Top Ten Recordings 2023

BUILT IN SYSTEM - CHIEN CHIEN LU - GIANT STEPS ARTS

NEW RELEASES - JEROME WILSON

JAIMIE BRANCH, FLY OR DIE FLY OR DIE FLY OR DIE ((WORLD WAR), (INTERNATIONAL ANTHEM)

JAMES BRANDON LEWIS RED LILY QUINTET, FOR MAHALIA, WITH LOVE, (TAO FORMS)

LEAP DAY TRIO, LIVE AT THE CAFE BOHEMIA, (GIANT STEP ARTS)

TYSHAWN SOREY TRIO, CONTINUING, (PI)

INGRID LAUBROCK, THE LAST QUIET PLACE (PYROCLASTIC)

DANIEL HERSOG JAZZ ORCHESTRA, OPEN SPACES - FOLK SONGS REIMAGINED (CELLAR MUSIC)

DAN ROSENBOOM, POLARITY (ORENDA)

ROXANA AMED/ FRANK CARLBERG, THE WORKS AND THE NIGHTS (SONY MUSIC LATIN)

KRIS DAVIS' DIATOM RIBBONS, LIVE AT THE VILLAGE VANGUARD (PYROCLASTIC)

ERICA SEGUINE / SHON BAKER ORCHESTRA, THE NEW DAY BENDS LIGHT (SELF-RELEASED)

The New Day Bends Light

NEW RELEASES - KEN WEISS

ANNA WEBBER - SHIMMER WINCE - INTAKT

HENRY THREADGILL ENSEMBLE – THE OTHER ONE - PI

JIM & THE SCHRIMPS - AIN'T NO SAINT - INTAKT

SATOKO FUJII PIANO SOLO – TORRENT - LIBRA

INGRID LAUBROCK - THE LAST QUIET PLACE - PYROCLASTIC

MICHAEL FORMANEK ELUSION QUARTET - AS THINGS DO -INTAKT

KRIS DAVIS DIATUM RIBBONS - LIVE AT THE VILLAGE VANGUARD - PYROCLASTIC

TYSHAWN SOREY TRIO - CONTINUING - PI

LEAP DAY TRIO - LIVE AT THE CAFÉ BOHEMIA - GIANT STEP ARTS

SUSAN ALCORN SEPTETO OF THE SOUTH - SINGING - RELATIVE PITCH

HAROLD DANKO – TRILLIUM - STEEPLECHASE

Two German-affiliated combos present congruent but discrepant views of integrating two saxophonists with bass and drums. The reason for the affiliated description is while Perplexities on Mars (PoM)’s is an all-German quartet, Jim & The Schrimps is made up of two German, plus one Dane and an American.

Actually it’s the American who is best known, since drummer Jim Black has played with everyone from Tim Berne to Gordon Grdina. Meanwhile the other on Ain’t No Saint include Danish alto saxophonist Asger Nissen plus Germans, tenor saxophonist Julius Gawlik and bassist Felix Henkelhausen. Although Julius Gawlik is one of youngster members of the WDR big band, PoM is made up of players who are his contemporaries or younger still. Furthermore while all of the Schrimps’ tunes were composed by Black, everyone contributions to Perseverance. Still tenor/soprano saxophonist Christopher Kunz, who has played with the likes of Tony Buck, composed half the numbers. Tenor saxist Max Hirth, wrote two others, while drummer Tom Friedrich with whom Hirth works in other bands composed one, while bassist Stephan Deller, who has recorded with Steffen Roth, contributes another.

While Black who has been a bandleader for several decades doesn’t dominate the sessions’ dozen tunes, his resourcefully crafted drumming is certainly omnipresent throughout. So are the unbeatable walking bass vibrations of Henkelhausen. However the tracks which lengthen as the disc evolves provide sufficient space for everyone. A tune such as “Heyscram” for instance may contain an agitated drum solo with rim shots, paradiddles and ricocheting clatters, but it arises in the context of a frailing bass line and up and down honks and slurs from the horns. The subsequent “The Once” begins with woody a capella bass string vibrations that introduce flowing reed snarls as the track is completed with pinpointed drum pumps. Nissen and Gawlik sometimes project vibrant textures in lockstep. They expose vamping expositions or accompaniment as needed, at points spewing textures at different pitches and tempos until the two intersect. More often than not, however, they set up a dialogue. Among the fragmented honks and trills, Gawlik can create Big Jay McNeely-like blasts as on “Asgingforit”, as well as more mellow, but just as thickened expressions on other tracks. Nissen on the other hand is more likely to outline a melody with trills and flutters, “as with “Surely” and maintains horizontal interface even as the tenorist interjects and ferocious reed extensions until both descend into near-toneless breaths. Perhaps the best definition of quartet consensus is on “Schrimps BBQ”, where free-form drum ruffs and double bass twangs back a series of reed variations with hearty blats from the tenor saxophonist and quicksilver bites from the alto. Irregular sax vibrations, flattement and smears fade into the final sequence with a single drum stick pop signaling a descent into quiet.

If Schrimps are featured on the other CD then PoM salutes the “Shmoo” on its disc. More than 10½ minutes long, that improv is stuffed full of reed undulations and doits stretching into altissimo scrams and leeching into an expanded drum solo and multiple bass string buzzes, ending with saxophone overblowing and rhythm shakes. Hirth and Kunz follow similar strategies as Nissen and Gawlik, with harmonized riffs, dual honks and interlocking glissandi. Sometimes, as on “I Do It”, a crepuscule effect is suggested as the low-pitched reeds curve around one another as they slither up the scale providing a harsh contrast to Deller’s hard string pumps. However when both play tenor saxophone it’s difficult to ascribe solo honors. For instance the horizontal motion expressed by both on “Guhou” is broken up with hard reed bites from one horn and higher pitched but speedier tonguing from the other. Following a brief drum break it’s Friedrich’s Mylar slaps which sum up the narrative directing it towards the end. Deller wrote “Song for Bella”, Perseverance’s concluding ballad, with string elaborations throughout and a reflective ending as the saxes vibrate around him. However his studied string work both strummed and bow-sliced is just as important in maintaining cadence and linearity on most tracks. There are points where bowed bass lines and cymbal drags mute discordant reed scowls to produce softer finales.

Trying to integrate buoyancy and weightiness, the members of PoM realize their goals for the most part. But there’s a sense that even more will be achieved when all four are more seasoned and comfortable playing as a unit. It’s still a notable first effort. As for the Schrimps, Ain’t No Saint too could have been improved with fewer, long tracks. However perhaps because of the extra input from an improv veteran The Schrimps have good reason to stand tall on their first effort.

https://www.jazzword.com/reviews/jim-the-schrimps/

Jim & The Schrimps ou le nouveau projet du batteur américain Jim Black, figure incontournable d’une musique avant-gardiste et inventive depuis une trentaine d’années (cf. ses collaborations avec Dave Douglas ou Tim Berne, ses groupes AlasNoAxis ou encore le trio avec le pianiste Elias Stemeseder et le contrebassiste Thomas Morgan). Pour ce nouveau groupe, Jim Black est entouré de jeunes musiciens européens : les Allemands Julius Gawlik (saxophone ténor) et Felix Henkelhausen (contrebasse) et le saxophoniste alto danois Asger Nissen. Cela démarre très fort avec « The Set-Up », un hommage au trompettiste Baikida Carroll (avec qui Black a joué sur un disque de Tim Berne). Après une introduction à la batterie, la musique devient vite fiévreuse, les saxophones s’entrecroisant dans des phrasés intenses, bien soutenus par une section rythmique nerveuse. Ce court morceau (3 minutes) est une excellente introduction aux 11 compositions (toutes de Jim Black) qui vont suivre. À l’exception des plus apaisants « No Pull » ou « The Once », l’ensemble de l’album est traversé d’une frénésie free sur des rythmes très rapides, les saxophonistes se laissant souvent aller dans des dialogues et des improvisations fougueuses, bien aidés par une batterie et une contrebasse au groove percutant. Musique sinueuse et énigmatique (qui pourrait vite décourager l’auditeur non averti), interprétée par des musiciens se déplaçant dans un cadre très libre et gorgé d’énergie, cette nouvelle entreprise menée par Jim Black est, une fois de plus, un petit délice.

https://jazzmania.be/jim-the-schrimps-aint-no-saint/?fbclid=IwAR3XG4XKOwffdKJeTiP3P-TKW7QH783WA3rwjm-a5Tr3OWF4hrjTgqhHR_0

Erster Blick auf das CD Cover - eine Kinderzeichnung, was wird diese erstaunte Biene zu hören bekommen? Der zweite Blick und der Name Jim Black taucht auf, das macht es jetzt schon spannend. Sehr wahrscheinlich steht Musik aus dem Bereich Impro, freier Jazz, Avantgarde auf dem Programm. Zumindest hat er das mit seinen eigenen Projekten wie AlasNoAxis oder dem Trio mit Thomas Morgan und Elias Stemeseder seit zwei Jahrzehnten immer wieder aufgezeigt. Jetzt in seinem neuen Projekt Jim & The Schrimps erinnert sich Black wieder an seine Mitwirkung in Tim Berne s Projekt „Bloodcount" in den 1990ern, wo ein aggressiver Sound vorherrschte, den er mit seinem Schlagzeug mitprägte. Mit gleich zwei jungen Saxophonisten (Asger Nissen am Alt,- und Julius Gawlik am Tenorsaxophon) wird die Intensität des improvisationsgetriebenen Quartetts hochgehalten. Durch seine vielfältigen Erfahrungen bringen Jim Blacks Kompositionen abwechslungsreiche, energiegeladene Muster hervor, mal rhythmisch verspielt, mal explosiv. Er gibt den Parcours vor, der seine Bandmitglieder zwingt, auf unerwartete Wendungen zu reagieren und mit viel eigener Spielfreude die Musik in Bewegung zu halten. Asger Nissen entlockt dabei seinem Saxophon sehr oft Ornette Coleman inspirierte Klänge. Die CD lebt von der Unmittelbarkeit, dem energetischen Sound, und die Biene vom Cover wird wohl erstaunt zugehört haben bis zum letzten Ton, der im mit freien Klangmotiven gehaltenen Track „Bowerfield" nach einem ausufernden gemeinsamen Höhepunkt langsam ausfadet.

Nuova band per il batterista Jim Black, nome ben noto a chi segue le vicende del jazz più affilato e urgente: il seme del progetto ha cominciato a germogliare nel 2018 e dà per la prima volta frutti ora, grazie all'incontro con il bassista tedesco Felix Henkelhausen, il suo conterraneo Julius Gawlik al sax tenore e il danese Asger Nissen all'alto. Great Black Music a rotta di collo (Snaggs), sincopi, agguati e fratture con enfasi avant-rock (Asgingforit), temi nitidi e dal respiro comodo (Crashbash), febbri Coltrane (Riversgardens), gli spiriti africani convocati in Bellsimmer, il groove aereo di Surely, con il suo attacco in medias res da manuale. Le pulsazioni rallentano in No Pull, ma quasi tutto il disco si mantiene su ottimi livelli: sangue, sudore, energia, ispirazione. Dal vivo saranno scintille.

Jim Black, ein Name, zwei Silben, wie ein Schlag auf Snare und einer auf die Bassdrum: So rockt es los auf dieser Einspielung, muskulös, angenehm leicht, pianolos; hier freuen sich vier Kollegen aneinander und in ihrer gemeinsam klaren Sprache. >>I definitely wanted something that would just kick me in the butt<«, sprach Black, und so geschah es: Der Meister scharte hochbegabte Jugend um sich und versammelte mit dem auch hier wieder quasi Mingussche Autorität ausstrahlenden Bassisten Felix Henkelhausen, dem Altsaxophonisten Asger Nissen und dem Tenorsaxophonisten Julius Gawlik eine Kombo vor dem Schlagzeug, die Blacks Inspiration für dieses Projekt afroamerikanische Musik der 1960er von Miles bis Ayler energetisch zum Leben erweckt. Zwölf Kompositionen Blacks öffnen den Raum für vier Freigeister in der Luftigkeit dieses Quartettsettings. Nissen und Gawlik sind oft sehr eng am Schlagzeug, aber nicht zwingend. Henkelhausen als Impulsgeber von irgendwo hinten raus fasziniert mit Ge-dankengeschwindigkeit, es geht immer hin und her, Black schiebt effektiv. Der Spaß, den die vier miteinander haben, fliegt direkt ins geneigte Ohr und mitten hinein ins Heute. Die Verneigung vor der Inspiration macht die Sechziger leben-dig und geht doch komplett vo-ran. The Future is Now (again, sozusagen).

Rhythmisch gibt "Ain't No Saint" des Quartetts Jim & The Schrimps einiges her. Und auch die Unmittelbarkeit in der Ausführung ist hier gegeben und offensichtlich. Es ist ein aktives sich Auseinandersetzen mit dem vorhandenen Instrumentarium. Jim Black überzeugt durch sein variables, nie langweiliges Schlagzeugspiel, während Asger Nissen und Julius Gawlik mit ihren Saxophonen bildhaft teils schrille Geschichten pinseln. Ihr Spiel ist energiegeladen und voller chord-Voicings, Bassist Barney Spieler solide im Untergrund und Drummer Kenny Clarke treibt die Band nach vorne und glänzt mit Solospots. Etwas irritierend sind die (Radio?-) Ansagen zur Musik zu Beginn der Stücke. Michael Brändli hat in Sachen Soundrestauration ganze Arbeit geleistet und ein eindrückliches Stück Jazzgeschichte wieder zugänglich gemacht.

Intelligenze in movimento

Ancora eccellenti uscite da casa Intakt, la label svizzera che dà spazio a molti nomi apicali europei, senza trascurare talenti da altri continenti. Dirompente per forza espressiva, intenti ed esiti il nuovo gruppo di Jim Black, Jim & The Shrimps, che è un affilato quartetto con due giovani solisti al contralto e al tenore dalle voci incendiarie, perfette per un progetto che guarda -senza passatismo-alla stagione di Albert Ayler, Ornette Coleman, Archie Shepp. Il tutto in Aint' No Saint. Superlativo è anche il sax tenore shorteriano e coltraniano dello zurighese Christoph Irniger con i suoi Pilgrim: in Ghost Cat si festeggia il decimo anniversario del quartetto con un lavoro scaturito dalla conoscenza telepatica tra i membri, nata da appassionate session in improvvisazione. Scatena bufere corrusche e apre squarci di luce il contrabbasso sontuoso di Joëlle Léandre nello Zurich Concertregistrato il 17 marzo 2022. Cinque ampie campiture che avvolgono e non lasciano tregua, per intelligenza creativa in azione: con dedica motivata alla <

Although the group's name (and album title) sound like something one might associate with a second-rate bar band, there is nothing oafish or pedestrian about drummer Jim Black's latest outfit, a hard-hitting ensemble which channels the distinctive energies of Black and his well-chosen compatriots. With saxophonists Asger Nissen (alto) and Julius Gawlik (tenor) and bassist Felix Henkelhausen alongside him, Black brings his characteristic manic intensity and crafty songwriting to an album filled with interesting and engaging musical interactions.

Black first encountered Henkelhausen and Nissen during his time teaching at Jazz Institute Berlin, in 2016, and soon afterward he met Gawlik, a rising star in Germany's NDR Bigband. This is their first recording together and it is clear from the opening track, "The Set-Up," that this quartet possesses a natural instinct for collective interplay, particularly as Black's John Bonham-inspired pounding and Henkelhausen's tough-edged groove push both saxophonists into some strenuous blowing. Black's fervid drumming style will never allow him to recede into the background, but he does an admirable job throughout the record of giving his bandmates the room they need to come to the fore, and the saxophonists are truly in top form. "SchrimpsBBQ" is especially invigorating, with a lightning-quick tempo which generates some serious fireworks from both horns. "Heyscram" might be even more frenetic, with particularly impassioned, intertwining exchanges between Nissen and Gawlik.

There is an occasional lack of cohesion to the record as a whole, given the stark shifts in musical modes explored from track to track. Black's tuneful sensibilities are front-and-center on a listener-friendly cut such as "Crashbash," and moving from that to the much more free-flowing "Riversgardens" directly afterward can be disconcerting. And then "Bellsimmer" follows, a piece which is even more abstract, with elliptical surgings which give all four musicians a chance to venture outward. The high-quality musicianship is consistent throughout, but one might like Black and his partners to stay a bit more rooted, especially given the relatively short duration of the tracks.

Quibbles aside, it is always an enjoyable experience to dig into a Jim Black album, and the spirit of surprise and adventure which has become the trademark of his projects is certainly present on Ain't No Saint.

https://www.allaboutjazz.com/aint-no-saint-jim-and-the-schrimps-intakt-records

Beyond Genre with Jim & The Shrimps, Christopher Hale & Mark Ortwein, more

The prog fusion of Jim & The Shrimps, Oldtime Country Music blends with rockabilly on Bear Family's 'Prison Special,' Christopher Hale crosses Kate Bush with Igor Stravinski (sort of) and wait'll you hear the lead bassoon of Mark Ortwein!

Ain’t No Saint (Intakt Records, Switzerland), by Jim & The Shrimps, is headed by drummer Jim Black. His Shrimps are bassist Felix Henkelhausen with two sax men—Julius Gawlik on tenor and Asger Nissen on alto. They play a kind of instrumental freak-out. Avant-Garde Prog. Progressive to the max. What may seem like jazz at first morphs into the unknown within minutes. It's wild and may take some getting used to. But that right there is its brilliance. Stick it in your ear. It's good for you. Let your mind wander during their incessant noodling. It has a feverish intensity that won’t let go. I sat there dumbfounded and literally watched the music cascade out of the speakers. It’s dangerous. You may not ever be able to listen to regular music again. It's irregular. Amorphous. Circuitous and meandering when it goes from point A to point B. It’ll grab on to your neck with sharp teeth and—like a rabid dog—won’t let go.

https://www.goldminemag.com/columns/beyond-genre-with-jim-the-shrimps-christopher-hale-mark-ortwein-more