A Breathtaking, Epic Debut Album From the Fabia Mantwill Orchestra

There hasn’t been a debut big band jazz album on as ambitious a level as the Fabia Mantwill Orchestra’s initial release, Em.Perience (streaming at Spotify) in a long time. Maybe since Asuka Kakitani’s similarly symphonic first record. The vast scope of the saxophonist/singer/bandleader’s ideas, her lush East African-inspired melodicism and outside-the-box arrangements will sweep you off your feet. To compare a lot of this to Darcy James Argue and Maria Schneider would not be overhype. Albums like this are what people who run music blogs live for. Mantwill has an exceptional ear for textures and a penchant for unusual pairings of instruments, and alludes to an amazingly eclectic range of influences without aping any of them.

The first sparkling riffs over the lush string section on the first song, a lavish arrangement of Becca Stevens’ Ophelia, are from Milena Hoge’s harp. After the second chorus, a spiky Portuguese guitar takes over. Stormy low brass kicks in beneath muted trumpet and orchestral percussion, foreshadowing the moment when the wounded warrior gazes into the ocean, sees the suicide girl’s ghost and decides life is worth living after all. It’s part Moody Blues, part Gil Evans, part Nico’s Chelsea Girl with a singer who hits all the notes. What a way to open the record.

The rest of it is almost all Mantwill compositions, the first titled Pjujeck. Trombonist Nils Landgren kicks it off, hard, answered tersely by guitarist Kurt Rosenwinkel, the strings ushering in the most vastly expansive, exuberant dance theme you will hear this year. The two soloists engage in a funky upward drive, Landgren’s jaunty New Orleans-isms eventually giving way to Rosenwinkel’s surreal, 180-degree detour into deep-space ambience, which Mantwill ties up in a neat package at the end.

She sings in Swahili in Sasa Ndio Sasa (Here and Now), inspired by her travels in East Africa. A suspenseful, droning bass intro bows out for a bouncily hypnotic, circling rondo featuring the “Tanzanian Kids Choir.” As symphonic African music, it brings to mind Toumani Diabate’s work with the London Symphony Orchestra, although Mantwill’s composition is somewhat more intricate, from Maria Reich’s warily kinetic viola solo, to Rosenwinkel’s EWI-like envelope-pedal solo, to the jubilantly cantering coda.

Erwachen (German for “Awakening”) is a lavish, balmy Isle of Skye seascape, Mantwill’s sax looking back to a famous 70s ballad: it’s the album’s most straightforwardly beautiful interlude. Marcio Doctor’s shamanic percussion and vibraphone fuel the dynamically expansive Serengeti-scape Kumbukumbu, flugelhornist Konstantin Döben adding a resonant but enigmatic solo before the group shift toward a string-infused pulse that brings to mind McCoy Tyner’s Fly With the Wind.

The lively African-flavored rhythms and riffs continue in Triology. The addition of steel pan in contrast to Daniel Buch’s chuffing baritone sax is an especially clever touch, as is the bari/bass/drums breakdown in the middle, Morphine on whippits.

Tilmann Dehnhard’s alto flute sprouts, afloat in what’s left of the snows in Melodie de la Riviere. a French Riviera early spring tableau. Yet even here, there’s a circling, mutedly leaping African rhythm, Hoge introducing baroque austerity in her solo harp interlude, Döben’s steady, calm flugelhorn following to signal a determined, verdant crescendo. They tiptoe their way out.

The album’s final number is Festival at High Noon, by Megan Ndale, which may have been inspired by a music festival in Nepal but sounds more distinctly Tanzanian or Kenyan…and then Balkan. Violist Reich reaches to the bottom of her register and then swoops skyward, bristling with reverb; tenor saxophonist Ben Wendel memorably follows that same pattern. This is the top contender for best jazz debut of 2021 so far.

A Symphonic Malian Mashup

Of all the strange and beguiling orchestral cross-pollinations of recent years, kora player Toumani Diabaté’s live album Korolen with the London Symphony Orchestra under Clark Rundell is at the top of the list. You could call this six-part suite a harp concerto, the kora being one of that instrument’s ancestors and sharing a ringing, rippling upper register. The music is calm, expansive, unhurried, sometimes warmly playful, sometimes meditative.

This archival 2008 concert – streaming at Spotify – begins with a Diabaté solo, introducing the spare, warmly expansive pastorale Hainamady Town. Then strings and winds enter and add lush, sweeping ambience. Diabaté’s spur-of-the-moment arrangements are strikingly uncluttered and atmospheric: an oboe sailing here, a brassy echo there. Diabaté turns more and more of the melody over to the orchestra as the layers grow more pillowy.

Diabaté’s lively solo introduction of Mama Souraka seems improvised; the decision to pair the kora with xylophone and pizzicato strings along with gentle staccato accents seems completely logical. Yet so does the doppler-like sweep later on.

Elyne Road opens with a windswept British folk ambience over an understated waltz beat; Diabaté’s clustering riffs shift the music into even sunnier African terrain. The ensemble return to the solo intro/orchestral crescendo model in Cantelowes Dream, with a Diabaté joke that’s too ridiculously funny to give away. A Spanish guitar delivers a spiky Malian solo; Diabaté’s conversations with high woodwinds grow more animated and gusty.

Moon Kaira is the most lushly dancing piece yet ultimately most hypnotic segment here, with a triumphant interweave of voices. The bassoon matching Diabaté’s intricate doublestops is a trip. The ensemble close with Mamadou Kanda Keita, a pulsing, vamping salute to the griot tradition with expressive vocals by the late Kasse Mady Diabaté, and a guitar/kora duet on the way out.

Jussi Reijonen Holds the Crowd Rapt Uptown

Wednesday night uptown at Shrine, Jussi Reijonen alluded that the quiet, reflective compositions from his new album Un might be liberating to New Yorkers looking to escape the afterwork bustle outside. Was he ever right. To describe Reijonen’s music, or his quartet onstage as cosmopolitan would be a considerable understatement. Respectively, guitarist/oudist Reijonen, pianist Utar Artun, bassist Brad Barrett and percussionist Tareq Rantisi represent for Finland, Turkey, California and Palestine. While Reijonen’s work, and his playing, span the emotional spectrum, there’s a searching quality to much of it that haunted this performance. He mused to the audience that this might have something to do with a childhood spent in the stillness of Lapland at the edge of the Arctic circle.

Reijonen’s lively, acerbically dancing oud led the band into the opening number, Rantisi’s nonchalantly triumphant cymbal crashes pairing against Artun’s starlit piano flourishes over stark washes from Barrett. An animatedly nocturnal, chromatically bristling Artun solo over a slinky rhythm wound down to a creepily mysterious, modal glimmer and then back up again, Reijonen then taking it in a stark, haunting direction evocative of Marcel Khalife.

While Rantisi had a full drum kit to work with, he colored the songs with boomy hand drum accents, played muffled hoofbeat rhythms on the toms with his hands and nebulous atmospherics with his brushes, ratcheting up the suspense. Likewise, Barrett alternated between long-tone pitchblende lines and agile, looping phrases, adding a minimalist pulse to an absolutely mystical take of John Coltrane’s Naima, Reijonen’s electric guitar bringing it to a rapturous, meditative but uneasy calm, equal parts Messiaen and Bill Frisell, Artun livening it with a pointillistic summer shower on the high keys.

They played Lorenzo Castelli’s Decisions, a gorgeously brooding jazz waltz, as a sonata of sorts, its theme and variations like waves on a rising tide driven by Artun’s sparkling, sometimes sinister crescendos. Reijonen followed with a homage to Toumani Diabate in a duo with Rantisi, energetically evoking spiky kora voicings that uncoiled with a serpentine, hypnotic energy.

And then a turmpet mysteriously wafted into the mix. Was there a ringer in the band walking in from offstage? No. The bartender had apparently decided he’d had enough of the band, so he’d put some high-energy Afrobeat on the house PA – while the set was still in progress! The same thing happened to Raya Brass Band a couple of weeks ago at Radegast Hall. Some people can’t buy a clue, and it’s too bad they work at music venues.