With a global following, musicians worldwide seek inspiration from Jordan Rudess through his Patreon community which offers a comprehensive range of live events and materials encompassing harmony, rhythm, improvisation, ear training, and technique.
In addition to his musical achievements, Jordan has graced prestigious tech events as a keynote speaker, including MacWorld, Microsoft Build Developer Convention, and Project BBQ. Furthermore, his authorship extends beyond music, with two keyboard technique books to his credit, including the latest, "Total Keyboard Wizardry: A Technique and Improvisation Workbook."
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By Kian Banihashemi
Edgefest serves as one of the larger American Midwest's avant-garde jazz festivals. Since 1997, the Kerrytown Concert House has provided an up-close and personal listening experience through this now four-day long festival. Its popularity, support, and collaborations have continued to grow in recent years. In 2017, Joe McPhee, Andrew Drury, and Piotr Michalowski performed three improvisations that have finally met my ears nearly two years later. Joe McPhee is no stranger to me, and while I have not heard Drury's music, I know that the two have played with each other before. Michalowski resides in Ann Arbor and besides being a self-taught horn player, he teaches at the University of Michigan and writes for the Ann Arbor Observer. So this setting and player arrangement was all new to me, and I was determined to go in with little expectations and to really listen to the interactions the players had with each other.
"Improv 1" is the meat of the album, spanning eighteen minutes compared to the other tracks, which don't even equal that run time when combined. I found myself listening closely to every sound that was carefully made. Drury really uses his drum set like a canvas, painting beautiful strokes of different colors, but also able to ease into steady rhythms that push the other players to the forefront. Drury appears very confident in the space he inhabits and plays using a variety of techniques; going on textural excursions and then immediately after I hear him exploring different grooves that would fit perfectly on Sun Ra's Space Is the Place. Ā Traversing through multiple routes within the jazz tradition, Michalowski is memorable and very often melodic. The first few minutes reminds me of McPhee's presence and reputation as a jazz giant. Through that pocket trumpet, he stretches out every sound that could possibly be made by such an unimposing and underutilized instrument. The breathy playing takes on a natural and abiotic component within the music, almost like the wind. The three players gracefully display their deep knowledge of jazz music and its ever-changing styles, while creating something completely new and engaging through pure improvisation.
"Improv 2" is perhaps a further exploration in that direction; the first two minutes being Drury developing a theme and then breaking it down, rebuilding it with different textures. The drums are busy and robust, barely allowing any room to squeeze the horn players in. When McPhee arrives, he blows his way through any preexisting barriers. I truly am a sucker for baritone saxophone and Michalowski scratches that itch of mine perfectly on this track. When he starts up after McPhee's frenzy, he decidedly takes the music to a cooler, ominous place. The drum patterns change, adjusting to this newly uncovered atmosphere. Right when it's about to come to a close, McPhee joins back in; the two voices increase their pitches, searching for some escape while the drums hold them back. Out of the three pieces, this seems to be the most "conventional" and accessible for listeners who may not be accustomed to this musical form. The third and final improvisation goes into more unexplored territory; more in tune with the musical styling of free improvisation players.
There are few sounds at first, but at about two minutes in I could feel something brewing. The horns are bubbling, shaping a stream of sound that is stopped by a squeaking dam. The light tapping from the drums signal a shift, as McPhee's pocket trumpet wails and allows a small voice to escape. Michalowski enters with an underlying, shaky melodic line that combines with Drury's pulsing rhythm; at times it sounds very Middle Eastern. In one terrific move, the music evolves dramatically into textures that sound unlike any instrument and played by none other than Joe McPhee. The trills are abrasive and tantalizing and I have absolutely no clue how he does it. While McPhee's playing is fairly subdued throughout this whole recording, this last minute takes me to the extremes he sometimes reaches. This release has stayed low-key and the audio quality somewhat shoddy, really requiring some good headphones to hear all the intricacies. Besides that, it's a sublime sliver that showcases these artists' talents and should be listened to with receptive ears and an open mind.
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By Sammy Stein
Michael Janisch is known to many as a musician and the force behind one of the UK's biggest jazz labels with a focus on European recordings, Whirlwind Recordings. He has been nominated for a MOBO Award and covered extensively by Jazzwise, NPR, the Guardian, Downbeat, The Telegraph, Jazz FM, BBC 2,3, 6 Music and more. The new album is an exciting listen and an adventurous one, following Paradigm shift, his 2015 project, yet very different in its essence.' Worlds Collide' sees Michael combining contemporary jazz influenced by London/New York scenes alongside free improvisations and soaring melodies over multi-metered grooves paying homage to artists such as Feli Kuti & Afro-Beat and the electronic music pioneer Aphex Twin. The influences are international and the styles varied and experimental, reflecting music he has championed through Whirlwind Recordings for so long. The album features Michael on double and electric basses and post production percussion, Jason Palmer on trumpet, John O'Gallagher on alto saxophone, Rez Abbasi on guitar and Clarence Penn on drums with guests John Escreet on Keys, George Crowley on tenor saxophone and Andrew Bain on drums and percussion . It was recorded at Abbey road Studio 3 in London. Michael says of this project he sees it as a new era and a big transition. The six tracks were written over a period of time, resulting in each having its own identity due to different inspirations.
The CD opens with the rock influenced 'Another London' announced by a strong bass line over which arcing themes are introduced and some rich horns and a mesmeric saxophone solo from John O'Gallagher. It reflects Janisch's positive view of walking through London and the diversity he observes and right through has a walking gait underneath. With the changes in layers, the listener senses the different people and areas observed, from cool shaded avenues to fast moving, noisy areas and at times, short peaceful interludes and a sense of time slowing, particularly in the key-led middle section. Then we are off, strolling, looking, seeing and hearing, the sax solo taking us to secret places hitherto only dreamt of. In 'An Ode To A Norwegian Strobe' the music centres at the start around the guitar patterns set by Rez Abbasi and the track is uplifting, the melodic lines explored and changed as the tack moves, ever quick, ever stirred, ever moving apart from a couple of quieter interludes, forward with each musicians having a say in how it is done.Ā
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Ā 'The JJ Knew' - has a sense of questioning and has been developed from an improvised personal, family lament from Michael's previous album - the depth of the melody, which is laid back and thoughtful is interjected with racey, faster pieces, indicating positive thoughts. The trumpet solo is glorious, soaring, searching and explorative with a lengthy drum and horns inter-discussion in the latter stages.
'Frocklebot' is named after an imaginary toy resembling a giraffe with mechanical wings created by the bassist's daughter. The opening is fan-fared question and answers from brass, horns and strings and percussion before a whole band dialogue is set up before a conversation between trumpet and guitar work the remains of the first half well. The dialogue is then handed over to bass and sax just before the half way mark. The guitar at times has a Sonny Sharrock tone whilst the patterns could be lifted from Coleman or Cherry. The sax and bass portion is explorative, emotive and driven forward by percussive lines, reflected by both players with the diversity of the bass being shown and it includes a lovely short swing-leaning interlude towards the subtle yet powerful finish with the trumpet and guitar re-joining. The percussion on this track changes fluidly and is outstanding.
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The four part mini-suite 'Pop' is introduced by a gorgeous alto sax solo. Short but sweet. 'Pop' itself is dedicated to Michael's wife and, set in a minor key, is evocative and draws on the heart strings from the get-go. It has a peace about it and also a reflectiveness, as though watching something beautiful yet not quite able to capture it. Over the slight melancholy imbued by the minor key are sets of short, uplifting, tempo changes and solos breakout and vanish again, like ripples on a serene surface. It is a beautiful piece with the deep, redolence of the bass lines contrasting wonderfully with the horns, brass and guitar lines. At around the 5 minute mark is a lovely interlude between sax and bass with the sax soaring away, held in check only by the slow tempo and fixed key of the bass line before the piece settles into a melodic section, guitar led and prettier, before melding into gentleness again. The switch in beat emphasis in the final section adds further interest and layers.
'Freak Out' develops a groove from the start and an almost orchestral arrangement before the guitar develops sheets and waves of sound, turning rocky and jazzy tricks, supported in full by the rest of the musicians as they take their turns. This track shows the band as solo players and yet gloriously together too.Ā
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Ā This is a CD which at once is different yet stuffed full with many good things about improvised jazz music. Combining technical wizardry and tweaks with good, solid playing, the music does not so much cross boundaries but rather unites them. It is a creation of a different kind and reflects the continual wonder which Janisch so evidently finds in music of all kinds.
Worlds Collide is available Sept. 6thcreateSummaryAndThumb("summary6776536359209784754"); 0852c4b9a8
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