4 On his third recording, pianist Aaron Choulai—a legally blind, albino, New Guinea-born twentysomething of startlingly eclectic descent—taps into a reservoir of deep feeling on an ultra-sensitive rendering of “You Go to My Head” and his own introspective compositions. His trio, with bassist Sam Anning and either Ben Vanderwal or Rory McDugall on drums, swings “I’ll Be Seeing You,” during which Choulai adopts a playful, Keith Jarrett-inspired deconstructionist aesthetic. The band also turns in fresh readings of Neil Young’s “Tell Me Why” and Radiohead’s “The Tourist.” true 21 2009-11-04T23:01:50-05:00 false 25288 178 true 125 2009-12-01T00:00:00-05:00

On his third recording, pianist Aaron Choulai—a legally blind, albino, New Guinea-born twentysomething of startlingly eclectic descent—taps into a reservoir of deep feeling on an ultra-sensitive rendering of “You Go to My Head” and his own introspective compositions. His trio, with bassist Sam Anning and either Ben Vanderwal or Rory McDugall on drums, swings “I’ll Be Seeing You,” during which Choulai adopts a playful, Keith Jarrett-inspired deconstructionist aesthetic. The band also turns in fresh readings of Neil Young’s “Tell Me Why” and Radiohead’s “The Tourist.”

2009-11-06T12:16:13-05:00

4 Bassist Miriam Sullivan has reinvented herself as Mimi Jones, her singer-songwriter alter ego cast in something of a Cassandra Wilson-meets-Patrice Rushen vein, with a little bit of Esperanza Spalding on the side. For this rather startling transformation she is accompanied by versatile guitarist Marvin Sewell (a longtime Wilson sideman), pianist Miki Hayama, trumpeter Ambrose Akinmusire (stunning on the hard-hitting “Suite Mary”) and the superb young drummer Marcus Gilmore. Mimi finds her voice on evocative originals like “Spiral” and “Mighty Time,” the mellow “Close Your Eyes,” the blues-drenched “Watch Your Step” and the funky “For Granted.” true 21 2009-11-04T23:04:27-05:00 false 25289 178 true 125 2009-12-01T00:00:00-05:00

Bassist Miriam Sullivan has reinvented herself as Mimi Jones, her singer-songwriter alter ego cast in something of a Cassandra Wilson-meets-Patrice Rushen vein, with a little bit of Esperanza Spalding on the side. For this rather startling transformation she is accompanied by versatile guitarist Marvin Sewell (a longtime Wilson sideman), pianist Miki Hayama, trumpeter Ambrose Akinmusire (stunning on the hard-hitting “Suite Mary”) and the superb young drummer Marcus Gilmore. Mimi finds her voice on evocative originals like “Spiral” and “Mighty Time,” the mellow “Close Your Eyes,” the blues-drenched “Watch Your Step” and the funky “For Granted.”

2009-11-06T12:16:13-05:00

4 On the burning title track, Parisian-born saxophonist Alex Terrier comes out of the gate wailing on alto, with pianist Roy Assaf, bassist Francois Moutin and drummer Steve Davis providing interactive sparks along the way. They settle into more reflective terrain on “The Spirit Will Not Descend Without a Song” and the poignant “Departure,” then tackle the rhythmic puzzle “E.S.B. and Ecstasy.” Terrier is a compelling balladeer on tenor on “Song for Keli” and a first-rate composer on the stirring suite “Le Miroir Des Anges Deguises,” the lyrical “Tompkins Square” and the frantic closer, “The Dark Side of Democracy.” true 21 2009-11-04T23:06:04-05:00 false 25290 178 true 125 2009-12-01T00:00:00-05:00

On the burning title track, Parisian-born saxophonist Alex Terrier comes out of the gate wailing on alto, with pianist Roy Assaf, bassist Francois Moutin and drummer Steve Davis providing interactive sparks along the way. They settle into more reflective terrain on “The Spirit Will Not Descend Without a Song” and the poignant “Departure,” then tackle the rhythmic puzzle “E.S.B. and Ecstasy.” Terrier is a compelling balladeer on tenor on “Song for Keli” and a first-rate composer on the stirring suite “Le Miroir Des Anges Deguises,” the lyrical “Tompkins Square” and the frantic closer, “The Dark Side of Democracy.”

2009-11-06T12:16:13-05:00

4 Chicago cornetist Josh Berman, a mainstay on the Windy City’s improvised music scene for the past 10 years, has put together a provocative, intelligent debut as a leader. His <I>Old Idea</I>, seemingly, is to capture some of balance of structure and freedom heard on Eric Dolphy’s Out to Lunch! (which is now 45 years old). Indeed, the instrumentation is similar and Berman originals like “On Account of a Hat,” “Nori,” “What Can?” and “Let’s Pretend” seem cast in the same spirit of Dolphy’s “Hat and Beard,” “Gazelloni” and “Straight Up and Down” from that classic Blue Note release, reflected by intricate unison lines on the head and a daring time/no time aesthetic in the solo sections. Berman is a bold improviser with clear intention behind every note. And he’s found a kindred spirit in robust-toned tenor saxophonist Keefe Jackson, whose tight interaction with the cornetist is nearly telepathic throughout, particularly on their duet, “Next Year A.” The flexible and highly empathic rhythm tandem of bassist Anton Hatwich and drummer Nori Tanaka lets this music breathe while Jason Adasiewicz’s shimmering vibes invite comparisons to Bobby Hutcherson’s key role on Out to Lunch! true 21 2009-10-12T22:40:36-04:00 false 25202 177 true 125 2009-11-01T00:00:00-04:00

Chicago cornetist Josh Berman, a mainstay on the Windy City’s improvised music scene for the past 10 years, has put together a provocative, intelligent debut as a leader. His Old Idea , seemingly, is to capture some of balance of structure and freedom heard on Eric Dolphy’s Out to Lunch! (which is now 45 years old). Indeed, the instrumentation is similar and Berman originals like “On Account of a Hat,” “Nori,” “What Can?” and “Let’s Pretend” seem cast in the same spirit of Dolphy’s “Hat and Beard,” “Gazelloni” and “Straight Up and Down” from that classic Blue Note release, reflected by intricate unison lines on the head and a daring time/no time aesthetic in the solo sections. Berman is a bold improviser with clear intention behind every note. And he’s found a kindred spirit in robust-toned tenor saxophonist Keefe Jackson, whose tight interaction with the cornetist is nearly telepathic throughout, particularly on their duet, “Next Year A.” The flexible and highly empathic rhythm tandem of bassist Anton Hatwich and drummer Nori Tanaka lets this music breathe while Jason Adasiewicz’s shimmering vibes invite comparisons to Bobby Hutcherson’s key role on Out to Lunch!

2009-10-20T12:19:58-04:00

4 Trinidad native and Juilliard-trained trumpeter Etienne Charles artfully and organically blends Afro-Caribbean folkloric music and jazz improvisation on his second recording as a leader. With a lineup of international all-stars including Guadeloupean tenor saxophonist Jacques Schwarz-Bart, Serbian pianist Milan Milanović, Trinidadian steel pans player Len “Boogsie” Sharpe, veteran percussionist Ralph MacDonald and the powerful rhythm tandem of bassist Luques Curtis and the extraordinary young drummer Obed Calvaire, Charles establishes the rich premise on the opening title track then explores the fusion further on a suite of music based on West African-Caribbean mythology. Each tune here is named for a different character in Afro-Caribbean folkloric tradition—“Douens,” “Dance With la Diablesse,” “Soucouyant,” “Mama d’lo,” “Mama Malade” and “Papa Bois.” Charles, a brilliant technician with a bright sound and sharp attack, is complemented on the frontline by the powerful playing of Schwarz-Bart. Together they harness hard-bop energy, push into heightened Trane territory, settle into gorgeous ballads and traverse a whole litany of Trinidadian rhythms. A daring improviser, Charles also delivers with heart-wrenching lyricism on the beautiful ballad “Mysterieuse.” A fascinating, fully realized hybrid. true 21 2009-10-12T22:42:34-04:00 false 25203 177 true 125 2009-11-01T00:00:00-04:00

Trinidad native and Juilliard-trained trumpeter Etienne Charles artfully and organically blends Afro-Caribbean folkloric music and jazz improvisation on his second recording as a leader. With a lineup of international all-stars including Guadeloupean tenor saxophonist Jacques Schwarz-Bart, Serbian pianist Milan Milanović, Trinidadian steel pans player Len “Boogsie” Sharpe, veteran percussionist Ralph MacDonald and the powerful rhythm tandem of bassist Luques Curtis and the extraordinary young drummer Obed Calvaire, Charles establishes the rich premise on the opening title track then explores the fusion further on a suite of music based on West African-Caribbean mythology. Each tune here is named for a different character in Afro-Caribbean folkloric tradition—“Douens,” “Dance With la Diablesse,” “Soucouyant,” “Mama d’lo,” “Mama Malade” and “Papa Bois.” Charles, a brilliant technician with a bright sound and sharp attack, is complemented on the frontline by the powerful playing of Schwarz-Bart. Together they harness hard-bop energy, push into heightened Trane territory, settle into gorgeous ballads and traverse a whole litany of Trinidadian rhythms. A daring improviser, Charles also delivers with heart-wrenching lyricism on the beautiful ballad “Mysterieuse.” A fascinating, fully realized hybrid.

2009-10-21T00:19:43-04:00

4 An accomplished bassist-composer and fearless improviser on the New York scene, newcomer Linda Oh has two open-minded and highly skilled musical partners on her leader debut: adventurous trumpeter Ambrose Akinmusire and drummer Obed Calvaire, a marvel on the kit. The stripped-down trio makes a strong impression from the jump on “Morning Sunset” and continues the provocative three-way conversation on the dark-hued “Patterns” and the smolderingly intense “Numero Uno,” which opens with a mesmerizing overdubbed trumpet choir by Akinmusire. The music throughout this provocative set flows with an internal logic and energy of its own, like the entrancing 12/8 vehicle “Fourth Limb,” the startling “Gunners,” the bop-influenced romp “201” (catch her extrapolation on Miles Davis’ “Solar” during her extended solo) and the calming fugue “Before the Music.” The 25-year-old Chinese-Malaysian woman raised in Australia is emerging as a formidable talent. true 21 2009-10-12T22:44:17-04:00 false 25204 177 true 125 2009-11-01T00:00:00-04:00

An accomplished bassist-composer and fearless improviser on the New York scene, newcomer Linda Oh has two open-minded and highly skilled musical partners on her leader debut: adventurous trumpeter Ambrose Akinmusire and drummer Obed Calvaire, a marvel on the kit. The stripped-down trio makes a strong impression from the jump on “Morning Sunset” and continues the provocative three-way conversation on the dark-hued “Patterns” and the smolderingly intense “Numero Uno,” which opens with a mesmerizing overdubbed trumpet choir by Akinmusire. The music throughout this provocative set flows with an internal logic and energy of its own, like the entrancing 12/8 vehicle “Fourth Limb,” the startling “Gunners,” the bop-influenced romp “201” (catch her extrapolation on Miles Davis’ “Solar” during her extended solo) and the calming fugue “Before the Music.” The 25-year-old Chinese-Malaysian woman raised in Australia is emerging as a formidable talent.

2009-10-21T00:17:07-04:00

4 This excellent disc documents David Berkman’s quartet with saxophonist Jimmy Greene, bassist Ed Howard and drummer Ted Poor at the intimate Upper West Side haven for New York’s straightahead set. While the reliably swinging pianist and accomplished composer might be bending the rules a bit on the club’s criterion, particularly on the ominous groover “The Mayor of Smoke” and “Carroll Street Pop Tune,” pieces like “Weird Knack,” “Hidden Fondness” (based on “Secret Love”) and his tasty cover of Benny Golson’s “Along Came Betty” fit right in. true 21 2009-10-03T12:25:25-04:00 false 25103 175 true 125 2009-10-01T00:00:00-04:00

This excellent disc documents David Berkman’s quartet with saxophonist Jimmy Greene, bassist Ed Howard and drummer Ted Poor at the intimate Upper West Side haven for New York’s straightahead set. While the reliably swinging pianist and accomplished composer might be bending the rules a bit on the club’s criterion, particularly on the ominous groover “The Mayor of Smoke” and “Carroll Street Pop Tune,” pieces like “Weird Knack,” “Hidden Fondness” (based on “Secret Love”) and his tasty cover of Benny Golson’s “Along Came Betty” fit right in.

2009-10-12T11:10:32-04:00

4 The accomplished young composer and alto sax burner Justin Vasquez has assembled a dream crew—guitarist Adam Rogers, pianist Aaron Parks, drummer Clarence Penn, bassist Orlando le Fleming—for his remarkably mature debut. They all add their considerable talents to moving and fully realized pieces like “Nimbus,” “Fields” and the dynamic title track as well as Vasquez’s refreshingly original arrangements of “Invitation” and “Stella by Starlight.” Vocalist Gretchen Parlato and harmonica ace Gregoire Maret appear as special guests on this impressive first statement by the promising newcomer. true 21 2009-10-03T12:27:44-04:00 false 25104 175 true 125 2009-10-01T00:00:00-04:00

The accomplished young composer and alto sax burner Justin Vasquez has assembled a dream crew—guitarist Adam Rogers, pianist Aaron Parks, drummer Clarence Penn, bassist Orlando le Fleming—for his remarkably mature debut. They all add their considerable talents to moving and fully realized pieces like “Nimbus,” “Fields” and the dynamic title track as well as Vasquez’s refreshingly original arrangements of “Invitation” and “Stella by Starlight.” Vocalist Gretchen Parlato and harmonica ace Gregoire Maret appear as special guests on this impressive first statement by the promising newcomer.

2009-10-12T11:10:06-04:00

4 The title track here is quintessential happy jazz while the soothing “Rocket Love” fails to launch. The energy level picks up on “Time Bomb,” fueled by the Albert King-inspired blues guitarist Chris Cain. “Belita” reverts to smooth-jazz doldrums until the energy is elevated by the presence of drummer extraordinaire Dennis Chambers on the ultra-funky “Suburban Bourbon.” And so it goes with this hit-and-miss outing from trumpeter Eric Bolvin. Cain also kills on the blues-drenched “Soulful Slumber” while “One for Mike” is a worthy Brecker tribute. true 21 2009-04-20T14:29:42-04:00 false 24645 174 true 125 2009-05-01T00:00:00-04:00

The title track here is quintessential happy jazz while the soothing “Rocket Love” fails to launch. The energy level picks up on “Time Bomb,” fueled by the Albert King-inspired blues guitarist Chris Cain. “Belita” reverts to smooth-jazz doldrums until the energy is elevated by the presence of drummer extraordinaire Dennis Chambers on the ultra-funky “Suburban Bourbon.” And so it goes with this hit-and-miss outing from trumpeter Eric Bolvin. Cain also kills on the blues-drenched “Soulful Slumber” while “One for Mike” is a worthy Brecker tribute.

2009-04-23T11:51:13-04:00

4 Terrence Brewer’s new organ-trio date showcases the Bay Area guitarist in tribute to Wes Montgomery. A melodic improviser with an exquisite tone and an abundance of soul, Brewer captures the free-swinging spirit of Wes on burning renditions of “Speak Low” and “Dearly Beloved,” as well as on funky interpretations of “Bumpin’ on Sunset” and “Road Song.” His relaxed reading of “In Your Own Sweet Way,” underscored by the loosely interactive drumming of Micah McClain, is a treat. Organist Wil Blades fuels this session with just the right combination of elegance (“Here’s That Rainy Day”) and grease (“Bumpin’”). true 21 2009-04-20T14:30:23-04:00 false 24646 174 true 125 2009-05-01T00:00:00-04:00

An organ trio tribute to a guitar innovator

2009-05-14T10:56:41-04:00

4 “Out” jazz with punk attitude on this smart, under-the radar outing from Montreal upstarts Jacob Wick on trumpet, Adam Dotson on euphonium, tenor saxophonist Evan Smith, drummer Jason Nazary and principal composer-bassist Aryeh Kobrinsky. This fiercely uncompromising ensemble covers a wide swath of expression, from the dissonant onslaught “Torn” to bombastic, through-composed pieces like “Master” and “A Hamster Speaks” and free extrapolations like “The Gun I Used to Use,” “Laser Eyes” and “ADF Signal.” true 21 2009-04-20T14:30:59-04:00 false 24647 174 true 125 2009-05-01T00:00:00-04:00

“Out” jazz with punk attitude on this smart, under-the radar outing from Montreal upstarts Jacob Wick on trumpet, Adam Dotson on euphonium, tenor saxophonist Evan Smith, drummer Jason Nazary and principal composer-bassist Aryeh Kobrinsky. This fiercely uncompromising ensemble covers a wide swath of expression, from the dissonant onslaught “Torn” to bombastic, through-composed pieces like “Master” and “A Hamster Speaks” and free extrapolations like “The Gun I Used to Use,” “Laser Eyes” and “ADF Signal.”

2009-04-23T11:50:36-04:00

4 Accomplished guitarist-composer Gene Ess unveils a batch of ambitious new tunes performed by a world-class crew of pianist Tigran Hamasyan, bassist Harvie S and drummer Tyshawn Sorey. Ess’ pungent, Sco-ish hollowbody guitar tones and cascading lines go down easy on exhilarating numbers like “Ryo’s First Flight,” the gentle waltz “Discovery in Three” and the 12-tone row piece “Trance Chant” (set in 7). His deep expression on the somber “Art of Nothingness” recalls Pat Martino in ballad mode while the bluesy “Messiaen Shuffle” is both metrically deceiving and grooving. And the spacious “Gagaku Dreams” is a tribute to Ess’ Japanese heritage. true 21 2009-04-20T14:31:31-04:00 false 24648 174 true 125 2009-05-01T00:00:00-04:00

Accomplished guitarist-composer Gene Ess unveils a batch of ambitious new tunes performed by a world-class crew of pianist Tigran Hamasyan, bassist Harvie S and drummer Tyshawn Sorey. Ess’ pungent, Sco-ish hollowbody guitar tones and cascading lines go down easy on exhilarating numbers like “Ryo’s First Flight,” the gentle waltz “Discovery in Three” and the 12-tone row piece “Trance Chant” (set in 7). His deep expression on the somber “Art of Nothingness” recalls Pat Martino in ballad mode while the bluesy “Messiaen Shuffle” is both metrically deceiving and grooving. And the spacious “Gagaku Dreams” is a tribute to Ess’ Japanese heritage.

2009-04-23T11:50:19-04:00

4 This daring trio of drummer Michael Evans, guitarist Anders Nilsson and in-demand free-jazz bassist Ken Filiano operates on a delicate, acute-listening dynamic for half of this experimental ECM-ish program (particularly on Carla Bley’s “Floater” and Nilsson’s ambient “Sound Fear”). But they are also capable of exploding with rock-fueled dissonance and bombast, as on Evans’ “Road Runner.” Filiano, a deep-toned anchor on upright, contributes extraordinary arco work throughout, while Evans shines in rubato situations, à la Paul Motian. And Nilsson is steeped in the renegade six-string tradition of Bill Frisell, David Torn, Terje Rypdal and Fred Frith. true 21 2009-04-20T14:32:07-04:00 false 24649 174 true 125 2009-05-01T00:00:00-04:00

This daring trio of drummer Michael Evans, guitarist Anders Nilsson and in-demand free-jazz bassist Ken Filiano operates on a delicate, acute-listening dynamic for half of this experimental ECM-ish program (particularly on Carla Bley’s “Floater” and Nilsson’s ambient “Sound Fear”). But they are also capable of exploding with rock-fueled dissonance and bombast, as on Evans’ “Road Runner.” Filiano, a deep-toned anchor on upright, contributes extraordinary arco work throughout, while Evans shines in rubato situations, à la Paul Motian. And Nilsson is steeped in the renegade six-string tradition of Bill Frisell, David Torn, Terje Rypdal and Fred Frith.

2009-04-23T11:50:05-04:00

4 Brazilian guitarist-vocalist Paulinho Garcia showcases some of the lesser-known rhythms of his native country on this appealing disc. On the engaging baiao “Cintura Fina,” he exhibits some freewheeling scatting and a rhythmically charged comping style, then reveals his romantic side on the intimate bolero “Ponto de Encontro.” The lively “Chorinho Novo” flies along with electric guitarist Mike Allemana doubling Garcia’s brisk vocal line. Grazyna Auguscik appears as Garcia’s vocal partner on the alluring baiao “Do You Remember Me?” “E Quando” introduces a Carnival-styled marcha rancho beat while “Disfrutando a Boa Vida” is a festive frevo with fiery fretboard work by Ernie Denov. true 21 2009-04-20T14:32:49-04:00 false 24650 174 true 125 2009-05-01T00:00:00-04:00

Brazilian guitarist-vocalist Paulinho Garcia showcases some of the lesser-known rhythms of his native country on this appealing disc. On the engaging baiao “Cintura Fina,” he exhibits some freewheeling scatting and a rhythmically charged comping style, then reveals his romantic side on the intimate bolero “Ponto de Encontro.” The lively “Chorinho Novo” flies along with electric guitarist Mike Allemana doubling Garcia’s brisk vocal line. Grazyna Auguscik appears as Garcia’s vocal partner on the alluring baiao “Do You Remember Me?” “E Quando” introduces a Carnival-styled marcha rancho beat while “Disfrutando a Boa Vida” is a festive frevo with fiery fretboard work by Ernie Denov.

2009-04-23T11:49:48-04:00

4 Accomplished guitarist Jake Hertzog shows the influence of Mike Stern and Wayne Krantz while establishing his own thing on this impressive trio outing with bassist Harvie S and drummer Victor Jones. They rock on “California Hills” and “Bonding,” then swing out in old-school fashion on “Almost Like Being in Love.” Hertzog’s advanced voicings and moving harmonies, particularly on an elegant “In Your Own Sweet Way” and his own quirky “Monkey Stuff,” suggest a Ted Greene-Lenny Breau connection. true 21 2009-04-20T14:33:31-04:00 false 24651 174 true 125 2009-05-01T00:00:00-04:00

Accomplished guitarist Jake Hertzog shows the influence of Mike Stern and Wayne Krantz while establishing his own thing on this impressive trio outing with bassist Harvie S and drummer Victor Jones. They rock on “California Hills” and “Bonding,” then swing out in old-school fashion on “Almost Like Being in Love.” Hertzog’s advanced voicings and moving harmonies, particularly on an elegant “In Your Own Sweet Way” and his own quirky “Monkey Stuff,” suggest a Ted Greene-Lenny Breau connection.

2009-04-23T11:49:30-04:00

4 Denver-based trumpeter Al Hood weds his pure tone to Dave Hanson’s stellar arrangements on this classy orchestral offering, which is cast in the grand tradition of the classic Nelson Riddle-Frank Sinatra collaborations. A wonderfully expressive singer of songs on his instrument, Hood turns in beautiful renditions of Benny Golson’s “I Remember Clifford,” the wistful Willy Wonka theme “Pure Imagination,” the poignant Shirley Horn number “Here’s to Life” and the Sinatra signature “In the Wee Small Hours of the Morning.” The trumpeter’s unabashed love of Satchmo comes across on “Do You Know What It Means to Miss New Orleans,” and he showcases his bop chops on Lee Morgan’s “Ceora.” true 21 2009-04-20T14:34:08-04:00 false 24652 174 true 125 2009-05-01T00:00:00-04:00

Denver-based trumpeter Al Hood weds his pure tone to Dave Hanson’s stellar arrangements on this classy orchestral offering, which is cast in the grand tradition of the classic Nelson Riddle-Frank Sinatra collaborations. A wonderfully expressive singer of songs on his instrument, Hood turns in beautiful renditions of Benny Golson’s “I Remember Clifford,” the wistful Willy Wonka theme “Pure Imagination,” the poignant Shirley Horn number “Here’s to Life” and the Sinatra signature “In the Wee Small Hours of the Morning.” The trumpeter’s unabashed love of Satchmo comes across on “Do You Know What It Means to Miss New Orleans,” and he showcases his bop chops on Lee Morgan’s “Ceora.”

2009-04-23T11:49:16-04:00