NEW DIRECTIONS : Adventures in the Experimental Electronic Sphere

Twenty years ago, the use of electric instruments was a controversial issue in jazz. Many considered them sure signs of a commercial sellout, but now they’re an accepted part of the musical landscape. This first edition of New Directions--a periodic column spotlighting recording artists exploring fresh approaches in jazz today--focuses on recent releases in the electronic sphere, from the experimental ensemble of Henry Threadgill to groups such as Defunkt that intentionally ride the fine line between jazz and pop forms.

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HENRY THREADGILL VERY VERY CIRCUS

“Live at Koncepts”

Taylor Made

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HENRY THREADGILL VERY VERY CIRCUS

“Too Much Sugar for a Dime”

Axiom/Island

Threadgill has a nearly 20-year track record as one of the most provocative artists in jazz but he’s surpassed himself with the twin tuba, dual electric guitar and French horn lineup of Very Very Circus. The only way to describe the music on these two recordings is . . . well, very very circus, indeed.

“Live at Koncepts,” recorded at a 1991 Oakland concert, is a prime example of this genuinely otherworldly sound. The elephantine tuba blots and shimmering guitars set against Threadgill’s edgy alto and soothing flute sounds surrealistic, like the aural equivalent of a Dali painting or one of Gaudi’s architectural creations.

The new “Too Much Sugar” shares the same meandering melodies but pales slightly due to some clutter. The guitars are busier and the added string section on two pieces (while thoroughly appropriate for the music) puts too many disparate elements into the arrangement. Still, Threadgill is creating exemplary music that sounds like no other.

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THE M-BASE COLLECTIVE

“Anatomy of a Groove”

DIW/Sony

Listening to “Anatomy of a Groove” is like learning a new language or driving through terrain shorn of familiar landmarks. The M-Base Collective--saxophonists Steve Coleman and Greg Osby, vocalist Cassandra Wilson and drummer Marvin (Smitty) Smith are among the dozen musicians--doesn’t follow the usual rules of “jazz” composition or group interplay. The sometimes darting, sometimes serpentine, horn lines and strategic interjections of Wilson’s melancholy voice over spare, funk-inflected grooves requires a few listens to fully absorb but there are ample rewards.

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DEFUNKT

“Crisis”

Enemy

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UNIVERSAL CONGRESS OF

“The Eleventh-Hour Shine-On”

Enemy

Go figure--New York’s Defunkt is filed in the jazz bins and locals Universal Congress Of under alternative rock. So how come it’s “Crisis” that sounds less likely to clear a room of reasonably adventurous Red Hot Chili Peppers fans and “Shine-On” that often boasts more of a “jazz” feel and cover versions of Ornette Coleman and John Coltrane pieces?

Led by trombonist Joseph Bowie, Defunkt has finally found the proper balance between its hard rock and funk riffing, slashing horns and declamatory vocals. Crucially, they’ve reined in the hyper-frenetic grooves to realize maximum effectiveness.

With Universal Congress Of, the feel is the deal and the quartet has locked into the common, bluesy chord linking jazz and their other influences. Their rough, occasionally ragged style is tempered by an awareness of their limitations, the tart blend of Joe Baiza’s guitar and Steve Moss’ tenor, and a particular flair for slow grooves such as “Gaetasaurus.”

New albums are rated on a scale of one star (poor) to four (excellent).