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For March, Brian Kiwanuka and Rob Shepherd provide capsule reviews of three recordings – Cécile McLorin Salvant’s Melusine (Nonesuch, 2023), Tomas Fujiwara’s March On (Firehouse 12, 2023), and Rubin Kodheli’s Departure (self-release, 2023)- and a SXSW performance venue – the Qobuz Sessions at KMFA Studios.

Cécile McLorin Salvant- Melusine

Cécile McLorin Salvant’s Mélusine is the first Salvant album sung primarily in French. It is also the Salvant album with the strongest presence of African, Caribbean, and Latin American rhythms. “Dites moi que je suis belle” is a great example – Weedie Bramiah’s skittish, energetic djembe playing makes a fine partner to Salvant’s lovely lighthearted melodies. The last section of “Doudou” is a party driven by the rhythm section and pianist Sullivan Fortner, who plays with a vibrancy that would be at home on classic salsa records. There are stunning piano moments all over the album; Aaron Diehl’s twinkling dissonance and exploratory progression throughout “Est-ce ainsi que les hommes vivent?” is a joy to listen to. Surprisingly, the album even has a bit of the baroque era on “D’un feu secret.” Fortner’s synthesizer warps melancholic baroque structures as Salvant, in a quasi-operatic mode with a gorgeous vibrato, shows a completely different side of her talent. Throughout Mélusine, Salvant sings with irresistible expressionism and expands her sonic palette. She’s telling a story, and even if you do not speak French, you can always feel the drama. Mélusine is a wonderful album that ranks among Salvant’s best work. – Brian Kiwanuka

Qobuz Sessions @SXSW

The first thought of many when they hear of the South by Southwest Festival is its mammoth size. Considering it is estimated that a little under 135,000 people attend the music events alone, this preconception is understandable. However, not all music is designed to be heard by a large mob. Some sounds thrive best in smaller, more intimate venues that aim less towards providing an experience with mass appeal and instead favor cementing a more direct conversation between the artist and their audience. In fostering these dialogues, the acoustic qualities of the venue play a significant role and this is where Qobuz shines.

 While there are many streaming providers in the market, Qobuz has successfully carved a niche in providing both high-quality audio and original experiences. The company’s two-day series seems to have captured the brand’s essence quite well. Set in the recording studios of Austin’s primary classical station KMFA before a small, maybe thirty-person, audience allowed new colors to emerge from the live performances of artists booked for other SXSW outings. This author checked out two sets at the Qobuz Sessions- that of London-based multi-instrumentalist DoomCannon (who you can read about more here) and of Panamanian, by way of Chicago, drummer Daniel Villarreal. As to the former artist, the venue exposed a gentleness in the phrasing of the leader’s improvisations that was less apparent on Renaissance (Brownswood, 2022). As to the latter- who also performed earlier in the week at KRTU and Anthony Dean-Harris’ perennially awesome Jazz for the Masses- the opposite effect seemed to hold. While the influences of surf and other music remained, Villarreal’s group was even more driving and energized than on Panama ‘77 (International Anthem, 2022). It will be fascinating to hear both in recorded form when Qobuz releases them as EPs this fall. – Rob Shepherd

Tomas Fujiwara – March On 

The main attraction of March On is the title track, a towering 31-minute improvisation. There are strong juxtapositions, and how these disparate parts align and explode is a key aspect of its appeal. In the beginning, Mary Halvorson’s guitar has a calm, spacey tone, but it operates in a space full of agile, angular riffing courtesy of Ralph Alessi’s trumpet. Brandon Seabrook’s guitar is the perfect foil to Halvorson. In the first portion of the improvisation, his metallic echo provides an interesting contrast to Halvorson’s more psychedelic effects. There are moments of extended sparsity in “March On,” but ultimately, the track is a masterful exercise in building toward wrathful storms. The combination of Tomas Fujiwara and Gerald Cleaver’s thunderous drums and guitar playing fit for a noise-rock album creates one of the most aggressive passages of the Triple Double discography. The sharp tone of Taylor Ho Bynum’s cornet is a fine partner to the chaos and it cuts through the fray like a piercing scream. The cornet’s writhing is also important in the more low-key moments, with one particular passage stepping into melancholic melodic territory courtesy of Halvorson. The musical dialogue briefly moves into some head-nodding grooves led by the drums in the second half and a knotty collective improvisation by the rest of the band that gets more complex as it progresses. The chemistry on display throughout “March On” is stunning. March On is a terrific bookend to Triple Double’s excellent March (Firehouse 12, 2022) – a highly recommended listen for fans of the contemporary avant-garde jazz scene. – Brian Kiwanuka

Rubin Kodheli – Departure 

While not necessarily a household name – even in creative music circles- Rubin Kodheli has been part of some of the finest boundary-pushing projects of the last decade. The cellist has served as a third voice with Laurie Anderson and Christian McBride. He’s been part of another trio with the recently departed Riyuchi Sakamoto on keys. And he is on one of the best albums of the 2010s. When an artist with this diverse background releases a work called Departure, the immediate inquiry becomes what characteristics he wishes to abandon, given he does not seem penned in to begin. 

For starters, Kodheli puts aside the traditional cello in favor of a unique electric one designed by Ned Steinberger. This left-of-center tool allows the cellist to provide textures more commonly associated with an electric guitar. Perhaps Kodheli is attempting to escape the pomposity many wrongly associate with a stereotypically classical string instrument. That’s not to say the work is without moments of grandeur, particularly within Kodheli’s solos on “Mountainous Crag.” That piece also provides a repetitive motif that speaks of minimalism. But those more classical elements but a few of several colors at the trio’s disposal. Apple Music identifies the EP as “punk” music. Of course, it sounds nothing like Black Flag or the Sex Pistols, but that open defiance of the establishment is a shared characteristic nonetheless. The driving rhythms of bassist Trevor Dunn and drummer Brian Chase also give an impulsive heavy-metal aesthetic to the outing. Compositionally, the pieces are freely improvised, harkening to the long history of jazz. It’s an intriguing work that defies convention as it finds its own musical space. – Rob Shepherd