiosyncratic and mesmerizing vocals on board. I also love the live pianos and “small instruments” in Pat Thomas & Steve Beresford – One Or Two Pianos. Once you’ve got the Pat Thomas bug, you’re never at a loss for new music! But for my money, Thomas’ best release this year was Volume 2 with Dikeman/Edwards/Noble. Here, Thomas is at his most commanding, opening the half-hour first track with demonic piano runs and using space to great effect in his comping throughout. Noble’s drums sound like a freight train, and Dikeman’s sax screams. Recorded live at Cafe Oto, this might just be another night as Thomas’ home base, but it will give you your fix. And looking ahead – the new [Ism] will be out on February 16! It’s on my calendar; is it on yours?

8 Anna Webber – Shimmer Wince (Intakt)

Anna Webber has a knack for putting out one heavy record after another, and her releases are rapidly becoming an event. In the wake of the best album of 2021 (the incredible Idiom), Webber has released a fascinating album that reconfigures medieval “just intonation” techniques in a modern context. The title aptly describes the result – radiant and subtle music with biting dissonance lurking underneath. As always, the leader’s flute and tenor sax are breathtaking. A heady conceptual experiment and also deeply satisfying – a rare combination.

9 Ben Wendel – All One (Edition Records) & 10 Nate Wooley – Four Experiments (Pleasure of the Text Records)

I will talk about Ben Wendel’s All One and Nate Wooley’s Four Experiments in tandem because ever since I heard these two albums, they have been in dialogue with each other for me. Wendel’s is the quintessential pandemic album – he worked tirelessly in the studio to layer and multitrack his saxophones to achieve a rhapsodic statement, then invited collaborators to play (or on two tracks sing) over his creations. On the other hand, Wooley enacts a musical concept that relies on the “mutual aid” of the musicians to achieve its effect. Both All One and Four Experiments are music intended to convey what Wendell calls a “message of togetherness, friendship, and unity.” They share an introspective quality that is both an aesthetic and ethical statement. But it’s fascinating how these projects enact their humanistic projects in wildly different ways. Wendel crafted poised musical lines amidst lockdown isolation and created an album that feels perfect. Wooley embraces imperfection and puts together his compositions to make his players embrace mistakes – “failure,” as he calls it. Both of these albums have the divinity of great human art – Wendel strives for a flawless statement, while Wolley’s music is all about the transience of existence. I put these two albums at the end of my top ten, but I love them both and could easily flip the list and put them at the top.

11 André Roligheten – Marbles (Odin Records)

I’d never heard of Roligheten before this album, but now I’m a fan. Play Marbles and listen to sax that moves slickly in and out of “the tradition,” exciting drums from Euro free-jazz star Gard Nilssen (see Family below, also featuring Roligheten), and very fetching steel pedal guitar – the album has everything you might want or need, whether you are looking for melodic beauty, shake em’ up energy, or the elegant craft that ties the two together.

12 Angelika Niescier – Tomeka Reid – Savannah Harris – Beyond Dragons (Intakt)

German alto sax star Angelika Niescier has delivered another passionate, intense, and triumphant free jazz album. I call this “free jazz” for it’s unrestrained blowing and because Niescier’s reach never exceeds her grasp, but make no mistake – this freedom is very intentional and structured, and she delivers the music with maximum impact. Cellist Tomeka Reid and drummer Savannah Harris match Niescier and provide the taunt and explosive support that makes this my favorite from Niescier yet. There was no better way of introducing somebody to improvised music in 2023 than playing “Hic Svnt Dracones,” the opening track of this fiery gem.

13 London Brew – London Brew (Concord Jazz)

London Brew is a collective that recreates the electric groove of 70s Miles Davis for the here and now. The TNB post “London Brew Starter Kit” was our longest of 2023, but that survey of the London improvised music scene just scratches the surface. London Brew, both band and album, is sprawling yet also focused, and it sounds so of the moment. Out of many standout contributions, I keep coming back to Shabaka Hutchings’s bass clarinet, which rocks; somebody needs to talk him out of his recent decision to just play flute. Spin this for your non-jazz friend, and see if worlds grow.

14 Zoh Amba & Chris Corsano & Bill Orcutt – The Flower School (Palilalia)

The best introduction in 2023 to Albert Ayler-style free jazz was The Flower School. The album delivers the goods with Orcutt’s giant guitar feedback and Amba’s passionate and hypnotic saxophone. Corsano’s drums are perfect – these are three of the most dynamic players in improvised music. One thing I especially loved was the pacing and focus of an album that hardly breaks a half hour (this is a good thing). The Flower School beautifully transitions from waves of guitar/sax noise to tender moments of beauty, where these musicians show they can scream and whisper with equal authority. Rainbows follow the storm.

15 Gard Nilssen’s Supersonic Orchestra – Family (We Jazz Records)

Riotous, boisterous, alive (and live), this is a family I want to sit down for dinner with. I imagine holidays with Nilssen and his crew – you might get overheated, exhausted even, and the windows are dripping with steam, but the excitement does not stop. And because this is only a metaphor, you can wake up from your daydream and play the album again. Listen in wonder at one of the most potent big bands in the world show off their chops and stretch their imagination. The closing number, “SP68,” is the most ecstatic moment of music-making released in 2023.

16 Fire! Orchestra – Echoes (Rune Grammofon)

Like Family above, another legendary European big band with a potent album out in 2023. The first track of this momentous, almost 2-hour opus may be the highlight. Beautifully recorded, the music slowly builds in a minimalist vein – a softly played snare drum, evocative strings, and a distant piano lock in over a bass groove. Then, at 4:20, Mats Gustafsson’s baritone materializes in all its ragged glory, slicing through the hypnotic vamp. It’s a thrilling moment and one of many among the rich and varied music here. This quote from the press materials sounds about right to me: “Echoes is a two-hour work of epic proportions; full of beauty, energy, haunting passages, and stunning musicianship, embracing progressive rock, contemporary avantgarde, cosmic, free jazz, ethnic experimentalism and more.”

17 Kid Millions and Sarah Bernstein – Forest Park Live (Island House Recordings)

Forest Park Live documents an intense September 2021 duet at the titular park. It’s a fascinating exchange of timbres and ideas; Kid Millions’ drums roil and push while Bernstein intones poetry and plays the violin. And that violin is something else! Played through an amplifier and effects pedals, Bernstein’s playing suggests all kinds of sound associations (white noise machine, tacks hitting the floor, or the spaceship at the end of Close Encounters of the Third Kind all came to mind for me). Very inventive stuff! You can see videos of the performance here: part one and part two.

18 Gaia Wilmer Large Ensemble – Folia: The Music of Egberto Gismonti (Sunnyside Records)

Saxophonist, bandleader, and composer (photographer too) Gaia Wilmer “recomposes” music by Brazilian legend Egberto Gismonti, played with depth and various sonorities by a 19-piece orchestra. Composer Gismonti plays the piano, a particular highlight such as on “7 Anéis.” But the orchestra is the center of attention, and when it’s in full flight, like on “Folia,” “Infância,” and “Baião Malandro,” the depth of the arrangements, tightness of the playing, and power of the horns (seven reeds, eight brass) is thrilling. Folia: The Music of Egberto Gismonti came out last January and stayed with me all year.

19 Jason Moran – From the Dancehall to the Battlefield (Yes Records)

Moran opened 2023 by dropping this album, a passion project devoted to the music of James Reese Europe. Even amidst a strong year for music, Moran’s album was not one to be forgotten. The excavation of overlooked repertoire, but with modern treatment, reminds us that the old can be new and the past, present, and future can meet through art. The Bandwagon (Moran with bassist Tarus Mateen and drummer Nasheet Waits) sounds better than ever. Will Moran drop another new album on January 1, like he has in the last two years? We’ll see . . .

20 Rogue Parade – Dion’s Quest (Sugah Hoof Records)

The latest by Rogue Parade, Dion’s Quest, features layers of electric guitars (two of them sparring throughout) and drums, which together kick up an exciting, swirling din, the perfect setting for group leader Greg Ward’s alto sax. Sometimes, Ward adds to the riot; other times, he cools the fervor. Either way, Dion’s Quest invokes the search in the album’s title and is a memorable listen.

That’s 20 albums and all I could write for now. There was lots of other fantastic music released over the last year, really far too much for me to write about. Plus, there’s a lot that I missed, and I keep on making new discoveries. I recommend a number of places to check out what albums made the grade – try Tom Hull on the Web (an encyclopedic listener’s guide to new releases) and year-end lists by Nate Chinen at NPR, Giovanni Russonello at The New York Times, or Dave Summer at Bandcamp. Or you can check out TNB’s album round-ups from our prior post in 2023. We will be shaking up the format for next year, and you can expect more frequent, focused coverage of new experimental and progressive music in the next year. Happy holidays, and see you in 2024!

(Ron Carter’s Golden Striker Trio; L-R Donald Vega, Ron Carter, Russell Malone; Image – James Koblin)

Last Sunday’s terrible weather could not keep a capacity crowd away from bassist Ron Carter’s afternoon concert, part of the Trinity Church “Jazz Icons” program. Carter’s December 10th set was a fitting climax to a season of gigs that included Tom Harrell (see TNB’s October post), Christian McBride and Kenny Barron, and the Monty Alexander Trio. Those who braved the elements were treated to over an hour and a half of music from Carter and his “Golden Striker trio” – guitarist Russell Malone, pianist Donald Vega, and the great bassist. Seeing a musician like Carter in this setting was a fantastic way to spend an afternoon, especially for the charitable cause of helping Jazz House Kids provide free musical education to children.

Before the concert, I had not heard this particular combination of Carter/Vega/Malone, but calling themselves “The Golden Striker” immediately tipped me off to where Carter’s group is coming from. The group’s moniker is from John Lewis’s tune of the same name, which was a staple for Lewis’s Modern Jazz Quartet (check out the original version of “The Golden Striker” on No Sun In Venice and a great live version on The Last Concert). The quiet groove of Lewis’ composition is at the heart of Carter’s group, and without any horn or drums to crowd out the bass playing, Carter achieves a rarified polish and friendly swing, the perfect balm for the gale outside. For examples of this group’s sound, check out, yes, The Golden Striker, recorded with Malone and Mulgrew Miller in 2002, as well as live recordings from 2013 and 2017 that feature Vega replacing Miller, and a short Pandemic era “Tiny Desk” concert for NPR.

Fellow bassist Christian McBride opened the concert with comments about his love and respect for Ron Carter. McBride told the audience that when he was learning his instrument, he studied from LPs where Carter’s recordings eclipsed just about everybody’s in quality and quantity as well (Carter is reputed to be the most recorded musician, having appeared on well over 2,000 albums). Then McBride ushered Carter and his band onto the stage, and the group played a gorgeous, intermission-free seven-tune set. Each tune was a highlight! The band opened with “Eddie’s Theme,” which was recorded by this group in the 2017 album linked above, and is a highlight of the Tiny Desk concert. The “Eddie’s Theme” performance featured excellent and lengthy solos from each band member, and kicked the set off with a sunny and joyful vibe.

Between tunes, Carter played MC and commented on the songs they played and what inspired them. Carter spoke about his debt to Cedar Walton and Billy Higgins while introducing Malone’s Walton tribute “Cedar Tree,” an unusual tune that builds a thick rubato effect with bass and strummed guitar. “Cedar Tree” got a bit lost in the soupy acoustics of the large church space, but the interesting arrangement, witty quotes (Malone tossed in the 1960s Batman theme at one point!), and Vega’s bright piano on the bridge all stood out. The set was evenly balanced between group originals and covers. Next, the group played the chestnut “Autumn Leaves,” which Carter humorously called “the shortest story,” I think a reference to how the Fall is gone in the blink of an eye (especially in the days of climate change). For “Autumn Leaves,” Carter tipped his hat to Ahmad Jamal, using the Jamal arrangement that features a prominent bass ostinato (check out Ahmad Jamal’s 1961 album Alhambra). The debt to Jamal was made explicit when Malone borrowed the iconic guitar percussion effects used by Ray Crawford in Jamal’s influential piano/bass/guitar trio. The sum of these influences produced a very polished arrangement, and the crowd was clearly digging the set.

The performance was not without obstacles, but this only added to a memorable afternoon. For example, guitarist Malone dealt with a setback that only proved his mettle on the group’s tribute to guitarist Jim Hall, “Candle Light.” On this tune Malone had his chance to shine, which he used to show off a beautifully pearlescent tone, but right as he finished building his solo – THRACK! – one of his strings audibly broke, spoiling Malone’s statement at its apex. The guitarist played on, seemingly unfazed, and developed an extended coda to the song, finding new ways to play alternate notes as the broken string hung off the guitar’s side. On the next tune, “My Funny Valentine,” played as a duet between Vega and Carter while Malone went to repair his guitar, a strange shrieking sound came from the basement – maybe the steam traps? Yet, Carter and Vega did not lose their composure for one minute; all of this professionalism in the face of obstacles is a testament to these musicians’ flexibility and improvising spirit.

The highlight was undoubtedly Ron Carter’s solo bass performance near the end of the set. This improvisation seemed like the answer to a question in my head throughout the concert: is there a place for me to write about a band that features covers of songs written decades ago on a blog devoted to progressive and experimental music? Of course, the barrier between “traditional” and “experimental” is a false dichotomy when it comes to improvised music. This is the beauty of jazz, a music that makes room for experimentation and innovation within the context of tradition. You don’t need to look very far to see that the trailblazers grew out of “the tradition.” Just consider John Coltrane’s arc from hard bop player and blues specialist to spearheading the 60s avant-garde, or Thelonious Monk’s development of a unique and vastly influential music language based on stride piano fundamentals, or the seminal moment of Be-Bop creation when Charlie Parker transformed Ray Noble’s staid “Cherokee” into the burn-the-house-down “KoKo.” One of the hallmarks of jazz is the imperative to improvise – you can hear the innovation in thousands of solos played within “the tradition,” such as Louis Armstrong’s epochal fanfare on “West End Blues,” or so many Lester Young solos like on “Lester Leaps In,” “Time Out,” and “Pound Cake,” or Ornette Coleman’s avant-blues solo on “Ramblin’,” which all leap to mind right away. There are many, many others. And then there’s Ron Carter himself, who, as part of the rhythm section of the 1960s Miles Davis quintet with innovators Tony Williams and Herbie Hancock, created a new musical language that has set the template for generations.

So, as I was saying, Carter played a solo bass performance that seemed to answer my question – great music will address the fundamentals that came before and find ways to generate new and daring art, all at the same time. If you skip forward to 01:06:50 here, you can view and hear the performance for yourself. Carter performed an improvisation on the childhood nursery song “You Are My Sunshine” but connected that melody deeply to the blues and gospel harmony. The bassist embroidered the solo with “extended” techniques, sometimes using percussion on the bass itself or playing “off the horn” effects below the bass’s bridge. Then, the solo segued into a fantasy drawn from the first Bach solo cello suite, flexibly drawing a connection between blues and Baroque harmony and language. It was an incredible moment that visibly astounded the audience and received a lengthy standing ovation. Clearly moved, Carter remarked, “and we’re in church!” Bravo, Mr. Carter!

The band ended the set with a breezy cover of “Soft Winds.” Fittingly, the music seemed to clear aside the lousy weather outside; when I left, all the rain had stopped. I sauntered off into a mild and pleasant holiday evening in Manhattan, the impressive silhouette of Trinity Church behind me. Frankly, because of the bad weather, I almost didn’t go out to see this show, and I’m thrilled that I did make it. The recent deaths of innovators like Ahmad Jamal, Peter Brötzmann, and Carla Bley remind us that our opportunities to see the original innovators of jazz are all too short. If you can see Ron Carter or any other of the great musicians who helped build this art form, you don’t miss your chance!

(Trinity Church on a December evening after the show; Image – James Koblin)

So many albums at the start of the Fall, and we frankly spent our time listening rather than writing. This double-month round-up is a belated attempt to catch up. If you’ve read our album review of Kate Gentile’s Find Letter X, you know it’s TNB’s top album out now. Here are more really excellent releases – what we think are the best of the best from the last two months. Please note, this month, we’ve dropped singling out some albums as “pick hits” – there’s no reason to differentiate when all of these albums are so great! Enjoy.

Angelika Niescier – Tomeka Reid – Savannah Harris – Beyond Dragons
(released September 15th, 2023)

Angelika Niescier – Alto Saxophone
Tomeka Reid – Cello
Savannah Harris – Drums

I became aware of Niescier with the 2018 recording The Berlin Concert and was immediately knocked out by her intense sound, blistering phrasing, and the way her sax playing locks in with drummers. So I’ve been looking forward to Beyond Dragons – and happy to report that it’s pure fire. Niescier’s music is better than a double shot of espresso. Reid’s cello matches Niescier with electrifying pizzicato playing and frantic, overpowering arco solos. Harris lays out drum bombs that explode. Words can’t convey this date’s taunt band dynamics and shear energy. It’s the best Niescier album yet; don’t miss it!

Nate Wooley – Four Experiments
(released September 26th, 2023)

Nate Wooley – trumpet, trombone, voice, compositions
John McCowen – recorder
Weston Olencki – trombone
Ryan Packard – bass drum, sine tones, speaker cone, and rope
gabby fluke-mogul violin
Russell Greenberg – percussion
Cory Smythe – piano
Lester St. Louis – cello
Luke Stewart – double bass and amplifier
Joshua Modney – violin and voice
Seymour Wright – alto saxophone
Laura Cocks – flute
Madison Greenstone -clarinet
Eric Wubbels – piano, voice, autoharp

Four Experiments documents Nate Wooley’s music inspired by poet Stephen Spender and is intended to provoke new ways of viewing the relationship between composition, instrument, and technique. Each disc highlights a different challenge to the soloist. For example, on disc one, the player is instructed to repeat a single musical cell identically until there is an error, and then the error must be repeated with each cycle and is now part of the “tune.” As interpreted by recorder player John McCowen on the first track, the song slowly morphs and turns. The music embraces mistakes, which is fascinating and very human. Similar challenges are thrown down on the remaining discs – on disc two, the players explore the vibratory surfaces of their instruments in ways that roll back virtuosity; on disc three, instrumentalists who are not trained singers have to vocalize in just intonation over a drone. On the last disc, musicians must find ways to modulate a fragment of musical information using specific pre-defined parameters. The philosophy of these compositions was developed on Wooley’s Mutual Aid Music (check out the album of that name from 2021) – to create a space where musicians can use compositional prompts to explore what can be made from “failure.” The music here is abstract, meditative, fascinating, and deep with rhetorical and philosophical dimensions.

Anna Webber with Adam O’Farrill, Mariel Roberts, Elias Stemeseder, and Lesley Mok – Shimmer Wince
(released October 20th, 2023)

Anna Webber – tenor sax, flute, bass flute
Adam O’Farrill – trumpet
Mariel Roberts – cello
Elias Stemeseder – synthesizer
Lesley Mok – drums

Anna Webber’s new album explores the language of just intonation (also used by Nate Wooley above), an ancient musical notation system employed in a modern context. Webber’s music uses webs of repeated short phrases that build a wall of sound around dissonant pulses. Shimmer Wince is an apt description of the radiant sweet-sour aesthetic, and this band does a great job executing the concept. I enjoyed Adam O’Farrill’s metallic tone and vibrant phasing, the sweeping cello lines from Mariel Roberts, and the delightfully twisted avant-robot synths from Elias Stemeseder. Mok’s chipper drums are just what the music needs. Best of all is the leader, whose flute is commanding on “Squirmy” and blustery tenor grounds the esoteric flights of “Periodicity 1” and “Swell.” The best moment is at 5:48 of “Wince”: the music swells once more with the entrance of Webber’s warm Ben Webster-like tenor over Stemeseder’s seasick bleeps – old and new clash to create a moment as profound as any I’ve heard all year.

Jessica Pavone – Clamor
(released October 6th, 2023)

Jessica Pavone – composer
Katherine Young – bassoon solo (tracks II, III)
Aimée Niemann and Charlotte Munn-Wood – violin
Abby Swidler and Jessica Pavone (solo on tracks III, IV) – viola
Mariel Roberts (solo on track IV) – cello
Shayna Dulberger – double bass

The notes to Jesica Pavone’s new album Clamor state that its four movements are “titled after innovations made by women throughout history to circumvent obstructions to their freedoms.” You can read the music as a metaphor for overcoming adversity, but maybe it is best to simply appreciate it’s abstract beauty without programmatic concerns. The dynamics of the strings subtly build throughout “Neolttwigi,” and the listener can enjoy granular details of the interaction between the players or focus on the sweep of the track as it builds. The highlight for me is “Nu Shu (part 1),” where Katherine Young’s bassoon blasts at the tune’s opening, then segues into an ethereal variety of woody trills, key clicks, and breath effects. Meanwhile, the strings intersect to create interlocking and beautiful layers. Check out the profile of this album on Bandcamp, where it was named one of the month’s best.

Matthew Shipp – The Intrinsic Nature of Shipp
(released September 15th, 2023)

Matthew Shipp – piano and compositions

Like discographical bookends, September brought us two important Matthew Shipp releases – the reissue of his first leader date (see TNB Archival Music picks below) and a solo record released September 15th, The Intrinsic Matthew Shipp. This new release is an encapsulation of what makes Shipp one of the great musicians alive today – ten tracks and 50 minutes of Shipp alone at the keyboard, playing material that is quite meditative and melodic but also free of any formulaic song structures. Especially impressive is Shipp’s command of his materials – he segues from one idea to the next with total ease, and at each moment, you can hear his awareness of where he is and where the music is going. Shipp’s playing is uniquely his own and becomes more distinct with each record. There’s no better place to listen than his solo piano recordings, and I recommend immersing yourself in Shipp’s sound and keyboard language with this release. Check out a feature on Bandcamp about this album here.

Mendoza Hoff Revels – Echolocation
(released October 13th, 2023)

Ava Mendoza – electric guitar, compositions
Devin Hoff – electric bass, compositions
James Brandon Lewis – tenor saxophone
Ches Smith – drums

The unmistakable guitar of Ave Mendoza owns the opening notes of “Dyscalculia,” the first track of the new release by Mendoza Hoff Revels – Mendoza’s heavy, overdriven riffs quickly lock into the lumbering groove set by Devin Hoff’s bass and Ches Smith’s drums. James Brandon Lewis waits in the wings until two minutes in – when he joins with the band, all hell breaks loose. Echolocation feels like a descendent of Sonny Sharrock’s guitar and sax collaborations with Peter Brötzmann or Pharoah Sanders, but updated for the here and now. Yes, the whole album rips. Favorite moment: at the restatement of the head on mid-album stunner “Babel-17,” Ches Smith goes all-out rock with a loose-limbed barrage of drumming à la Keith Moon while Lewis’ sax wails and Mendoza’s guitar sails over the chaos.

Ghost Train Orchestra & Kronos Quartet – Songs and Symphoniques: The Music of Moondog
(released September 29th, 2023)

Kronos Quartet, Ghost Train Orchestra with guests Sam Amidon, Jarvis Cocker, Petra Haden, Karen Mantler, Marissa Nadler, Aoife O’Donovan, Rufus Wainwright, and Joan Wasser

The press for this album argues that legendary and groundbreaking musician Moondog (whose birth name was Louis Hardin) is now quite forgotten, and this record seeks to remedy some of that. I recommend this extensive and excellent article from The Guardian if you need a primer. I learned that Moondog crashed at Phillip Glass’s apartment for a year, and Glass said he learned more from Moondog than he did at Julliard! Songs and Symphoniques: The Music of Moondog is very, very entertaining and makes excellent use of features from a host of artists, including Jarvis Cocker’s inimitable appearance on “I’m This, I’m That,” the amusing wordplay of “Enough About Human Rights” which features Karen Mantler, and “Behold” where Kronos Quartet delivers a lively string part. All excellent – now I’ll have to go back and listen to Moondog himself.

Steve Lehman & Orchestre National de Jazz – Ex Machina
(released September 15th, 2023)

Steve Lehman – alto saxophone, electronics
Jonathan Finlayson – trumpet
Chris Dingman – vibraphone
Members of Orchestre National de Jazz

Steve Lehman has a penchant for heady conceptual albums, such as his two avant rap albums (2016’s Sélébéyone and last year’s Xaybu: The Unseen) or his prior octet works that The New York Times dubbed “A blast of urban futurism.” Lehman’s new album could not have a more apropos title than Ex Machina, as it sports multiple organizing ideas that drive the playing – the continuation of the “spectral jazz” that has been Lehman’s trademark language, the combination of real-time interactive electronics developed at IRCAM (Institut de Coordination Acoustique Musique), and a French big band, Orchestre National de Jazz (ONJ). There are many acronyms and ideas to swallow, so the best thing to do is listen – you’ll hear precise modern (or post-modern?) big-band charts that provide the framework for sparring between computers and humans. Lehman’s quicksilver articulation is always thrilling, and solos from Chris Dingman on vibes and from the French band by pianist Bruno Ruder and tenor saxophonist Julien Soro all stand out.

TNB Top Archival Releases

Pharoah Sanders – Pharoah
(Released September 15th, 2023)

Pharoah LP
Pharoah Sanders, Tenor Saxophone, Percussion, Vocals
Bedria Sanders, Harmonium
Steve Neil, Bass
Tisziji Muñoz, Guitar
Greg Bandy, Drums
Clifton “Jiggs” Chase, Keyboards
Lawrence Killian, Percussion

Harvest Time Live 1977 LP
Pharoah Sanders, Tenor Saxophone, Percussion, Bells
Hayes Burnett, Bass, Percussion
Clifford Jarvis, Drums
Khalid Moss, Piano, Electric Piano

I’d never heard this album or its key track, “Harvest Time,” before this reissue, and listening to it was one of those moments of destiny where you know this music was supposed to enter your life, and now it’s part of who you are. Pharoah has a bewitching calmness and peace that comes from the combination of Sanders’ majestic tone, the unhurried guitar of Tisziji Muñoz, and a perfectly gauzy production that doubles the atmosphere. This is an essential release. Sanders had no record label when this was recorded in 1977, and its initial release limited to a tiny run on the long-defunct India Navigation label. Since then, it’s lived mainly on YouTube, so having an official reissue is wonderful.
What’s more, if you spring for the deluxe CD or vinyl issues, you get bonus live versions of “Harvest Time,” all beautifully packaged. I’ve ordered mine! Don’t skip this one – music of this beauty can change your life.

Matthew Shipp – Circular Temple
(released September 9th, 2023)

Matthew Shipp – Piano
Whit Dickey – Drums
William Parker – Bass

If you want a contrast to Matthew Shipp’s new mediative solo piano discussed above (The Intrinsic Nature of Shipp), look no further than Shipp’s first album as a leader, reissued here for the first time on vinyl. Hearing the bookends of Shipp’s career is instructive and makes you appreciate his art all the more. On Circular Temple, recorded and first released in 1990, Shipp sounds energized as he moves from one block of riffs and themes to the next. The music favors the propulsive and percussive. On the long standout track “Circular temple #4,” he plays a forceful solo section, and then drummer Whit Dickey and bassist William Parker (both sounding great) come in. Shipp trades ideas with them in a vigorous back-and-forth over the epic 20-minute track. You can hear a real debt to Cecil Taylor in how the music is presented, but Circular Temple also announces a new and singular voice in jazz—a terrific reissue.

Music discussed:
Kate Gentile – Find Letter X
(released October 13, 2023, Pi Recordings)
The Find Letter X band:
Jeremy Viner – tenor saxophone, clarinet, bass clarinet
Matt Mitchell – piano, Prophet-6, modular synths, electronics
Kim Cass – acoustic & electric bass
Kate Gentile – drums, vibraphone, compositions

Kate Gentile has a lot of music to share, and 2023 is the year to listen. When TNB did this profile of Gentile in March, we noted all the projects Gentile has going on – playing on half of Matt Mitchell’s piano-drums duet album Oblong Aplomb, starting a new record label, Obliquity Records, and issuing the label’s first release, a fantastic collaboration between Gentile and the International Contemporary Ensemble. That record, biome i.i, centers Gentile’s writing for a modern classical chamber group augmented by her drumming, and would have been the highlight of any year for most artists.

Yet, there has been even more music from Gentile in 2023. She has followed up biome i.i with Flagrances (Obliquity #002), an abstract experimental album of her drums with guitarist Andrew Smiley, featuring music at the border of jazz and rock. Now, the Year of Kate continues with Find Letter X, which is both the name of the group and its new self-titled album. As discussed in this interview with Jazz Speaks, Gentile’s band played a lot in New York before the pandemic, but we’ve had to wait until now for a recording of its work. Yes, it’s worth the wait – Find Letter X is a massive 3 CDs with 41 tunes spread out over 3 hours and 16 minutes. All the compositions are by Gentile. Yet there’s really no filler on this album. Somehow, Gentile has managed to assemble a musical statement that is both more expansive and more focused than anything she’s done before. Let’s discuss just some of the music that awaits you . . .

There is a distinct identity for each “volume” of Find Letter X, and disc one (named Iridian Alphabet) picks up right where Gentile’s album 2017 Mannequins left off, with rhythmically astute and harmonically complex acoustic jazz with additional electronics from Matt Mitchell. I’ll single out the disc one track “recursive access” as an example of the inventive spirit of this project. That tune starts with a “rock” beat that is easy to dig, but the rhythm section quickly flips into a contrasting, slower tempo and then back to the groove section again, while Viner and Mitchell play the elaborate melody and solo at a speed that often contrasts that of the rhythm. Gentile accentuates this contrast by dragging the beat on the cymbal during the slow sections, allowing the energy to burst forward again when the cycle flips back to the “rock” beat. That may sound complex, but it’s not esoteric at all – Gentile builds this tune around accessible elements like swing and energy, which are immediately captivating. “recursive access” is just one example – this well-poised bridge between intricate arrangements and attention-grabbing elements is all over Find Letter X. For more of the same, check out the intense “prismatoid,” or the concluding track of the first disc “the 5th clone,” both of which feature bristling, interlocking sections and excellent solos from Mitchell on piano and Viner on tenor. So much great material, and that’s just disc one.

Disc two (called Senselessness) is a blast! I mean that literally because Senselessness is the culmination on record of Gentile’s love of metal, which she has been talking about since her 2019 interview with Hank Shteamer’s Heavy Metal BeBop. So, on Senselessness, we get the blast beats and jazz-metal we’ve been waiting for. For this disc, Cass switches to electric bass, and Mitchell’s electronics play the role that we would expect from the electric guitar – it’s all very heavy, but the compositions draw from a sophisticated and diverse musical palette, so even if you’re not a fan of metal, don’t skip this one. If you approach this as “jazz with a big jolt of energy,” you’ll enjoy it too, and just hearing the incredible drumming from Gentile is great. This disc from Find Letter X is the most successful blend of jazz and metal I’ve heard, and not to be missed!

Disc three (The Cosmic Brain) allows Gentile to play vibes as well as drums and brings back the acoustic quartet + electronics of disc one. This volume seems more open and less knotty than the first disc, features a lot of Viner’s terrific clarinet, and leans more toward the modern classical approach of biome i.i. I was amazed by all the material on this project, and the quality of the music on The Cosmic Brain did not let up one bit. Highlights include the stuttering rhythms on “bask,” the contrast of churning drums against cool clarinet on “clarion fluorescent,” and especially the precise band interaction on the epic “synaptic blazes.”

There is so much more to say about Find Letter X, but words don’t stand in well for the music, so buy it! However, I want to say something about each of the musicians on this album. First of all, the leader’s compositions and drumming reveal someone with an adventurous spirit – these tunes are not easy to play, and many, such as “Laugh Magic,” turn on the drop of a dime from one measure to the next. When I hear these tunes, I hear a challenge being made – to the band, “Can you play this?” and to the listener, “Can you dig this?” But none of it feels pretentious or abstract. Instead, Find Letter X is challenging in the best way – a playful dare. I don’t think you’ll have much trouble appreciating and enjoying what Gentile is doing here. As I said about the Snark Horse collaboration with Matt Mitchell, there’s an infectious sense of fun here.

Matt Mitchell is essential to this band. Not only are his piano and electronics prominent elements throughout Find Letter X, but his rhythmic poise and commanding solos orient the listener to the shifting environments of these tunes. Gentile gives a special thanks to Mitchell’s electronics in the liner notes, which have reached an impressive level of maturity since Mannequins. Electronics are used as intros, outros, or transitions to many of the tunes and have an essential role in giving energy to many of the melodies and supporting the accessibility of the music to the listener.

Kim Cass’ bass playing does the heavy lifting, not just for the rhythmic lines but also for the band’s sound. In a recent interview with Mike Watt (yes, that Mike Watt – bass player in Minutemen and fIREHOSE), Gentile credits Cass joining the band with forming the identity of the Find Letter X band. It’s easy to see why – on acoustic bass, Cass plays with volume and energy that propels the music and animates its texture. Check out “In Casks,” a Kim Cass feature named after him (“In Casks” = Kim Cass, get it?), which features a great bass intro and Cass’s riffs out front during the tune. Cass’ electric bass on disc two is something else – it reminds me of the prominent role of bass on prog rock albums. Disc two would not be the same without Cass’s impressive tone and quick-fingered electric bass phrasing.

Last and not least is tenor saxophonist and clarinetist Jeremy Viner. Viner’s clarinet was one of the most impressive aspects of 2017’s Mannequins, but now I’m especially bowled over by Viner’s tenor saxophone. On Find Letter X, Viner seems to be able to do everything the demanding music calls for with ease – from the unexpected balladry on “subsurface,” where the sax playing would not be out of place on one of the more avant Blue Note albums, to the high octane blowing on “laugh magic,” “ore whorls, ” or “importunate babble.” Viner does it all so well, and now is the time for more Jeremy Viner! I know he’s an essential piece of Battle Trance (their 2022 album Green of Winter is excellent), but Viner has truly arrived with his superb work on this album.

As I’ve mentioned, there is much more we could talk about, but there’s no substitute for listening – you can sample key tracks at Bandcamp or watch and listen to the preview videos that Gentile made for disc one and disc two (where you can see her creating the distinctive album art as well). If you’re in the New York area, get tickets to Roulette for the album release party on October 31. Gentile promises you’ll hear reimagined and different interpretations of the material on Find Letter X – she’s already off to the next thing! If you can’t make it to the show, there’s also a live feed at the link above, which Roulette usually archives for future viewing. Gentile is also hosting an online listening party on November 7 – you can find details at Bandcamp here. We’ll be there.

Let’s end by saying don’t be turned off by the size of this project. Yes, massive, multi-part albums are often forbidding or unnecessary. I’ve listened to many projects much shorter than this one and wished the artist had been better at self-editing. Incredibly, nothing on Gentile’s new triple album feels out of place; it’s all very strong, and I’ve kept returning to all three volumes of this compelling music. This level of ambition and execution is rare, and Find Letter X is strongly recommended – certainly one of the year’s best.

Kate Gentile’s Find Letter X – L-R Jeremy Viner, Kim Cass, Matt Mitchell, Kate Gentile; Photo credit – D. James Goodwin

(Live at Trinity Church 10/8/2023 L-R Luis Perdomo, Ugonna Okegwo, Tom Harrell, Adam Cruz)

It’s always a pleasure to see Tom Harrell live. With Harrell, that pleasure is not necessarily from the fire or virtuosity of the music, necessary ingredients for some other musicians. Harrell is now age 77, and while he’s always had plenty of chops on both trumpet and flugelhorn, his age and long-term health problems are a challenge, especially given the difficulty of playing trumpet well. But chops have never been the center of Harrell’s aesthetic anyway. Instead, he eschews pyrotechnics that are other horn player’s bread and butter for something much more profound – the ability to improvise melodically and to tell a story with music alone. Harrell has a deep and humble melodicism that is the rarest gift in music, a gift that fills Harrell’s fans and fellow musicians with reverence for what he can do with a simple phrase. This gig, presented at New York City Trinity Church on October 8th as part of the “Jazz Icons” series, was a great place to catch up with Harrell. The concert was free and open to the public, and where better to experience beauty than in a church? Trinity Church was packed with an appreciative house for an hour and twenty minutes of beautiful music in a wondrous setting.

After remarks from the church’s music director, Harrell and his regular working quartet assembled in front of the nave under soaring arches and stained glass, ready to play. But before we get to the music, let’s talk about Harrell’s excellent band! Bassist Ugonna Okegwo anchors the group and has been with Harrell for 25 years. Okegwo’s deep sound and swinging time are the band’s glue. Drummer Adam Cruz has played with Harrell for almost as long as Okegwo, from 2014’s Trip onward. In the spacious soundstage of the church, Cruz’s drums were both dynamic and detailed, and he made the band sound alive. Pianist Luis Perdomo is a more recent associate to Harrell, yet he fit into this group like a glove. Perdomo’s comping under Harrell’s lines and his solos were poised, relaxed, and beautiful. This band showed they are flexible, played with immense intuition, and each member of the rhythm section gave terrific solos.

The show started with a Tom Harrell original, “Sun Up,” which features a stuttering rhythm and the bright, cheery melody the name suggests. Live, Harrell and his band slowed the tempo, allowing Harrell to develop a relaxed two-chorus solo. Harrell’s tone was beautifully transparent, and his ideas flowed gracefully from one phrase to the next. The leisurely tempo for the opener was a good choice because, unfortunately, Harrell had difficulty with the faster tunes of the set. Although Harrell played several solos that were beautiful gems (like on the arabesque original “Delta of the Sea,” where he played with a convincing bite, or the labyrinthine “Sea,” where he played a tender solo over a gentle rubato feel from the rhythm), he seemed to be having what I guess were embouchure problems. On the faster standards the group played, such as “There Will Never Be Another You,” you could hear Harrell’s difficulty with the head of the tune and his solo. That performance was still fine and quite beautiful, but Harrell’s chops really gave him trouble with the changes on Coltrane’s “Moment’s Notice.” Here, Harrell had to give up playing at the top of the third chorus of his solo, leaving the band to “hold the music in place” for the next half chorus until Cruz could conclude the tune with a commanding drum solo. At moments, you could feel the band trying to carry their leader.

The gaffe on “Moment’s Notice” might have defeated other players. But the next tune was an astounding moment of grace and resiliency. Drummer Cruz and bassist Okegwo left the stage, and Harrell played a duet with Perdomo on a tune I’d never heard before, “Journey to the Stars,” which Harrell recorded on 2012’s Number Five. After a hypnotic piano intro, Harrell played some of the most transcendent, luminous trumpet I’ve ever heard. It was a dramatic moment; Harrell was bent over, his trumpet facing straight down to the floor, while he conjured phrases that seemed to soar to the church’s vault above. The beauty and power of this performance had me in tears, and it ended with screams and cheers from the audience as Perdomo clasped his hands in respect towards his duet partner. “Journey to the Stars” was a total triumph, made even more breathtaking after the trouble that Harrell had been having executing the music only minutes before. The band then rode out the afternoon of music with the breezy “Keep On Goin” from 2016’s Something Gold, Something Blue. The whole band sounded fine again, and the performance left the crowd happy after a fascinating and moving afternoon of music.

Seeing Tom Harrell reminded me of the remarkable honesty and courage of his playing. He’s at an age where many trumpet players think about retiring due to the demands of the trumpet. Instead, Harrell has pared down his working group to a quartet without another horn to carry the weight, and has focused more and more on the trumpet rather than the easier-to-play flugelhorn (which he left at home for this gig). What’s more, he does not play rehearsed “licks” or repeat himself – live, you could see and hear him creating melodic lines in the moment, always with the risk of running out of ideas or playing bad notes. Those imperfections are part of what makes Harrell’s playing so moving – even in the face of challenges from age and his health, he embodies what is best about jazz – playing music that’s real, that embodies experience and life, and is centered on beautiful expression that comes straight from the heart (and the brain too). See him when you have the chance.