Sunday, September 16, 2018

Balazs Balogh: Borderline Inspirations

Hungarian drummer Balázs Balogh leads a multinational group on his intelligent and charming debut Borderline Inspirations. For it he has also penned seven elegant, poetic and sometimes provocative originals. Balogh has been leading an award-winning quintet since 2014 that includes several of those who appear on this captivating album which also showcases Balogh's noteworthy compositional skills. 


One of the highlights of this uniformly engaging release is the multilayered "Metamorphosis." Opening with a dark, expectant mood, Balogh's compatriot, pianist Lajos Toth, lets loose tense lines as the leader takes a thrillingly polyrhythmic solo. The second half of the track becomes warmer and more expansive yet no less dramatic as it features Hungarian guitarist Márton Fenyvesi's intriguing and intricate improvisation and Austrian saxophonist Tobias Pustelnik's muscular phrases. 

Balogh drives the engrossing and effervescent "Daybreak" with his understated beats and lays down complex rhythms with Austrian bassist Thomas Wilding. Brazilian flutist and saxophonist Marcelo Valezi and Montegroan guitarist Pippo Corvino exchange mellifluous refrains that coalesce around Tóth's bright and chiming keys. The bluesy piano contrasts nicely with Corvino's blistering rock and roll influenced chords. 

Elsewhere, on the mystical "Evening Song," Croatian bassist Ivar Roban Krizic matches with his lyrical eloquence Valezi's lilting and contemplative saxophone. A crepuscular ambience permeates the tune as Tóth mixes silent pauses and cascading notes into a stimulating extemporization. 

Tóth opens the suave and melancholic "Things That Should Have Been Said" with haunting chimes. After Balogh and Brazilian bassist Gustavo Boni joins the trio and creates a crystalline and shimmering harmonic backdrop. Czech flutist Andrea Sulcová flitters over the kaleidoscopic piece in fluid lines. 

With this delightfully unique work Balogh has proven himself a mature composer, an exciting performer and deft bandleader. As a recording that is both creative and accessible Borderline Inspirations should have a wide appeal. It sounds like the beginning of a brilliant career.

Track Listing: Intro; Evening Song; Remonkable; Daybreak; Passing Fancy; Metamorphosis; Things That Should Have Been Said.

Personnel: Balázs Balogh: drums; Tobias Pustelnik: tenor saxophone; Andrea Slucová: flute; Marcelo Valezi: tenor saxophone, flute; Lajos Tóth: piano; Márton Fenyvesi: guitar; Pippo Corvino: guitar; Ivar Krizic: bass; Gustavo Boni: bass; Thomas Wilding: bass.

Title: Borderline Inspirations | Year Released: 2018 | Record Label: Unit Records

Saburo K, Saitama, Japan.

Mehdi Nabti & Prototype: Les règles de l'Art

French-canadian alto saxophonist and composer Mehdi Nabti is at a creative peak, developing new systems of composition based on improvisation, melodic and rythmic researchs into North-African culture.

As a composer, his methodology is derived from ancient musics, scripts, history and myths in North Africa. It is neither a style nor a subgenre, but a process of composition that Nabti calls "ethno-engineering". He incorporates also ideas that borrows from philosophy, heroic fantasy or to science fiction and he qualifies his music as part of the "Afro-Berber Continuum". As a musician, Mehdi Nabti has everything he needs to be a rising star on the jazz scene. He's technically impressive, intelligent, adventurous, he has chops for days. Nabti's tone on alto sax is gorgeous, warm and very clean with a sense of rhythm quite remarkable. He is a real stylist : his saxophone doesn't offend the ears and he's tough enough to take on your mind with great lines without jazz clichés. 

Nabti’s previous recording with his trio ''Pulsar3'' titled ''Hybridations and Transformations'' (2016), an ambitious hybrid of afro-maghreban and jazz techniques, revealed another facet of his ever-evolving artistry. Bigger in scale, this new quartet ''Mehdi Nabti & Prototype'' expands the scope of Nabti’s oeuvre. It features Nabti joined by canadians musicians Nicolas Lafortune (electric bass, a regular on Nabti's albums), and new to the fold, Bertil Schulrabe (drums) and indo-canadian Joy Anandasivam (electric guitar). The album includes 10 studio tracks including two live tracks in trio format ''Pulsar3'' with Nicolas Lafortune on electric bass and congolese drummer/singer Lionel Kizaba.


The most exciting thing on this album is how Nabti builds the hybrid songs, where he incorporates his North African heritage with other forms of music. Nabti’s compositional approach involves interweaving shorts melodics phrases played by each members of the group – in unison and counterpoint – that cumulatively multiply and shift creating a polyrhythmic complexity. Lafortune’s pliant bass lines serve as the central rhythmic or melodic anchor like Gnawa songs, while the ensemble’s syncopated phrasing and myriad overlapping chords and lines imply forward momentum. Resulting in dense, sophisticated and groovy music with sometimes sax and vocals re-recording, Using the ensemble’s entire color palette, each piece dynamically evolves in concert with the musicians’ improvisations. 

Songs like ''Principe Fondamental'' or ''Vernaculaire'' pull in the african side of the Maghreb, and it also allows Lafortune the latitude to pull off wildly enjoyable bass lines with fascinating drums parts by Schurlabe. ''Atlas'' and ''Apeiron & Seikilos'' are the two centerpieces of the set, and are indicative, through numerous ideas, alternating hypnotic fragments that gradually transform which culminate in increasingly new lightings of the original heads. Other tracks include the swinging ''Volubilis'' with a very nice drums solo by Schulrabe, ''Atlantes'' a post-bebop-inspired cup with a walking bass; "Cyborg" and "Samsara" which offer to Anandasivam the opportunity to play two great improvisations characteristics of his Indian background. On his side Nabti is capable of gliding through ballads and punching through up-tempo numbers while still always sounding like himself. The band plays with precision and conviction; that gives off a feeling of strength but also fullness.  

Nabti regularly draws inspiration from berber and antic music, invoking alternative history to imagine a parrallel world, as with the historical references on his previous record; many of these new compositions stem from technics found in Sci-Fi, folklore and myths from North Africa. It's a dancing music, very sophisticated but always readable and accessible. From the futuristic lyricism of ''Cyborg'' to the multidirectional grooves of ''Vernaculaire'' there are ample examples of the broad sweep of Nabti’s artistry. More so than many of his recent efforts, ''Les Regles de l'Art'' stands as a key document in the development of Nabti’s compositional progress.

Track Listing: Atlas, Vernaculaire, Volubilis, Cyborg, Atlantes, Samsara, Principe Fondamental, Apeiron & Seikilos, Geomancie, Tinjis vs Ndaté Yalla.

Personnel: Mehdi Nabti: alto sax, clavé, vocals; Nicolas Lafortune: elec. bass, vocals; Bertil Schulrabe: drums; Joy Anandasivam: elec. guitar; Lionel Kizaba: drums, vocals. 

Title: Les règles de l'Art (ethno​-​ingénierie) | Year Released: 2018 | Record Label: Self Produced (Socan/Bandcamp)

Saburo K, Saitama, Japan.

Andrew Rathbun Large Ensemble: Atwood Suites

Andrew Rathbun is a Canadian saxophonist who has made a major musical statement here with this collection of suites, two of which are based on the poetry of author Margaret Atwood. Rathbun's writing shows the influence of another Canadian, Kenny Wheeler, in its lush sonority, the frequent gorgeous flugelhorn solos by Tim Hagans and the role of Luciana Souza, who both sings Atwood's poetry with gentle forcefulness and moans wordlessly within the orchestral ensembles, the same way Wheeler often utilized Norma Winstone.


"Two Islands" begins with Souza singing simply over Jeremy Siskind's piano. Then the entire ensemble comes in with a controlled turbulence propelled by Bill Stewart's drumming and a beautiful, warm solo by Hagans whose flugelhorn is really featured within the darker, more somber sound of Part II. In Part III Stewart breaks down his drum beats like Joe Morello leading into soaring ensemble music with the rich fullness of Gil Evans. Souza sings brightly, Hagans does his thing again and saxophonist Quinsin Nachoff takes a hard swinging tenor solo. 


"Power Politics" begins with Souza and Siskind again starkly declaiming Atwood's words before the horns weave in. Hagans makes another strong, flowing statement and Souza's voice becomes a wordless instrument melting into the massed surge of the ensemble. Siskind's piano starts Part II with a dark, agitated bounce that leads into a tempestuous tug of war between the reeds and brass before Souza's voice spreads over everything like a cooling balm. There are also strong solo statements by Hagans, trombonist Mike Fahie and tenor player Dan Pratt here. Part III is an extended slow-rolling climax underpinned by funky vamping from Stewart with massive group harmonies and a brawny, rippling alto solo from John O'Gallagher. 

That is the meat of the set but there is a second CD with additional music. "Fractured" is a commentary on our current political situation with staccato horns and a stomping jazz-rock beat. Aubrey Johnson handles the wordless vocalizing this time and Siskind's electric piano and Nate Radley's burrowing guitar do an extended bit of jamming. There are also three movements from yet another, untitled suite full of wide, ambient harmonies, wary guitar and careful Bach-like progressions that bounce between piano, voice and the entire ensemble. 

Andrew Rathbun is another contributor to that lineage of rich, impressionistic orchestral jazz that includes figures like Gil Evans, Bob Brookmeyer, Maria Schneider and Jim McNeely. He writes warm, intriguing melodies and can create powerful backgrounds for soloists. The ones he has here, especially Souza, Hagans and Stewart, are all excellent. This has been an exceptional year for large ensemble jazz recordings and this is one of the best.

Track Listing: Two Islands I; Two Islands II; Two Islands III; Power Politics I; Power Politics II; Power Politics III; Fractured; V; I; II.

Personnel: John O'Gallagher: soprano saxophone, alto saxophone; Ben Kono: alto saxophone, flute, clarinet; Quinsin Nachoff: tenor saxophone, clarinet; Dan Pratt: tenor saxophone, flute, clarinet; Carl Maraghi: baritone saxophone, bass clarinet; Seneca Black: trumpet; Matt Holman: trumpet, flugelhorn; Dave Smith: trumpet, flugelhorn; Russ Johnson: trumpet, flugelhorn; Alan Ferber: trombone; Mike Fahie: trombone; JC Sanford: trombone; Chris Olness: bass trombone; Luciana Souza: vocals (disc one); Aubrey Johnson: vocals (disc 2); Nate Radley: guitar; Jeremy Siskind: piano, rhodes; Dave Ambrosio: bass; Bill Stewart: drums; Owen Howard: drums (1, 2 on disc 2); Tim Hagans: flugelhorn; Andrew Rathbun: composer, arranger.

Title: Atwood Suites | Year Released: 2018 | Record Label: Origin Records

Saburo K, Saitama, Japan.

Umbra: West

American road trips have long inspired writers, from Jack Kerouac, John Steinbeck and Tom Wolfe, to Hunter S. Thompson, Robert M. Pirsig and Bill Bryson. Fewer are the extended works, similarly inspired, written by musicians. Some things, it seems, may be easier put into words. Umbra's West is inspired by founding member Chris Guilfoyle 's 2017 road trip, as evidenced through the song titles, through North America's Western states to Canada. It marks Umbra's full debut, but can be seen as a logical stepping stone from the band's eponymous debut from 2016. 


That EP announced Guilfoyle's penchant for complex interweaving threads, melodic and rhythmic, with the guitarist playing tag with the twin horns of tenor saxophonist Sam Comerford and soprano/altoist Chris Engel. Then as now, the rhtyhm section of bassist Barry Donohue and drummer Matthew Jacobson rounds out a quartet where the whole is greater than the sum of the parts. Like his father, renowned bassist/composer Ronan Guilfoyle , Chris Guilfoyle writes for the individuals, delighting in the juxtapositions between knotty lines and handsome melodies, contrasting simultaneous tempos, soft plateaus and soaring peaks. 

All these elements color "L.A.." Swirling, fuzzy electronics and serene dual saxophones entwine on the intro before a gnawing guitar riff kick-starts the rhythm section. Staccato motifs circle like a stuck needle on vinyl, an impasse resolved when Engel cuts loose on soprano over a visceral bass and drums groove. Guilfoyle's entry coincides with a pulling back on the quintet's reins, the guitarist's lyricism contrasting with Engel's fire. The quintet unites in a punchy unison sprint to the line. It's a punchy calling card and would make a great live opening number. 

The harmonic finesse of "San Francisco"'s motif, underpinned by Jacobson's feathery brush work, soon gives way to more urgent rhythms and bright, call-and-response between alto and tenor saxophones that frame Comerford's tenor flight. An unaccompanied drum feature concludes that chapter and bleeds into "Intro to Portland"—an atmospheric electro-acoustic vignette. It's Jacobson's emerging groove that announces "Portland," inviting a sparkling solo from Guilfoyle, who then dovetails with the arrival of the closely harnessed saxophones. Comerford's' mazy tenor solo is the centerpiece of a mellow number that winds its way elegantly and without fanfare, to its conclusion. 

Without pause, Guilfoyle's ruminative solo spot on "Intro to Seattle" follows on like an unfinished thought. The reverie is broken by the rocky guitar and driving beat of "Seattle"—an appropriate homage to the city of grunge; here, the soaring saxophones are at their most melodic and uplifting. A change of gear ushers in staccato horn phrasing, with Guilfoyle and Donohue picking up the knotty pattern when Engel stretches out on alto. In a stirring finale, Guilfoyle rocks out in brief but incendiary fashion over bouyant saxophones. The episodic "Vancouver" toggles between tightly-woven melodic-rhythmic lines and overlapping free-form flights. A hypnotic guitar-and-bass ostinato flares briefly before Jacobson's cymbal, as soft as sea breeze, put a full stop on the narrative. 

Emotionally engaging and technically impressive, Guilfoyle's Umbra makes a significant statement with West. Hopefully, this vibrant yet lyrical outing will launch Umbra to the wider touring its talents most definitely merit.

Track Listing: L.A.; San Francisco; Intro to Portland; Portland; Intro to Seattle; Seattle; Vancouver.

Personnel: Chris Guilfoyle: guitar; Sam Comerford: tenor saxophone, clarinet; Chris Engel: soprano saxophone, alto saxophone; Barry Donohue: bass; Matthew Jacobson: drums.

Title: West | Year Released: 2018 | Record Label: Self Produced

Saburo K, Saitama, Japan.