Joe Lovano - Trio Tapestry - Garden of Expression

Joe Lovano - Trio Tapestry - Garden of Expression - ECM

"Garden of Expression" is the second collaboration between saxophonist Joe Lovano, pianist Marilyn Crispell, and drummer Carmen Castaldi under the rubric of Trio Tapestry. It is a recording of captivating music, all of which Lovano composed. Lovano states, "Each of the pieces is a song of expression where rhythm doesn't dictate the flow. This is not a band that starts from the beat. The momentum is in the melody and the harmonic sequence, and rhythm evolves within each piece in a very free flowing manner." 

"Free flowing" is not a bad way to describe the performances here that display a chamber jazz quality. Lovano usually states a melodic theme that he and Ms. Crispell develop in a musical conversation to which Castaldi adds rhythmic accents. The trio primarily is heard on lovely, thoughtful improvisations such as on the title track or "The Secret Chant." There is a bit more energy in Crispell's piano opening for "Dream on That," leading to Lovano's probing tenor over Castaldi's percolating percussion. 

One should not be surprised that the exquisite music on this album is also superbly recorded. Every nuance of Castaldi's percussion, every note of Crispell's piano, and every tonal shade of Lovano's tenor is clearly captured on the closing "Zen Like." The typically superb ECM engineering enhances the pleasures of this marvelous recording.

I received a download to review from a publicist. Here is a performance from Trio tapestry.

John Scofield Swallow Tales

John Scofield
Swallow Tales
ECM

With all the recordings over his esteemed career, "Swallow Tales" is John Scofield's first album as a leader for ECM. The present album is a celebration of the bassist Steve Swallow who Scofield has known since he was studying at Berklee some four decades ago. Swallow has played and recorded with Scofield over the years and Scofeld notes their rapport is such that "Sometimes when we play it's like one big guitar, the bass part and my part together."  Filling out the trio is drummer Bill Stewart. Scofield states about Stewart that What Bill does is more than ‘playing the drums,'" Scofield says. "He's a melodic voice in the music, playing counterpoint, and comping, while also swinging really hard."

This recording is devoted to Swallow's compositions which Scofield observes "make perfect vehicles for improvisation. The changes are always interesting – but not too interesting! They're grounded in reality with cadences that make sense. They're never just intellectual exercises, and they're so melodic. They're all songs, rather than ‘pieces'. They could all be sung." The performances of these nine tunes display the emphatic interplay suggested by Scofield's comments above.

Scofield's touch and technique is immaculate throughout while his solos are ingenious and thoughtfully constructed. Certainly there is a delicious precious quality to the opening selection "She Was Young" where Scofield's crafted lyrical playing is subtly supported. His guitar tone is exquisite while Stewart is adding a counterpoint with his rhythmic accents. Swallow himself adds a melodic solo on this softly played tune. Stewart's propulsive playing kicks off "Falling Grace" with the composer's neat bass line as well as Scofield's scintillating, twisting solo. Then there is the free-flowing bluesy feel of "Portsmouth Figurations," that was originally performed on Gary Burton's "Duster" album. There is effervescent playing on "Eiderdown," which also has a noteworthy drum solo. Another song to take note of is the lovely ballad "Away," with some pretty playing from the leader and Swallow with Stewart deftly and softly using brushes. "In F" is Swallow's contrafact of a Cole Porter number with  drum breaks featured in its head.

Besides being marvelously played, the performances are uncluttered with plenty of space for the music to breathe. There is so much to enjoy with the intriguing compositions, the imaginative and thoughtful playing and the rapport the three showcase. "Swallow Tales" is a gem of a jazz guitar recording.

I received a review download from a publicist. Here is a 2010 performance by this trio.

 

Wolfgang Muthspiel Angular Blues

Wolfgang Muthspiel

Angular Blues

ECM

Austrian guitarist Wolfgang Muthspiel leads an exceptional trio of Scott Colley on bass and Brian Blade on this new ECM recording. Recorded in Japan during a tour by the trio, "Angular Blues"

showcases Muthspiel's craft as a composer as well as a guitarist of considerable interest. With scintillating runs mixed with carefully placed chords, he is complemented by Colley's bass anchoring this trio as well as taking his melodic solos while Blade, perhaps this writer's favorite drummer, accenting the drums with a deft touch.

Performances include the opening "Wondering" with its free-flowing dreamy structure, the title track with its quirky theme and use of stop-time, and the pensive "Hüttengriffe," where he plays acoustic guitar. Muthspiel's austere playing here is complemented by Colley's spare bass lines and Blade's light touch with the brushes. "Camino" is another performance in a reflective vein with Muthspiel's light, deliberate improvisation, which subtly builds in intensity with Blade deftly adding his rhythmic coloring. "Ride" is a spirited, effervescent bop-inflected performance with energetic solos from Colley and Blade. There are marvelous renditions of the standards "Everything I Love" and "I Remember April" (the latter number has an exceptional bass solo with his display of a marvelous technique, imaginative construction of his solos, and a splendid sense of dynamics and of tone. 

Then there are the two renditions of 'Kanon." A trio version is done in 6/8 time, while a solo version is in 5/4 time. The solo performance comes off as a captivating free-flowing improvisation where Muthspiel's use of electronic delay creates a sense of this performance being a guitar duet. Like the rest of this recording, it showcases Wolfgang Muthspiel's imaginative and adept playing that is enhanced by the splendid contributions of Colley and Blade. The result is a superb modern jazz guitar album.

I received a download to review from a publicist. Here is Wolfgang Muthspiel with a slightly different trio.

Avishai Cohen Big Vicious

Avishai Cohen
Big Vicious
ECM

Speaking of his new album "Big Vicious," Israeli trumpeter Avishai Cohen states that the recording reaches far beyond jazz. "We're all coming from jazz, but some of us left it earlier. Everyone's bringing in their backgrounds, and that becomes part of the sound of the band." Textures from electronica, ambient music and psychedelia are part of the musical blend, as are grooves and beats from rock, pop, trip-hop and more.

The album title also reflects the name of the group heard on this. Joining Cohen, who plays trumpet and synthesizer, and provides effects, are guitarist Uzi Ramirez, guitarist/bassist Jonathan Albalak, drummer Aviv Cohen, and drummer Ziv Ravitz. About this group, Ravitz observed that "In the combination of everything, this is a magical group. It's very special because you would expect it to explode, with total drama. But the music is deep, and very melodic."

There is a mix of repeated grooves and Cohen's inquisitive lyrical trumpet. Guitarist Ramirez (who I assume he takes most of the solos) has his own melodic qualities. "Hidden Chamber" is a fascinating number that also includes Ravitz's sampling of some speeches at the close. "King Kutner" has an album rock groove with the mix of searing guitar lines as well as effects, and Cohen's soaring trumpet quite engaging. Then there is a haunting interpretation of Beethoven's "Moonlight Sonata," with Cohen's melancholy trumpet over the trebly guitar backing. "Fractals" has an intriguing mix of a synthesizer with various effects, including the use of echo that lends an ethereal quality to Cohen's trumpet. The textures the ensemble creates adds to the mesmerizing quality here. The variety of moods is further displayed by the alluring guitar interplay on "The Things You Tell Me," with Cohen adding atmospheric trumpet midway.

The sound of this recording is superb, as one expects with ECM. The music on "Big Vicious" has grown on this listener with repeated listening with Cohen's evocative trumpet, and the mesmerizing background provided that results in some stunning music.

I received a download to review from a publicist. Here is "Teardrop" from Big Vicious.