The latest releases reviewed

EVAN PARKER
Boustrophedon
ECM
*****
Mixing free improv and structure is a fraught procedure, especially for a 14-piece orchestra, but her Parker pulls it off triumphantly. The structure derives from his written ensemble parts and judicious conducting at this 2004 Munich concert featuring, inter alia, Roscoe Mitchell, Craig Taborn, Barry Guy, strings, trumpet, flutes and saxophones. Conventional tonality is not ignored but kept at bay and consciously subverted as much by Parker's decisions before and during the event as by the simpatico musicians' collaborative efforts. Apart from the Overtureand Finale, each movement of this eight-part suite sets ensemble members in improvised duologues against a blend of written and free backgrounds. The orchestral textures thus achieved are at times extraordinarily otherwordly, almost like a Greek chorus commenting on the action. Remarkable. www.musicconnection.org.uk RAY COMISKEY

TORBEN WALDORFF
Afterburn
ArtistShare
****
You don't have to reinvent the wheel to make something worthwhile; all that's needed are good players and a stimulating environment. And guitarist/ composer Waldorff's characterful pieces provide this for himself and Donny McCaslin (tenor), with a flexible, powerful rhythm section in Sam Yahel (Hammond/piano/ Fender rhodes), Matt Clohessy (bass) and John Wikan (drums). They groove on the rocking Dazeand the archetypal Americana of JWS, and balance the more reflective, intriguing Heimatand the sinister Man in the Black Hatwith the exuberant Skylinerand a 3/4 Squealfish(whose crisply executed unison tenor/guitar line recalls Lennie Tristano). Best of all is the delicacy and strength of their handling of Maria Schneider's beautiful Choro Dançado. Waldorff is a fine soloist, but the band's star is McCaslin, in transcendent form.  www.waldorf.com RAY COMISKEY

SUMI TONOOKA TRIO
Long Ago Today
ARC
****
Tonooka is a little-known but impressive talent in the line of jazz piano going back to the likes of Bill Evans and Kenny Barron, with a personal niche within it. Harmonically just a bit left of centre, and with total command of the trio setting she shares with Rufus Reid (bass) and the late Bob Braye (drums), Tonooka is also flexible enough to engage in three-way dialogue if that's the way a performance unfolds. Nine of the 10 pieces used are hers; though most just permutate a motif through the changes, they prove stimulating vehicles for the trio. Particularly attractive are the long title track, the rhythmically dazzling Moroccan Dazeand Nami's Song, whose melodic substance inspires perhaps the most gracefully lyrical piano and bass solos on the album. Nothing outre - just an exceptional player doing her thing well.  www.SumiTonooka.com  RAY COMISKEY