DICK

GLOBE UNITY:SLOVENIA
Bums
Feecho (Kaja Draksler/Onno Govaert) (El Negocito)
Hramo
Kombo B (Sazas)
The Life Sound Pictures of Jure Pukl
Jure Pukl (Fresh Sound-New Talent)
by Tom Greenland
Tucked into the northern corner of the Adriatic Sea,
mountainous, sparsely populated Slovenia is not an
obvious hotspot for jazz, but its artistic output
suggests otherwise, to judge by three recent CDs.
Emphasizing the might of the meek, Feecho,
named for the Serbian-made Zastava 750 coupe, puts
a picture of its namesake on the cover of Bums, a live
album by pianist Kaja Draksler and Dutch drummer
Onno Govaert. A highly satisfying adventure, the
concert is divided into three extended improvisations
(“Goshi Goshi”, “Nya” and the title track), each
developing organically, without urgency, but leaving
a lasting impression. At times Draksler leads the
explorations with light rippling figurations or oddlength
‘riffs’, but there are as many times when she
becomes a second percussionist, blending into the
musical woodwork. The duo is not afraid to insert
pregnant silences or negative spaces into the texture,
inviting the audience to fill in its own version of the
story. Even at their most climactic, midway through
the title track, Draksler and Govaert know just when
to pull back and save a little excitement for later.
Kombo B is a student ensemble led by drummer
Zlatko Kaučič, a newer, younger (the musicians are 9
to 17) version of his groundbreaking Kombo A, all
part of the ongoing “Sound Springs” project. Hramo,
the fifth album of the series, finds Kaučič conducting
a series of ensembles, all featuring guitarists Jan
Jarni and Peter Kastrin and bassist Matjaž Bajc,
drums and percussion supplied from a pool of 12
musicians, with additional firepower from guest
trumpeter Damijan Valentinuzzi, trombonist Matija
Mlakar and saxophonists Boštjan Simon (on alto)
and Jani Šepetavic (on tenor). Tracks like “Dedek
Mraz” and “Urbanova Očala” have a strong Latinrock
feel, but others are more mercurial, displaying a
range of moods and textures, especially closer “Joy
of Joy!”, which features stop-and-go traffic, gaping
silences and four-way exchanges by the guest horns.
The Life Sound Pictures of Jure Pukl is the tenor/
soprano saxophonist’s seventh album as a leader, his
second with New York-based musicians. Pooling the
talents of guitarist Adam Rogers, pianist Sam Harris,
bassist Joe Sanders and drummer Rudy Royston,
Pukl unveils various facets of his artistic vision:
analytical, impressionistic, hard-edged and romantic.
His full yet effortless tone retains a sense of pacing
and restraint, even on its most muscular flights,
lending ballad passages an extra poignancy. A
generous leader, his compositions encourage
interactivity, an overlapping of ideas and
personalities. Rogers’ burnished tone serves as a
second horn, shadowing Pukl’s lines or ad libbing
obbligati and counterpoint. Vocalist/lyricist Sachal
Vasandani cameos on “Quiet Skies Come Back”. On
“Journey to the One”, guest tenor saxophonist
Melissa Aldana’s approach melds so closely with
Pukl’s it’s difficult to tell who is playing what.
For more information, visit elnegocitorecords.com,
kaucic-zk.si and freshsoundreccords.com. Pukl is at Fat
Cat Dec. 5th. See Calendar.
Marais Del Sueño
Javier Moreno (Fresh Sound-New Talent)
by Elliott Simon
Whether dreams are truly a window into our
unconscious or not, it is a daunting thought to invite
other people in to share them. On Marais Del Sueño
bassist Javier Moreno does just that. He is a wistful
romantic and his dreams are elegant statements that
highlight a delicate touch along with drummer Gerald
Cleaver’s ability to go with the flow but maintain
compositional integrity. The two are wonderful
together and they create a supple organic jazz that
explores mood and emotion across these eight reveries.
Pianist George Dulin and saxophonist Tony
Malaby complete the quartet. The former supports the
rhythm and mood while the latter is the primary
explorer, investigating these rhythmical landscapes on
both tenor and soprano. Originally from Spain, Moreno
shows his worldliness on several tunes: “Música
Callada” is a beautifully sinuous piece featuring
Moreno’s Spanish-informed intro while Malaby turns
his soprano eastward for inspiration on “Interludio
Oriental”. Malaby is nimble on soprano and can be
surprisingly tender on tenor; his soprano states, shapes
and twists the theme to “La Cornette” and flits quickly
from place to place on the sweet “Miel de Brezo” but
he chooses his tenor to express gentle emotion on “Lu”.
“Freia Power” is an extended piece beginning,
as other tunes do, with Cleaver and Moreno gracefully
depicting a sleepy descent into a dream. Once there,
tempos pick up, tension builds and ideas coalesce,
dissociate and reform. The structurally sound “Títeres”
is a highpoint and Malaby (on tenor) navigates one of
the rhythm section’s finest dreamscapes as it turns on
Dulin’s keystrokes. Compare this to the initial tight
organization of “Tramándote”, which gives way to
Cleaver and Moreno’s relentless attempts to break it
down only to then be quickly built back up.
This is a rare rhythm section and the tunes stand
alone as complete compositions even without Malaby’s
saxes. But Moreno’s invitation into the sea of his
dreams cleverly uses Malaby’s insights and
improvisations to reflect sequences of feelings,
impressions, surroundings and sensations.
For more information, visit freshsoundrecords.com.
Covered
Robert Glasper (Blue Note)
by Joel Roberts
After winning two Grammy Awards and a large
audience outside of jazz circles for the R&B and hip
hop-infused Black Radio (2012 Best R&B Album) and
Black Radio 2 (2014 Best R&B Album and Best Traditional
R&B Performance for “Jesus Children”), Robert
Glasper returns to his roots on his new release—at
least sort of.
The album, recorded live at Capitol Studios in Los
Angeles, features the pianist in an extremely relaxed
acoustic trio setting with bassist Vicente Archer and
drummer Damion Reid, with whom he recorded
Canvas and In My Element, his first dates for Blue Note
a decade ago. But this is anything but a traditional jazz
trio album, as Glasper continues his genre-busting
ways, mingling imaginative covers of tunes by
Radiohead, Joni Mitchell, Musiq Soulchild and John
Legend, among others, with a rendering of the standard
“Stella by Starlight” steeped in the sumptuous lyricism
of Bill Evans (the tune was a staple in the pianist’s ‘60s
repertoire).
The originals here include updates on some of his
Black Radio fare, like opener “I Don’t Care”, which
seamlessly mixes postbop and dance grooves. The
pointedly titled “In Case You Forgot” serves as a
13-minute reminder that Glasper can play the heck out
of just about anything. He jumps effortlessly from
adventurous cascades of free jazz to quotes from
plaintive pop fare like Bonnie Raitt’s “I Can’t Make
You Love Me” and Cyndi Lauper’s “Time After Time”
(a song, not incidentally, that Miles Davis received flak
from jazz critics for covering in the ‘80s).
The final two tracks delve quite effectively into
social commentary. “Got Over” is a stirring spokenword
piece featuring reflections on race and history
from Harry Belafonte while “I’m Dying of Thirst”
includes a children’s chorus reciting the names of
victims of police violence over an ethereal drum-andbass
groove. It’s a powerful ending to a quietly
convincing album that makes no concession to genre or
preconceived notions of what a jazz artist is supposed
to be or what kind of songs he’s supposed to play.
For more information, visit bluenote.com. This project is at
Zankel Hall Dec. 5th. See Calendar.
ARTURO
SANDOVAL
DEAR DIZ
(EVERY DAY I THINK OF YOU)
A TRIBUTE TO DIZZY GILLESPIE
WED, DEC 2, 8 PM
Co-presented with
92ND & LEX, NYC
FOR TICKETS
92Y.ORG/CONCERTS
212.415.5500
An agency of UJA-Federation
18 DECEMBER 2015 | THE NEW YORK CITY JAZZ RECORD