Ellas Kapell: Ember
Since forming in 2016, the Swedish quartet Ellas Kapell has developed an easy sound that accommodates a variety of tastes. On Ember, the team sets out to broaden their style. They include a good number of instruments, as well as featured artists, that deepen the blend, creating a more lush landscape.
At the heart of the album is vocalist Lovisa Jennervall. Her voice slips in and out of the instrumental layers elegantly. It has a laidback way about it that is quite disarming, as well as charming. From I Didn’t Know What Time It Was to The Very Thought If You, Jennervall keeps things light and loose. The ensemble backs her up delicately, but it also jumps to the forefront here and there. Like singer Stacey Kent, there is a conscientious balance achieved. Even with her softer vocals, she never gets overpowered or crowded. Though I Fall in Love Too Easily goes in a spacey, indie direction it still succeeds, a convincing cover.
It’s a shorter album – at about 32 minutes – and the material retains its staying power. Comprising covers of familiar jazz tunes, Ember still seems vibrant. As in their previous projects, the group explores alluring ways of updating older pieces. Cheek To Cheek from their 2021 release takes a nice minimalist approach, really allowing Jennervall to take the lead. Some might say that there isn’t enough umph on the record. But perhaps that is not what they are going for. The consistent atmosphere created by Ellas Kapell shows a great maturity and sense of collaboration.
Discography
Very Early; I Didn’t Know What Time It Was; All The Things You Are; I Cover The Waterfront; How Deep Is The Ocean; The Very Thought Of You; Don’t Explain; I Fall In Love Too Easily (32.53)
Lovisa Jennervall (v); Manne Skafvenstedt (p, syn); August Eriksson (b, elb, vn); Edvin Glänte (d, pc); Johan Christoffersson (as); Tobias Wiklund (c); Gustav Alte (pedal steel). Sweden, summer and autumn 2025.
Naxos Prophone
Mammal Hands: Circadia
Whenever a new musician joins an established group strange things can happen. GoGo Penguin drummer Rob Turner joins pianist Nick Smart and saxophonist Jordan Smart on Circadia. The trio Mammal Hands has been part of the UK jazz scene since the mid-2010s. This new project exhibits their ability to reorganise and reshape their sound. With a contemporary perspective, the group doesn’t go for the post-bop style; they are explorative and include a variety of different sounds and techniques.
There is a cinematic feel to the trio’s sound. From Helios to Four Flowers, the music feels organic while still adhering to a predetermined theme. Jordan Smart notes that “improvisation, intensity in the moment and ensuring the whole band moved together dynamically” was an important part of their music making. As with Kamasi Washington, a spacey atmosphere features prominently. The trio doesn’t get as wild or crazy as their contemporary, but they retain a sense of surprise that makes the tracks lively.
Turner’s inclusion feels natural, regardless of the members already knowing each other for several years. As a drummer he supports the interweaving lines of sax and piano. He also, though, propels sections forward and does some soloing here and there. Paper Boats glides with ease. The reverb is just enough to add interest without feeling like a contemporary gimmick. Fallow Tide encapsulates their style: rhythmic, relaxed, ruminating. It’s a smart break from the surrounding pieces. Circadia is very much part of the UK jazz scene, similar to Fergus McCreadie and Matthew Halsall. Though their sound has moved away from what it was they continue to improve and explore eerie or fun or quiet or hectic spaces.
Discography
Windows To Your Wold; Helios, Alia’s Abandon; Paper Boats; Fallow Tide; Forgotten Friend; A Thread In The Dark; Four Flowers; Submerge (49.49)
Smart (p); Jordan Smart (s); Rob Turner (d). Giant Wafer Studios, Wales, 20-24 March 2025.
ACT Music
Jon Irabagon: Focus Out
Chicago-based saxophonist Jon Irabagon returns with his quartet on Focus Out. With several guests helping to fill out the sound, the release gives off an expansive air. One of his inspirations for this, besides his “new” life as a father, was the brain-scrambling “optical art” of Japanese professor and artist Akiyoshi Kitaoka.
Morning Star blazes forth with Rhodes and alto sax. It is a hectic, squirming piece and shows the team’s openness and graceful fluidity. The following track settles down slightly yet remains alert and animated. This contrast might seem sudden; however, the overall sound connects and solidifies this transition. Irabagon is not one to sit still. His playing slides about the sonic space, grounded by his team-mates. Paper Planes goes in a different direction by adding vocals by Kokayi. Though not to everyone’s taste perhaps, the talk-singing style of the vocalist blends well with the scrambled style of the instruments. Yet the two vocal tracks stick out a bit too much.
The sense of play is strong throughout. The compositions, all by Irabagon, continue to champion a fluid style that doesn’t like to stay in one place. Evening Star is typical. At times it can get a bit overwhelming. The weaving lines don’t always land quite right. Yet there are a few moments, as with Prayer (for Reomi), where the group takes a needed step back. More meditative, its inclusion allows the listener a break from the running, running, running that dominates. Focus Out offers a lively set of songs that impresses mainly with Irabagon’s technical skills. A few more contemplative tracks wouldn’t have hurt.
Discography
Morning Star; Focus Out; Paper Planes; Evening Star; Indigo Stains; Prayer (for Reomi); Center Post (47.17)
Irabagon (as); Matt Mitchell (p, Fender Rhodes); Chris Lightcap (elb); Dan Wiss (d); Kokayi (v); Dave Ballou (t); Miles Okazaki (g); Donny McCaslin, Mark Shim (ts). Big Orange Sheep, Brooklyn, 30 April 2024.
Irabbagast Records
