Kenny Wollesen: LATRALA

When a February 2022 gig at John Zorn's experimental showcase The Stone was unexpectedly canceled due to Covid protocol, Wollesen seized the lemon juicer and booked the band into Shahzad Ismaily's famed Figure 8 studio in Brooklyn for the following two days. The session was engineered by Lily Wen and produced by Will Shore, a composer who plays vibes alongside Wollesen in the utopian art-jazz group Užupis. Playing together for the first time, LATRALA recorded nearly the entire album and its first session together in a flurry of extraordinary first takes. "I love that energy, that first-time feeling," says Wollesen. "I'm a big believer in the early stages of creating something. It's really exciting! You don't know where you're going, but you're playing with incredible musicians so it somehow works." It is a testament to the band's trust in each other and their willingness to embrace spontaneity and imperfection. This approach ensures that every nuance, every spontaneous idea, and every moment of collective inspiration is preserved, providing listeners with an intimate snapshot of a fleeting, yet powerful creative moment.

The linchpin is lauded drummer, percussionist Kenny Wollesen who hammers out themes and improv statements on the marimba and vibes. The A-list session artist has graced productions by John Zorn, Bill Frisell, Sean Lennon and countless others. Yet here, he also incorporates organ, tenor sax and more within his equipment arsenal.

Each track feels like an unfolding narrative, a conversation between the musicians that never settles into predictable patterns but rather thrives on unpredictability and exploration. On this release, Wollesen and his ensemble craft a landscape where boundaries dissolve and genres intermingle. The synergy between the musicians is palpable, and their collective improvisation generates a vibrant and ever-evolving sonic tapestry. "My other solo albums have been either duos or solo efforts," says Wollesen. "This was more of a proper session. It actually worked out much better than simply doing the Stone show, because we got this amazing recording out of it."

"Agora" is the leadoff track exuding bliss and liberation, blending a Brazilian-infused fusion with Tony Scherr's crunchy e-guitar lines and the leader's marimba. Synth effects, funky bass grooves, and a magnetic syncopated rhythm make this piece truly delightful. "Empress" is soaked in slinky jazz-funk, as this piece evokes the warm, dry summers of California. Exotic touches and Wollesen's jazz-inflected roots make it playful and memorable as they up the ante towards the closeout.

"Heart in Hand" is a tender embrace of R&B balladry, gently brushed and tactfully layered. Exotic touches add depth to this heartfelt track, complete with a soft, memorably melodic primary theme, rendered by Wollesen's lyrically rich vibes performance. Yet "Serious Drinking "is an off-centered and whimsical journey through syncopation and shifting rhythms, including drummer Nasheet Waits' peppery rock beat. Moreover, Wollesen and his cohorts mix it up via a haunting free jazz motif amid background EFX and Scherr's mid-toned lines. It is like stumbling upon a musical tavern. The session closes with "Cavalier Da Baton," complete with a breezy and quirky calypso-framed theme.

Throughout the album, Wollesen's compositions resonate with emotional depth, brought to life by the ensemble's joyful performance. This is fun music! Ultimately, LATRALA is a bold statement of artistic freedom and a testament to the power of collaborative creativity. It challenges listeners to abandon preconceptions and immerse themselves in a world where the only constant is the thrill of discovery.

Comments