‘Forward In All Directions’ – Andy Milne & Dapp Theory

AndyMilne

THE DISTILLATION of the genres that the five members of Dapp Theory inhabit and are influenced by produces a new album of quite dazzling musicianship. Directed by pianist and keyboardist Andy Milne, Forward In All Directions primarily exudes jazz, rock, funk and hip-hop, with a dash of vocal poetry – yet this resulting programme of Milne’s ten originals borders on the uncategorizable, such is the breadth of its creativity and eclecticism.

Firmly established on the New York jazz scene and respected highly as both musician and educator, Canadian-born Andy Milne’s CV speaks for itself, including associations with Steve Coleman, Joe Lovano, Archie Shepp and Ravi Coltrane. Dapp Theory has been in existence for some fifteen years and was formed, in Milne’s words, to “tell passionate stories, promote peace and inspire collective responsibility towards uplifting the human spiritual condition.” He sees this latest release – co-produced by renowned Yellowjackets founder Jimmy Haslip – as a milestone; and that sense of celebration is communicated by a personnel equally adept with angulous strength and dreamy lyricism: Aaron Kruziki (reeds and programming), John Moon (vocal poetry), Christopher Tordini (basses) and Kenny Grohowski (drums and percussion). Guesting are Ben Monder (guitar), Jean Baylor (lead vocal) and Gretchen Parlato (additional vocals).

From the percussive complexity and pressing, synthy urgency of opener Hopscotch to the Return To Forever-like wordless vocal balm of Katharsis, there is much to discover here. Indeed, the profusion of the writing, instrumentation and improvisation within this sixty-five minutes is spectacularly whelming on a first hearing – and then different spotlights illuminate the detail over time in an abundant journey of discovery. Photographs illustrates this, its wonderfully crisp, buoyant rhythm supporting a shared, bright lead from Milne’s synth and Aaron Kruziki’s soprano; and Kenny Grohowski’s jazz/rock drumming technique (so well produced) is compelling throughout. A chilling, menacing theme in Search Party is maintained brilliantly by Fender Rhodes, synths and electric bass with sustained, inquiring lines from Ben Monder’s guitar; here, the anxious, megaphone-style vocal poetry of John Moon is well suited.

The combination of Christopher Tordini’s earthy, tensile double bass and Kruziki’s douduk sets up the mysterious Eastern-imbued landscape of In The Mirror, Darkly. Then, conjuring a late ’70s sound world (echoes of Wayne Shorter, Jeff Berlin, Billy Cobham and National Health’s Dave Stewart), Nice To Meet You hits a kind of balanced retro funkiness, Milne’s colourful, chordal acoustic piano chords a key element of this stand-out track. The Trust‘s bass clarinet and sinewy piano sinisterly waltz and intertwine to Tordini’s supple double bass, Milne revelling in the open space; and the grittiness of his Rhodes in How And When Versus What encourages a terrific groove which gives way to serene, guitar-led transcendence (there’s so much in this!).

Dreamy sax-led interlude Fourteen Fingers precedes a final, nine-minute spectacle of ‘prog’ proportions – Headache In Residence – thanks to its slow-burning, overdriven guitar energy. And, as with this entire project, it’s the sum of its parts which defines its ingenuity, Andy Milne and his colleagues evidently putting their heart and soul into it. In all directions… it’s quite a blast!

Released on 8 September 2014, further information, audio clips, purchasing and promo video can be found at Whirlwind Recordings.

 

Andy Milne piano, prepared piano, Fender Rhodes, synthesisers
Aaron Kruziki soprano saxophone, clarinet, bass clarinet, douduk,
alto saxophone, additional keyboard programming
John Moon vocal poetics (tracks 2, 4, 5)
Christopher Tordini acoustic bass, electric bass
Kenny Grohowski drums and percussion
with guests
Ben Monder guitar
Jean Baylor lead vocal
Gretchen Parlato additional vocals

andymilne.com

Whirlwind Recordings – WR4660 (2014)

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‘Soho Live’ – Shez Raja Collective

ShezRaja

IT’S HARD TO IMAGINE JAZZ/FUNK on the current scene with quite such the invigorating edge and retro passion of the Shez Raja Collective. Captured live, and drawing material from studio albums Magica (2007) and Mystic Radikal (2010), ultra-dynamic electric bassist Shez Raja and his augmented personnel serve up a decidedly high-powered performance in this new release, Soho Live.

Raja’s no-holds-barred grooving is redolent of the seminal and psychedelic jazz/rock fusion of The Mahavishnu Orchestra, the hypnotic energy of the Zawinul Syndicate and legendary bass genius of Stanley Clarke and Marcus Miller – but there is bite and electricity here which demonstrates the genre’s ongoing relevance and explains Raja’s own fervent following, especially when guests Gilad Atzmon, Soweto Kinch, Shabaka Hutchings, Jay Phelps and vocalist Monika Lidke leap on board for what was evidently an unforgettably vibrant gig.

The core line-up steams through this 55-minute set with quite breathtaking verve – Aaron Liddard on alto and tenor saxes, electric violinist Pascal Roggen, Alex Stanford on keys and Chris Nickolls on drums. Adding Shabaka Hutchings into the mix, as clarinettist on opening number Adrenalize, simply revs up the excitement as his improvisations spiral unfalteringly. Electronics are a significant part of the band’s make-up and, with Stanford able to maintain the bass ‘raga’, Raja is free to solo extensively and colourfully.

Karmic Flow‘s deep bass riff against the mesmeric soundmix of tanpura, violin, saxes, drums and wordless vocals sets the tone for Soweto Kinch’s freestyling rap, much to the delight of the Pizza Express audience. And if ever there was a saxophonist whose instrument appeared to be simply an extension of their creative being, it must surely be Gilad Atzmon. In upbeat mid-groove FNUK – which finds Shez Raja soloing so fluidly, high on the fretboard, to infectious wah-wah keys and unified horn section – Atzmon grabs the the opportunity to wind up his tenor soloing from initial placidity to identifiable and outrageously rapid in-and-out-of-key brilliance – a joy to hear.

Taking on a Mahavishnu feel, thanks to the band’s unison melodies led by Pascal Roggen’s electric violin, Quiverwish bubbles to the slap’n’pop of Shez’s bass, Atzmon again in the midst; and Eastern Revolution melds violin and sitar sounds to great effect over whizzing electronics and Chris Nickolls’ high-impetus drums. Chirpy Chakras On The Wall features the lissome, scat-like vocals of Monika Lidke coupled with purposeful violin; South African in flavour, it includes, from Raja, a notable reverse-bass simulation (Paul Simon’s You Can Call Me Al, anybody?!).

Announced as “our funkiest track”, Junk Culture summons for me the memory of Jeff Beck/Jan Hammer classic You Never Know (There and Back, 1980) – certainly an infectious dazzler from this band’s nucleus involving a frothy keyboard frenzy from Alex Stanford. Finally, Freedom offers more of that African sunshine, courtesy of gyrating brass and clav over Raja’s swirling bass, Jay Phelps’ trumpet and Soweto Kinch’s alto determined to keep this party bouncing!

Released on 7 April 2014, on 33 Jazz, this is one spectacular jazz/funk celebration!

Check out the videos at Shez Raja’s YouTube channel.


Shez Raja
electric bass
Soweto Kinch alto saxophone, rapping
Gilad Atzmon tenor saxophone
Shabaka Hutchings clarinet
Jay Phelps trumpet
Monika Lidke vocals
Aaron Liddar alto and tenor saxophones
Pascal Roggen electric violin
Alex Stanford keyboards
Chris Nickolls drums

2014 gigs announced:
16 & 17 April: Album launch at Pizza Express Jazz Club, London (album launch)
6 June: The Forge, Camden
3 August: Erie Jazz Festival, USA
August: Australia and New Zealand tour

33 Jazz – 238 (2014)

‘Lua ya’ – Yeahwon Shin

Image

SOUTH KOREAN vocalist Yeahwon Shin resides in New York, and the starting point of this recording project, a collaboration with pianist Aaron Parks and accordionist Rob Curto, came from her visit to a recording session for Parks’ solo album, ‘Arborescence’, in Massachusetts. 

Read the full review at LondonJazz News…


Yeahwon Shin
voice
Aaron Parks piano
Rob Curto accordion

Yeahwon Shin
Yeahwon Shin / ECM

ECM Records – ECM 2337 (2013)