Lambic Jazz Vol. 2

The post-class hang continues and I'm going to try and keep these going for the rest of the semester.

The night started off with Paul Motian: Time and Time Again (ECM) Paul Motian (d) Joe Lovano (ts) Bill Frisell (g)
I was introduced to the Motian by way of Lee Konitz (and come to think of it, that's how I first heard Frisell too) and I was taken by his playing, both as a soloist and as an accompanist. This album is a great feature of the latter. I enjoy the way he doesn't play time the way you might expect, breaking things up, creating dialogue with the rest of the trio, seamlessly moving between different pulses and textures so naturally and utilizing space in ways few drummers do. Lately, I'm enjoying Motian the composer and there are some really nice tunes here - "Wednesday," "Whirlpool" and "K.T." They have a uncluttered, folk-song or nursery rhyme simpleness that appeals to me.

This trio is a great showcase three very identifiable musical personalities and while I 'm not a huge fan of Joe Lovano, this is the setting in which I prefer to listen to his music. As opposed to degenerating into an all-star hit out, these personalities come together as one to form a true ensemble sound, although at times they provide the illusion of moving independently of one another - perhaps a side-effect of playing together for 20+ years.

Next up was Liz Gorrill (these days known as Kazzrie Jaxen) and Andy Fite: Cosmic Comedy (New Artists Records) - a live set of nine piano and guitar duets to round the night out. There are a couple of things that stand out to me listening to these two - Karrie's rhythmic nature and drive and Andy's articulation and tone with an emphasis on the acoustic side of his instrument (which seems to be a rarity). There are plenty of surprises as they take some familiar forms to new places, it's a wild ride but a lot of fun. I'm not sure I can really put this into words but I feel it's rare to hear jazz like this - spontaneous improvisation at its finest. The music feels as if it could go anywhere and often, at the blink of an eye, it takes off on another plane. The way Andy's lines slide over the piano dirge on "Blues for the Child" always gives me a kick, and then there's the counterpoint throughout the album. It's hard to play favorites but the quiet surge of "A Dream of April" snuck up on me tonight.

Accompanying the music tonight was St. Louis Fond Traditional Gueuze by Van Honsebrouck. And now it's time to tune in to the cricket (1st test NZ vs India). Yes that's right, I'm combining three of my favorite things tonight.... make that four as I played some sax before dinner!

Vol.1 can be found here.

Kazzrie Jaxen

Due to a couple of recent releases of late, I have been listening to Kazzrie Jaxen (formerly known as Liz Gorrill). For those of you unfamiliar with her work, you're in for a treat.

First up…. Callicoon Sessions (Candence Jazz Records CJR1243, 2013) by the The Kazzrie Jaxen Quartet with Charley Krachy (ts) Don Messina (b) Bill Chatin (d).

During the second half of 2009, I started playing with Don and Bill (along with Carol Liebowitz & Will Jhun) and they mentioned that the quartet had started playing together. In fact, "My Melancholy Baby" comes from the quartets' very first session together. The individual histories are much longer. Bill & Kazzrie go back to the early 70s, Charley & Kazzrie the late 70s (first recording together is from 1989), while Don & Bill have been playing together for about 30 years.

I feel these long standing relationships play an important role underpinning the eight standard tunes and one free improvisation. There is a casual, playful feel throughout the album, very much akin to old friends catching up.

"Foolin' Myself" somehow got lost amongst the shuffle and is seldom played these days. If you are looking to add some underplayed tunes to your repertoire this one is a gem.

Having heard Charley play "My Foolish Heart" live, I was keen to hear the quartets' interpretation - it didn't disappoint. Nobody over plays their hand - timely fills are added in the bass, piano accompaniment is supportive yet creative, swirling brushes and cymbals create a subtle wash and the melody is presented quite "straight" but with plenty of feeling (with out resulting to milking it). During the saxophone solo, the melody is never far away.

Contrast follows in "You Stepped Out Of A Dream." It kicks off with a  piano/drum duet of blurring lines, dense chords and crisp ride & snare that is full steam ahead.

The free improvisation "Callicoon" is made up of two parts "The River" & "The Train." The quartet move out of flowing pulse that is a feature of the album and break things up with rubato/free time and hinting at a shifting pulse.

Don gets a pretty sweet recorded sound from a DAT recorder and a single stereo microphone. He has recorded a number albums this way (the three BMC Trio discs, Jimmy Halperin's Cycle Logical and an album he and Bill made with Jon Easton, probably others too). Sometimes it makes me wonder why there can be so much fuss over studios and such.

I got my copy from CD Baby. It only arrived a couple of days ago but has already had multiple spins.

Of her two duets with guitarist Andy Fite I have been listening to Cosmic Comedy (New Artists Records 1012) - from a September 1990 concert at Greenwich House. These duets are excellent examples of the unlimited nature of tunes from the Great American Songbook. The two albums are full of surprising twists and turns, it feels like the music could go anywhere at anytime. The music goes places.