Música de Selvagem – Volume Único (ShhPuma / Selo Risco)
While living in France, São Paulo-born bassist Arthur Decloedt was faced with the insult música de selvagem, meaning “music of savages”, to describe music from his beloved Brazil. This xenophobic remark became fuel for Decloedt and saxophonist Filipe Nader as they decided to use the songs of contemporary Brazilian songwriters as the springboard for their next project. Adding drummer Guilherme Marques, trumpeter Amilcar Rodrigues, and saxophonist Cuca Ferreira to the mix, they formed Música de Selvagem and recorded said songs with the singers who penned them.
The result is Volume Único, the terrific new record joint released by Shhpuma and Selo Risco. There is an immediacy and strength conveyed through the minimalism of the tunes and brevity of the just four songs on Volume Único that is both undeniable and quite satisfying. The four songwriters/singers (Sessa, Tim Bernardes, Luiza Lian, and Pedro Pastoriz) bring contrasting material to the group, resulting in a balanced collection that runs the spectrum from aggressively dynamic to soulfully moody to dramatically dirgy to peacefully placating.
This is yet another example of how love wins out over hate, how something terrible like racism is again drown out by the beauty of art. Hopeful stories like this one make it easier to wake up anew in 2018, and I’m already looking forward to Volume Dois!
The lure of electronic music and its devices is a landmine for the composer/performer. Many have fallen by treating it as an ingredient to spice up their compositions, and in the process, came across as pandering or novel. That is decidedly not the case for Trio Heinz Herbert, particularly on their new release, Yes.
Brothers Dominic and Ramon Landolt (guitar and keys, respectively) and drummer Mario Hänni have a way of seamlessly integrating electronic processing into their more or less traditional instrumental playing, resulting in an exciting artistic expression. Some of the projects of Christian Fennesz and Supersilent and even This Heat come to mind as sonic references here, but THH’s compositional approach is something different. Utilizing piano/keyboards, guitar, and drums, they are something of a modern day bass-less piano trio, dub-mixed, perhaps even musique concrete-d, in real time, by themselves!
The ubiquity of sound processing software and hardware makes it easier than ever to attempt what THH do, but the work has to be put in to learn the gear and to actually have compelling ideas before the knob-turning commences. You also have to execute, effectively maniacally multitasking. Fortunately, these Swiss bosses have done so proficiently on all fronts and continue to grow in strength with each successive release.
This time of year in the Midwestern United States jibes most perfectly with the ECM aesthetic: spatial, remote, impeccable, suggestive, and impressionistic all come to mind. This list of adjectives is appropriate in describing a glowing oceanic panorama, Lucent Waters as it were, which is coincidentally inspiration for and the title of the new Florian Weber record on ECM.
For LW, his second ECM release, German pianist Weber has assembled one of the strongest groups on record in 2018 with trumpeter Ralph Alessi, bassist Linda May Han Oh, and drummer Nasheet Waits. The result is everything described earlier, and in stunning fashion. In the liner notes, when asked about Weber and LW, Lee Konitz said of his protégé, “His music is totally free. He has got the texture, the feeling, just beautiful…it feels divine to me.” I couldn’t agree more.
There is a programmatic approach to the music, about which Weber describes the “twilight atmosphere of the touring musician’s world”. It’s no secret to any musician who has spent time on the road that this can be a lonesome place, for sure, and this quartet has encapsulated that mood purely here. It’s not all dark though as the jubilance of the perfect gig is reflected in tracks such as “Time Horizon” and “Fragile Cocoon”. Come on in, the waters are just fine.
John Coltrane – 1963: New Directions (Impulse! Records)
First off, what more can be or needs to be said of the legacy of absolute excellence of John Coltrane? He and his core crew of Jones, Tyner, and Garrison climbed the pinnacle of what music is capable in a way that nearly no one else ever did or ever will.
As the title of this set suggests, 1963 was a time of transition for Coltrane wherein he moved from the tradition of jazz that he had already altered forever with his extended solo-flights of spontaneous and limitless imagination, to a new place entirely the following year with the release of the genre defying A Love Supreme. This 3-CD or 5-LP set culled from his 1963 recordings Both Directions at Once: The Lost Album,John Coltrane and Johnny Hartman, Dear Old Stockholm, Newport ‘63 and Live at Birdland is a fascinating document of a genius becoming even greater.
Look, you don’t need me to tell you that this is a brilliant collection, and though I’m not a proponent of the old “repackage and sell at Christmas” game, 1963: New Directions makes perfect sense for the uninitiated and for those to whom certain younger musicians, and I’m not naming names here, are considered masters. This is the genuine article.
FrançoisHoule, Alexander Hawkins, & Harris Eisenstadt – You Have Options (Songlines Recordings)
A Brit, a Canadian, and an American walk into a recording studio…except this is no joke… far from it, it’s the setup for the new album, You Have Options, from clarinetist François Houle, pianist Alexander Hawkins, and drummer Harris Eisenstadt. To say this is some serious chemistry and seriously impressive music is an understatement.
The range of material on display on YHO is staggering. Included are compositions penned by each of the three musicians involved, as well as pieces by Steve Lacy, Andrew Hill, and Charles Ives. In the hands of lesser players/improvisers, the challenge would result in butchery, but these three brought their A-games and nailed it. I surprised myself by deeply enjoying the space afforded in no small part by the absence of bass on the recording, an omission that I typically lament: not a problem here given the superhuman sensitivity and exemplary musicianship of Eisenstadt, in particular.
Although it’s more undeniable now than ever that You Have Options, I submit the present release as one of the stronger options. Go get it!