Max Frankl
One of Europe’s finest jazz guitarists, Zurich-based Max Frankl combines superb phrasing, clean articulation, fleet-fingered flowing lines and thoughtful, harmonically rich compositions on 72 Orchard Street, his eighth recording as a leader and most compelling to date. He is joined by a crew of remarkably interactive players and exceptional soloists in trombonist and longtime collaborator Nils Wogram, alto saxophonist-alto clarinetist Reto Suhner, electric bassist Patrick Sommer and drummer Lionel Friedli.

Originally recorded on March 28th and 29th, 2019 at Powerplay Studios in Maur, Switzerland, 72 Orchard Street was scheduled for a March 2020 release. But COVID-19 intervened. “I felt that it was not the right time to release an album last year because people had to deal with the pandemic,” said the guitarist about his long-delayed release. “And while I found it quite challenging, it was great to have time to reflect on my life as a musician and artist.”

A few of the pieces on Frankl’s latest release reflect his time living in New York City from March to September 2017. The frantic title track, for instance, is named for the address on Manhattan’s Lower East Side where Frankl spent one month during his residency in the Big Apple. Due to a significant mold issue in that apartment, he was forced to move to Clinton Avenue (the title of track two) in Brooklyn. “Myrtle Avenue” is named for a major street in Fort Greene, Brooklyn, where Frankl had lived on a previous visit to the Big Apple. “I've always loved Brooklyn’s vibe, especially Fort Greene, which is relaxed and calm compared to Manhattan,” said the guitarist-composer. “It’s my favorite place in New York City.”

The music on 72 Orchard Street ranges from the edgy, powerchord-driven opening track — full of tricky unisons on the intricate head between Wogram’s trombone and Suhner’s alto sax — to the mellow and melodic “Clinton Avenue” — showcased by a warmly melodic trombone solo from Wogram and an equally affecting legato solo from the leader — to the cool, darkly-hued, ECM-ish “Eiszeit” and the chops-busting “Birds,” which sounds like a page from Frank Zappa’s “difficult listening” book and culminates in some frantic trading between trombone and alto sax against an edgy ostinato, a fiery fusion guitar solo by the leader and a potent drum solo from Friedli.

Frankl’s free rubato piece “Mr. Goodchord” is dedicated to Mick Goodrick, a mentor to Max’s former teachers, Wolfgang Muthspiel and Kurt Rosenwinkel. The open-ended misterioso intro segues to a moving anthem that gradually builds to a grand crescendo. It’s a fitting ode to the longtime Berklee College of Music educator and guitar icon. “Myrtle Avenue” is a suite-like number that showcases Frankl’s compositional penchant for shifting character within a tune, in this case from thoughtful and gentle to dissonant and wailing. The album ends on a kind of whimsical, tender note with Suhner’s “Adios Machos,” which has Sommer switching from bass to North African gumbri. Frankl plays jangly arpeggios and chord fragments behind Suhner’s soaring alto and Wogram’s singing trombone on this entrancing world beat groove. Picture Bill Frisell jamming with Lee Konitz, Roswell Rudd and a group of gnawan musicians.

Brilliant writing, stellar soloing and extraordinary group-think are the key elements for the success of 72 Orchard Street. In acknowledging the heavy influence of New York City on his work, Frankl said, “It’s a place where a lot of great musicians live. So it’s the atmosphere and density of a jazz scene that exists nowhere else on this planet that influences my work. The energy of the city makes me do and see things I couldn’t do or see anywhere else.”