14 Julie SassoonInside Colours Live
Julie Sassoon; Lothar Ohlmeier; Mia Ohlmeier
Jazz Werkstatt JW 244 (jazzwerkstatt.eu/jw-244-inside-colours-front-rgb)

Musical families are no novelty; neither are family bands. Yet this two CD set allows us to hear the slight redefinition of one clan’s band as progeny adds burgeoning talent to an established group. British pianist Julie Sassoon, who composed all 13 tracks here, has lived for many years in Berlin with her German husband, tenor and soprano saxophonist/bass clarinetist Lothar Ohlmeier. Working together or singly in other groups, they’ve been praised for their sophisticated music that stretches conventions while avoiding sonic tumult. As a duo they aptly demonstrate that skill with a set of languid, meditative and impressionistic performances recorded during a live concert in Regensburg that make up the first CD. 

Recently the duo has expanded to a trio, as their 19-year-old daughter Mia Ohlmeier has become an accomplished drummer. The second CD, recorded at the Berliner Philharmonie, was at that point the largest venue at which the three played together. Perhaps it’s because of Mia’s rhythmic instrument or perhaps her youthful exuberance, but the five trio tunes appear more energetic. Sonic provocation is mixed with pastoral themes. Sassoon’s textures are sometimes more vigorous as she hums along with her thoughtful keyboard improvisations, and Ohlmeier more often than elsewhere sticks to lower tones as he projects thick tenor saxophone slurs and sinewy bass clarinet smears.

This is a notable introduction to the group. Future releases will hopefully fully define the partnership as will discs with Mia sans famille.

Although a rudimentary version of the modern piano was built in the late 17th century, keyboards of some sort go back a few centuries before that, and the polyphonic potential of the keyboard has been of interest since that time. The 21st century has multiplied the number of keyboards and techniques that can be used, with processing, sampling and electronics adding more avenues to explore. While centred on single keyboards of many kinds, each of these discs captures unique variations on this idea and practice.

01 JoannaProbably the most traditional of these non-traditional sessions is A Body as Listening (Clean Feed CF 664 CD cleanfeedrecords.bandcamp.com/album/a-body-as-listening) by Portuguese pianist Joana Sá. Adding electronics, samples and objects to her keyboard improvisations she uses the add-ons cannily, never allowing them to supersede the acoustic themes, but allowing them to amplify her playing. From the first notes, which create a careful theme elaboration, her instrumental command means that at the same time as she’s advancing variations with adagio low-pitched echoes and higher pitched prestissimo tinkles, signal processed beeps and peeps become more audible. As a backdrop these intermittent wave forms may permeate the exposition, but never mute advancing new simple melodies. Busier and stinging, the additional sound samples reinforce her strategy of alternating pedal-point pressure, amplified full keyboard crashes and elevated note jangling. Completing the session with A Body as Listening III the narrative includes other timbral deviations, both electronic and acoustic, encompassing foot tapping, forearm keyboard crashes as well as pre-recorded bell-ringing and vocal choir fragments. These outline quieter and more enigmatic piano variations that define this modern modification of a piano concerto.

02 Paul TaylorTaking the idea of keyboards as mini orchestras still further, Briton Paul Taylor created a more than 59-minute program for the Newcastle Festival of Jazz and Improvised music with Interludes (New Jazz and Improvised Music NEWJAIm 18 paulstephentaylor.bandcamp.com/album/interludes). The work not only harmonized his improvisations on piano, organ and other keyboards with programmed and live timbral interludes, but also added Jonathan Bradley’s carillon score interpretation. Those bell-like reverberations are integrated or interjected at points underlining or challenging Taylor’s presto pianism or the reedy or brassy pitches created by organ ranks. As these wave form shakes and stops vary the timbre, pitch and volume of the sounds, the equivalent of strings, reeds and brass instrumental suggestions are heard. At approximately the one-third mark a lyrical piano interlude outlines a new theme, which too is toughened with bell-pealing, mallet-like plops and a combination carillon-organ drone. The buzz hangs in the air even as keyboard motifs ranging from elevated clips to pedal point patterns arise and stretch the sequence still further. A crescendo of merged organ stops advance a string section-like sweep that in tandem with mellotron-like asides and measured piano chording put into bolder relief the improvised nature of the evolving sounds. Besides removing ecclesiastical memories from the carillon and organ, processing highlights electrified keyboard and acoustic piano riffs which introduce a final sequence. Crucially though, metallic carillon reverberations, shrill electronic buzzes and bell-like shakes replicate the Interlude’s introductory sequence.

03 Edge Once FracturedAnother variation on these transformations mutates keyboard impulses to such an extent that they almost negate expected piano-like tones. Instead, output becomes that of an isolated modulation source. That’s what Montreal’s Karoline LeBlanc does on Edge Once Fractured (Arito-afeito 013 karolineleblanc.bandcamp.com/album/edged-once-fractured) as she extracts improvised timbres from a piano, pipe organ and harpsichord. These sonorities are blended with other pulses she sources from wood rattles, a seashell horn, a bulbul tarang (14-string Indian banjo) and taal or miniature clash cymbals. When further melded with anomalous tones from Paulo J Ferreira Lopes’ gongs, tin plates, springs, cymbals and bells, the result is a sound collage, which makes up the single 32-minute track of this session. Although the only identifiable piano pattern is audible in the penultimate minutes before knife-like string echoes and spring whammies conclude the piece, occasional tremolo pipe organ resonations and the noises of metal objects quivering on inner keyboard strings are more common. Emphasising string strums and key-stopping, her brighter contributions, and an occasional silent interlude, set up contrapuntal challenges to Lopes’ timed vibrations. Consisting in equal parts of tin plate reverberations, gong and bell pealing, spring ricochets and serrated metal tones plus an occasional horn blast or sharp whistle, the subsequent echoing tones create an idiosyncratic narrative that taken as a whole is as flexible as it’s fluid.

04 ThollemAmerican keyboardist Thollem performs a similar keyboard reconstitution on Worlds in a Life 2 (ESP 5071 espdisk.com/thollem). But he does so during nine tracks using his Wavestate or sequencing synthesizer to mutate recorded samples of music he made on piano and organ alongside Pauline Oliveros’ MIDI accordion, Nels Cline’s guitar and effects, William Parker’s double bass, Michael Wimberly’s drums and Terry Riley’s vocals. The resulting shuffled and reconstructed timbral palette masks individual contributions. But the crucial development is how synthesizer and keyboards mulch, meld and modify textures into a comprehensive whole. Orchestrating instrumental motifs with a steady hand, Thollem negotiates unexpected amalgamation by juxtaposing congruent sound paths that ordinarily wouldn’t be followed. Simultaneously programmed electronics create a palimpsest of layered instrumental output that constantly judders. Visions Cells is a descriptive instance of this as the looped enhanced strings plink and twang as if part of a giant mechanized zither. Vibrating below are asides ranging from marimba-like resonations to pedal point piano pressure. Prestissimo pitches created from accordion samples seep all over Conversations On The Way’s introduction. Yet metallic cymbal stings create a cadenced response, with the mid section reconfiguration into a near-acoustic duet of drum paradiddles and methodical piano cascades. Additionally, vocal interpolations on tracks like Tongues We Think In and Chagudah don’t operate in isolation. During the second piece, yodeling timbral gymnastics and Donald Duck-like cries are flanged and submerged beneath watery gurgles. As for Tongues We Think In, the hocketed syllables and melisma are looped into a multi-voice choir as synthesized oscillations and percussion shuffles evolve beside it.

05 Matthew BourneIn spite of these modern advances another method to create a unique keyboard program is to go back to the future. That’s exactly what UK musician Matthew Bourne has done on Harpsichords (DISCUS 175 CD discusmusic.bandcamp.com/album/harpsichords-175cd-2024). Given three harpsichords in serious disrepair by the Leeds Conservatory he used the disintegrating facilities of this piano ancestor to generate idiosyncratic improvisations. On one disc of this two-CD set he, Glen Leach and Nika Ticciati form a sonic group grope playing simultaneously on all three decaying harpsichords. Elsewhere Bourne improvises alone on a single harpsichord. Adding the future to the past, his creative keyboard excursions are matched with live electronics and processing from Matthew Slater and Adam Martin. The fascination of the first disc is hearing how these experienced keyboardists push their disintegrating instruments away from overriding cacophony to reveal melodic interludes at high and low pitches. Making the best use of the decaying mechanism echoing, percussion-like crashes and string glissandi are highlights. On his own, Bourne deals with variations of this concept, but takes advantage of live processing to extend his initial timbres further in tempo and pitch and also provides an oscillating landscape of distended and fragmented tones. Capable of producing a pitch-perfect so-called classical harpsichord sequence as he demonstrates a couple of times, Bourne uses the instrument’s corrosion to spawn jangling patterns and pitches, then on tracks such as John and Brown Bins triggers the plectrum on the strings to nearly replicate what would be expected from a 12-string guitar. With forearm smashes and keyboard rebounds on Red Brick he evokes doorstopper-like strums as well. However, the electronic additions mean that on tracks like that one and others, processing projects a secondary keyboard sound in tandem with his live playing, Establishing the versatility of even a crumbling instrument like this one, Bourne confirms the keyboard’s traditional sound as well as its potential for distinct experimentation.

In the right hands – or is it fingers? – keyboard solos can follow all sorts of unexpected avenues of which these are just a few.

Second Wind
02 John Lee Second WindJohn Lee; Peter Washington; Kenny Washington
Cellar Music CMF121823 (johnleejazz.bandcamp.com/track/second-wind)

Second Wind is West Coast multi-instrumentalist John Lee’s sophomore album as a leader, providing a formidable, swinging continuation of his development as a musician. I had the pleasure of reviewing Lee’s debut album The Artist in 2022, and Second Wind offers a departure from this while staying true to its stylistic aesthetic. 

Lee is adept at several instruments and his choice to play piano on this recording is an ambitious and intimate one. The piano work on Second Wind does not come across like “a bassist playing the piano,” in the same way that Lee’s bass playing on The Artist doesn’t sound like “a drummer playing the bass.” The only way Lee can be accused of “multi-instrumental privilege” might be the knack it gives him for finding the best personnel to surround himself with. In this case, it’s stalwart American rhythm section Peter and Kenny Washington.    

The bassist and drummer share a last name but are unrelated biologically. I make the “biological” distinction because their musical relationship spans decades, and Lee notes that he has been enamoured with their work since he was a teen. This lineage may just be why the trio functions so well as a unit, sounding like they’ve played together far more than just one day in a Vancouver studio. 

If you are looking for dense harmonies or quirky mixed-meter originals, Second Wind may not be your first choice, but the music is far from sounding stuffy or dated. Lee holds true to the jazz tradition, while bringing a fresh energy to it no matter what instrument he’s playing.

03 BrasstacticsTribute to the Groove
Brasstactics
Independent (thebrasstactics.com)

Brasstactics bring the heat and punchy rhythms on their newest release, perfect for these end-of-summer, scorching days. Known for their complex rhythms, soaring horn melodies and driving bass lines, the group has been deemed “Edmonton’s premier party brass band.” The record has a lineup of both fiery original tunes penned by members of the group, as well as dance-worthy covers of popular songs, such as Bad Guy by Billie Eilish and Runaway Baby by Bruno Mars. Of course, a great album like this wouldn’t be possible without fantastic musicians, something this record definitely isn’t lacking, with renowned names like Audrey Ochoa on trombone, Jonny McCormack on tenor saxophone and Allison Ochoa on baritone saxophone. If you’re into the heavy brass-driven sound heard from the likes of the Heavyweights Brass Band, this is an album for you. 

The energy that runs throughout each of these tunes is captivating and puts the listener in a good mood, no matter what kind of day you’re having. Take the aforementioned cover of Bad Guy for example: featuring a continuously raunchy bass melody and dynamic rhythm section, overlayed by flighty trumpet and trombone lines, the listener is immediately drawn along on a fun, lively musical ride. Their own compositions don’t fall short either; Dutch Angles sets the tone for an album of perfect, feel-good music with its groovy saxophone melodies and never-ending, hypnotizing beats.

04 Doug WildeThe Sixth Dimension
Doug Wilde
Independent (dougwilde.com/new.html)

Opening ourselves to the previously unexplored is often what we need to reset and take on a refreshed perspective on life. Doug Wilde’s newest album allows us to accomplish just that, exploring unique tonal systems that are new to listeners’ ears and open up doorways to understand music in different ways than we have previously. Coming from the renowned contemporary music supergroup Manteca, Wilde is no stranger to introducing listeners to deeper meanings hidden within music and alternative melodies and rhythms. Featuring famed names like Paul Novotny on bass, Colleen Allen on saxophones and bass clarinet and James Ervin on horns, this is an album that will take you on an exciting musical trip through unexplored territory. 

This recording could be interpreted as both an outward exploration of new sonic worlds and an introspective journey during which the listener can venture as far as they feel comfortable. Hexachords are the basis for the music – simply put, six-note scales as opposed to the typical seven. Each tune uses a different hexachord and the result is truly refreshing and captivating: there’s a certain mysticism and sense of the “unknown” within each piece that keeps the listener on their toes. It’s fascinating how this record manages to sound both familiar and unfamiliar at the same time, and the combination and interplay of those two aspects reflected within these melodies is what makes this a fantastic addition to any music lover’s collection. 

05 Paul TobeyIt’s Time
Paul Tobey
Jazzmentl Records (paultobey.com/product/its-time-by-paul-tobey-cd)

Paul Tobey’s grand (piano pun) return to recorded music is a focused, light and deeply enjoyable affair that sees him interpret the classics – both ubiquitous and personal – while conveying a love for improvising through every key stroke. Heavy on the ballads and equally chock-full of charm, the tracklist delivers hit after hit, while allowing Tobey immense expressive terrain to roam. With a selective yet emotive left hand and dazzlingly nimble right, each solo sounds like a seasoned mixologist meticulously curating their favorite flavours, with impeccable grace. Each actual jazz head is played with a grounding precision and faithfulness to the original melody, with each subsequent repeated chorus feeling like a response to the last, as the tunes gradually begin to soar and become something completely new. 

A Dream is a Wish Your Heart Makes soothed my tabby cat to sleep with how wistfully and sensitively Tobey plays its intro, and then my cat awoke again at some point during the masterfully subtle transition into a buoyant double-time swing feel. Tobey’s own composition Caminar – The Walking Song feels almost like a sentimental centrepiece for the album, with each transition between sections marked by a space, coming across as reflective and a means of bringing the listener into the recording room, reminding us that all this beautiful sound is coming from one mouthpiece. In stretching time, condensing time and manipulating time, It’s Time embodies its title.

06 Lina AllemanoFlip Side
Lina Allemano’s Ohrenschmaus
Lumo Records LM 2024-16 (linaallemano.bandcamp.com/album/flip-side)

Forget other recordings of wholly improvised music – not that this is better than Arve Henriksen, Nate Wooley and the rest – it’s merely that such comparisons are redundant. When the musicians of Lina Allemano’s Ohrenschmaus begin to improvise, you get the wondrous impression that they seemingly don’t believe the first bar of a work ought to herald its beginning, nor do they believe that works on this recording, Flip Side, need end with a rousing conclusion.

The result is a meta-work that creates myriad associations, resonances and new perspectives, not just between the lines and spaces of each work but also within the whole cycle of songs from Sidetrack (the recording’s opening salvo) to its explosive end, Sidespin

In between this panoply of musical gestures trumpeter Allemano, bassist Dan Peter Sundland, drummer Michael Griener and accordionist Andrea Parkins (who also comes to the party with found objects and electronics) continuously let listeners know that they may have stepped into an ongoing dialogue. Sidetrack is initially mouse-like, creeping and scurrying, but subsequent creations do more than suggest that the musicians simply nibble at this ongoing feast.  

Everyone contributes wonderfully to the heft of the music. Allemano is particularly engaged, drawing the other musicians into the frenzy of the improvisations. This is especially true of the whirligig velocity of such pieces as Sideswipe and Stricken, from where irruption bursts forth. Overall, this is a muscular, exhilaratingly voiced and lucidly inventive musical excursion.  

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