The Rhythmic Pitch: Consequences – John Escreet

So the newest CD I’ve been listening to is John Escreet’s Consequences.  It’s an eccentric, nearly indescribable, hour of music.  The music is precise; each note is deliberate, every arrangement pointed, all instruments focused.  The …  consequence of this precision?  Hmmm ….

Escreet has been a student of music from a young age.  At age four, he began piano lessons, but also played the cornet, French horn and violin.  By age ten, he was apparently improvinsing his own music.  A decade and a half later, he’s played in London, toured the US, Canada, Europe and Asia.  So, he’s got the skills.  He’s left “normal” music behind and reached a higher plane of musical existence.  Consequences is the product of that higher plane. Without doubt, this music is intelligent, hinting at themes I most likely missed completely. 

The Rhythmic Pitch: Mark Rapp

If Mark Rapp is the new voice of jazz, I’m definitely listening.  His debut CD will be out in early 2009 and I would strongly suggest that you check it out.

Rapp was named one of the “top emerging jazz trumpeters” by Downbeat Magazine in 2007; after hearing his work on this CD, tentatively called Token Tales, it’s difficult to disagree.  He plays his instrument with flair, passion and, it seems, a self-assured and downright sarcastic air.  He knows exactly where he’s going with a song and exactly how he wants it to sound.

The Rythmic Pitch: Tim Hagans – Alone Together

The subdued music on Tim Hagans new CD is at times soothing, at times aggravating. The CD features the renowned Marc Copland on piano, his regular associate on bass, Drew Gress and Jochen Ruckert on drums. Hagans plays the trumpet.

It’s called Alone Together and everyone played that way, as if they were alone in the studio even though the rest of the band was there, too. Everything seems to be a free-for-all; trumpet, drums, piano, bass – they all just jam in their own little corner of the studio. They don’t seem to be cogent – yet, somehow, the songs remain recognizable.

Interestingly, the first four songs were written by Marc Copland; yet Hagans trumpet is the star. He’s extremely articulate; he plays with a strong and sometimes moist tone. In fact, many times it seems to be harsh. He bursts into a song, there’s nothing subtle about it. Copland’s piano provides a soft background for the strong trumpet. Meanwhile, the drums seem to suffer from attention deficit disorder though that’s not a bad thing in a musical context. Ruckert never rests long anywhere, sticks clicking over every cymbal and drum. He displays some fantastic timing.

Those first few original compositions seem to follow a pattern: they’re like a competition of solos. Copland’s piano takes the stage, then Ruckert’s drums. “See You Again” shows off Ruckert’s ability to jam. “Sweet Peach Tree” lets the bass player have a solo. Hagans trumpet trounces all over the softer shuffle of the drums and cascade of piano. At times, though, they all meet and the songs smooth out. It feels like they ramble.

The last three songs are standards. “You Don’t Know What Love Is” suits Hagans trumpet very well. It’s a gorgeous, tender song that soothed the entire band. They play well together. “Alone Together” and “Stella by Starlight” wrap up the CD.

It seems like there’s no structure to these songs; however, it’s there, it’s just very complicated. For a new jazz listener, this may be too much to take in at once. Truthfully, it even gets a tad boring.

TRACKS:

1. See You Again
2. Not Even the Rain
3. Sweet Peach Tree
4. Over and Back
5. You Don’t Know What Love Is
6. Alone Together
7. Stella by Starlight

The Rythmic Pitch: Salongo

Salongo is an expression in Zaire meaning, “We come together to create something beautiful out of love.”   The seven piece Afro-Cuban/Brasilian group, led by Eddie Allen, lives up to the phrase they use as their name.  Their music is natural, definitely born out of love for music.  It feels alive, electric, flowing. 

 

Included in the band is Bruce Williams, playing alto sax and flute; Teodross Avery on tenor sax; Hector Martignon playing piano; Mario Rodriguez, electric bass; Diego Lopez is the drummer; Renato Thoms plays congas and other percussion instruments.  It’s a big lineup and lots of instruments.  But they manage to make the music sound manageable, not too complicated as might be expected from such an ensemble. 

 

Allen can make the trombone speak.  Sometimes its profound, sometimes witty, always engaging.  The rest of the group stands up to the trombone commander.  They are a happy troop, marching in a sultry field of jazz.  It’s invigorating, making me think of fedora’s and whiskey and beaches.  

 

I loved the congas on “My Little Suede Shoes.”  Thoms has fast and articulate hands.  The song “Touch” captivates me every time it begins.  I stop and pay attention.  It’s got a seductive intro.  “New Rules” has a great, simple intro and just jams.  Lopez sets a solid tempo.  His work on the cymbals is excellent.  There are superb piano highlights and some cool rhythm contrasts between drums and piano.  They’re offset just slightly and it makes the song even more intriguing.  It makes me want to learn more about latin jazz.

 

Salongo’s tunes will cause involuntary spasms of the feet, hands, neck.  The music just moves you.  Check it out.  Here’s a link to Eddie Allen’s website; you can purchase the CD through them.