You might have once felt sorry for Ravi Coltrane. Is there any bigger challenge in the annals of jazz dynasties than being the son of John and Alice? Stop worrying, now. This is a major album, in which two different bands -- Ravi's long-standing quartet and a quintet with pianist Geri Allen -- innovate and swing like mad. The quartet divides itself into two competing duos during "Roads Cross," and when they finally unite, a third Coltrane sound emerges: not as gale-force strong as the father's or as mystical as the mother's, but with an intelligence that carries a family resemblance to both.
Sometimes gorgeous chamber jazz has a way of being too spacey-sounding. That's not a problem with this trio, which employs the intriguing combination of double bass, bass clarinet, plus the leader's guitar -- which also keeps a feel for blues alive. (Give the opening tune "Ruimte" a spin for evidence of this.) None of the soloists ever goes "outside" or pushes the envelope of either tonality or texture. But that's not always what's required when it comes to creating fine contemporary music. This is lightly spun jazz that capably avoids falling into the trap of "lite jazz."
This reissue marked the 10th anniversary of Lionel Loueke's debut, a heavy-hitting coming out party which introduced Loueke to audiences alongside Herbie Hancock, vocalist Gretchen Parlato and percussionist Cyro Baptista. The recording is a good reminder of the impact of the original release -- Loueke's one-on-one improvisations facing Hancock and Baptista made the guitarist an overnight name in jazz -- but the material of greatest interest here is the six previously unheard solo acoustic performances by Louek, like the joyous "Abominwe."
The violinist-vocalist leaves her vocals in the cupboard for this disc, and it still manages to be her most diverse-sounding collection. "A Ride With Polly Jean" swings with a low-down appeal you can imagine PJ Harvey endorsing on a road trip; "Blues for the Double Vee" has an almost Sonic Youth-y drum part (and the rock-tinged jazz mood is furthered by lead guitar from Wilco mainstay Nels Cline). Throughout these and the quieter pieces, Scheinman's solos (as on "Sand Dipper" and "Ali Farka Touche") give the album an identity beyond its smart arrangements and stellar cast.
Pianist Coq and saxophonist Miguel Zenon combine to explore what they call a "French-Latin American" sound. But this isn't simple this-plus-that style fusion; it's a project with many odd tics. There's cello on about half of the songs, though no bass on any of them. While the percussion battery here includes sounds you might expect, there's also a tabla. And so Rayuela has a cross-genre feel of global chamber music deeply rooted in some swinging solos. By turns burning and warmly romantic -- try "La Muerte de Rocamadour" for both moods in the same tune -- this union makes for exciting jazz.
The Ivory Coast-born guitarist's career has been marked by the smart fusion of sparkling Afro-pop and post-bop. With Heritage, Loueke's band -- featuring Robert Glasper and members of the Glasper's Experiment -- is an excellent vehicle for his most focused exploration of personal history and the troubling cross-cultural ties between Africa and the Americas. Though Loueke's compositions have always grooved hard, Glasper and co. add a soul-oriented vernacular, with lots of Fender Rhodes and R&B flourish. Gretchen Parlato on "Tribal Dance" and "Hope" make the record's most satisfying moments.
Between the Marsalis brothers, Branford's unflappably casual disposition has been something of a foil to the cerebral poise of kid brother Wynton. Driven by the light touch of the quartet's new drummer Justin Faulkner, this spirited, freewheeling jam keeps the simple focus on eloquent soloing. The close collaboration of Marsalis and pianist Joey Calderazzo is apparent from the start with the lithe theme of Calderazzo's "The Mighty Sword." His other composition, "As Summer Into Autumn Slips," offers the record's most sublime moment. It's not quirky or fussy. It's simply four MFs playin' tunes.
Here's a politically minded statement record, which isn't to say that it forgets to entertain. Complete with nods to the bandleader's African heritage, the sonic wallop of contemporary black pop, and the trumpet-balladeer tradition going back to Miles, this 23-song tour de force can be both sermonizer and seducer. The Trayvon Martin/Marissa Alexander joint tribute, "When Marissa Stands Her Ground," isn't afraid to give vulnerability its due, while "New New Orleans (King Adjuah Stomp)" makes good on its parenthetical promise. Who said jazzers couldn't make important double-albums anymore?
This song cycle starts out slowly, with a droning five-minute intro of spacey electric guitar that reveals composer-percussionist Kuhl's drive for subtlety. It's nice but not as distinct as what follows: intriguing arrangements (try the title track) that tread close to the border of alt-pop song form, but retain a jazzy kick. Quiet storm-meets-creative improvisation isn't a fad right now, and so Kuhl's leadership of the electric and acoustic players on his session has the feel of a mission statement: namely, that groove and complexity can be joined with a soft touch. Mission accomplished.
At a 2010 Copenhagen festival, guitarist Solborg presented his quartet, augmented with four more horns and one additional "featured soloist," the sax/clarinetist powerhouse Chris Speed. What luck that it was recorded! Opener "Mrs. Pedersen Takes the Tram" shows how wide ranging is Solborg's jazz-ensemble ear: After flitting around with disintegrating rhythmic accents and shifting textures for his horns, the piece finds a consistent time, right before Speed cuts loose with a solo that moves from post-bop blues to free wailing. The other pieces, though mostly shorter, are no less inventive.
