That’s what’s so refreshing about the Bad Plus. You know, get inside there, push the furniture over, chuck things out of the window and generally make a nuisance of themselves. Very few jazz groups today set out to mess with your head. The Bad Plus: These Are The Vistas (Columbia)Įthan Iverson (p), Reid Anderson (b) and Dave King (d). Groundbreaking, it gave young British jazz bands the guts to label themselves like rock bands and to stretch beyond their comfort zones. Held On The Tips Of Fingers twisted in digital trickery to a frontline of heavyweight tenor saxophonists, dazzling with folksy anthems such as ‘Bear Town’ or the drum ’n’ bass drenched ‘Fluffy’.

A stylistic crossroads where folk, avant-jazz, electronica and raw punk co-existed, Rochford’s music was aptly called “the sound of the future” even though it betrayed a love of Ellington, Monk and, yes, Napalm Death. Not only the most gifted jazz drummer of his generation, bandleader Sebastian Rochford crafted sublimely original chamber music. Such was the brilliance of Polar Bear’s Held On The Tips Of Fingers, the band’s second release, it almost won the 2005 Mercury Music Prize. Sebastian Rochford (d), Pete Wareham, Mark Lockheart (ts), Tom Herbert (b), Leafcutter John (programming) plus Jonny Philips (g), Ingrid Laubrock (ts), Joe Bentley (tb), Emma Smith (v) and Hannah Marshall (c). Polar Bear: Held On The Tips of Fingers (Babel)

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