JENNY SCHEINMAN

Numerology (Live at Jazz Standard)
David Gilmore (Evolutionary Music)
by Terrell Holmes
David Gilmore’s Numerology is pure energy from start
to finish. This live set, recorded over two nights at Jazz
Standard, is absolutely relentless. Joining the peerless
guitarist are singer Claudia Acuña, alto saxophonist
Miguel Zenón, pianist Luis Perdomo, bassist Christian
McBride, drummer Jeff “Tain” Watts and Mino Cinelu
on percussion. With a seasoned and talented band like
this, amazing music is no surprise.
The seven numerically themed tunes are divided
into two movements, each movement a suite with
seamless transitions between songs. Things unfold
slowly on the mysterious “Zero to Three: Expansion”,
with incantory vocals, languid alto and whispered
percussion. The tempo picks up as alto and Watts’
signature thunderous drumming kicks up the tempo
on “Four: Formation”, where Perdomo and Gilmore
mirror each other flawlessly. The former plays
wonderfully off the cyclonic theme of “Five: Change”,
to which Gilmore adds his patented quicksilver riffs.
The percussion-driven and blistering “Six: Balance”
ends the first movement. Zenón blows this tune away,
Watts and Gilmore matching him with equal fury.
Although the album’s second movement isn’t
quite as overwhelming as the first, the music loses
very little of its intensity. Gilmore’s soft, contemplative
playing on “Seven: Rest” is enhanced by more of
Acuña’s vocalizing. The title is deceptive since a slight
downshift in tempo doesn’t necessarily imply rest, as
McBride’s excellent solo proves. “Eight: Manifestation”
is brief, but powerful, like a stick of dynamite, and a
perfect lead-in to the album’s closer, the incendiary
“Nine: Dispersion”. Gilmore and the band play as if
under the spell of demonic possession, particularly
Perdomo, whose solo exemplifies the dynamism,
creativity and passion of the entire band.
Gilmore has been a first-call guitarist for years
and Numerology might well be his finest hour. The band
is on point throughout and not a single note is wasted.
This album is an absolute pleasure and at last year’s
end undoubtedly sat atop many “Best Of” lists.
For more information, visit evolutionarymusic.com.
Gilmore is at ShapeShifter Lab Mar. 18th. See Calendar.
Tone Åse / omas Strønen
Voxpheria
“an incredible
piece of work.”
- Milk Factory (UK)
“A beautiful and
inventive achievement.”
- All About Jazz (US)
“could only have been made in 2012.”
“could only have been made in 2012.”
- Jazzwise (UK)
Out now on
GIGAFON! www.gigafon.no
Eponymous
Paul Giallorenzo 3
(Not Two)
by Clifford Allen
Everything For Somebody
Aram Shelton
(Singlespeed Music)
It’s interesting to think that today’s semi-veterans of
the Chicago scene(s) were young upstarts not all that
long ago. Bolstered by the environment around such
esteemed musicians as reedman Ken Vandermark,
players like percussionist Tim Daisy, pianist/electronic
musician Paul Giallorenzo and saxophonist Keefe
Jackson have been coming into their own over the past
decade. Daisy has been active in Chicago since the mid
‘90s and joined the Vandermark 5 in 2001 (he was the
group’s last drummer). In the past 15 years he has
grown tremendously not only as an instrumentalist
(for this writer, his solo on the Bridge 61 rendition of
“Various Fires” was a true statement) but also as a
composer, as his work with Vox Arcana, a trio with
clarinetist James Falzone and cellist/guitarist Fred
Lonberg-Holm, testifies.
One has only to listen to the isolated delicacy of
his cymbal work and measured earthiness next to
bassist Ingebrigt Håker Flaten’s robust pizzicato and
Giallorenzo’s mercurial boppish suggestions on “The
Sun’s Always Shining”, the opening track to the
pianist’s eponymous trio album. In terms of an
improvising unit as well as Giallorenzo’s pianism, the
session is a fine statement. While the pianist’s earlier
work, represented by the ragged but convincing
quintet disc Get In To Go Out (482 Music), seemed to
rely on group kinetics to keep the music shored up,
Giallorenzo is out front here and able to let his
scumbled, behind-the-beat eddies command their own
shape and attention. One can hear echoes of Hasaan
Ibn Ali, Valdo Williams, Burton Greene and Dave
Brubeck in Giallorenzo’s approach, which balances
crisp delicacy and charged muscularity. Yet this is
decidedly trio music, wherein Daisy’s dry swing and
temporal futzing is a magnificent asset and his
unaccompanied or parallel playing is logical,
authoritative and rendered with clattering flair.
Everything For Somebody is the latest quartet disc
from ex-Chicago alto saxophonist/clarinetist Aram
Shelton, now residing in the Bay Area. He’s joined by
Daisy, tenor saxophonist Keefe Jackson and bassist
Anton Hatwich on a program of six original
compositions. Shelton is one of those musicians for
whom being an ‘acolyte’ is a respectful position; this
writer hasn’t heard too many musicians, especially of a
younger generation, take on the compositional tack
and improvisational daring of Roscoe Mitchell. Shelton
does that but he runs with it and has created a highly
personal approach rooted in well-paced repetition and
their abstracted (but highly melodic) outgrowths.
Jackson’s more burred and quixotic phrasing is a
fascinating foil, taking the same germs and contorting
them into equally personal problem/solution
dynamics. At heart - and not least due to the
voluminous, dry activity of Daisy’s kit and the full
tone and precise timing of Hatwich - this is swinging
and accessible music, far from any rote exercise.
Shelton and company balance formal rigor with bright
and unruly nowness and that is something their
esteemed forbears would appreciate.
For more information, visit nottwo.com and
singlespeedmusic.org. Tim Daisy is at Ibeam Brooklyn Mar.
15th-16th with James Falzone. See Calendar.
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THE NEW YORK CITY JAZZ RECORD | March 2013 35