The Seeker is the Aardvark Jazz Orchestra's third album and was recorded live on two separate occasions at MIT's Kresge Auditorium in Cambridge, MA, on April 25, 1998, and April 16, 2000. The album is comprised of three pieces composed by the orchestra's leader Mark Harvey. The 18-minute "The Seeker" is presented as a tribute to John Coltrane. A hearty piece of work, it shifts from conducted improvisations to Mancini-like riffs with a fiery tenor solo by Arni Cheatham. A meditative state is brought to climactic ramblings and then put to sleep, after which the orchestra comes back for a jubilant closing section. "Heartsong," dedicated to Myanmar activist Daw Aung San Suu Kyi, is a lot more delicate and closer to contemporary classical (think Edgar VarŠse) than anything jazz. A little disconcerting at first, it makes a nice break between the two main pieces of the program. "Passages/Psalms IV" is a 40-minute suite reflecting life passages backed by texts taken from Psalms (previous pieces in this series were documented on the orchestra's second CD Psalms and Elegies). Beginning softly and as if picking up where "Heartsong" left, the piece eventually turns into a swing number before breaking down and coming to an almost full stop, a structure that will be repeated a few times. Once again, the musicians alternate from thoroughly written lines to conducted improvisation. This piece bears a few overlong passages and doesn't have the engaging feeling of "The Seeker" (some would say it's too cerebral). Overall, this CD makes an enjoyable listen, but it doesn't break any new ground into avant-garde orchestral jazz or experimental big-band territories. The Aardvark Jazz Orchestra has recorded better material. ~ Fran‡ois Couture

This recording catches bassist Joe Fonda and pianist Michael Stevens leading their legendary quintet in a compilation of three different European concerts. Fonda and Stevens wrote all the pieces on this CD, which also features new music trumpeter Herb Robertson, drummer Harvey Sorgen, and alto saxophonist/clarinetist Mark Whitecage. While most of these performers are identified with the freer styles of jazz, Evolution is a chance to hear them in a diversity of contexts. "Song for my Mother" is a lovely, lyrical ode that encompasses melodic invention and avant-garde playing. "Birdtalk" is dedicated to Charlie Parker and offers some rare bop soloing by Robertson. The head of "Second Time Around" was written only with rhythmic notation, but without predetermined pitches. "Strayhorn" is a moving remembrance of the titan arranger that stretches as it looks back. Robertson and Whitecage are particularly strong performers throughout and clearly enjoy the variety of moods and tempos. While the recording suffers somewhat from poor sound quality, the outstanding musicianship clearly compensates. ~ Steve Loewy

Behind Tales of Love and Death lies a simple idea that had rarely been put to such convincing use: to bring together jazz and operatic singing. Eugenio Colombo brought his current quartet to the studio (Colombo on saxophones and flutes, Gianni Lenoci on piano, Ettore Fioravanti on drums, Bruno Tommaso on bass) along with Micaela Carosi, Masha Carrera, and Elisabetta Scatarzi, three classically trained opera singers. Tales of Love and Death comprises two Colombo compositions: "Toxon," based on a scene from The Odyssey, and "Giuditta," based on the apocryphal Book of Judith. A Colombo/Tommaso improvisation serves as an interlude. "Toxon" opens on a jazz-rock number very reminiscent of Canterbury prog rockers Hatfield and the North, but soon the music shifts to a ground where contemporary classical, Verdi, tango, and avant-garde jazz meet. Inspired by the ancient themes of Greek Gods and the Bible, Colombo embedded his music with some of the spirit of ancient ritualistic music, both profane and sacred. The listener catches references (actually, more moods than references) to African tribal music, Italian pagan songs, and religious chants. Therefore, the music shifts from solemn to cheerful, but always remains deep and somewhat serious. More than a genre exercise, this is breakthrough material, genre-bending, ears-opening. The only comparable work would be Canadian singer Karen Young's "Canticum Canticorum," where she blended Arabic traditional music with jazz and contemporary classical in a large-scale work based on this book from the Bible. The idea was similar but the results are quite different, with Colombo being jazzier and avant-gardist. Strongly recommended, especially for jazz listeners with an ear for operatic voices. ~ Fran‡ois Couture

"Nature Morte" is the title of a poem written in 1971 by Joseph Brodsky. He and pianist Simon Nabatov were both born in Russia and later resettled in America. Nabatov took the ten-part poem, a rich conjuration of life and death, and wrote what can only be described as an ambitious song cycle, even though the fact that Phil Minton sings it means one must stretch his usual definition of the word "song." Trombonist Nils Wogram and saxophonist Frank Gratkowski (also heard on clarinet, bass clarinet, and flute) complete this impressive quartet. Nature Morte is a work of symbiosis, first between Brodsky's words and Nabatov's music, then between the music and the very talented musicians, the words and Minton's interpretation of them (both intellectual and physical), Minton's interpretation and Nabatov's. One immediately thinks of the singer's Mouthful of Ecstasy, another quartet which rooted in literature (this piece used excerpts from James Joyce's works). But the two pieces stand very much apart: Nature Morte is less improvised, abstract, and arid, a lot more soulful, gentle, and organized. Minton's voice goes from warm ("Part 8") to guttural (his solo at the beginning of "Part 9"). Nabatov's piano provides the backbone of the music, with his complex chords and rhythm patterns framing the songs, while Gratkowski and Wogram dialogue with each other and develop the harmonic contents. A peak is reached in "Part 4," where an insisting motif clashes against Minton's idiosyncratic vocal improvisations. This Nature Morte is a thing of beauty, revealing itself a little more at every listen. Very strongly recommended. ~ Fran‡ois Couture

This fourth effort is by far Not Missing Drums Project's best album to date. While the previous ones tended to lack focus, multiplying short tracks, guest contributors, and approaches, The Gay Avantgarde has a clear purpose. Joachim Gies (saxophones, keyboards) and Thomas B�hm-Christl (cello, keyboards) have selected texts from the works of Friedrich Nietzsche, particularly those pertaining to music, and set them in contexts that add an interpretive dimension. The lineup is restricted to six musicians: the two leaders plus trombonist J�rg Huke, bassist Matthias Bauer (who also doubles as speaker), Alex Nowitz (voice and effects), and mezzo-soprano Ute D�ring. The ten pieces take the general form of a contemporary song cycle, with D�ring occupying center stage. Each track offers a different dosage of certain basic elements: composition versus free improvisation, contemporary classical versus jazz, acoustic (two horns, two strings) versus electronic (keyboards and treatments), singing versus speaking, legibility (written text) versus gibberish (vocal improvisation). If this breakdown sounds mechanical, the music doesn't. Nothing is stated in black or white; the interest of each piece resides in the displacements on these various axes and how a whole set of choices enriches the philosopher's aphorisms. It's simply brilliant, both as concept and result. Luckily, the booklet includes English translations. ~ Fran‡ois Couture

This recording session involving leaders Pandelis Karayorgis and Mat Maneri along with their supporting cast (Tony Malaby, Michael Formanek, and Randy Peterson -- all musicians they had both worked with before) was put together hastily. It falls to the jazzmen's credit that Disambiguation sounds so unforced and rehearsed, and flows so naturally. The pianist and violist know each other well enough to share a level of comfort that often finds improv musicians turning lazy and remaining on previously charted ground. If this quintet doesn't explore new, cutting-edge territories, it sure can't be accused of laziness. Karayorgis came up with five loose compositions: heads and sub-group sequences (a bass/piano duet here, a trio section there, etc.). The group members made the music their own (rather than "learned" it) and recorded it as if they had been playing it for years. Nothing here stands out of the ordinary: the pianist's tumbling lines, Maneri's deep viola lines, the rhythm section playing in and out often at the same time. Detractors of free jazz will say that this has been done before, and so forth. But these five players do it well, more than that they do it casually. Unpretentiously, like it is their everyday bread and butter, they pour their hearts and souls into Karayorgis' post-bop themes (that Monk signature again in the opening theme of "Three Plus Three"), break down their sound into every possible combination of players to show everything they can do, and bring it softly "Home" in the end. All in a day's work, right? Disambiguation is the work of professionals still thrilled by what they do. ~ Fran‡ois Couture