Jazz and Improvised

Kenny Wheeler Legacy - Some Days are Better
Royal Academy of Music Jazz Orchestra;  Frost Jazz Orchestra
Greenleaf Music (glmstore.bandcamp.com/album/some-days-are-better-the-lost-scores)

Canadian Jazz trumpeter/flugelhornist Kenny Wheeler’s position is analogous to Norman Bethune’s: more famous abroad than at home. Toronto-born Wheeler (1930-2014), who moved to the UK in 1952 was equally proficient playing commercial studio gigs; big band jazz with Johnny Dankworth and others; and free music with the likes of Anthony Braxton. He also composed intricate scores, most of which were played only once for BBC radio concerts in the 1970s.

Not really “lost,” 11 of these scores are performed by 34 musicians drawn from Miami’s Frost School of Music and London’s Royal Academy of Music. Reconstitutions of these impressionistic, quietly swinging tunes are expanded when the ensemble(s) add veteran soloists who earlier collaborated with Wheeler himself. 

The title suite for instance uses brass blasts to surround Norma Winstone’s wordless vocals both shredded and soulful, with Evan Parker’s circular breathed emphasis following contemporary electric piano jangling. Parker’s pressurized tenor saxophone is inventively matched with growls and flutters from trombonist Sam Keedy on C.P.E.P., as drum beats push the large ensemble forward; while flugelhornist Brian Lynch’s measured pitches face off with a three-saxophone choir blend on D.G.S. 

Not every track is given over to the professionals however. Maria Quintanilla’s bel canto vocal coloration on a couple of tracks, bassist Nikolas Lukassen steadying swing throughout and Some Doors Are Better Open’s gentle duet of flugelhornist Etienne Charles and tenor saxophonist Emma Rawicz confirm younger players’ skills and the continued appeal of Wheeler’s music.

Wind Forms
Greg Burk; Michel Lambert
Tonos Records (gregburk.bandcamp.com/album/wind-forms)

This idea of putting Wind Forms to music is interesting, especially when you pair piano and drums and more especially when the musicians are as adventurous as Greg Burk and Michel Lambert. The “trick” (a word used with caution so as not to denigrate the musical gestures employed here) would be to astutely meld the majestic chordal power of the piano and extend its percussive possibilities.

This seems easy thanks to the intrepid technical ingenuity of Burk. Conversely it is the extension of Lambert’s facility as a percussion colourist by finding ways to turn the rolling thunder of the drums and the hissing of cymbals into the realm of melody and harmony. These strange bedfellows coalesce in a dynamic partnership.

The disc gets off to a fiery start with Scirocco, a searing desert wind that sweeps across the sand dunes that could scorch anything in its path. Other ingenious improvisations may be heard on Aeolian Awakenings (a clever little play on an ancient mode), the darkness of the play on Hamartian (Aristote’s fatal syllogistic flaw) in which piano and drums incessantly – but brilliantly – argue musically. And then there is the majestic Zephyrus, crafted as a wall of music to recall both the Greek demi-god and winds heralding the arrival of spring. The collision of intellectuality with poetic imagery makes for a wonderful study in improvised music.

Remnants
Roberto Occhipinti
Modica Music (modicamusic.bandcamp.com/album/remnants)

It’s not often that we get to take a closer, intimate look at the great musical mind of renowned bandleader, bassist and composer Roberto Occhipinti. But with this latest CD we get to do just that; featuring previously unreleased tracks, it feels like we are privy to a new, exclusive foray into unexplored musical territory. With a musician as in-demand as Occhipinti, it’s always great when an album featuring his own compositions is released. As is often the case with someone of the bassist’s calibre, the record features a star-studded list of musicians, among them Hilario Duran, Luis Deniz, Mark Kelso and Kevin Turcotte. 

Remnants’ tracks are a mix of those penned by Occhipinti himself, as well as interesting takes on songs by greats such as Pat Metheny and Leonard Bernstein. With the first notes of title track Remnants, we’re taken into a sultry, mellow musical landscape where the woes and worries of the world and winter chills instantly melt away. In contrast, Occhipinti’s large ensemble arrangement of Brazilian Hermeto Pascal’s Os Guizos is just stunning, with flowing string melodies, a melodious bass solo and fluttering flute tune showcasing the fabulous musical imagination of the bassist. Featuring everything from rhythmic, catchy tunes to slower tempo passionate ballads, this is a great addition to any music lover’s collection. 

Meeting Place - Convergence
OVK3
Modica Music (modicamusic.bandcamp.com/album/meeting-point)

This album features an impeccable trio playing beautiful music where each musician shines individually, the air filled with distinctive sounds. Pianist-composer Manuel Valera contributes seven out of nine tunes here, each one being a piano trio’s dream. Left hand countermelodies and incredible rhythmic emphasis abundantly bring out the most dynamic of interactive tendencies within the group. OVK3’s sound embodies quietude, crispness and brightness in equal measure, skating briskly across the liberating open plane of Mark Kelso’s feathery ride cymbal, always in control, each hit bringing the picture into more life-like definition. 

IKelso’s rhythmic gestures are open air and Valera’s ideas are the feeling of sudden lucidity while Roberto Occhipinti’s lines are pure butter, in the midst of a constant phase change each note placed in the most tender of places with an impossibly fluid throughline. There is the feeling of comfy tension where the listener ingests a meal numerous morsels at a time. 

Occhipinti provides an original here, El Rey, and it is emblematic of something that never rests or ceases, and yet it leaves a firm, digestible imprint on the mind. The inclusion of Soul Eyes, track eight, made this Mal Waldron fan happy.