Mette Rasmussen / Tashi Dorji (Feeding Tube Records, 2018)

Saxophonist Mette Rasmussen and guitarist Tashi Dorji met in Montreal in June of 2016 to create this fine album of experimental free improvisation, right around the time when they recorded the excellent album To the Animal Kingdom with drummer Tyler Damon. "Cattail Horse" opens the album with deep guttural saxophone carving out space, met by quick sparks of electric guitar, creating a raw and exciting soundscape. Choppy jabs resolve into great gales of sound, improvising together with choppy percussive guitar meeting peals of scouring saxophone. This moves directly into the following track, "Bull Rush," where a repetitive guitar foundation gathers energy, eventually met with long tones of excoriating saxophone, building to an impassioned roar. The music is emotional and exciting, with a boundless drive forward, as skittish waves of guitar and piercing upper register saxophone squeals combine in a brutal and scouring improvisation. "Affinity" follows directly, with pinched guitar sounds and saxophone weaving together, succeeded by long bellows of saxophone and taut rhythmic guitar forming a unique and personal sound. The music grows more abstract and tense during a quieter passage of uneasy calm, where strangled lines of saxophone arc across the soundstage bracketed by subtle guitar. This line of thought is continued on "Tall Grass," where bursts of air and popping saxophone sounds are framed by quieter guitar strumming. The tension gradually increases, with prickly points of icy guitar notes and aching saxophone create a haunted scene, becoming a grinding howl on the concluding track, "Liberty." Nearly twice as long as any other track on this album, this improvisation builds majestically from choppy guitar chords and probing saxophone, which moves into a torrid section of raw unfettered noise. Jagged peaks of electric guitar are scaled by Rasmussen's fearless saxophone playing, creating a maelstrom that sounds much larger than two instruments at play, carving our space at the intersection of post rock and free jazz, with a solo section for electric guitar built into the finale. This was an excellent album of very exciting free improvisation, with two deeply focused musicians meeting on common ground and creating spontaneous and powerful music. Mette Rasmussen / Tashi Dorji - amazon.com

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Soft Machine - Hidden Details (MoonJune Records, 2018)

Celebrating the fiftieth anniversary of the legendary progressive rock / jazz fusion band Soft Machine, this version of the ever changing band includes John Etheridge on electric and acoustic guitars, Theo Travis on tenor and soprano saxophone, flutes and electric piano, Roy Babbington on bass guitar and John Marshall on drums and percussion. The music grabs your attention immediately with the opening "Hidden Details" which comes out rocking, combining volcanic guitar soloing and a heavy beat with pulsing electric bass, turning to overtly jazz fusion with strong saxophone at the beginning and the end. "The Man Who Waved at Trains" is mellower, with electric piano and elastic bass supporting a whimsical flute solo over muted rhythm, leading into "Ground Lift," which presents a spare fractured transmission from guitar, adding probing soprano saxophone, then louder jabs of percussion and guitar saxophone swirls and cries. "Heart Off Guard" is a short interlude for acoustic guitar, gentle soft and spare, adding sad and yearning soprano saxophone and segues into "Broken Hill" which has neon toned electric guitar, evoking a late night feeling with a subtle framing cymbal and a lonely sounding pastel toned electric piano providing echoes of cinematic noir. The rough and ready "One Glove" which creates a backbeat to power muscular guitar and saxophone, with solos that grind and shoots off sparks, an especially crunchy tenor saxophone solo digs deep, making for a potent combination. "Out Bloody Rageous Part 1" uses a subtle keyboard introduction, then the percussion, guitar and bass kick in and move through the familiar melody in a thoughtful manner, branching out with a sweeping improvisation led by soprano saxophone, nodding all the way back to the band's first album. Unaccompanied saxophone begins "Life on Bridges" providing a wistful theme with the band filling in and complementing the instrument, dark and ominous with a grittier sound, taking time to develop the tension then exploding in a shower of sparks. "Fourteen Hour Dream" develops a crisp rhythm and well articulated flute, allowing the music to have a spirited flight that draws from several wells, adding some subtle electronics to gently alter the sound, moving along with fast paced but not loud drumming, making way for a majestic electric guitar solo. To conclude, there is "Breathe" where Nick Utteridge joins the group on wind chimes, lending a fragile quality to droning piece of music that stretches out with soft flute adding to the exotic sensation, and finally "Night Sky" a bonus track of yearning flute and ambient electronics, allowing the music flows in waves. Hidden Details - amazon.com

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Big Heart Machine - Self Titled (Outside In Music, 2018)

Big Heart Machine is an eighteen member big band led by multi-reedist Brian Krock that combines elements of contemporary classical music with jazz and was produced by Darcy James Argue, whose own large ensembles have redefined the notion of big band jazz over the past dozen years. The opening track,"Don't Analyze" builds gradually, developing a colorful soundscape, incorporating thick bass and organ or synthesizer amid the horns and percussion, to give the music a unique flavor. Sections are opened for soprano saxophone, leading into the first section of a much longer suite "Tamalpais- I. (stratus)" which has a mysterious opening of long tones and skittish percussion, resolving into a wave of full rich sound, which conveys the awe and wonder of the natural world. "Tamalpais- II. Steep Ravine" develops an insistent percussion and piano rhythm, one that is light and nimble, proving structure and form for engagement with brass instruments that fill in the sound and intensity, then adding some explosive guitar and keyboards to power the music forward, washing out into a period of white noise which in turn develops into the quiet and meditative "Tamalpais- III. Stinson Beach." Aching trumpet leads the larger group into the performance, one that achieves a sense of majesty with an ever shifting percussion quality and horns that bubble up from the simmering music. Tenor saxophone changes the nature of the piece, soloing strongly over a much more urgent and undulating backdrop that swells dramatically to punching and squalling horns and guitar. Chunky rhythm and spirited vibraphone usher in "Tamalpais- IV. Dipsea Steps" as horns engage with the percussive music, pulling through varying shades and hues before the electric guitar tears through the veil with a strongly distorted sound accompanied by brass, before dropping suddenly into a more nuanced feel as a twisting and turning sensation develops, leading the suite to a memorable conclusion in "Tamalpais- V. (cirrus)." Spare trumpet is played unaccompanied, with instruments gradually filling in the sound, growing organically to incorporate reeds and other horns. Strummed sounds and pitched reed open "Jelly Cat" with clashing sounds and a tight drum groove. The music waxes and wanes dizzily, leading into a well controlled brass interlude, with light saxophone asides which are appealingly melodic and episodic with punchy full band jabs. Handclaps and percussive piano underpin the finale, "Mighty Purty" anchored by an excellent trumpet feature framed by rippling piano. The music contains of a series of loosely connected parts, all of which fit together into a more cohesive whole which ends the album on a positive note. Big Heart Machine - amazon.com

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Congs for Brums – A Complete and Tonal Disaster (Preposterous Bee Music, 2018)

This is a project of percussionist and electronic musician Ches Smith, well known as one of the most interesting drummers and musical concept artists on the jazz scene, sideman of choice to many improvised music luminaries and a well regarded leader in his own right. A Complete and Tonal Disaster is the fourth album for Smith in this configuration, ostensibly solo, but with considerable overdubbing as he plays drums, percussion, vibraphone and a wide range of synthesizers and electronic instruments. The music is daring and quite interesting, although traditional jazz fans may may be put off by the unrepentant use of electronics. The music moves between short snippets of ideas lasting a minute or two to longer electro acoustic constructions that will use the ringing sustain of the vibraphone and place that against powerfully rhythmic percussion playing in free or groove based sensibilities and then using the electronics to create pieces that evolve episodically and thematically over time. The longer pieces are able to able to breathe and grow creating a varied sense when compared against the deliberately claustrophobic shorter pieces. But overall this album works quite well, the experimental nature of the music is exciting and it it also tempered by thoughtfully melodic performances. Congs for Brums - a Complete and Tonal Disaster - Bandcamp.

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Doug Webb - Fast Friends (Posi-Tone, 2018)

This is a strong and well produced album of modern mainstream jazz featuring Doug Webb on tenor saxophone, Michael Dease on trombone, Mitchel Forman on piano, Chris Colangelo on bass and Roy McCurdy on drums. They play tightly arranged versions of originals and jazz standards with energy and wit, beginning with "Last Train to Georgia" which has a bright full band melody, setting a medium uptempo propelling the tenor saxophone to break out for a sunny sounding solo with a pleasant tone, followed by smoothly articulated trombone. The cohesive rhythm section plays well, adding to the flow of the music with its confident nature. The uptempo "Friends Again" has fast flurries of notes propelling the music forward, spotlighting nimble trombone playing in an extended and impressive solo over bubbling rhythm then ceding to the leader's saxophone that carves up the music, playing a very fast and focused improvisation. "High Groove" uses the deep connection of the band to create a large pocket that allows them to come together in a bluesy sound that percolates at a relaxed medium pace, gracefully elaborating on the hard bop concept, with crisp short solo statements. There is fast paced energy at play on "Surfing the Webb" with tight interplay of instruments in the theme and then plenty of space for the leader to stretch out and solo, using the bebop vocabulary as a basis for an excellent tenor saxophone solo. Not to be outdone, there is a sparkling trombone section in response, aided by strong piano, bass and drums, before everyone trades short phrases to close the piece. "Ah-Leu-Cha" is a Charlie Parker song well suited for this unit to create a fine presentation of, playing with confidence and wit, blustery trombone and shiny saxophone adding solos to a firm foundation of piano, bass and drums. The trombonist is appropriately featured on "Dease Things" a fast paced vehicle for quicksilver soloing from Webb, who employs a light and nimble tone and the trombonist who has a little more grit in his approach and uses it well in a memorable feature. After a rippling piano solo, the music comes together with a strong and rapid fire conclusion. They hit another bebop standard  on "A Night in Tunisia" with the trombone brashly intoning the melody as the rhythm section roils beneath him, leading to a solid saxophone solo that connects bop to the modern jazz of today. Fast Friends - amazon.com

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Robbie Lee and Mary Halvorson - Seed Triangular (New Amsterdam Records, 2018)

This is a very interesting album that ranges from folk to jazz and beyond, with the duet of Robbie Lee on multiple woodwind and reed instruments and Mary Halvorson on multiple stringed instruments. Much like when Sun Ra asked his Arkestra to play instruments they were unfamiliar with on the Strange Strings LP, Halvorson is playing many of these for the first time including harp guitar, 1930 Gibson L-2 guitar, and a 6-string banjo. But what could seem like a gimmick in other hands turns into a voyage of discovery with these two musicians, playing mostly short improvisations and getting a wide range of exciting sounds and textures. Tracks like "A Forest Viol" are enchanting with the instruments sounding cool and exotic as tightly strung strings and swooping unusual wind instruments give an unusual tactile quality to the surface of the music, moving both with and against the grain of their improvisation. "Fireproof-brick Dust" with choppy acoustic guitar adding filigrees of notes and flutes that move in a twisting or spiraling pattern and "Rock Flowers" demonstrate this dynamic further with a cool pinched sound from the strings and a sawing reed instrument that becomes loud before dropping off in a wildly exciting duet improvisation. "Spring Up There" has piercing flute and nimble string work, almost hinting at the hypnotic quality of Native American flute music, before shifting to shimmering and spare abstraction. This mysterious and beguiling vibe continues on "Shoots Have Shot" which sounds fast and free, as the music is unmoored in time and space and Lee's flute drones against the spikes of guitar. "The Tawny Orange" has an esoteric and haunting sound, opening to a mystical experience like a wordless secret transmitted through music. The album concludes with two excellent performances, "Early Willows" and the title composition, "Seed Triangular." The former uses chimes or bells like an incantation, creating a sound ceremony for contemplating the wheezing reed instrument and strings, leading into the latter which ends with flute and carefully plucked strings in a long flowing stream of music that juxtaposes the pastel tones of the flute with jagged guitar playing in an appealing fashion. album preview, live in studio, Seed Triangular - amazon.com

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Winged Serpents - Six Encomiums For Cecil Taylor (Tzadik, 2018)

Cecil Taylor passed away this year, after decades of remaking what it meant to play and compose for the piano, impressing and influencing a wide range of musicians across genres for generations. Tzadik brings together six pianists who fall into that category for very imaginative tributes to Taylor, along with impressionistic liner notes from poet Cecil Bernstein and cover artwork from label chief John Zorn himself, painted in ink, gold and blood. The music is unique to each artist and their approach to improvisation, whether short pointed tracks like "Genuflect" and "Quauhnahuac" by Craig Taborn and Sylvie Courvoisier to meditations on the method and fearlessness of Taylor's music apparent in "Minor Magus" by Brian Marsella and "Grass and Trees on the Other Side of the Tracks" by Kris Davis. The centerpiece of the recording is by "Unveiling Urban Pointillism" by Aruan Ortiz, a thirteen and a half minute fantasia that compares well with some of Taylor's most well known solo excursions like Live in Willisau and Silent Tongues. Ortiz builds his piece episodically, using the entire length and breadth of the keyboard, crashing low end notes and chords and letting them ring in the silence that follows. It's a masterful performance on a stunning tribute, one that is concluded by Anthony Coleman's "April 5th, 2018" which echoes the elegiac nature of Taylor's passing with the string will and fearless attitude that he displayed in life. This was an excellent album, one of the most memorable of the year, in fact. Each of these musicians was given the space they needed to create their own memorial, saying more through their instruments than the most heartfelt eulogy ever could. Winged Serpents - Encomiums For Cecil Taylor - amazon.com

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Dave Rempis - Ithra and ICOCI (Aerophonic Records, 2018)

Saxophonist, composer and label head Dave Rempis is as hardworking a musician as you are likely to find in modern scene. He arranges for a wide range of releases on his Aerophonic Records label as a leader or collaborator in both digital and physical format. Late this summer he has two interesting new releases available as both compact discs or digital downloads. Ithra has a trio consisting of Rempis on alto and tenor saxophones, Tomeka Reid on cello and Joshua Abrams on bass, and they come together to create a wonderfully evocative and atmospheric album. This isn't a blowout, but rather a deftly arranged series of miniatures, with long tones of cello and bass that arc across the songs presented here, at times giving it a feeling of a chamber music recital or a daring experiential abstract improvisation. The three musicians use their unique talents to develop voicings upon their respective instruments that fit the music perfectly allowing the compositions to evolve slowly and gracefully and granting plenty of open space and liberal interpretations of the source material. The album ICOCI moves into a completely different direction with the group consisting of Rempis on alto and tenor saxophones, Jasper Stadhouders on guitar and electric bass and Frank Rosaly on drums for a brawny, Chicago style free jazz explosion. There are only two tracks on this album, both well over twenty twenty minutes in length and that allows the musicians to really develop a focused three way conversation that has has episodes of outright blowing, but it is the dynamic range of the music and the tension and resolution of these cells within the larger improvisation which provide much of the forward thrust powering a very exciting and engaging session. Stadhouders alternating between guitar and bass, and Rempis deftly switching between horns allows the music to open up with a wide range of textures and approaches that are are given excellent support from Rosaly's powerful drumming. These are both fine albums, and are easily recommended to open minded jazz fans. Dave Rempis deserves a lot of credit for putting together these diverse collections and releasing them to the public, because they are high quality recordings and packages that are deserving of attention. Aerophonic Records.

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Cannonball Adderley with Bill Evans - Know What I Mean? (Riverside, 1961)

It may seem like an unusual combination for a bluesy alto saxophonist like Cannonball Adderley to play with an impressionistic pianist like Bill Evans. But they played together on the epochal Miles Davis album Kind of Blue, and putting them with a class rhythm section of Percy Heath on bass and Connie Kay on drums allows the group to come together for an interesting set of ballads, standards and originals. Evans own "Waltz for Debby" opens for unaccompanied piano, allowing the lilting melody to hang in space before kicking into gear as the bass and drums enter, clearing space for Adderley to hang a clear toned solo at a medium tempo. The group swings together graciously and while the music may be a tad polite, there is no doubt that it is from the heart, with bright soloing from Adderley and Evans and a deep pocketed groove from the bass and drums. "Venice" is anchored by subtle bass and drums allowing Adderley to blow in a sultry and smooth fashion, before the band bursts into the joyous hard bop of "Toy" with strong saxophone soloing rippling across the grooving rhythm and crisp piano comping of Evans. The saxophonist gets a lot of space to really stretch out and improvise playing fast and exciting while still remaining an accessible tone and approach. Evans own solo is bright and crisp, buoyed with this propulsive bass and a scaffolding of percussion before everyone returns together for a tight and concise conclusion. The ballad "Elsa" has Evans playing over the most skeletal accompaniment, setting the pace for Adderley's entry with sultry and late night saxophone playing. The music flows together well, everyone is patient, allowing the music to develop at its own pace, with Kay's wonderful brushwork and Heath's anchoring bass keys to this successful performance. Another impressive ballad performance is "Nancy (With the Laughing Face)" which presents Adderley's evocative saxophone playing in a bed of delicate brushes and soft piano comping. He plays with the format, inserting quick bursts of notes alongside the longer slower lines, keeping everyone on their toes. This was an interesting and thoughtful album, and the most recent reissue includes several alternate takes if you want to dig deep into the methodology of the music, or you can just enjoy top flight musicians performing at a very high level. Know What I Mean? (OJC Remasters) - amazon.com

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Peter Brotzmann and Heather Leigh - Crowmoon (Self-released, 2018)

Crowmoon is the latest collaboration between Peter Brotzmann, playing clarinet, tenor saxophone and tarogato and pedal steel guitar player Heather Leigh. These two musicians create a powerful and endlessly developing improvisation that clocks in at nearly an hour in length. The music works very well, with Brotzmann gradually cycling though his battery of instruments with each one adding just a little tweak to the proceedings whether it is the blustery tenor saxophone blowing gales of raw free jazz rooted in the new thing experiments of the 1960's or his swirling clarinet and pinched and exotic tarogato, a reed instrument originating in eastern Europe centuries ago and re-purposed by Brotzmann as a uniquely personal vehicle for expressive improvisation. Heather Leigh is a wonder on the pedal steel guitar, something that is often thought of in the context of country music and western swing, but as evocative as the instrument is in those settings, letting it loose in this freely improvised setting makes for an inspired partnership. The sole track "Cowmoon, the Auckland Concert" (the disc was recorded in New Zealand during 2017) moves from unfettered free improvisations to areas where the music becomes a force of nature, and it unfolds gradually, with Brotzmann at turns blustery and raw which is how we know him best, but also patient and thoroughly empathetic as a partner that allows the music to build over time, simmering shimmering waves of guitar that move to and fro. At times the music becomes ethereal or develops a cinematic sweep of soaring reeds and pastel toned guitar that evokes a wide range of textures and feelings. Leigh is key to the success of the music, alternatively providing a sympathetic and thoughtful setting for Brotzmann, but also providing direct engagement presenting musical textures that allow for collective improvisation and duo interaction on a very high level. This was a very successful album, and the musicians trust each other implicitly allowing for sections of solo areas which alternate with the complexity and power of the duet sections. Cowmoon - discogs

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District Five - Decoy (Intakt Records, 2018)

District Five in an exciting young band featuring Xaver Rüegg on bass, Tapiwa Svosve on alto saxophones and synthesizers, Vojko Huter on guitar and synthesizers and Paul Amereller on drums. Don't let the electronics scare you away, this is a strong improvising jazz band. The album begins with "Berlin" which has evocative shades of guitar, setting the mood of the piece and presumably the city, as bass and percussion gradually fill in the sound. The horn finally enters as the performance takes flight, gaining in volume and tempo in a collective improvisation that keeps developing momentum under the direction of fine interaction between saxophone and drums, adding subtle electronics to the mix for further excitement. "Crypro Clone" keeps the performance streamlined with everyone pushing forward, and achieving  a lightness of tone that belies the power of the performance. The music twists and turns in an unexpected manner, keeping things fresh, with atmospheric electric guitar anchoring the middle section with graceful saxophone taking the music for a patient spin, gradually building an impressive, architecturally sound statement, with ample support from the remainder of the group. "Reminiscence" is a spare ballad with waves of keyboard and watery guitar evoking the early Pat Metheny ECM recordings.. The music is quite pretty trailing pastel colors in the sky, as nimble percussion keeps it within range of the Earth. Spare tides of sound roll outward like a steadily creeping fog, building a haunting soundscape that is cut by occasional bursts of guitar. "Maths" uses chunky electronic keyboards and guitar to develop into a powerhouse prog rock / jazz fusion groove. The beat is hard and the musicians take no prisoners casting electronic spells and evoking scouring electric guitar."Decoy" has a slow and mysterious sound to it, hazy and spectral saxophone enters gliding across the surface of the music, forming a spare and languid ballad performance, leading into "Recall" which closes the album, building up from brushed percussion and soft saxophone, with electric guitar snaking through the undergrowth, developing into an interesting solo section backed with bass and drums. The saxophone caves out room of its own in the midsection, taking the cue from gently played guitar chords and then pushing faster into a memorable solo of its own. Decoy - amazon.com

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Rutherford / Vandermark / Muller / van der Schyff - Are We In Diego? (Catalytic Sound, 2018)

This is a surprising and most enjoyable set of live music featuring a very exciting band consisting of Paul Rutherford on trombone, Ken Vandermark on reed instruments, Torsten Müller on bass and Dylan van der Schyff  on drums and percussion. This album was recorded in Vancouver, Canada in December of 2004. The rip through a short but varied performance with a couple of long improvisations and then short bursts of encore. The opening track "Morning Star" reaches twenty minutes in lengths and is an improvisational wonder. The music sounds fresh and open, with the bass and subtle percussion opening the piece, leaving room for Vandermark to join in on clarinet as Rutherford blows blustery asides. Everyone meets for a well articulated collective improvisation, that covers a wide range of textures and hues from raw power to spacey abstraction. Squeaks and swirls of clarinet meet bowed bass in a exciting section, joined by rumbling percussion and growling and arching trombone. The bass playing of Muller is very impressive, adding depth to the spare and open middle section of the improvisation, and acting as the anchor as the rest of the instruments fill in with volume and velocity, building to a powerful and exciting four way conversation, as Vandermark moves to tenor saxophone for some truly inspired playing. van der Schyff adds a crisp and riveting drum solo, that leads the group into an excellent concluding statement. There is a spare beginning to the title track "Are We In Diego Yet?" with short jabs of bass and quiet sounds gradually filling the available space, with curls of clarinet fluttering about as brushed percussion adds texture. Sparks of trombone begin to take shape as the percussion moves to sticks and mallets and Vandermark adds faster and stronger clarinet, all of which develops into an inspired collective improvisation filled with color and passion. "Venceremos" is a thrilling burst of sound with raw tenor saxophone meeting crushing drums and ripe trombone and bass for a wailing burst of sound that is thrilling to hear. After a much deserved round of applause and band introductions, there are three very short encores, that take the music out in grand style. The sound quality of this recording is excellent and the performance is out of sight, making this easily recommended to free jazz fans. Are We In Diego? Bandcamp.

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Ivo Perelman and Jason Stein - Spiritual Prayers (Leo Records, 2018)

This is an excellent meeting between tenor saxophonist Ivo Perelman and bass clarinet player Jason Stein. Their approach to free music is complementary and they create a continuously interesting and thought provoking album. "Part 1" introduces their method, demonstrating how they are able to play together as one with their different tones and techniques meshing well. Building from spare fluttering sounds "Part 2" builds to a full throated dialogue with the dynamic uplift provided by the increased volume and the friction developed by the instruments, leading to an ending of long and emotional cries. "Part 3" deploys short bursts of hollow bass clarinet pops against tight saxophone squeals, intertwining with one another and pushing the music into exciting territory. The music is evocative of cloud layers that rise through thermal updraft, occasionally emitting squalls of sound. The emotional nature of the music is secured by the personal nature of the playing in higher and lower registers that encourages freedom while providing structure and pacing. Slurs and smears of sound separate "Part 4" from its predecessors, using noises and pure sound in pursuit of open and honest dialogue. High pitched interaction carries the music forward adding some interesting growls and sharp sounds for good measure, enlivening the conversation and sharing of ideas. "Part 5" offers longer softer tones nearly in unison, but slightly out of phase, creating an accessible dialogue and melding their own identities in the service of the music. Playing alongside and complementing each other allows the music to gradually broaden, growing louder and more frenetic as they approach the conclusion. Cries of sound resonate and overlap on  "Part 6" like birds in flight, soaring through the air, playing comfortably but not lazily and leading into "Part 7" which has a muscular and ripe improvisation, with cascading waves of saxophone and clarinet trialing ribbons in the sky. The two musicians blow with great gusto with the bass clarinet staying low to the ground while to tenor saxophone powers overhead, cementing an excellent partnership while conducting the ebb and flow of the music with passion and grace. The concluding track "Part 8" sums up the album nicely, beginning with long tones of emotionally resonant sound, swirling and swaying around one another in space, spontaneously creating an honest and exciting dialogue in real time. Spiritual Prayers - amazon.com

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