23-08-2019 JAZZ_MiX # 33 jazz tracks on the the JAZZ_line 2019-2014

23-08-2019 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 2019-2014 # Allison Miller's Boom Tic Boom, Jerry Douglas, Marcus Strickland's Twi-Life, The Comet Is Coming, Victor Gould, Nérija, Thought Gang, Roots Magic, Takuya Kuroda, The Breathing Effect, James Farm

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2019-2014

Adventurous jazz and modern creative improvisation ensemble led by drummer Allison Miller.  Boom Tic Boom is a forward-thinking jazz outfit led by drummer Allison Miller. The group first grabbed audiences with its eponymous debut, Boom Tic Boom, in 2010.
Allison Miller's Boom Tic Boom
Fuster (Allison Miller) 7:12
Slow Jam ((Allison Miller) 5:26
Shimmer (Allison Miller) 5:58
from Otis Was a Polar Bear 2016
... It's as if all of the tension of the past few years was suddenly released in a set of lithe, highly unpredictable songs. Helping to draw out this childlike energy are her longtime bandmates pianist Myra Melford, violinist Jenny Scheinman, and bassist Todd Sickafoose. Also augmenting the ensemble this time out is the gregariously talented front line of cornetist Kirk Knuffke and clarinetist Ben Goldberg. Many of the tracks on Otis Was a Polar Bear have a mutative quality as the ensemble winds its way through different feelings and textures in a given track... "Fuster" fuses Eastern European folk music with a dance-inducing Latin montuno-driven midsection...  the sultry funk of the aptly titled "Slow Jam" marries angular R&B tension with a film noir melody... "Shimmer" sounds like the inner workings of a mechanical clock set to music. Ultimately, Otis Was a Polar Bear feels like the work of a band whose members have weathered a storm together and emerged more united and joyful than ever.

Jerry Douglas is widely renowned as perhaps the finest Dobro player in contemporary acoustic music. His main foundation is bluegrass, but Douglas is an eclectic whose tastes run toward jazz, blues, folk, and straight-ahead country as well, and he's equally capable of appealing to bluegrass aficionados or new agers with a taste for instrumental roots music.
Jerry Douglas
Cavebop (Jerry Douglas) 4:51
Hey Joe (Billy Roberts) 4:19
2:19 (Kathleen Brennan / Tom Waits) 4:19
from What If 2017
Jerry Douglas is one of the world's most beloved musicians, and he became one the hard way: He's pushed through every boundary facing him, thwarted all expectations along the way, and practiced a work ethic that is staggering -- he has played on over 2,000 albums as a session player or leader. The Jerry Douglas Band is a three-year-old virtuoso septet that includes electric guitar (Mike Seal) drums (Doug Belote), horns (Jamel Mitchell and Vance Thompson on saxophone and trumpet, respectively), fiddle (Christian Sedelmyer), and bass (Daniel Kimbro), alongside his Dobro and lap steel. As a unit they careen across jazz, rock, bluegrass, folk, blues, and R&B with abandon... The cover of Tom Waits' "2:19" is a steamy, swinging, jump blues with Douglas' late-night vocal growl amid stinging lead guitars, honking saxophones, and backing harmony chorus. Douglas first covered Billy Roberts' "Hey Joe" on 1992's Slide Rule, but it didn't sound anything like this choogler. Tight flatpicked dobro, squalling fiddle, ripping electric guitar, and double-timed drums cook right out in front of the souled-out horns...

A sextet headed by the saxophonist and composer, assembled to record his debut as a leader for Blue Note. 
Marcus Strickland's Twi-Life
Relentlessness (Marcus Strickland) 5:47
Black Love (Marcus Strickland) 4:15
Aim High (Jermaine Holmes / Marcus Strickland) 7:33
from People of the Sun 2018
...Since then, Strickland has toured the globe as a headliner with Twi-Life (keyboardist Mitch Henry, bassist Kyle Miles, and drummer Charles Haynes) and as part of the Blue Note All-Stars. On many levels, People of the Sun picks up where Nihil Novi left off, but goes deeper and wider. The previous set was deeply influenced by Strickland's cultural and musical upbringing. As a child he was exposed to both Afro-Caribbean traditional and popular sounds as well as Southern rap, Motown, John Coltrane, and George Clinton's P-Funk enterprise. Those sounds and many others entwine inside groove-laden post-bop, modal, and contemporary jazz frameworks while extending and subverting the entire jazz tradition. In addition to his bandmates, Strickland enlisted close collaborator and trumpet ace Keyon Harrold and Cuban session percussionist Weedie Braimah...

"Apocalyptic space funk" trio from London, England, signed to the Leaf Label. Identified as Betamax Killer, Danalogue the Conqueror, and King Shabaka -- aliases of drummer Maxwell Hallett, keyboardist Dan Leavers, and saxophonist Shabaka Hutchings -- the Comet Is Coming describe their sound as "apocalyptic space funk," consciously and purposefully melding jazz, funk, electronica, psychedelia, hip-hop, and improvisation. Named after a BBC Radiophonic Workshop recording, the boundary-shattering trio woodshedded for a few months and emerged fully formed on South London's fertile, highly collaborative, slipstream jazz scene and began recording almost immediately.
The Comet Is Coming
Because the End Is Really the Beginning (Betamax / Danalogue / King Shabaka) 4:48
Summon the Fire (Betamax / Danalogue / King Shabaka) 3:55
Timewave Zero (Betamax / Danalogue / King Shabaka) 5:20
from Trust in the Lifeforce of the Deep Mystery 2019
England's sci-fi jazz trio the Comet Is Coming have been exploring the cosmos since 2015 when drummer Maxwell Hallett (Betamax) and keyboardist Dan Leavers (Danalogue) were playing a gig as futurist duo Soccer96 when they encountered Shabaka Hutchings (King Shabaka) hanging near the stage with a saxophone. They invited him up and improvised. Received enthusiastically, the trio formed the Comet Is Coming to explore a mutual love of Sun Ra, John and Alice Coltrane, Mahavishnu Orchestra, and future-forward electronica...  Trust in the Lifeforce of the Deep Mystery picks up where Channel the Spirits and its follow-up EP Death to the Planet left off as it attempts to "envisage a 21st century take on spiritual jazz that is part Alice Coltrane, part Blade Runner." Their association with the legendary American label -- home to many of their influences -- raises expectations that are both warranted and met.

Victor Gould, a pianist from Los Angeles, began playing piano at the young age of four. He was fortunate to grow up in a household where his parents supported him wholeheartedly... He has performed with Esperanza Spalding, Terence Blanchard, Branford Marsalis, Nicholas Payton, Ralph Peterson, Wallace Roney and many others. Victor is currently residing in New York and has been a member of the Wallace Roney Quintet..
Victor Gould
Jeremy Pelt, Anne Drummond, Godwin Louis, Dayna Stephens, Vicente Archer, Rodney Green, Yoojin Park
Thoughts Become Things 3:53
October 6:19
What Do We Need? 5:47
from Thoughts Become Things 2019
Pianist Victor Gould’s Clockwork was one of the most impressive debuts of 2016. He assembled a large ensemble that included multiple horns, extra percussion, and a string quartet for a panoramic album that expanded the parameters of jazz composition. He’s pulled the same trick again on this, his third release, and brought back some of the same players, including trumpeter Jeremy Pelt (who co-produced), flutist Anne Drummond, and alto and soprano saxophonist Godwin Louis. Dayna Stephens is heard on tenor, and the rhythm section of bassist Vicente Archer and drummer Rodney Green support it all. “October” is a fantastically lush, intricately arranged composition that recalls the late ’70s/early ’80s work of Woody Shaw in the way it blends romanticism with high-level instrumental technique, but Shaw never had a string quartet behind him that I know of, and it’s that extra element that makes Gould’s music so unique, and breathtaking.

Stylistically cross-pollinated London-based jazz septet that formed out of the Jazz Warriors initiative. London's Nérija are a female-centric jazz collective whose sound draws from the aggressive, swinging hard bop of the 1960s, as well as funk, soul, and hip-hop. Emerging in 2016, they drew praise playing festivals and clubs before issuing their debut album, 2019's Blume.
Nérija
Nascence (Nérija) 6:59
Last Straw (Sheila Maurice-Grey) 6:32
EU (Emotionally Unavailable) (Cassie Kinoshi) 7:15
from Blume 2019
The debut full-length album by Britain's Nérija, 2019's Blume, features the female-led jazz ensemble on a set of original tunes that showcases their earthy brand of modern jazz. Together since 2016, Nérija was initially formed while the members were students in the London jazz initiative Tomorrow's Warriors. Included are trumpeter Sheila Maurice-Grey, trombonist Rosie Turton, saxophonists Cassie Kinoshi and Nubya Garcia, guitarist Shirley Tetteh, drummer Lizy Exell, and the band's sole male member, bassist Rio Kai. Together, they play a richly harmonious style of jazz that balances the swinging, straight-ahead hard bop of the Jazz Messengers with the late-'60s and early-'70s African jazz of trumpet icon Hugh Masekela. Cuts like the opening "Nascence" ... contrast the group's warm horn leads with Tetteh's sparkling, rhythmically infectious guitar accents... Equally evocative, "EU (Emotionally Unavailable)" and "Unbound" have roiling, slow-burn funk grooves that bring to mind the '70s fusion and rare groove vibes of Detroit's Phil Ranelin and Marcus Belgrave. Though there are plenty of impressive solos here, Nérija have a strong group aesthetic and often tracks flow between deftly arranged ensemble passages, more open-ended solos, and expansively layered sections of group improv.

David Lynch and Angelo Badalamenti's experiemental jazz side project.
Thought Gang
One Dog Bark (David Lynch) 3:07
A Real Indication (David Lynch) 5:34
from Thought Gang 2018
Thought Gang is the collective moniker of two towering proponents of all things weird. Over the years, Angelo Badalamenti has created the soundtrack for David Lynch's surrealist visions, from Blue Velvet to Twin Peaks to Mulholland Drive. In the early '90s, they began collaborating on a purely musical project, which was 90-percent completed during that decade. What began in 1991 took 26 years to see daylight, or the dark night, as is perhaps more appropriate when describing Lynch's murky visions. Thought Gang certainly don't disappoint when it comes to any anticipated weirdness listeners may expect. Even by these long-standing collaborators' standards, their self-titled debut is pretty out there.

The Roots Magic core concept is about reworking tunes from the Deep Blues repertoire of the late Twenties/early Thirties, Charley Patton, Blind Willie Johnson, Skip James  Geeshie Wiley...  alongside with chosen compositions by Creative Jazz luminaries such as Julius Hemphill, John Carter, Marion Brown, Olu Dara, Phil Cohran, Sun Ra, Roscoe Mitchell, Henry Threadgill, Pee Wee Russell, Ornette Coleman      
Roots Magic
Down the Dirt Road Blues (Charley Patton) 4:23
Last Kind Words (Geeshie Wiley) 6:29
Tom Rushen Blues (Charley Patton) 5:10
from Last Kind Word 2017
Roots Magic are an Italian quartet who draw strong lines between deep blues and free jazz by reworking tunes by Blind Willie Johnson, Charley Patton, and Geeshie Wiley alongside works by Marion Brown, Julius Hemphill, Roscoe Mitchell, Henry Threadgill, and others. There’s always been plenty of blues in free jazz; check the catalogs of David Murray and Archie Shepp, not to mention the Art Ensemble Of Chicago. But Roots Magic also blend the fierce and hypnotic cry of their horns with tight funk rhythms, and add elements of dub once in a while. This is their second album, and it’s a strong demonstration that their core concept is one that gives players this talented and imaginative a lot of room to run.

Jazz trumpeter Takuya Kuroda is a forward-thinking musician with a bent toward mixing post-bop and adventurous soul-jazz. Born in Kobe, Japan, Kuroda followed his older trombonist brother into the local music scene, playing in big bands. After studying music in Japan, Kuroda relocated to Boston to attend the Berklee College of Music. 
Takuya Kuroda
I Don't Remember How It Began (Takuya Kuroda) 6:36
Little Words (Takuya Kuroda) 6:09
Think Twice (Sigidi Abdullah / Bradley Ridgell) 5:46
from Zigzagger 2016
Takuya Kuroda's follow-up to his breakthrough 2014 album, Rising Son, 2016's colorful Zigzagger finds the trumpeter digging even deeper into his hip-hop and Afrobeat-influenced jazz sound. Whereas last time Kuroda benefitted from the production of one-time boss and collaborator/singer Jose James, here he mans the production chair himself. It's a bold, if natural choice for the Japan-born/New York-based performer and brings his journey from James' talented sideman to jazz star and captain of his own funk-jazz ship full-circle. Although steeped in acoustic jazz tradition, Kuroda (who studied at both Berklee and the New School) has gravitated toward more jam-oriented sounds in recent years. Blessed with a warm, robust trumpet sound and a knack for delivering lithe, soulful solos that bring to mind both Roy Hargrove and Hugh Masekela, Kuroda is truly a 21st century performer. Another shift from Rising Son is Kuroda's choice to use his longtime backing ensemble, featuring trombonist/vocalist Corey King, keyboardist Takeshi Ohbayashi, bassist Rashaan Carter, and drummer Adam Jackson...

The Breathing Effect was initiated as a project of two lifelong friends and musical partners that set out to unearth a sound of their own. Eli Goss (Synthesist/Keyboardist/Vocalist) and Harry Terrell (Drummer/Bassist) both grew up in Los Angeles, where they spent years honing their respective crafts and being immersed in the experimental beat scene that Los Angeles has to offer...
The Breathing Effect
Cold Meteor Showers 6:50
One for the Mountains by the Sea 3:29
Streetlights Out of Focus 4:02
from Mars Is a Very Bad Place For Love 2015
Jazz is supposedly a grown folks’ genre, played by aging bohemians in tiny clubs. Tell that to the Breathing Effect—a self-described electronic group influenced by soul, rock and jazz—whose debut album, Mars Is a Very Bad Place for Love, toes a line between traditional and turn up. As a unit, producer/keyboardist Eli Goss and drummer/bassist Harry Terrell merge the standards of conventional jazz with modern bounce beats. By definition, it scans as "jazz fusion," but the results conjure '70s R&B as well as the contemporary Los Angeles beat scene and hip-hop. Clearly, Goss and Terrell study Pink Floyd and the Soft Machine, but it seems they dig Thundercat and Stevie Wonder, too...

Jazz quartet James Farm is an acoustic-based yet forward-thinking ensemble featuring saxophonist Joshua Redman, pianist Aaron Parks, bassist Matt Penman, and drummer Eric Harland. 
JAMES FARM
Joshua Redman, Aaron Parks, Matt Penman, Eric Harland
Two Steps (Matt Penman) 5:06
North Star (Eric Harland) 7:56
Otherwise (Aaron Parks) 6:38
City Folk (Joshua Redman) 7:03
from City Folk 2014
City Folk is the sophomore offering by James Farm, a jazz quartet featuring pianist Aaron Parks, saxophonist Joshua Redman, bassist Matt Penman, and drummer Eric Harland. It picks up right where their 2011 debut left off and moves the discussion further up the road. Like its predecessor, there are three tunes each by Redman, Parks, and Penman, and one by Harland... The album is readily accessible but no less sophisticated for being so. On City Folk, James Farm are as alluring as they were on their debut, perhaps more so. As a collective they deliver the very best modern jazz has to offer: a sound completely aware of and influenced by the various spectres of musical culture (including pop) with an identity that is integrative, forward-thinking, colorfully creative, and disciplined.