Friday, February 24, 2017
Time has passed and I have happily been the recipient of a good number of subsequent Joëlle Léandre albums, and by now I know that her high, very creative level of avant jazz is a given. When she performs (or composes), you can depend on her to be one of world's most important and original avant jazz improv contrabassists and startlingly original vocalists alive today, someone who whether in solo, duo, trio, quartet or larger contexts will give spontaneous form to the proceedings while bringing out the best with those she performs with.
So when I heard from Joëlle that an eight-CD boxed retrospective was in the works, I jumped at the chance to give it all a close listen and, as you see, write up my thoughts when I emerged from the brown study of aural enlightenment.
So, to give you the complete title info, this is A Woman's Work. . . 8-CDs nicely packaged and available on the Not Two label (MW950-2). If I call it a retrospective I do not mean it is a sort of "greatest hits" collection. This is music we have not heard previously, most from 2015, each a special combination of Joëlle and her bass (one in solo), Joëlle and a live audience, Joëlle interacting in duo, trio, quartet, etc. with a select set of improvisational partners, many well known to the vet avant listener, some less so, but all entering into intensely rewarding dialogs with each other.
So we appreciate the collaborators and how in each case they engage Joëlle and vice versa for some excellent free music. Most of my readers will recognize some or all of the collaborators: Jean-Luc Cappozzo, Agusti Fernandez, Fred Frith, Zlatko Kaucic, Mat Maneri, Lauren Newton, Maggie Nichols, Evan Parker and Irene Schweizer.
There is nothing tired or stale about this music. To quote Joëlle from the very informative accompanying booklet, "The sound of a musician is what he has in his guts, in his soul, is what he has to say. Sound is tough work! It's your identity!" Amen! What we have in this box set is a gathering of major sound masters caught in the real-time process of actualizing themselves, through personal sound generation in an endlessly open field. In the process it gives you a definitive guide to the sound artistry of Joëlle Léandre today, bassist of endless productive creation in close conversation with like-minded free spirits, all masters of the sound fingerprint.
Is this all too much? Not at all. I do not suggest you set down and try to listen to all 8-CDs in one sitting. Take them one or two at a time, then return to them all repeatedly. This is most emphatically NOT music to tire of. Each listen brings new awareness of another aspect of all the things going on, which is a considerable lot.
I would even say that this might indeed point the avant improv novice in the right direction, teach her or him to open the ears, to listen! Get the set and sequester yourself. And for those who know Joëlle and the style it is a beautiful collection of contrabass profundities, a series of very fruitful avant summits, a collection to treasure, but yes, to help you learn to hear!
And it reminds us just how seminal Joëlle Léandre is in the music of today.
Friday, February 10, 2017
It's Frank along with Steve LaSpina on acoustic bass, Tom Kohl on piano and Jon Doty on drums in a well-paced program of Kohl originals and a couple of standards. Everybody (maybe even the drummer!?) has internalized his way around changes and has something soulful and interesting to say throughout. Frank has a strong sound that gives the lines torque, a percussive edge that may remind you of vintage Benson but finds its own way around the changes.
Frank is a guitar tastemaker, a true arteest. Hear him out!
Wednesday, February 8, 2017
You can hear that beautifully in his latest quartet album Up and Coming (ECM 2528). The excellent foursome of John plus Marc Copland (piano), Drew Gress (bass) and Joey Baron (drums) is deliberately understated in its quietude, yet capable of monstrously exceptional improvisations in realms where we might not have expected them to dwell a decade ago.
Miles' "Nardis" centers the program of what is otherwise five Abercrombie and two Copland originals, sprawling long form improvisational vehicles where great things happen so quietly you have to focus and dig into the excellent details of what is going on to fully appreciate it all.
Once you do, there are some incredible performances that come into your experience, wonderful things.
Do not overlook this one. John is doing some of his best work and the quartet is a breathing improvisational entity one must experience in focus to appreciate.
A bit of a milestone, this. Bravo!
Thursday, February 2, 2017
This album nicely incorporates cosmic soundscaping, bowed and pizzicato bass, drums in a free and sometimes rocking zone, an electronic backdrop of concentrated outwardness, and an overall arching organic quality.
Daniel sounds great on bass, Massimo on drums and the conceptual totality rings out nicely. It almost seems like a concerto for bass, drums and electronics, the latter acting as a sort of orchestra.
From first to last this hangs together well, reminding at times of early-mid Soft Machine for its psychedelic minimalist spaciousness. But that is only a rough indicator of what you'll get here.
A very enjoyable listen! Recommended for sure.