arrow
bar_big image

Psychic Temple 'Plays Music for Airports'

Anthony Dean-Harris
Editor-in-Chief
anthony.deanharris@nextbop.com / @i_ADH

Brian Eno's 1978 album Ambient 1: Music for Airports is Capital "I" Important. It's a landmark album for what was at the time a fledgling genre, ambient. It's an album open to contemplation. It settles on the ear and has done so for almost forty years, so it's understandable that it's an album apt for reinterpretation by a certain brand of musical weirdo. Chris Schlarb is that weirdo.

bar_big image

Bobby Avey - 'Inhuman Wilderness'

Anthony Dean-Harris
Editor-in-Chief
anthony.deanharris@nextbop.com / @i_ADH

Okay, let's just be real. I have to ask. Is Bobby Avey tone-deaf? Is the young pianist, praised in certain jazz circles as an innovator and a sharp voice, just so brilliant that he doesn't actually hear melody? Does he know what it is? Does he care? Over his body of work, I have asked this question time and again why Avey constantly makes what I consider unlikeable music. We know unlikeable music. Those tonally off, minor all around, completely unnatural sounding hodgepodge of notes that just must be too smart for the rest of us. I have quite a few snobbish tendencies, no doubt. Bobby Avey still makes unlikeable music. However, perhaps he does care, to a degree, what a melody sounds like, maybe in a mathematical sense, throughout his latest album, Inhuman Wilderness, out June 24 on Innervoice Jazz.

bar_big image

Psychic Temple - 'III'

Anthony Dean-Harris
Editor-in-Chief
anthony.deanharris@nextbop.com / @i_ADH

I was worried a couple years ago when Chris Schlarb, the band/cult-leader of the Psychic Temple, told me he was going in a more folk/pop direction in the next album. I was doing a lot of juggling of balls back then when I was hosting Schlarb's show in San Antonio in 2014 in support of his solo album, Making the Saint, but I'm not sure if Pet Sounds entered into the conversation (which if it did, is a bit of a shame, since I had woefully yet to hear the album back then). Nevertheless, vocals were mentioned, something a little less familiar was around the corner. This was said in the midst of him embarking across the country on his own, experimenting with what the results of touring can be, putting himself out there as an artist and a businessman, and revealing his talent as a guitarist, craftsman, vocalists, and teepee builder (though his psychic temple, the frame in front of which he performed his solo shows, seemed more half a teepee, more a teepee). This work seemed foundational to the work that he would bring to the rest of his band in III, the aptly named third release from Chris Schlarb and the Psychic Temple.

bar_big image

Phronesis - 'Parallax'

Anthony Dean-Harris
Editor-in-Chief
anthony.deanharris@nextbop.com / @i_ADH

Phronesis albums seems to have a similar vibe to them. Bassist Jasper Høiby, pianist Ivo Neame, and drummer Anton Eger have been together for a decade now. They play with time, Eger slays on the kit, Høiby bounces around the melody like a rubber ball, Neame has turns eloquently understated and unabashedly dazzling. They're one of the great dynamic modern jazz trios. They come with this set of expectations. This is no different on their latest album, Parallax.

bar_big image

Logan Richardson - 'Shift'

Anthony Dean-Harris
Editor-in-Chief
anthony.deanharris@nextbop.com / @i_ADH

It would be reductionist to call Shift a Pat Metheny album. Yes, his signaturely chameleonic guitar is one of the most pronounced sounds all throughout saxophonist Logan Richardson's latest album, this time around on the Blue Note label, but it's not Metheny's album. It would be reductionist to call Shift a Jason Moran album, though his tones color this collection of songs as well. Bassist Harish Raghavan and drummer Nasheet Waits ain't nothin' to sneeze at, either. It's this assemblage of talent, Metheny in particular, that makes Richardson's Blue Note debut such an impressionable album.