Poline Renou, Mattieu Donarier, and Sylvain Lemêtre – Adieu Mes Très Belles (Yolk Records)
Following an impeccably recorded and drop-dead gorgeous solo vocal intro by Polline Renou, just as Sylvain Lemêtre’s hand drumming commences with a gripping rhythm, the stage is set for something very distinct. For the duration of Adieu Mes Très Belles, the captivating new recording by the aforementioned two musicians with clarinetist Mattieu Donarier, the thrall never lets up.
The unlikely pairing of Medieval plainchant and European Renaissance chanson and balladry with advanced 21st century improvisational techniques, as well as a deeply ruminating overall atmosphere not often on display from an acoustic trio makes AMTB, without a doubt, one of the most fascinating recordings of 2018. So very economical, so very efficient, so very expressive, and so very effecting, this trio traverses territory over which major metropolitan orchestras routinely stumble.
I can’t help but think that many people who read this type of blog would be way into this kind of singular project, but who knows, maybe it’s too perplexing for some listeners of creative music to enter uncharted waters. Naturally, I hope not…Regardless, a note to self: go back and check out Poline Renou and Matthieu Donarier’s Kindergarten project, because, as David Letterman used to say, I’ll take all of this you’re selling!
Ingrid Jensen and Steve Treseler – Invisible Sounds: For Kenny Wheeler (Whirlwind Recordings)
The music of Kenny Wheeler is a beautiful confluence of the harmonic language developed by the masters of the past like Ellington, Mingus, and Miles AND the singularly innovative restlessness of Monk and Braxton. It’s no wonder that musicians of such considerable agency as trumpeter Ingrid Jensen and reedsman Steve Treseler felt compelled to pay tribute to the fairly recently deceased iconoclast.
Jensen’s crack band of pianist Geoffrey Keezer, bassist Martin Wind, and drummer Jon Wikan were brought on board for Invisible Sounds, and to stellar effect. All of the melancholy, spunk, and even madness of Wheller’s compositions were conveyed in the animated playing of all involved, including guest saxophonist, and Ingrid’s sister, Christine Jensen, as well as vocalist Katie Jacobson.
If artists don’t seize the opportunity of allowing the vision of another artist to actually breathe in tribute, that tribute is a blunder. Jensen, Tresler and company have not fallen into this all too-common trap and have instead stayed true to Wheeler’s aesthetic approach by making his music their own on Invisible Sounds. Well done, indeed!
Matthew Golombisky’s Cuentos – Volume 3 (ears & eyes records)
Composer, bassist, and prime mover Matthew Golombisky returns with another wonderful set of Cuentos (Spanish for “short stories”) with Volume 3, this time set in Chicago, Il. The idea with his Cuentos is that Golombisky writes a terse motivic framework with minimal guidelines around which a group of improvisers would briefly converse on their instruments – most pieces run around three or four minutes. This time around he has convened in Chicago, Il with some of the best of the best: longtime collaborator, drummer Quin Kirchner, trombonist Naomi Moon Siegel, trumpeter James Davis, and saxophonist Dustin Laurenzi.
Keeping with the tradition begun with last year’s Volume 1 & 2, there are no names given to the pieces, only numbers, freeing the listener of preconceptions or artistic intent. That said, one couldn’t help but sense pathos within much of the material on Volume 3, as if the resultant musical discussions quickly turned to the current political climate in the U.S. The good news is that it’s not a bummer, at all. To the contrary, I take solace in these terse meditations, like a maritime prayer or a healing lamentation.
At any rate, there is no shortage of beauty to be made through the Cuentos approach, particularly in the hands of Matthew Golombisky and his astutely chosen compatriots. Let’s hope he continues this process of documenting his travels with fresh batches of these cuentos for years to come.
Wolfgang Muthspiel – Where The River Goes (ECM Records)
What happens when you assemble five of the most accomplished musicians on earth to record for one of the most prestigious record labels of the past 40 + years? Loaded question, for sure, but one that can only be answered when the leader of said project is revealed. In this case, it is guitarist and composer Wolfgang Muthspiel, author of some of a few of the finest records of the past decade or so. In a word, the answer is sublime.
The accomplished ones are Ambrose Akinmusire, Brad Mehldau Larry Grenadier, and Eric Harland, and the label is ECM…I mean, come on. All parties do precisely what they are capable of, and the result is a jaw-dropping collection of originals by group members, mostly penned by Muthspiel. Therein lies the X-factor: great ingredients can be unpalatable in the hands of a poor chef. Simply put, I love Muthspiel’s tunes and his approach to and priority placed on space. His musical sweet spot is a magical elixir.
It’s almost odd for me to have to say this, but you need to buy this record and spend significant time with it. Just trust me on this one.
I have enjoyed French guitarist Paul Jarret and his band PJ5 since I heard their 2016 release, Trees. I can’t quite put my finger on what kind of music this band makes: it is at times very accessible, danceable even; their methodology reflects a wide array of influences without succumbing to any one of them for too very long – the music bears it’s sharp teeth one moment and the next it displays a resplendently patient Scandinavian-like sensitivity. Somehow, it all works without sounding contrived or novel, and with I Told the Little Bird, the group has taken another step forward with a suite of pieces tied together with the grandparent of all themes: the circle of life.
The five core members of Jarret, saxophonist Maxence Ravelomanantsoa, trombonist Léo Pellet, bassist Alexandre Perrot, and drummer Ariel Tessier, have all returned and are in fine form, augmented by guests Jozef Dumoulin on the Fender Rhodes and vocalist Isabel Sörling. It is commendable that PJ5’s top priority remains the compositions rather than virtuosic playing.
It’s refreshing to hear emotionally charged pieces (titles include “The Nest”, “Peaceful Struggle”, and “Cycles: The Soil”) performed without a trace of smugness or irony. Although they never answered the question posed in track nine, “Where Do Butterflies Sleep”, it becomes apparent that as in most good art, it is not the answer but the question that is of the primary importance.