Jazz and Improvised

Projet Seb Parent - Sébastian Parent

Projet Seb Parent
Sébastian Parent
Independent (projetsebparent.bandcamp.com)

Projet Seb Parent, the debut album of Montreal-based drummer Sébastien Parent, leaves the impression of being long in the making. Tight jabs and stabs from the astonishingly cohesive 13-piece horn section inject the most tranquil of rhythm section passages with adrenaline. These sudden shots are surges of pure energy and chutzpah that leave pregnant pauses in between; fleeting voids of suggestion, soon to be realized. This method of tireless tension building through choreographed involvement places Projet Seb Parent on the small ensemble-big band continuum, clueing in while never quite revealing its exact coordinates. The results of Parent’s distinct sound facilitating style: a gleeful grab bag of tuneful goodies that feel equal parts organized and unrestrained.

Mont Saint-Bruno features acoustic fingerpicking, an irresistible shuffle beat, a whimsical trombone melody and an assertive slide guitar solo played by Patrick Bourdon. Bling Bling’s unabashed usage of 808s, choppy horns and sub bass simultaneously conjures the approaching menace of a Metro Boomin intro, the vigour of a Comet is Coming beat and bravado of your local brass band. Station Du Collège is an absolute highlight, with Parent himself helming an elusive groove reminiscent of early Tune-Yards, not ever quite fully swinging or straight, which makes the song itself feel like it’s constantly lurching forward and backward; reflecting the profoundly danceable quality this whole album possesses.

Plaît-il - Allochtone

Plaît-il
Allochtone
Tour der bras tdb 000067cd (tourdebras.com)

Quebec-recorded, but ingeniously expressing its so-called foreign background with a band name that translates as non-native person, Allochtone uniquely mixes currents of electronica, rock, folk and free jazz. Created at the Saint-Alexandre-de-Kamouraska music camp, 195 kilometres north of Quebec City, the group includes local percussionist/turntablist Rémi Leclerc; pianist André Pelletier from Saint-Pascal; guitarist Olivier D’Amours and accordionist Robin Servant from Rimouski; Montreal bassist Alexandre Dubuc and Parisian Cathy Heyden playing alto saxophone and bagpipe chanter.

Each musician also uses some version of electronic instruments giving the eight selections electro-acoustic timbres that are as much otherworldly as they are terrestrial. The result can range from strained reed squeals, piano clicks and tremolo accordion vibrations meeting voltage buzzes and blats or keyboard clusters and metallic guitar flanges establishing a linear theme which must balance on top of consistent electronic drones. Throughout, almost ceaseless percussion ruffs are as prominent as programmed oscillations and stop-start voltage buzzing. Leclerc’s vinyl manipulation also means that tracks like rouge interject snatches of bel canto singing and backwards running syllables into the electronic- and percussion-dominated mix. The tracks aren’t all opaque however. The occasional calliope-like accordion squeeze and slide-whistle or split tone reed trill adds needed airiness at certain junctions.

As an exercise in group improvisation fusing multiple sonic streams, Plaît-il achieves its goals. But more indications of what each musician can contribute individually could have prevented some sequences from descending into near-impenetrable density and lightened the mood.

Jeb Patton: Preludes - Jeb Patton; John Ellis; David Wong; Quincy Davis

Jeb Patton – Preludes
Jeb Patton; John Ellis; David Wong; Quincy Davis
Cellar Music CM091822 (cellarlive.com)

New York-based pianist Jeb Patton has made a name for himself in the jazz world, having played with famed acts such as Etta Jones, George Coleman, the Dizzy Gillespie All Stars and many more. On this latest release though, we see Patton’s compositional and musical talents really shine. The album is chock-full of tunes composed by the pianist himself and features an all-star group of musicians backing him, with renowned names such as Mike Rodriguez on horns, Quincy Davis on drums and David Wong on bass. Born during the dreary times of the pandemic, the record is overflowing with creativity and brings a true, enjoyable musical experience.

Patton grew up in a household where both classical music and jazz were deeply appreciated, with his father being a self-taught pianist. We often think of there being a very strict divisional line between classical and jazz, that the two don’t really ever mix and that mindset is just what Patton sets out to change throughout this record. Inspired by his childhood, each of these songs features notable technical elements we would usually hear in classical music blended in seamlessly with swing rhythms and mellow horn solos attributed to jazz. The result? A terrific record end-to-end, showcasing Patton’s proficiency in genre-crossing and blurring that distinct line between the two genres. A fantastic record for jazz lovers that love broadening their horizons and delving into new musical territories that they have yet to explore.

Counterclock - Clark Gibson; Sean Jones; Michael Dease; Lewis Nash; Nick Mancini

Counterclock
Clark Gibson; Sean Jones; Michael Dease; Lewis Nash; Nick Mancini
Cellar Music CMR111022 (cellarlive.com)

Renowned jazz saxophonist, educator and composer Clark Gibson’s latest release is a toe-tapping pick-me-up and a breath of musical fresh air. Featuring a roster of talented musicians such as Sean Jones on trumpet, Pat Bianchi on organ and Nick Mancini on vibraphone, Gibson’s sweeping saxophone riffs are supported by a fantastic backing band. This fourth release includes songs that are penned and arranged, for the most part, by the stellar musician himself and his talents as a composer are truly highlighted throughout the record. For those jazz aficionados that like a fresh, modern take on a traditional jazz sound, this is definitely one for your collection.

Gibson reflects, “Counterclock refers to looking back and not discounting art you created in your early stages as an artist.” The focus of the album, then, is how the saxophonist came to embrace his compositions from the time that he was just starting out. Throughout the tunes there is a definite continuous, broader theme of “looking back to yesteryear,” a hark back to the traditional and appreciating the roots of modern jazz music and many of the greats. Gibson and band have a knack for finding the perfect balance of classic and current, enlivening that jazz sound we’ve all come to know and love yet adding just enough of a contemporary twist to bring it into today’s musical landscape. From start to finish, this album is a sonically pleasing, immersive and snazzy musical journey.

Short Stories - Vicente Archer; Gerald Clayton; Bill Stewart

Short Stories
Vicente Archer; Gerald Clayton; Bill Stewart
Cellar Music CM060922 (cellarlive.com)

New York City-based bassist and composer, Vincente Archer is a bit of a gifted chameleon, and with the release of his first recording as a leader Archer feels that he has finally revealeds his authentic self – personally and musically. Archer’s inspired collaborators here include pianist Gerald Clayton and drummer Bill Stewart. This compelling project was propelled by executive producer Cory Weeds, along with producer and noted trumpeter Jeremy Pelt. With the exception of three tracks, all compositions were created by the gifted triumvirate.

First up is Mirai (Archer), a gossamer-like jazz ballad, replete with a steady, heartbeat of bass punctuated by contrapuntal electric and acoustic piano work from Clayton and incredibly sensitive and yet powerful drumming by Stewart. Clayton’s Round Comes Round follows with boppish motifs coming into play, along with a dizzying piano intro by Clayton, followed by a symbiotic entrance of bass and drums. The trio seems to communicate with pure telepathy here, and the ESP continues in the form of a sinuous bass solo and superb, nuanced drumming from Stewart.

Another of Archer’s tunes, Lighthouse, is an energizing highlight, featuring Archer’s lithe fingers flying across the bass fingerboard and laying it down with his unique voice. Of rare beauty is Stewart’s Drop of Dusk which exemplifies the “art of the trio” – replete with its stirring, Romantic sub-text, punctuated by brilliant, complex piano work from Clayton. On every track here, Archer’s bass sings and deftly touches those deep, subcutaneous parts of us that are shared by all human beings, underscoring and celebrating our one-ness. The only flaw with Short Stories is that the stories should be longer!

Are You Sure You Three Guys Know What You’re Doing? - Mike Jones; Penn Jillette; Jeff Hamilton

Are You Sure You Three Guys Know What You’re Doing?
Mike Jones; Penn Jillette; Jeff Hamilton
Capri Records (caprirecords.com)

This enjoyable recording features the prodigious talents of pianist/arranger/producer Mike Jones, the potent and thrilling drum work of Jeff Hamilton, and solid, musical bass playing from internationally known magician, Penn Jillette (of Penn and Teller). The tongue-in-cheek title of the CD is a reference to when The Three Stooges would show up as house painters, carpenters or God forbid, doctors! It was in 2002 that Jones was hired to be the opening act of Penn and Teller’s irreverent and entertaining magic show – a hot ticket in Las Vegas for more than 30 years – the only proviso being that Jillette (who had taken up the bass at the age of 48) would join Jones in a duo format for the opening set – which turned out to be six nights a week, for 21 years. After stopping by to see a show, it was actually Hamilton’s idea that the three record together.

Fresh, energetic takes on a number of beloved jazz standards are included here. On the zesty opener, Gershwin’s ‘S Wonderful, Jillette more than holds his own – digging in with authority while generating a big, fat, satisfying sound. Jones masterfully lays it down in the stylistic mode of the greats and Hamilton is simply one of the finest jazz drummers of his (and any other) time. A standout is a swinging take on the great Sonny Rollins’ Doxy. The trio grooves like a single-celled animal, and Jones’ solo is a thing of rare beauty. Other fine tracks include Jobim’s classic The Girl From Ipanema, which features an extended bass solo from Jillette where he carries the melodic line, and is also consistently expressive, in tune and in time. The stunning ballad, You’ve Changed, displays the trio’s skilled use of space as well as a formidable lyrical sensibility.

These guys know what they’re doing; they should do it more often!

For Mahalia, with Love - James Brandon Lewis; Red Lily Quintet

For Mahalia, with Love
James Brandon Lewis; Red Lily Quintet
Tao Forms 13 (taoforms.bandcamp.com)

Tenor saxophonist James Brandon Lewis’s previous CD with his Red Lily Quintet, Jesup Wagon, dedicated to George Washinton Carver, resided at or near the top of 2022 jazz polls. This homage to gospel singer Mahalia Jackson, to whose work Lewis was introduced in childhood by his grandmother, is even stronger – at once impassioned, reverent and nuance-alert throughout its 71-minute-playing time. The homage may extend to saxophonist Albert Ayler’s similar recording from 1964, Swing Low, Sweet Spiritual, with Lewis frequently referencing Ayler’s distinctive tone and phrasing.

Lewis is intensely expressive here, in part through his taut control, holding his lines in check until they explode. Trumpeter Kirk Knuffke is a brilliant foil, on theme statements, solos and counter melodies, while cellist Chris Hoffman, bassist William Parker and drummer Chad Taylor supply stellar support, from a certain formal but empathetic rigour to the haunting bowed strings that introduce Calvary. The quintet’s special closeness comes through in extended theme statements that are simultaneously loose, collective improvisations, melodic components passed among the instrumental voices, for example, Were You There and Precious Lord.

The limited first edition CD comes with an additional CD, These Are Soulful Days, Lewis’ eight-part composition for his tenor saxophone and string quartet, performed with the Lutosławski Quartet

of Poland. It’s a lucid work imbued with the spirit of gospel music (Wade in the Water emerges at one point). Its spacious melodic clarity suggests the compositions of another American master, Virgil Thomson.