JENNY SCHEINMAN With NELS CLINE | JIM BLACK | TODD SICKAFOOSE – Mischief & Mayhem (2012) FLAC (tracks+.cue), lossless

Anyone who has seen Jenny Scheinman perform either as a headliner or backing another artist has witnessed the absolute physical delight she exhibits in playing and improvising. Mischief & Mayhem, the title of her self-released album -- after recordings on Avant, Tzadik, Koch/E1, and Cryptogramophone -- is the very first to aurally display this trait. With a star-studded cast -- drummer Jim Black, bassist Todd Sickafoose, and guitarist Nels Cline -- Scheinman offers her canny compositional wisdom, a wicked sense of instrumental humor, and the ability to symbiotically engage in deep, communicative dialogue in improvisation. As a composer, her balance of dynamic, melody, dissonance, and texture are equally remarkable parts of these eight tunes. Opener "A Ride with Polly Jean" commences with Sickafoose playing a repetitive pattern joined by brushed snare and a plucked violin. Scheinman quickly asserts a melody line that actually feels like travel. Cline's guitar playing and effects enter the middle and fill it out, making that scenario complete. "Sand Dipper" begins in the ether and really gets moving about halfway through; it features some wooly soloing by Scheinman and kinetic, almost drum'n'bass-styled drumming from Black. "Blues for the Double Vee" begins as a rock tune but quickly establishes itself as something else entirely without losing the feel. The album's longest track, "Devil's Ink," is also its most haunting and abstract -- for its initial two-thirds. It eventually establishes a fractured groove that's so gnarly and knotty it feels like the Mahavishnu Orchestra with Jean-Luc Ponty. "Ali Farka Touche" finds Cline emulating the Malian guitar giant's phrasing and tone for a bit, but between Sickafoose's and Black's interlocking groove and Scheinman's aggressive soloing, it becomes a driving rock tune. The set closes with the hairy, ever shifting, prog rock-cum-avant-jazz rock number "The Mite." It's the set's most humorous track and has moments of Cline utterly unhinged. These tunes are really small compositional wonders with lots of kinetic space for interplay woven in. Mischief & Mayhem is the most physically attractive album in Scheinman's career thus far, because you can actually feel the collective's delight in each of these performances. It's marvelous, sly, sensual, and rugged from top to bottom.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    A Ride With Polly Jean    6:21
2    Sand Dipper    4:23
3    Blues For The Double Vee    3:56
4    Devil's Ink    7:41
5    The Audit    3:46
6    Ali Farka Touché    4:31
7    July Tenth In Three Four    6:18
8    The Mite    6:37
 Line-up / Musicians
Bass – Todd Sickafoose
Drums – Jim Black
Guitar [s] – Nels Cline
Producer, Presenter, Violin, Written-By [Songs By] – Jenny Scheinman

V.A. — The Music of Eric von Essen, Vol. I (2000) FLAC (tracks+.cue), lossless

West Coast bassist/composer Von Essen died prematurely in his sleep of a heart attack at age 43 but left behind some 100 compositions, and many bandmates are dedicated to making sure his music gets heard. This is one of three proposed volumes that will assure Von Essen's sounds are known to a jazz public that probably never heard of him. That will change, for this is a wonderful initial outing, played by five different groups. Pianists Alan Pasqua and Alan Broadbent lead trios on two tracks apiece. Pasqua, with Dave Carpenter on bass and Peter Erskine on drums, uses an urgent ticktock to a light beat under a languid, beauteous piano melody on "Silvana," while "Blues For Carin'" is an easily swung, ultra-melodic number with Pasqua using Chick Corea or Thelonious Monk-like techniques. Broadbent swings "Blues Puzzle" with Putter Smith's bass way up in the mix, while the lament "Nowhere" starts with solo 88s, then Smith and drummer Kendall Kay join on this most pristine ballad. Electric guitarist Nels Cline and pianist David Witham lead a quartet for the urgent, modal to swinging "Peacemaker," as familiar a theme as the public might recognize, and the easy flowing waltz "For Me" sports some lustrous unison lines. Violinist Jeff Gauthier and acoustic guitarist Cline in finger-style mode use a chamber-style approach à la Oregon for "Incomplete Circle" in phrases of seven and four beats, while the slow waltz "Departure" has Gauthier in mournful yet optimistic spirits. Stacy Rowles plays poignant trumpet or flugelhorn with Larry Koonse's tender electric guitar in separate lines on the contemporary ballad "Love Song For Kirsi" and works in tandem on the easy, straight-ahead swinger "Benny" for Benny Golson, using phraseology from Golson's "Whisper Not." Tom Warrington, in Von Essen's spirit, evokes the composer's persona with a deftly plucked bass solo. If this is only a portent of future volumes to come, it's quite an auspicious starting point. One can only look at future issuance of Von Essen's musical brilliance with hope and grand expectation. Highly recommended. Michael G. Nastos   Tracklist & Credits :

V.A. — The Music of Eric von Essen, Vol. II (2001) FLAC (tracks+.cue), lossless

The second of three projected volumes of music by the late bassist/composer Eric von Essen, who passed away at the age of 43, is -- like its predecessor -- a purposely mixed bag. A composer of straight modern jazz tunes to gypsy blues-jazz to pop to pieces that border on theater and classical music, von Essen was nothing if not a lover of diverse musics, and well-versed in their compositional vocabularies. All of his work was equally possessed of movement, however; there was no stasis in his compositional language. Five different ensembles ranging from quintet to trio perform two pieces each, and add more to the mystery of von Essen the virtuoso musician. The first two pieces, "Blues for John" and "K," are post-bop tunes that soar with the aegis of modern electric post-bop jazz. Larry Koonse's electric guitar and Stacy Rowles' trumpet and flügelhorn are perfect foils for one another. As Koonse takes the edges and makes them sharper, Rowles rounds them into tight pockets of harmony. On "Petit Rayon" and "9/8/29," brothers Nels and Alex Cline, on acoustic guitar and drums respectively, team with Jeff Gauthier and Michael Elizondo on violin and bass to reveal the impressionistic side of von Essen's personality. Both pieces feel like sketches for orchestral pieces; they hold within their melodic lines large harmonic sonances. The primary strings, guitar and violin, are bridged by the counterpoint melody of the bass. Both works -- though their movement is fluid and medium tempoed -- are restrained until each of them cuts loose into a kind of modern gypsy swing with Django Reinhardt on one side and Pat Metheny on the other. The trio with Peter Erskine is the least successful here, but the material is not the problem. This group took exactly the same hushed approach to this type of material on the first volume, and it's a bit wispy to come completely to life on a recording. To take the record out, the Cline brothers electrically team with David Witham and Joel Hamilton, on piano and bass respectively, for a straight-up jazz romp with hot solos all around ("BC/Jezebel") and a ballad ("Marry Me") of such lyrical tenderness that it almost floats through the air without the music attached. It's gorgeous, hypnotic, and based on open tunings, so that a drone plays a large part in the body of its architecture. If it wasn't for the line coming back over and over again, you would swear you heard this tune inside your heart instead of through your stereo speakers. Not as overwhelming as the first volume, this disk -- aside from the two trio pieces -- is solid nonetheless. It also begs the question of just how deep von Essen's abilities ran because, so far, they seem boundless.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist & Credits :

V.A. — The Music of Eric von Essen, Vol. III (2002) FLAC (tracks+.cue), lossless

Eric von Essen never recorded as a leader during his lifetime, though he played bass and cello as a sideman on a number of memorable releases between 1980 and 1994. This third (and evidently, final) volume of his original compositions features a number of different artists, including a few who collaborated with him on earlier releases. Guitarist Nels Cline, with whom the composer made his recording debut, plays 12-string acoustic guitar with Ken Filiano's arco bass in the moving "Blues for Me," which isn't really a blues at all. Violinist Jeff Gauthier and drummer Alex Cline, both of whom appeared on von Essen's first date as well, join the guitarist and bassist Michael Elizondo for the tense, very complex "Unresolved." The brisk, Latin-flavored "It's Just One Big Party" showcases tenor saxophonist Chuck Manning and pianist Theo Saunders. The delightful trio arrangement of "Norton's Last Words" is not a slow, mournful elegy as its title might imply, but a catchy post-bop vehicle with superb solos by pianist Jeff Colella and bassist Putter Smith. "Finska Flues" is a roller coaster ride centered around Stacy Rowles' tasty flügelhorn. Kate McGarry contributed the vocals and the lyrics to the reflective "One Eye Laughs, One Eye Weeps," which she also performed at Eric von Essen's funeral. Jazz fans should regret the premature death of this talented composer before he had a chance to record many of his compositions, though at least his friends and admirers seem dedicated to making his rewarding music more widely known. Ken Dryden    Tracklist & Credits :

ANTHONY BRAXTON - Quartet (New Haven) 2014 (2019) 4CD | FLAC (tracks+.cue), lossless

Throughout his six-decade career, one of the most distinctive character traits of musical and philosophical polymath Anthony Braxton has been his unpredictability. Early on he revealed that while firmly committed to the bleeding edges of avant-garde jazz as both composer and multi-instrumentalist, he loves the Second Viennese School of classical composers, boppers like Charlie Parker and Lennie Tristano, melodic West Coast saxophone virtuosos including Warne Marsh and Paul Desmond, and free-form rock noisemakers such as Captain Beefheart and Wolf Eyes. That said, this four-disc box from Firehouse 12 should register surprise even from Braxton's fans and devotees. It features the saxophonist and composer alongside longtime collaborator cornetist Taylor Ho Bynum, Wilco guitarist Nels Cline (whose improvisational and jazz chops are also well-documented), and Deerhoof drummer Greg Saunier. Each of the four discs comprises a single improvised piece running about an hour and respectively dedicated to Jimi Hendrix, Janis Joplin, James Brown, and Merle Haggard.

The four met by chance while traveling their separate ways to a European music festival. Braxton and Ho Bynum heard Cline and Saunier play as a duo. They came up with a plan to improvise and record with the pair on the spot after returning to the States. Cut over two days at Connecticut's Firehouse 12 performance space, the instrumentalists execute these improvisations with the volume on stun (it's easily one of Braxton's loudest recordings). Cline's guitar is edgy like a dull razor; it pierces throughout (even when playing acoustic), while Saunier offers no quarter to "proper" jazz drumming; he hammers, flails, shuffles, and feints with unbridled energy and wide-open ears. "Improvisation One (for Jimi Hendrix)" is untamed, with Cline's blazing psych rock drones, jagged ostinatos, string bending, and scattered noise, as Braxton and Bynum dialogue with one another and Cline plays above Saunier's prattling tom-toms, woody rim shots, and thudding kick drums. The "now-you-hear-it-now-you-don't" quotes from the spiritual "Wade in the Water" and Hendrix's own "Third Stone from the Sun," and "Isabella" flit by in an instant, leaving sensory impressions on the evolving jam. The Joplin piece is reflective though not bluesy. Its use of conversational timbres, angular lyric lines, and rangy dynamics cast a momentarily shadowy and filmy glance at them before a new form of conversation occurs in tonal queries from the horn players. The third improv for Brown is not at all funky, but Cline and Braxton occasionally go head-to-head in syncopated improv throughout the last half of the work. The Haggard piece finds Braxton on contrabass sax. Cline's playing is alternately limpid and complex -- even nebulous -- as he comps in widening cycles with a tense, dark, alluring character in sharp, contrapuntal engagements with the horns. Saunier's drums find a shuffle for a few moments in his illustrative rolls, accents and slamming fills that dance like Milford Graves' freest drumming. Like most of Braxton's work, it isn't advisable to try to take Quartet (New Haven) 2014 at once. Each piece should be heard in its own separate listening session, as each respectively provides ample doses of playfulness, boundless imagination, poignant inquiry, and canny dialogue.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1-1    Improvisation One (For Guitarist / Composer Jimi Hendrix)    59:01
2-1    Improvisation Two (For Vocalist / Composer Janis Joplin)    1:04:09
3-1    Improvisation Three (For Vocalist / Composer James Brown)    58:30
4-1    Improvisation Four (For Guitarist / Composer Merle Haggard)    57:14
Credits :
Cornet, Flugelhorn, Piccolo Trumpet, Bass Trumpet, Performer [Trumpbone] – Taylor Ho Bynum
Drums – Greg Saunier
Electric Guitar – Nels Cline
Executive-Producer – Anthony Braxton
Sopranino Saxophone, Soprano Saxophone, Alto Saxophone, Baritone Saxophone, Bass Saxophone, Contrabass Saxophone – Anthony Braxton