By C. Michael Bailey
The newly-formed Jazz Magnet Label has just cranked up with five new releases with some suprising big names. In general, the music is avant-guard and pretty free. The compact discs are housed in smartly designed cardboard cases that are light and space friendly. Oh, but enough of that, what about the music?
Well, first, let me rank them in their accessibility starting with the most accessible (most Mainstream) to the "least" accessible (Free Jazz). Writer's note: these are not aesthetic judgements. I place myself in the shoes of the pedestrian jazz listener and then let them know what to expect.
Thoughts of YouÃÂÃÂÃÂÃÂMary Ann McSweeney (JAM 2004, 2001). This is the lone mainstream offering in the bunch and it is very much a bassist date. Ms. McSweeney plays with a bold round sound reminiscent of Ray Brown and is often on top of the mix much in the same way Paul Chambers was in his solo offerings. She is joined by a wave of young improvisers that include trombonist Mike Fahn and saxophonist Donny McCaslin. All originals are intelligent and McSweeney's take on the traditional "Amazing Grace" is quite exceptional.
St. Louis BluesÃÂÃÂÃÂÃÂArchie Shepp (JAM 2006, 2001). Archie Shepp singing and playing "St. Louis Blues". It is a bit of a surrealistic experience and when the piece is over, the listener is lulled into a sense that this might be a fairly straight-ahead Shepp recording. Not so fast. While he adds his own irreplaceable style to Kenny Dorham's "Blue Bossa" and "Lady Day's God Bless the Child", he strikes out on his own on his originals (try "Steam" on for size). Still the "new thing" after all these years.
C/D/EÃÂÃÂÃÂÃÂAndrew Cyrille / Mark Dresser / Marty Ehrlich (JAM 2007, 2001). These guys have been creating their patented brand of Free-Avant-Guard since 1996. Multi reedist Marty Ehrlich shapes the overall sound with his specific quirky vision while Cyrille adds his in the form of percussion and composition. This disc will appeal to all Ehrlich fans and those of Mike Nock. This is the best of poorly behaved 21st Century Jazz.
In the Ear of the BeholderÃÂÃÂÃÂÃÂJorge Sylvester's Afro-Caribbean Experimental Trio (JAM 2003, 2001). If Ornette Coleman had be born and reared in Nassau, his music would have sounded like this. Sylvester has a large imagination and he spreads it over the shifting rhythms established by drummer Bobby Sanabria and bassist Donald Nicks. This music is like the lime one adds to a Corona®. It transports the consumer to a whole new place.
Boom BopÃÂÃÂÃÂÃÂJean-Paul Bourelly (JAM 2005, 2001). Had Jimi Hendrix had access to Ecstasy, this is the music that would have resulted. Bourelly sings and plays his way through a legion of traditions, languages, and genres. Archie Shepp and Henry Threadgill are on hand for the Apocalypse Now translated into music. A hallucinatory dream with a lot of feedback.
Jazz Magnet is an exciting new label with a vision like that of Nagel Heyer and Arbors, but instead of promoting the more traditional jazz of those labels, Jazz Magnet want to shine the light on rim jazz, that music on the edge.
