Johan Budi
The contemporary jazz landscape is currently witnessing a significant period of cross-pollination, where the boundaries between traditional improvisation, electronic manipulation, and solo instrumental exploration are becoming increasingly porous. This evolution is exemplified by three distinct new releases that showcase the breadth of the genre in 2024. From the veteran "Downtown" sensibilities of Steven Bernstein and the dub-inflected productions of Scotty Hard to the intimate solo bass narratives of David Bowden and the minimalist, prepared-piano compositions of Jonas Cambien, these works represent a concerted effort by modern artists to expand the expressive potential of their respective instruments. These releases—spanning labels like Royal Potato Family, Solas Sound, and Sonic Transmissions—highlight a global network of creative exchange that connects New York City, Glasgow, and Oslo.
Steven Bernstein and the Dual Nature of ResoNation
Steven Bernstein, a central figure in the New York "Downtown" scene for over three decades, has long been recognized for his work with the ensemble Sexmob. Currently celebrating their 30th anniversary, Sexmob recently gained further acclaim for their collaboration with avant-garde icon Laurie Anderson. However, Bernstein’s latest project, a double-album set featuring the ResoNation Trio and the remix project Ultra Resonance, marks a significant stylistic pivot.
The first disc, titled ResoNation, features Bernstein leading a chordless trio alongside bassist Scott Colley and drummer Nasheet Waits. Recorded at Brooklyn Recording in late December 2023, the session finds Bernstein moving away from his signature slide trumpet to focus on the valve trumpet and flugelhorn. This shift in instrumentation signals a more contemplative and structured approach to his art. The trio format, famously championed by figures such as Sonny Rollins and Ornette Coleman, demands a high degree of melodic and rhythmic clarity, as there is no harmonic instrument (like a piano or guitar) to provide a safety net.
The compositions on ResoNation range from the free-bop energy of "South" to the melancholic, "Stańkoesque" atmosphere of "Two Shakes." The track "Pettiford" serves as a rhythmic showcase for Nasheet Waits, whose off-kilter grooves provide a modern context for the legacy of bassist Oscar Pettiford. The set concludes with a reverent interpretation of the blues classic "Sitting On Top Of The World," anchoring the experimentalism of the record in deep American tradition.
The Dub Evolution: Ultra Resonance
The second disc, Ultra Resonance, provides a radical contrast to the acoustic trio recordings. Here, Bernstein cedes control to producer Scotty Hard, who utilizes the original session material as a foundation for extensive electronic manipulation. This conceptual approach draws direct inspiration from the history of reggae, specifically the 1975 classic Garvey’s Ghost, which was the dub counterpart to Burning Spear’s Marcus Garvey.
Hard’s production transforms the trio’s output into "ill-bient" soundscapes, a genre popularized in the 1990s by artists like DJ Spooky and DJ Olive. By incorporating subsonic basslines, post-hip-hop beats, and dystopian urban textures, Hard creates a sonic environment where Bernstein’s trumpet calls act as a magnetic, guiding force. The inclusion of Jeremy Gustin on percussion and Scotty Hard on organ, lap steel, and electronics further expands the palette. This dual-release strategy allows listeners to experience the raw creative process and its subsequent technological transformation as a unified artistic statement.
David Bowden and the Vocalization of the Double Bass
While Bernstein explores the intersection of jazz and dub in New York, bassist David Bowden is contributing to the thriving jazz scene in Scotland. Although born in London, Bowden’s move to Glasgow in 2011 to study at the Royal Conservatoire of Scotland proved to be a turning point in his career. He is perhaps best known for his role in the Fergus McCreadie Trio, a group that has received Mercury Prize nominations and widespread acclaim for blending contemporary jazz with Scottish folk music.
Bowden’s solo debut, Unsong Songs, is a rigorous exercise in unaccompanied double bass performance. The project was born out of a desire to emulate the phrasing of the human voice and the intimacy of an acoustic guitar using only the bass. In an era where many solo instrumentalists rely on loop pedals and electronic effects, Bowden’s decision to record without these aids is a testament to his technical command and melodic sensitivity.
Global Influences and Folk Foundations
The repertoire on Unsong Songs reflects Bowden’s diverse musical background. The opening track, "The Spider’s Talk," utilizes busy polyrhythms and call-and-response patterns that suggest the influence of his time studying traditional music in Ghana. In contrast, "WGS Blues" pays homage to the guttural, muscular style of Charles Mingus, while "Singing Sands" highlights the lyrical potential of the instrument.
The album also includes carefully selected covers, including Nick Drake’s "From The Morning," Emilíana Torrini’s "Snow," and Chris Thile’s "Jessamyn’s Reel." These choices bridge the gap between the jazz world and the folk-singer-songwriter tradition. The closing track, "Lullaby For Esmée," written for his daughter, serves as the emotional heart of the record. Recorded at Solas Sound in Glasgow, the album underscores the rising international profile of the Scottish jazz community.
Jonas Cambien and the Minimalist Vanguard in Oslo
In Norway, the Sonic Transmissions label, founded by bassist Ingebrigt Håker Flaten, continues to document the cutting edge of the Scandinavian experimental scene. The label’s latest release, Man Eating Tree by Belgian-born pianist Jonas Cambien, represents a sophisticated blend of avant-garde composition and minimalist structures.
Cambien, who moved to Oslo in 2008 after training at the Conservatory of Brussels, has become a fixture in the city’s improvisational circles. While his previous work with groups like Maca Conu and The Handover leaned toward free jazz and Ethio-jazz, Man Eating Tree is a solo exploration influenced by the pioneers of American minimalism: Terry Riley, Steve Reich, and Philip Glass.
Technical Innovation: Prepared Piano and Ace Tone Organ
The album consists of four extended pieces that challenge the listener’s perception of time and texture. The opening track, "Tre," utilizes prepared piano—a technique involving the placement of objects on or between the strings to alter the timbre—to create machinelike, interlocking rhythms. These rhythms move in and out of phase, a hallmark of minimalist composition, before reaching a high-intensity climax.
On "Silverware Vibrating Inside Grand Piano," Cambien focuses on the overtones and metallic resonances of the instrument, creating a "wall of sound" effect. The album’s final track, "BOOM," introduces the Ace Tone organ, a vintage instrument that provides a warm, analog contrast to the percussive piano. By blending minimalist pulses with influences ranging from Alice Coltrane to Sun Ra, Cambien establishes a unique voice in the crowded field of solo piano recordings.
Chronology and Production Data
The release of these three albums marks a productive period for independent jazz labels during the 2023–2024 cycle. The following data points summarize the recording and production details for each project:
- Steven Bernstein & Scotty Hard (Royal Potato Family RPF2608):
- ResoNation Trio: Recorded December 20-21, 2023, at Brooklyn Recording, NYC. Featuring Scott Colley (bass) and Nasheet Waits (drums).
- Ultra Resonance: Recorded at Duro of Brooklyn, NYC. Produced and remixed by Scotty Hard with additional instrumentation.
- David Bowden (David Bowden Music DBM001US):
- Unsong Songs: Recorded at Solas Sound, Glasgow. This marks Bowden’s first full-length solo bass release, following his success with the Fergus McCreadie Trio and the fusion group Mezcla.
- Jonas Cambien (Sonic Transmissions STRLP39):
- Man Eating Tree: Recorded at Ugla Lyd Studio in Nesodden, Oslo. The album is a solo effort featuring piano, prepared piano, and Ace Tone organ.
Broader Impact and Industry Implications
The simultaneous emergence of these records suggests several trends in the modern jazz industry. First, there is a growing appetite for "companion" releases and conceptual depth, as seen in the Bernstein/Hard double album. By offering both an acoustic and an electronic version of the same musical ideas, artists are engaging with a broader demographic of listeners, from jazz purists to electronic music enthusiasts.
Second, the success of artists like David Bowden and Jonas Cambien indicates that the centers of jazz innovation have moved beyond traditional hubs like New York and New Orleans. The scenes in Glasgow and Oslo are currently producing some of the most technically proficient and stylistically adventurous music in the world. This decentralization is supported by a network of independent labels that prioritize artistic vision over commercial mainstream appeal.
Finally, the focus on solo instrumental performance (Bowden and Cambien) and chordless small groups (Bernstein) reflects a desire for intimacy and transparency in recording. In an increasingly digital world, these artists are finding new ways to make the physical mechanics of their instruments—the vibration of a bass string, the mechanical click of a piano key, or the breath through a trumpet—a central part of the musical narrative. As these performers continue to tour and promote these works, they reinforce the notion that jazz remains a vital, evolving language capable of incorporating any influence it encounters.
