Thursday, March 30, 2017

Miles Okazaki - Trickster

Miles Okazaki - Trickster

Miles Okazaki - guitar
Craig Taborn - piano
Anthony Tidd - bass
Sean Rickman - drums

Trickster is an apt name, as what at first seems like a quiet, unassuming recording turns into an unexpected delight with further investigation. Okazaki has accomplished a difficult feat: Making a record that is both adventurous and accessible. 

Okazaki and his group take Steve Coleman’s M-Base concepts and apply their own interpretation, one which encompasses complex rhythms married to compositions with attractive melodies, even hints of the blues and boogie-woogie.

Okazaki has a quiet style that fits the music perfectly, and Craig Taborn does his usual fantastic job of fitting into a group concept and bringing his point of view. Tidd and Rickman are less well known to me, but provide sure-handed support in support of the mood of each piece.

Miles Okazaki has taken a huge leap forward in his evolution as an artist with Trickster.

Sunday, March 12, 2017

Rich Halley and Carson Halley - The Wild

The Wild
Rich Halley - tenor saxophone, wood flute
Carson Halley - drums

The Wild is a new album of duets by saxophonist Rich Halley and his son Carson. I’ve seen the elder Halley’s name around, but have never heard him up to now. The album is divided into 10 tracks, ranging roughly from 4 to 8 minutes each, and the feel is free, even though there are some pre-determined melodies used as springboards to improvisation.

The album feels like a throwback, to a time when free improv, at least on this side of the pond, was more closely tied to the jazz tradition. The sax and drums format call to mind the classic Interstellar Space, and Halley is clearly influenced by Coltrane. He has enough of his own voice, though, contrasting sections of overblowing with lyrical phrasing, showing a tender side on occasion. In fact, it’s in these more reflective moments that I feel I’m more connected to his music, something I’ve observed with other artists who bring a lot of energy to their playing. Sometimes the conversation between musicians seems to be more nuanced at more relaxed moments.

What I like about this record is the performances unfold organically and at their own pace, with a variety of moods and tempos. Carson mixes up his approach between fixed tempos with a slight rock feel and totally free drumming. The length of the tracks means that, with a couple of exceptions, the Halley’s maintain a good level of focus and a sense of moving things forward, again linking to the jazz tradition.

Sunday, March 5, 2017

Satoko Fujii Orchestra Tokyo - Peace

Satoko Fujii Orchestra Tokyo

Satoko Fujii: conductor/composer; Kunihiro Izumi: alto sax; Sachi Hayasaka: soprano sax, alto sax; Kenichi Matsumoto: tenor sax; Ryuichi Yoshida: baritone sax; Natsuki Tamura: trumpet; Yosihito Fukumoto: trumpet; Takao Watanabe: trumpet; Yusaku Shirotani: trumpet; Haguregumo Nagamatsu: trombone; Yasuyuki Takahashi: trombone; Toshihiro Koiki: trombone;Toshiki Nagata: bass; Akira Harikoshi: drums; Christian Pruvost: trumpet; Peter Orins: drums

Of Satoko Fujii’s five orchestras (Tokyo, Nagoya, Kobe, New York and Berlin), Orchestra Tokyo might display the best balance between composition and improvisation. Whereas Orchestra New York, in particular, has leaned heavily in the direction of showcasing individual talent, perhaps because of the collection of all-stars she has in her band, Orchestra Tokyo provides some compelling evidence why Ms. Fujii has been called “the Ellington of the avant-garde.”

Knowing this, I listened to the opening of 2014, the lengthy first track on the album, with some growing trepidation as a trumpet (Tamura I believe) led off with an exploration of extended techniques that eventually wore out its welcome. However, at about the ten-minute mark, things really got underway and from there the listener is treated to an experience that continually shifts between composed sections and improvised ones, with varying degrees of dark and light. Christian Pruvost and Peter Orins, members of her small group Kaze, are on board for this album and they integrate seamlessly.

Peace is dedicated to the late Kelly Churko, the guitarist associated with the noise genre and who played on Orchestra Tokyo’s previous release, Zakopane. Throughout the album you hear sadness, anguish, anger and some grudging hope. Peace resolves with the closing Beguine Nummer Eins, which mixes majesty with folk-like simplicity, resulting in a melody that will stay with you. Not quite peace, but at least a sense of hopeful resignation.