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<\/center>\nMichael Bellar and The As-is Ensemble \u2013 <\/strong>Oh No Oh Wow<\/strong><\/em>
\nKeyboards anchor this varied release that goes in many directions at once: even on the opening (title) track, Bellar alternates between creamy, fusion-y electric piano and Vince Guaraldi<\/strong>-styled acoustic piano runs. Too melodic to be prog, too rocking to be jazz, too adventurous to be labeled rock’n’roll, Oh Now Oh Wow<\/em> is delightfully all over the map. The ten instrumentals \u2013 all Bellar originals save a reading of Jimi Hendrix<\/strong>‘s \u201cVoodoo Chile\u201d and a Bob Marley<\/strong> song \u2013 show a dizzying command of instruments, the studio, and arrangement. Your ears might fool you into thinking you hear guitars. (You don’t.)<\/p>\n
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<\/center>\nElias Haslanger \u2013 <\/strong>Live at the Gallery<\/strong><\/em>
\nThis disc features tenor saxophonist Haslanger’s quintet at their weekly haunt, Austin Texas’ Continental Club Gallery; the gig is known as \u201cChurch on Monday.\u201d And the group does testify, as they blow their way through a mix heavy on standards (\u201cWatermelon Man,\u201d \u201cIn a Sentimental Mood\u201d). Jake Langley<\/strong>‘s electric hollowbody guitar runs are alternately mellow and biting. Dr. James Polk’s B3 adds a soulful foundation to the mix. The inventive yet solid rhythm section (Scott Laningham<\/strong> on drums, bassist Daniel Durham<\/strong>) take their turns in the spotlight as well. The appreciative but unobtrusive audience adds the right amount of texture.<\/p>\n
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<\/center>\nAlessandro Scala Quartet \u2013 <\/strong>Viaggio Stellare<\/strong><\/em>
\nI’m still working to be as well-versed in jazz as I’d like to be; I suspect it will be a lifelong process. But the opening strains of \u201cMood\u201d sound to these ears like a hard-bop reading of something off of Dave Brubeck<\/strong>‘s classic 1959 Time Out<\/em> LP. It’s more than the 5\/4 meter; there’s a vibe that this Italian quartet-plus-two seems to achieve effortlessly. But then that’s the trick, isn’t it: making the difficult seem effortless. Perhaps it was: the entire eleven-track album was cut in a single Summer 2012 session. Fun fact: the album title translates as \u201cStar Trek.\u201d<\/p>\n
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<\/center>\nYves L\u00e9veill\u00e9 \u2013 <\/strong>Essences du Bois<\/strong><\/em>
\nThis light, airy and gentle album is full of classical-leaning instrumentation (flute, oboe, Cor Anglais, clarinet and bass clarinet) along with instruments more readily identified with jazz (piano, upright bass, saxophones and drums). The result is pretty, impressionistic and contemplative, but not really adventurous or exciting (the subtle and varied drum work of Alain Bastien<\/strong> is a notable exception). Only on the strutting \u201cMonarque\u201d (with a very nice bass solo and some skittering piano) do things get inventive. Extra points are happily given for the fact that all eight pieces by this French Canadian ensemble are pianist L\u00e9veill\u00e9’s original works.<\/p>\n
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<\/center>\nVincent Gagnon \u2013 <\/strong>Tome III Errances<\/strong><\/em>
\nThis 2013 Qu\u00e9bec concert date showcases the compositions of bandleader and pianist Vincent Gagnon<\/strong> (plus one cover). The small band consists only of Gagnon plus two sax players, a double (upright) bassist and drummer. But that quintet makes the most of what they have, and the result feels like refined yet swinging Eurojazz, occasionally leaning in a big band style (if not arrangement). There’s a pleasing groove even when the rhythm section is blowing in something outside the 4\/4 format. Plenty of tasty solos abound on this seven-track collection culled from the best of a three-night stand at Palais Montcalm.<\/p>\n
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