Scorch Trio - Melaza

As can be inferred by their name, The Scorch Trio is a high energy improvisational jazz band that touches of fusion, rock ‘n’ roll and free jazz. Consisting of Raoul Bjorkenheim on guitar, Ingebrigt Haker Flaten on bass and new member Frank Rosaly on drums and percussion, the group mixes high energy blowouts with abstract soundscapes to create a compelling blend of music. Taking their titles on this album from Puerto Rican slang terms, the music is equally spicy, leading off with “Relajo” and “Bambalan” which kick things into high gear with lean trio playing, sounding something like a post-modern update of the Tonly Williams Lifetime with strong and fierce intricate playing for all three members. “Orita” and “Raitru” slow the pace down considerably, taking long tones of guitar and bowed bass over skittering percussion. It all comes together on the final performance, “Iesnu!” which develops patiently like a slow building fire and then goes into overdrive with a storming collective improvisation. Fans of electric jazz like Nels Cline's recent work will find a lot to enjoy here as the band is tight as a whip throughout. Rosalay is an excellent addition and he heaps many rhythms upon the proceedings.

Oliver Lake, Christian Weber & Dieter Ulrich – For a Little Dancin’

Alto saxophonist Oliver Lake has been getting some much deserved recognition of late, performing with Orrin Evans' far-reaching Tarbaby ensemble at recent jazz festivals, recording albums for his own Passin’ Thru label and cutting this lean and exciting trio set in the company of Christian Weber on bass and Dieter Ulrich on drums. The music recalls Lake’s work with the collective group Trio3 that also features Andrew Cryille and Reggie Workman, with strong and free rhythm work setting the stage and interacting fully with Lake’s tart alto saxophone. They delve into a little bit of everything on this set, which keeps the music consistently interesting, whether it is the brief free-jazz blowout of “Spots”, where the wild and wholly collective improvisation recalls the heady days of the Loft Jazz scene where Lake first made his mark, to the abstract “Rollin’ Vamp” which builds and improvises around the fulcrum of a repeated section. The title track “A Little Dancin’” even brings a little R&B into the mix, with a generous beat and some strenuous saxophone playing. The was a very well performed and varied set, Lake sounds deeply inspired by the music and solos with aplomb while Weber and Ulrich are ideal partners. Definitely an album to check out for open-eared jazz fans

Ken Vandermark and Paal Nilssen-Love - Milwaukee Volume

Saxophonist and clarinetist Ken Vandermark has played with drummer Paal Nilssen-Love on a number of occasions in many different settings. In 2007 they did a tour of the Midwestern USA as a duet, documented on CD's of their Chicago and now Milwaukee performances. This album features three long spontaneous performances starting with "Clean Sweep" which opens with probing squeaks and crashes, making way for high pitched clarinet and rolling drums. The musicians make much use of the space available and and use silence a way to sculpt the music into different textures. A drum solo breaks the calm and then Vandermark switching to tenor saxophone begins a dialogue that builds in intensity. The interplay builds taught and strong, building dynamically to an over driven conclusion. "Cause of Action" is a very abstract performance, swirling and probing and building ever so slowly. Percussive toots and squeals of saxophone over broken percussion are featured in a very open ended fashion. "Cut and Thrust," on the other hand, is one of the most audacious and fascinating performances of recent memory. Strong and deep baritone saxophone and ever shifting drums are overpowering in this stark and strong duet. The awesome depth and intensity of the performance recalls John Coltrane's epic "Chasin' the Trane" from the 1961 Village Vanguard Sessions. The two musicians keep up the punishing pace of raw toned and caustic baritone sax and pulsating drums for nearly twenty minutes before downshifting to a spare and probing section. Vandermark and Nilssen-Love really lock into each other at an almost telepathic level throughout this recording. Regardless of the tempo or pace the music remains interesting and dynamically focused.

Bill Dixon – Intents and Purposes

Trumpeter, composer and educator Bill Dixon’s music has always been something of an enigma to me, but seeing how revered he was by his fellow musicians I tried my best to enjoy it. This album, amazingly released originally by a major label and out of print for many years has been given a beautiful re-issue and re-mastering, which brings the album considered to be Dixon’s masterpiece to life. I found this music surprisingly accessible, but no less original in its conception. Drawing equally from composition, improvisation and freedom the music adheres no code or credo save Dixon’s own. Two lengthy pieces bookend the album, “Metamorphosis 1962 – 1966” and “Voices” with a stellar group featuring Jimmy Garrison on bass, Byard Lancaster on bass clarinet, Catherine Norris on cello and Robert Frank Pozar on drums, among others. Plumbing the lower depths of music, the low sound of the bass and bass clarinet give a unique and unusual sound for Dixon to improvise over. His role is fascinating as he alternately leads with strong trumpet, and supports with slurs and accents to the benefit of the other musicians. The shorter pieces, “Nightfall Pieces 1 and 2” are short vignettes for trumpet and the flute of George Marge that develop like short stories of music against the novel like longer pieces. It is easy in retrospect to understand why this album has garnered such enthusiasm among fans and musicians. The music sounds like nothing else of the period (or today for that matter) and the palette of instruments and musicians is continually fascinating. Kudos to Jonathan Horwich for the herculean effort it took to bring this masterpiece back into print.