Jazz Consumer Guide: A Summer Suite of Harmonic Disorder

Transcending roots and relishing every moment, whether you've got the rhythm section or not

 Satoko Fujii Orchestra New York
Summer Suite

With esteemed freethinkers at every position—including Ellery Eskelin and Tony Malaby on tenor sax, and Steven Bernstein and Herb Robertson on trumpet—this big band packs fierce solo power, but Fujii flexes all that muscle masterfully. Her suite runs the loud-quiet, sweet-sour gamut, a model of tight composition and daring arrangement, driven by a rhythm section that hews close enough to the beat and a trio of trombones that do the heavy lifting. A

The Matthew Shipp Trio
Harmonic Disorder
Thirsty Ear

His early records were strictly avant-garde piano, often in improv duos, but when he took command of this experimental rock label's jazz series, he cranked up the electronics and folded in DJ beats, inventing avant-jazztronica on such releases as Nu Bop and Harmony and Abyss. Lately, he's reverted to solo and trio albums, less to shore up his jazz-pianist cred than to prove he never really needed electronics to deliver dense harmonics and snappy rhythm. Nods to Monk and Powell recall roots he has moved beyond. A

Arild Andersen
Live at Belleville

Location Info


Belleville Lounge

330-332 Fifth St.
Brooklyn, NY 11215

Category: Restaurant > Bistro

Region: Park Slope

One of the young Norwegians George Russell took under his wing in the late 1960s, bassist Andersen isn't as well known as Jan Garbarek or Terje Rypdal, with a big chunk of discography under Masqualero, a group now better known for Nils Petter Molvaer. Just a trio here: Andersen's playing is masterful, but it's hard to concentrate when tenor saxophonist Tommy Smith gets up a full head of steam. A MINUS

Patricia Barber
The Cole Porter Mix
Blue Note

She takes Porter as a fellow modernist and drags him into a world where modernity's future has dimmed. The songs are slower, sadder, and hazier, their flippant irony transmuted into ambiguity. The guitar-driven music is, if anything, even more Art Deco and elegant than her singing. Chris Potter's tenor-sax breaks grab you every time, then fade into the smoke. A MINUS

Jorge Lima Barreto
Zul Zelub
Clean Feed

Impromptu solo-piano constructions over João Marques Carrilho's ambient electronics: random radio sweeps on the 45:12 "Zul," four CD players cycling air-earth-water-fire ambience on the 30:10 "Zelub." It's never clear whether it's Barreto or the listener who turns the randomness into meaning and makes conceptual art real. A MINUS

François Carrier/Michel Lambert/Jean-Jacques Avenel

Canadian alto-saxophonist Carrier started out chasing that old Trane, but with longtime drummer chum Lambert, he finally caught the spirit and found his own sound. Steve Lacy bassist Avenel pushes them even further inside their telepathic free-jazz vein. A MINUS

François Carrier
The Digital Box

A scrapbook of the saxophonist's trek spread out on seven downloadable CD-Rs: one from 1999 with Dewey Redman, plus various 2004-06 sets, including two duos with drummer Michel Lambert, the rest adding bass and sometimes guitar. De trop, you might think, but the introspection keeps drawing me in as he fleshes out his world. A MINUS

Bill Cole's Untempered Ensemble
Proverbs for Sam [2001]
A belated tribute to alto-saxophonist Sam Furnace, who died in 2004, but who, in this Vision Festival set, holds the musical center with super-bassist William Parker, while the leader's squeaky Asian double-reeds (soona, shenai, nagaswaram, didgeridoo), Cooper-Moore's diddly bow, and multiple percussionists swarm in pursuit of their otherworldly avant-exotica. A MINUS

Satoko Fujii Trio
Trace a River

The pianist plays a jaunty little figure, then the notes descend into a loud crash. She wends her way through meditative quiet, then all hell breaks loose. The often-inscrutable bassist Mark Dresser finds he can push a groove as hard as anyone, and drummer Jim Black relishes every moment. A MINUS

William Parker Quartet
Petit Oiseau
AUM Fidelity

Two freewheeling horns backed by the hardest-working rhythm section in avant-jazz (the leader on bass and Hamid Drake on drums), this has been a glorious group ever since O'Neal's Porch dropped in 2000. Here, surprisingly, the horns hew to the heads, and the pulse conjures hard bop. That's what happens when the leader's writing evolves from scenarios into full-blown songs. A MINUS

Brad Shepik


The liner notes lecture on anthropogenic climate change and name-drop a reading list I can vouch for as some of the best nonfiction of the last decade-plus. The music is a different sort of human activity. Shepik's guitar, sax, and tambura skitter across a world of rhythms, most obviously from the Balkans, where Ralph Alessi's trumpet and Gary Versace's accordion converge. A MINUS

Cedar Walton
Seasoned Wood
High Note

The 74-year-old pianist does a lot of little things he rarely gets credit for, like writing for horns—Vincent Herring and Jeremy Pelt never enter a song here unless they have something cogent to say, which isn't always the case on their own albums. The pianist is in top form, too, maybe because Peter Washington and Al Foster leave him no slack. A MINUS

Honorable Mentions

Count Basie Orchestra
Mustermesse Basel 1956 Part 1 [1956]

Early New Testament band, the arrangements just barely subatomic, but with Old Testament virtues, like soloists who aren't just cogs in the machine.

Jimmy Rushing
The Scene [1965]
High Note

His blues touched by grace, charm, and swing, a singer who could bring out the old-time religion in brothers Sims and Cohn.

Raoul Björkenheim/William Parker/Hamid Drake
DMG @ the Stone: Volume 2
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