Rachel Martin

Nels Klein first made his mark on the Los Angeles scene in the 80s, often in groups alongside his twin brother Alex, a percussionist. They played in a variety of jazz as well as indie rock bands.

This sort of dual-genre life is mirrored in Klein's involvement in jazz, where he's played in almost every subgenre imaginable, from raucous, scrawny free jazz to lush, romantic takes on the classic American songbook on his 2016 release Lovers. The concentric quartet is capable of starting out hummable, as they do on Surplus, and rising toward a spectacular fury. This is brawny music at times.

This sort of dual-genre life is mirrored in Klein's involvement in jazz, where he's played in almost every subgenre imaginable, from raucous, scrawny free jazz to lush, romantic takes on the classic American songbook on his 2016 release Lovers. The concentric quartet is capable of starting out hummable, as they do on Surplus, and rising toward a spectacular fury. This is brawny music at times.

This sort of dual-genre life is mirrored in Klein's involvement in jazz, where he's played in almost every subgenre imaginable, from raucous, scrawny free jazz to lush, romantic takes on the classic American songbook on his 2016 release Lovers. The concentric quartet is capable of starting out hummable, as they do on Surplus, and rising toward a spectacular fury. This is brawny music at times.

Some of it harkens back to the 80s and the sort of free jazz fusion combos. And at times there are passages that are reminiscent of the growing range of heavy metal jazz blends on the scene today. Klein founded the group. for an improvised jam in Brooklyn six years ago, but then he began writing for them, especially during the lockdowns when he felt enveloped by silence.

Some of it harkens back to the 80s and the sort of free jazz fusion combos. And at times there are passages that are reminiscent of the growing range of heavy metal jazz blends on the scene today. Klein founded the group. for an improvised jam in Brooklyn six years ago, but then he began writing for them, especially during the lockdowns when he felt enveloped by silence.

Some of it harkens back to the 80s and the sort of free jazz fusion combos. And at times there are passages that are reminiscent of the growing range of heavy metal jazz blends on the scene today. Klein founded the group. for an improvised jam in Brooklyn six years ago, but then he began writing for them, especially during the lockdowns when he felt enveloped by silence.

And that's a key to the quartet's range. Moments of delicate austerity alternate with bold, provocative sections, as they do here on the aptly named Slipping Into Something. Since moving to New York in 2009, Klein has played with bassist Chris Leikhapp and drummer Tom Rainey in multiple formats, most notably in Leikhapp's outstanding group Superette.

And that's a key to the quartet's range. Moments of delicate austerity alternate with bold, provocative sections, as they do here on the aptly named Slipping Into Something. Since moving to New York in 2009, Klein has played with bassist Chris Leikhapp and drummer Tom Rainey in multiple formats, most notably in Leikhapp's outstanding group Superette.

And that's a key to the quartet's range. Moments of delicate austerity alternate with bold, provocative sections, as they do here on the aptly named Slipping Into Something. Since moving to New York in 2009, Klein has played with bassist Chris Leikhapp and drummer Tom Rainey in multiple formats, most notably in Leikhapp's outstanding group Superette.

For Concentric Quartet, he added saxophonist Ingrid Laubrach, another stalwart of the New York scene. Their unisons over Lightcap's snorting bass and Rainey's furious drumming generate a big, bright, energetic sound, which makes their quieter segments feel dark and affecting.

For Concentric Quartet, he added saxophonist Ingrid Laubrach, another stalwart of the New York scene. Their unisons over Lightcap's snorting bass and Rainey's furious drumming generate a big, bright, energetic sound, which makes their quieter segments feel dark and affecting.

For Concentric Quartet, he added saxophonist Ingrid Laubrach, another stalwart of the New York scene. Their unisons over Lightcap's snorting bass and Rainey's furious drumming generate a big, bright, energetic sound, which makes their quieter segments feel dark and affecting.

That's the sequence on Satomi, which was named for Satomi Matsuzaki, the bassist and singer for Deerhoff and Indie Rock Powerhouse. It was written for her family drama during the pandemic when she had to fly back and forth between her native Japan and the United States. Klein sometimes chooses wry names for his bands.

That's the sequence on Satomi, which was named for Satomi Matsuzaki, the bassist and singer for Deerhoff and Indie Rock Powerhouse. It was written for her family drama during the pandemic when she had to fly back and forth between her native Japan and the United States. Klein sometimes chooses wry names for his bands.

That's the sequence on Satomi, which was named for Satomi Matsuzaki, the bassist and singer for Deerhoff and Indie Rock Powerhouse. It was written for her family drama during the pandemic when she had to fly back and forth between her native Japan and the United States. Klein sometimes chooses wry names for his bands.

For instance, his group, the Nels Klein Singers, has no vocalists, and they play abstract, brooding music that even Bjork might be hard-pressed to vocalize. But the concentric quartet is more straightforward. He considers the playing and the building of solos between his bandmates to be a series of concentric circles.

For instance, his group, the Nels Klein Singers, has no vocalists, and they play abstract, brooding music that even Bjork might be hard-pressed to vocalize. But the concentric quartet is more straightforward. He considers the playing and the building of solos between his bandmates to be a series of concentric circles.

For instance, his group, the Nels Klein Singers, has no vocalists, and they play abstract, brooding music that even Bjork might be hard-pressed to vocalize. But the concentric quartet is more straightforward. He considers the playing and the building of solos between his bandmates to be a series of concentric circles.

However, he chose the Middle English spelling, consent, R-I-K, because he liked it better. It's hard to say why this particular lineup, guitar, saxophone, bass, and drums, hasn't become more commonplace. There was the John Schofield, Joe Lovano bands of the 80s, and more recently ensembles featuring saxophonist Walter Smith III and guitarist Matthew Stevens.