Cosmic Ear - Traces (We Jazz)

The Slow Music Movement
Jun 6
2 min read

Updated: Jun 7

*** This blog post first appeared in TSMM's June 3rd Newsletter, where you can get all the tips (and more) first ***

Album cover for Traces by Cosmic Ear. It features abstract art with black and orange textures. Text on the red heading includes artist names and the label, We Jazz Records.

Modern jazz just isn’t saying it like it used to. Discuss. OK it’s unfair to compare a twentieth century golden age that expressed Afro-American oppression and pain with today’s relatively comfortable players who are saying what exactly, that it’s tricky to get a good latte at 7.30 in the morning? On the whole I’d prefer to dig out some vintage vinyl and hear the greats for a jazz fix, leaving the modern players to explore the new sounds and directions afforded to them in this golden age of fusion and technological democracy. Obviously there are exceptions, and this album is one of them. Being inspired by one of the greats - Don Cherry, the group certainly helped their cause by enlisting Christer Bothén, who played with Cherry during the 1970s when he was resident in Sweden, as a multi-instrumental medium - an inspired inclusion.

Mats Gustafsson - Christer Bothén

The group also adopt Cherry’s musical curiosity, with Juan Romero supplying congas, berimbau as well as regular percussion, and guest Marianne N´Lemwo introducing me, and many others I’m sure, to the karignan. The LP opener, “Father and Son” sets an uncompromising tone for the LP, Zetterberg’s stand up bass telling southern hemisphere tales and urging the horns to look for higher ground. The percussion weaves its hand made threads through the low frequencies to lock in a deep, insistent groove over which Mats Gustafsson’s sax searches and screeches, determined to get the answers he needs. “TRACES of Brown Rice” starts curiously with effected percussion anchoring ambient electronics and minimalism, before berimbau and wind instruments forge new directions in textural, electroacoustic spiritualism that is fit for today’s screen gazers.

“Love Train” takes a trip over to the West Coast to vibe with the still resonating spiritual jazz frequencies and counter the oddly nagging piano refrain, before Gustafsson again steps up to the plate and blows away his pain, and boy he hurts. “Right Here Right Now“ is a deeply hypnotic rhythmic showcase, strings and percussion aligning to mesmerise as well as move you, the horns relegated to a supporting role over the ritualistic, nine minute course.

“Do It (Again)” pays homage to Sofia Jernberg, the Ethiopian born Swede and lauded experimental vocalist, the quintet deeming a more minimal meditation will do her the most justice. The LP closer, “TRACES of Codona and Mali“, name checks Cherry’s free jazz and global fusion outfit from the late 70s and early 80s; the berimbau and exotic percussion tagging the thoughtful horns, that in turn invite the bass and further percussion to ratchet up the rhythmic intensity ready for their forceful farewell.

Jazz fans get straight over to this album, it’s like the good old, bad old days all over again.