I have never considered the month of October to be associated with jazz trios but for some unknown reason the bands I’ve chosen to listen to and write about are all three-pieces. We start with:
Happy Apple: New York CD (Sunnyside Records SC1751)
Minneapolis-based Happy Apple, who have been going for 25 years, have been completely under my radar but their new release New York CD has changed that.
This is the explorative, improvised jazz that your mother warned you about. Perhaps I deserve a slap on the wrists for this but this is the music that I prefer to ignore. I don’t mean that I switch it off or throw the CD out of a moving car. I mean I press play and do something else allowing the music to seep in unnoticed.
It’s vivid and energetic, with the trio feeding off each other’s influence and input. It isn’t going to be to everybody’s taste but what music is? It opens relatively calmly with an ocean-deep bass riff but it quickly goes up a notch into the urgency of 1976 Aquatennial Parade and the percussive backdrop of Torqoise Jewelry.
I really liked this album. It sounds alive, the recording method is raw – giving you the feeling that the band is in the same room as you – and you hear every nuance of every drum beat or driven bass. It’s in-your-face jazz that I find exciting. It certainly shouldn’t be ignored for very long. If you like your jazz a little less polished and refined, I would definitely recommend this.
Sol Jang Trio: 19-29 (Unit Records)
At the other end of the spectrum, we’ve got another trio, but so different in style and approach that it’s like trying to compare Vermeer to Jackson Pollock. One is clean lines and realism while the other is angled and reactive. What we have is 10 tracks of beautifully written composition, no step is out of place, no note unconsidered previously.
This is what I call “academic jazz” – it’s played by students of the genre with talent coming out of every pore, yet I often find it a little cold and aloof. It’s music that demands attention, an audience that will sit in silence, pondering each note, subtly nodding their pleasure but the music is without risk and possibly overly planned.
But, saying that, there is some fine music on display, Subway In Seoul and Philadelphia are wonderful tunes with the latter reminding me of John Coltrane in his Giant Steps mode with thundering piano playing and a superb drum break. If only the great Coltrane could have been allowed a solo here!
Like most music, this requires time. It requires repeated listening to really appreciate everything that is going on. It’s by no means bad, just not my kind of music.
Twin Talk: Twin Talk Live (Shifting Paradigm Records SP209)
Finally, it’s the turn of Chicago’s Twin Talk to fly the flag for the humble trio and if you liked the sound of Happy Apple the chances are Twin Talk will have you interested. The “live” comes from the music being recorded without retakes or overdubs; what they played is what you hear but it wasn’t recorded in a room full of people. I like this approach. The result is a much rawer production and captures a certain moment rather than having the safety net of being able to have a second attempt at things.
The album is definitely a grower. It might not be something that you cling to immediately but with time you appreciate what the band are doing, which, in my opinion is bouncing off each other and using each track as a starting point. I like it.
The tracks Always Left and You’re On Your Way have the feeling of a moving animal. Large footsteps come through in the pace of the tunes, with strong rhythmic foundations from drums and bass allowing the sax to make the statements. Another feature that enhances the songs is the addition of bassist Katie Ernst adding vocals here and there. She doesn’t sing lyrics as such but rather subtle chants or doubling of the melody or lead. It really works and adds something to keep the music varied.
Out of the albums that I’ve listened to in October, this is the one I have returned to the most, be it to revisit the drum line of Tricks or the end drop off on Nine. It’s this album that keeps popping up in my car CD player. Good stuff.