Got Live (Music) If You Want It! (Part 1)

With the advent of the summer months, a number of venues close down (mostly those on college campuses) but, here in Connecticut, June remains a busy time.

 It's a busy week for the Uncertainty Music Series with 3 concerts between Wednesday and Sunday.  First up is guitarist-vocalist-New Haven native Michael Gregory who performs a rare solo concert at 9 p.m. in Elm Bar, 372 Elm Street in New Haven.  Gregory first came to critical notice in the late 1970s; in those years, he used his full name - Michael Gregory Jackson - dropping the last name in the 1980s (for obvious reasons.)  He played more experimental jazz with saxophonist Oliver Lake and trumpeter Baikida Carroll yet he also recorded several Lps that were serious forays into danceable r'n'b (including one produced by Nile Rodgers.) Gregory seemed to disappear in the 1990s but has been more active in the 2000s, touring and recording again with Oliver Lake as well as with Wadada Leo Smith.

For ticket information, go to uncertaintymusic.com.  In part 2 of this column, I'll write about Saturday and Sunday's concerts, though you can see for yourself by going to the website. 

The "Improvisations" series at Real Art Ways, 56 Arbor Street in Hartford, presents "IX" on Thursday June 7 at 7 p.m.  Curated by guitarist/bassist Joe Morris and trumpet person extraordinaire Stephen Haynes, the programs have been nothing short of fascinating.  This time around, the "dynamics" duo will sharing the performance space with J.D. Parran (reeds, flutes, pictured left) and vocalist Dean Bowman.  As a college student, Parran played with the Black Artists Group in St. Louis with musicians like Julius Hemphill, Oliver Lake and Hamiett Bluiett (3/4s of the World Saxophone Quartet.  He went on to record with Stevie Wonder, John Lennon and flutist Robert Dick as well as continuing a long relationship with Anthony Braxton and Anthony Davis.  Bowman hasd worked and recorded with clarinetist Don Byron, Steven Bernstein's Millennium Orchestra and Screaming Headless Torso. For more information, call 860-232-1006 or go to www.realartways.org.

The Firehouse 12 Spring 2012 Concert Series presents its penultimate (always like to use that word) program this Friday June 8 when the Ernesto Cervini Quartet comes to the Elm City performance space.  Drummer-composer Cervini, brother of chanteuse Amy Cervini, is a wonderfully musical percussionist with an intelligent sense of propulsion and coloring.  He also knows how to assemble an ensemble - joining him in the rhythm section is bassist Dan Loomis (he of the Wee Trio) with Adrean Farragia on piano and the former Connecticut resident Joel Frahm on saxophones.  The group's 3rd CD, "There" (Anzic Records), was recorded live in Vancouver, B.C. in November of 2010.  The music is quite energetic - save for Frahm's soft ballad "Alert" and the drummer's sweet tribute, "Gramps" - with a lively sense of interplay.  These guys sound like they are having the best time and their joy is contagious.  The ECQ will play 2 sets - 8:30 and 10 p.m. - for ticket information, go to firehouse12.com or call 203-785-0468. Check out the band at www.ernestocervini.com.

Here's a taste of the ECQ:

Saturday is the 8th Annual Connecticut Open House Day, meaning that venues such as museums, galleries, historic sites, theaters and more will be open all day. You can check out the day's events by going to bit.ly/Lpfbtt. 

That evening, there's a whole lot of music going on.  The Buttonwood Tree, 605 Main Street, presents the Danny Fox Trio at 8 p.m.  The Brooklyn-based Fox (piano), a graduate of Harvard, plays in the "pit band" of The Big Apple Circus and has worked with the Max Weinberg Big Band but the Trio is his main vehicle.  Bassist Chris van Voorst van Beest and drummer Max Goldman interact in an organic fashion, pushing the music in fascinating directions.  The pieces Fox writes for the band are always evolving on the bandstand as the Trio finds new modes of expression.  Their debut CD, "The One Constant" (Songlines Records), was issued about a year ago to strong critical praise (my review is here) and I, for one, can't wait to hear how the music has grown.  For ticket information, go to www.buttonwood.org or call 860-347-4957.

Lots more to write about and I'll do just that very soon.  I've also added a download to my review of the new Orrin Evans CD, "Flip The Script" - check it out at bit.ly/Lc6UfT.

Freedom Stories

As I write these words, Memorial Day parades are winding down throughout the area (save for those few towns who still celebrate on the 31st, the date originally chosen for Decoration Day.) The holiday has been celebrated since several years after the cessation of the War Between the States or the Civil War. People gather on town greens to hear speeches, build statutes and/or monuments to the fallen and drape their houses in flags.

But, if we stop to think about the war that begat the holiday and the reasons why the North fought the South, one realizes that, for some portion of the society, that war did not end in 1865.  President Lincoln did free the slaves but his successor, President Andrew Johnson, did much more to ensure that Black people would not enjoy their freedom.  In fact, it was not until after the assassination of another President - John F. Kennedy - that the Civil Rights Act was passed.  Today, we have a President who is an African American (certain conservative commentators stress the African and deny the American) and it is true that racism, despite the tremendous advances of the past 100 years, is still part of the fabric of American society.

Trumpeter-composer Wadada Leo Smith (born 12/18/1941, Leland, Mississippi) has created a magnificent piece of music and imagery titled "10 Freedom Summers" and now Cuneiform Records has issued the "soundtrack." 4 CDs, nearly 4 and 1/2 hours of music, and 2 accomplished ensembles performing 19 compositions based on different events in the Civil Rights Movement.  Smith utilizes his Golden Quartet/Quintet featuring Anthony Davis (piano), John Lindberg (bass) plus drummers Susie Ibarra and Pheroan akLaff.  On 3 of the tracks, the group is augmented by Southwest Chamber Music, a nonet including Alison Bkorkedal (harp), Jim Foschia (clarinet), Lorenz Gamma (violin), Peter Jacobson (cello), Larry Kaplan (flute), Jan Karlin  (viola), Tom Peters (acoustic bass), Lynn Vartan (percussion) and Shalini Vijayan (violin), conducted by Jeff von der Schmidt.  The Chamber ensemble performs 4 of the pieces on their own.

Though instrumental music is usually considered to be abstract, the titles of the tracks gives the listener a good entry into Smith's creation.  The title of the project refers to the decade between Brown vs the Board of Education (1954) and the Civil Rights Act (1964) - Compositions include "Rosa Parks and the Montgomery Bus Boycott, 381 Days", "The Freedom Riders Ride", and "The Little Rock Nine: A Force for Desegregation in Education, 1957."  However, the composer takes his inspiration from events that occurred well before and after the decade so there are also pieces such as "Dred Scott; 1857" and "September 11, 2011: A Memorial." While the music has impressive gravitas, the titles are an important factor in telling the stories.  In live performance, Jesse Gilbert, founder of Dark Matter Media, LLC, creates "live visuals" on the screens behind the musicians.  His work is also integral in connecting the music to the events.

This music is not about flashy solos, not about technical wizardry; Wadada Leo Smith's trumpet serves as a clarion call.  He wants to wake the world up, shake the complacent among us who believe that, with the Emancipation Proclamation and the passage of the Civil Rights Act a century later, the wounds were healed.  This music deserves to be heard and seen; kudos to Cuneiform Records for releasing the entire work.  Now, concert presenters need to open their halls to allow so that this history does not disappear under the weight of revisionists.

Yes, there is a lot of music to digest; it makes great sense to spread out your listening so that you can begin to understand the shape of the music.  Don't ignore "10 Freedom Summers" because of the subject matter or the length of the tracks or the fact that this is really an ensemble piece and not a bunch of songs with solos.  For more information, go to adagio.calarts.edu/~wls/.

Like many CDs, this package is already showing up on "pirate" sites.  Considering the time and energy musicians put into their life's work, downloading from those sites is a true slap in the face (as well as the wallet.)  Yes, Wadada Leo Smith received funding from numerous charitable organizations to create the pieces that make up "10 Freedom Summers" but it takes a lot of money to hire musicians and copyists, rent rehearsal halls, pay agents, and do everything one has to do to bring the music to the attention of the public.  Stealing it stinks.

2 Shows, 2 Fine Pianists + CD Pick

The jazz world is filled with good pianists;  some play in trio settings, others work unaccompanied and many work with large ensembles.  Frank Kimbrough does all that and more - he also teaches. Over the past year, he's kept his regular gigs teaching at the Juilliard School and performing with composer Mara Schneider (both in her wonderful Orchestra and in a small ensemble plus strings backing soprano Dawn Upshaw as she has been touring a new work she commissioned Ms. Schneider to compose.) This spring, he toured Indonesia with bassist Ron Carter and just finished the premier concerts of the undiscovered works of composer/arranger Gil Evans that Ryan Truesdell has been working on for the past 16 months.  O yes, he's done duo concerts with saxophonist Noah Preminger as well as the occasional gig with vocalist Maryanne deProphetis.

This Thursday (May 31), Frank Kimbrough (pictured above) ventures to North Branford, CT, where he will walk into Shoreline Piano, 50 Shaw Road.  Once there, he will sit down at a piano (preferably a Steinway) and play.  This is the final concert in the venue's "Live at the Piano Shop", a concert series that began in January of this year in association with Jazzhaven.org.  Click on the link to find out more information and purchase tickets. 

And why should you go?  Mr. Kimbrough, one of the nicest people on the face of the planet, is also one of the more fascinating solo pianists you're likely to encounter. There were a number of years he played plenty of solo piano gigs in and around New York City and built up a huge repertoire (Monk, Ellington, Herbie Nichols and others.)  Nowadays, when he does a solo show, he does not lay out music or create a set list - he sits and plays whatever comes into his mind.  This time around, you may hear some of that Gil Evans material or the tunes he played with Ron Carter. Frank Kimbrough will and can play whatever his muse chooses. It's a one-of-a kind concert by one fine person.  To fnd out more about him and his many musical associations, go to home.earthlink.net/~fkimbrough/.

The following night (Friday June 1), the Firehouse 12 Spring 2012 Concert Series presents Allison Miller & Boom Tic Boom.  Ms. Miller, a drummer (hence the onomatopoetic name of her ensemble), is a multi-faceted player. She can sing, write songs, has worked with far-ranging group of performers, from Ani DiFranco to Natalie Merchant to Dr. Lonnie Smith to Kenny Barron to Sheila Jordan (and so many more.) She co-leads several groups, including EMMA, her duo with singer-songwriter Erin McKeown, and the Honey Ear Trio (with Rene Hart and Eric Lawrence.)

Several years ago, Ms. Miller assembled a group featuring bassist Todd Sickafoose and pianist Myra Melford;  they recorded a dandy CD for the Foxhaven Records label (violinist Jenny Scheinman appears on 1 track) using the monicker of Boom Tic Boom. The group's new release, a vinyl only 2-Lp set "Live at Willisau", features saxophonist Marty Ehrlich and pianist Dan Tepfer along with Ms. Miller and Sickafoose.  For the New Haven gig, Ms. Melford returns to the ensemble along with bassist Brad Jones and saxophonist Donny McCaslin.  The pianist, recent winner of the 2012 Alpert Award in the Arts for Music, last performed at The Firehouse on April 6 of this year with Trio M.  If this music excites you, go to firehouse12.com or call 203-785-0458 for tickets - they'll go quickly. To find out more about Allison Miller and get a good taste of her music, go to www.allisonmiller.com.

 Alto saxophonist-composer Ted Nash probably had little or no choice but to become a musician.  His father Dick was an active trombonist and his Uncle Ted played the alto saxophone.  Both played jazz and worked in the Hollywood studios.  By the age of 18, younger Ted had already toured Europe and worked with drummer Louis Bellson and pianist-composer Toshiko Akiyoshi.  He soon moved to New York City and found work with the Gerry Mulligan Big Band and the Mel Lewis Jazz Orchestra.  In 1992, Nash was one of the founding members of the Jazz Composer Collective, a New York City based organization that presented concerts and recorded several CDs dedicated to the music of pianist Herbie Nichols.  Other founding members included saxophonist Michael Blake, bassist Ben Allison and pianist Frank Kimbrough (see above).  Nash also has worked with the Lincoln Jazz Orchestra  who recorded his "Portrait in Seven Shades" in 2010.  He also released 4 CDs as a leader on the Palmetto label, including his mainstream "Still Evolved" and "The Mancini Project", dedicated to the composer Henry Mancini (in whose Orchestra both his father and uncle played.)

His latest CD, "The Creep" (Plastic Sax Records), is his first on his own label and also the first without a pianist.  With an excellent rhythm section including the fine young drummer Ulysses Owens, Jr., and rock-solid bassist Paul Sikivie, Nash (who sticks to alto saxophone although he is quite proficient on tenor sax, flute and clarinet) and trumpeter Ron Horton dance their way through 9 blues-inflected pieces.  The comparison to and influence of Ornette Coleman is unavoidable; the lineup, the insistent rhythmic drive on the majority of the tracks, the reference to "plastic sax" in several of the tunes (Ornette played a plastic alto saxophone in the 1950s and early 60s) and in the "open-ended" feel of the music. Yet, none of these musicians are clones and Nash is an intelligent composer.  The real difference from his other projects/recordings is how "loose" and "easy" these performances feel.  The New Orleans feel of the saxophone-trumpet lines that serve as the "theme" of "Twilight Sounds" (composed by fellow alto player Sherman Irby), Sikivie's bluesy strut that leads the title track in, the high-energy romp of "Plastic Sax Rumble" followed by the soothing harmonies "Plastic Sax Lullaby", all these add up to a joyous listening experience.  Nash and Horton blend their voices with such ease; neither feels the urge to play too much, with solos that "speak volumes" in a few bars. 

Owens, who has been working with Kurt Elling and Wynton Marsalis as well as Christian McBride and Nicholas Payton, has a major role in this music. Listen to his "conversation" with Nash on "Cabin Fever" (over Sikivie's mesmerizing pedal-point), his exquisite "ride-cymbal" on "Plastic Sax Rumble", the forceful way he drives the quartet all throughout "Kaleidoscope" (an Ornette Coleman tune from 1960's "This Is Our Music")  and impeccable fills on "Minor Adjustments" - like Rudy Royston, he's quickly becoming a "go to" musician.  Like Owens, bassist Sikivie is suddenly ubiquitous, working with Matt Wilson's Christmas-Trio and Quartet plus gigs with pianist Aaron Diehl and others.  He plays with fire and intelligence, never trying to fit lots of notes into his pulsating phrases. He's got the "chops" (certainly evident on "Kaleidoscope" and the sprightly walking lines on "Twilight Sounds") yet he's most important as the foundation of the music.

Ted Nash, as well as Ron Horton, are both musicians with impeccable taste, sounding like noone else in the jazz world.  They listen, lead, react, are creative with their choices and never rely on cliches.  They thrive in this "open" situation, interacting with the rhythm section as if they'd been playing together for years.  "The Creep" has great comic book artwork from Jonathan Ashley and liner notes from Ivette Dumeng, a singer who worked with Nash on the movie "Chaography: Variations on the Theme of Freedom" - check that out here. Much of this music has its roots in Nash's experiences in his role in the film.  If that's what it took to get Nash rolling in this new (for him) direction, so be it. Jazz has been called called the "sound of surprise" but can also be the "sound of joy."  This music has what it takes - swing, great rhythms, strong solos, fine melodies - to make you smile and dance.  Life does not get better than this. 

Go to www.tednash.com/blog.html and read what Benny Golson has to say about this music - high praise from a master!  Then, go through and read other entries.  Ted Nash does an eloquent job of describing the life of a musician. 

Aud(io)acity (Part 2)

When you go to the website of guitarist/composer Miles Okazaki, one can get lost in his explanations of his music.  When you listen to his new CD, "Figurations" (Sunnyside), one can lose him-or-herself in the impressive musicianship, the strong interplay and how each musician gives his all.  Recorded live at The Jazz Gallery in New York City in June of 2011, the music features the quartet of Okazaki, Miguel Zenon (alto saxophone), Thomas Morgan (bass) and the electrifying percussion of Dan Weiss.  Zenon and Weiss have appeared on all 3 of the guitarist's recordings and what is noticeable over the yeas and the session is how they maintain their individuality in the different settings. The saxophonist can and does play with great celerity yet there is always a clarity to his notes.  He and the guitarist fly over the persistent rhythm section on "Rain"- Okazaki and Weiss then "converse" while Morgan, as is his style, is the foundation of the music. The bass solo that opens the title track is slow and thoughtful, filled with little silences that make the melodic fragments stand out. He picks up the pace for the main body of the track, an insistent piece built from Weiss's powerful (yet neither nor ponderous) rhythm force. The guitar solo blends element of bop figures with the melodic experimentation of John Coltrane, repetitive figures that move in and out while building intensity.  Weiss plays with the tempo, dropping out at the beginning of the saxophone solo then returning with a (rhythmic) vengeance. The drummer takes the lead on "Mandala", a composition that accentuates his ability to be both a rhythmic and melodic force.  Zenon, who is a powerhouse throughout, truly shines on "Corazon", where (like the drummer) he not only displays a fine melodic sensitivity but also displays a strong percussive side. 

Okazaki, even on the uptempo pieces, moves the songs forward on the strength of the melody.  Like Zenon, his solos often have a forceful percussive edge (reminding this writer of Larry Coryell and Joe Morris, both players who can "speak" volumes without a high level of volume.)  Though his music has an intellectual structure, the musicians play with such joy and emotion that it is easy to fall under the spell of "Figurations".  And, this music benefits greatly from being recorded in a "live" setting  - one can truly feel that Miles Okazaki and company connected with the audience (which is what all music should do, make connections on many different levels.)  For more information, go to www.milesokazaki.com. 

Pianist-composer Orrin Evans makes music that can be confrontational, hard-edged, and vigorous yet has a melodic side that, like Charles Mingus, allows his pieces to go in many and varied directions.  Evans has released a series of CDs on Posi-Tone Records that displays his many talents, from the forceful Captain Black Big Band to the trenchant sounds of Tar Baby (with the dynamic rhythm section of bassist Eric Revis and drummer Nasheet Waits) to his celebration of Philadelphia on "Freedom" to his tribute to saxophonist Bobby Watson on "Faith in Action."  His new CD, "Flip The Script", leans more towards the aggressive (in a good sense) nature of Tar Baby, thanks (in part) to the work of bassist Ben Wolfe and drummer Donald Edwards.  Evans, to me, is a 21st Century Jaki Byard, someone who knows his history, understands the roots of  jazz and is not a slave to tradition.  At times, I hear the influence of Bud Powell in the forward motion of his solos (especially on the faster songs.)  And, on ballads, such as "Someday My Prince Will Come", there is a "painterly" touch to his delicate phrases, a sensitivity that embraces the quiet side.

Like Byard, all music is fair game to Evans.  There is an elegiac solo piano reading of "TSOP (The Sound of Philadelphia)", the theme of "Soul Train" composed by the hit-making machine of Gamble & Huff.  Although there is nothing in the notes, this bluesy and touching piece has to be a dedication to the late Don Cornelius.  The Trio dances through a hard-bop adaptation of Luther Vandross's "A Brand New Day", with Wolfe's furious "walking" bass and Edward's percussive barrage driving the pianist forward.  The title track barrels forward with Evans matching the intensity level of the rhythm section while creating memorable melodic lines.  "Big Small" is an original blues tune, thick piano chords and short melodic phrases over the rock-solid bass lines and Edward's fine drum work (he sounds as if he's talking back to the piano during Evans' solo.)

"Flip The Script" might just refer to a concept in which a person gives equal weight to the good and bad things in his life and chooses to take a positive attitude.  Not easy for a musician to make his or her way through the world yet there is so much creativity to be found, not only in the world of jazz but also in classical, hip hop and folk.  Orrin Evans creates music that can make you dance, make you sit back and get lost in the quiet melodies; it should make you see that there are so many possibilities if you allow your creativity to flow.  For more information about his music, go to www.orrinevansmusic.com.  (The CD will be released on June 12, 2012; here is a track, courtesy of Posi-Tone Records & IODA Promonet:

Clean House (mp3)

Aud(io)dacity (Part 1)

The title of this post is a made-up word (although there is a quintet from Indianapolis that bears the name - without the parentheses).  What is most enjoyable about these recordings is that neither the composers nor the performers take the easy way out. This is music that demands the listener's full attention (no background sounds for your next cocktail party among these CDs).

For her second CD as a leader, bassist-composer Linda Oh, born in Malaysia and raised in Perth, Australia, has assembled an impressive quartet.  Pianist Fabian Almazan (whose group she has toured and recorded with), tenor saxophonist Dayna Stephens and the ubiquitous Rudy Royston (like Matt Wilson, he seems to be showing up on dozens of CDs) and guest vocalist Jen Shyu (singing in both Mandarin and English on "Thicker Than Water"  as well as string players Christian Howes and Christopher Marion (on "Little House") give life to this music with purpose and expression.  Pay attention to what Ms. Oh and Royston do as they move pieces forward, at times, independently, the skipping drums and the propulsive yet musical bass lines ("No. 1 Hit" and "Ultimate Persona" are but 2 excellent examples.) There are times when Royston's drumming makes me laugh; he is so playful as he dances through the songs.  Almazan's absorption of classical and world music influences shines through on tracks such as "Something's Coming/Les Cinq Doigts" (a fascinating blend of Bernstein and Stravinsky) where he plays with both  fire and elegance.

Stephens' delicate tenor work on "Mr. M" (dedicated to Charles Mingus) and on the impressionistic "Come Sunday" reveals a depth of empathy that shines through the speakers.  On the latter, his solo, though short, peels away the melody line to uncover the blues and gospel roots of Mr. Ellington's paean to the day of rest and religious contemplation.  Elsewhere, the composer has created melodic lines that give the saxophonist (and the entire ensemble) the freedom to play.  Ms. Oh's fiery electric bass work on "Deeper Than Happy", goosed forward by Royston's playful percussion, displays yet another of her musical personality, one shaped by her explorations of fusion. Almazan's sprightly, burbling, Fender Rhodes is a welcome addition to several cuts, including the cheerful "Desert Island Dreams." 

"Initial Here", in a word, is delightful.  The wide array of emotions, the expansive compositions and the forceful, impassioned, work of the participants elevates this music above much of one hears every day.  This band must be electrifying in person. For more information, go to www.lindaohmusic.com and www.greenleafmusic.com.

People, Places & Things is an appropriate name for drummer Mike Reed's quartet in that the musicians take the myriad influences of life to create a music with deep roots.  Here in the 21st Century, "roots" can be a slippery concept. Take, for example, the version of Roscoe Mitchell's "Old", a piece first recorded in 1967 by the saxophonist/conceptualist.  One hears the blues that permeates much of Chicago jazz as well as the fiery explorations of saxophonists Greg Ward (alto) and Tim Haldemann (tenor) evoking the awakening "free jazz" movement of the 60s.  With bassist Jason Roebke's forceful bass and Reed's solid swing, the tune is far from "old" or even dated; in fact, it's feels contemporary, even timeless.

"Clean on the Corner" (482 Music) is a fascinating follow-up to Reed's "Chicago" trilogy without totally abandoning his exploration of the evolution of that city's musical history.  Pianist Craig Taborn joins the 4-some for a rollicking of Chicago saxophone legend John Jenkins' "Sharon." The pianist evokes Bud Powell in his spiraling lines and forward motion.  Taborn also appears on the leader's impressionistic ballad, "The Ephemeral Words of Ruth", his notes spilling over the insistent light swing of the rhythm section.    The expressive cornet work of Josh Berman gives the front line an extra boost on 2 tracks, especially so on "House of Three Smiles." Throughout the program, Haldemann and Ward blend their reeds to create a curtain of sound that opens to reveal the various solos.  No more so than on the track with Berman, who rises carefully but steadily above the somber melody line. 

The Quartet tracks are the epitome of group interplay;  there are moments on "The Lady Has Bomb"  when each instrument plays independently only to come back to a tight group line. Both saxophonists solo over the rampaging drums and flying "walking" bass.  The interweaving saxophones atop the tolling bells and hand percussion of Reed on "December" paint a solemn but not dreary sonic painting. 

The power in this music comes from the manner in which Mike Reed and company approach the material.  It seems by satisfying their own curiosity they create an inviting yet not necessarily a comfortable environment for the listener.  This is music that should be heard live.  For more information and a taste of this fine CD, go to www.482music.com/albums/482-1081.html.

Threedom in the 'House, Good Live Music + Gilkes' Gem

Improvised music is at the root of jazz; the concept of a group of musicians "playing" together with few rules and the determination to to not only express their "selves" but also a create an ensemble persona.  There's a thin line between self-expression and "noodling"  - to my ears and mind, the best music is created when the musicians are really listening to each other and trusting their intuitions. 

When the trio of Jean-Michel Pilc (piano), François Moutin (bass) and Ari Hoenig (drums) perform, there is no set list.  They may discuss ideas over dinner but, much of the time the trio (pictured above in the order of Hoenig, Pilc and Moutin) just sits and "hits." Their latest CD, "Threedom" (Motema), was created over the space of 2 days last March.  The vast majority of the 18 tracks are first-takes and half the pieces are credited to the group (created on the spot in the studio.)  There are a number of wonderful surprises along the way ("Giant Steps" with a hip-hop feel, a delicate yet playful take on "A Foggy Day" and a blistering run through Charlie Parker's "Confirmation") and none of it feels forced. You may laugh at the scurrying sounds of "The Grinch Dance" and you could be mesmerized by the chiming piano on "Birth." Just listen with an open mind.

You'll get that opportunity when the Trio comes to Firehouse 12, 45 Crown Street in New Haven, this Friday (May 25) to play 2 sets, 8:30 and 10 p.m.  It will be the 3rd night of a 4-night adventure that finds them starting in Boston, New York City, New Haven and Marlboro, NY.   For ticket information, go to firehouse12.com or call 203-785-0468.  For more information about Pilc, Moutin and Hoenig, go to jeanmichelpilc.com. 

Other live events this week in Connecticut include the appearance of pianist Orrin Evans and flugelhorn player and trumpeter Haneef Nelson (pictured left) on Monday (May 21) at Black-eyed Sally's, 350 Asylum Street in Hartford.  Evans, based in Philadelphia, is a fine player who moves easily through genres, has a blues sensibility and truly understands that jazz is always evolving (he has a new Trio CD on Posi-Tone Records that I'll review later this week.)  Nelson is based in Hartford and is beginning to get attention from audiences and writers in the area.  The show is part of Jazz Mondays, a series presented by the Charter Oak Cultural Center and the Hartford Jazz Society - for more information, call 860-249-1207.  (Just learned on Monday at 12noon that Orrin Evans will not be on the keys for this gig.)

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Wednesday May 23, the Carl Testa 4Tet performs at 9 p.m. in the Elm Bar, 372 Elm Street in New Haven.  Sponsored by bassist/composer and part of his Uncertainty Music Series, the 4Tet features Kevin Frenette (guitar, pictured left), James Rohr (keyboards) and John McLellan (drums).  Like Pilc, Moutin and Hoenig, this quartet plays mostly improvised music but may be a bit "freer" with rhythms.  Yet, the group interaction will be there and it should be fun to see and hear what musical directions these musical minds go in.  For more information and directions, call 475-238-8529.  To learn more about the Uncertainty series, go to uncertaintymusic.com.  For more information about Carl Testa and his many projects, go to carltesta.net. 

             

Pianist Noah Baerman returns to The Buttonwood Tree, 605 Main Street in Middletown, with a quintet that features Henry Lugo (bass), Yoron Israel (drums), Kris Allen (alto saxophone) and a special guest on tenor saxophone (I have my suspicions but will wait to find out. O ho, it's Jimmy Greene, newly returned to these parts.)  Baerman has been composing new music for a larger ensemble and the Buttonwood is a comfortable space to give these pieces their initial airings.  The music commences at 7:30 p.m. - to find out more, call, 860-347-4957 or go to www.buttonwood.org. (Check out their new web presence as well.)

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Trombonist-composer Marshall Gilkes, a native of Camp Springs, Maryland, is perhaps best known for his work with the Maria Schneider Orchestra and the Richard Bona Band; his credits also include the Vanguard Jazz Orchestra, the David Berger Octet and harpist Edmar Castaneda. Currently, he's living in Koln, Germany, where he is a member of the WDR Orchestra.

"Sound Stories" (Alternate Side Records) is his 3rd release as a leader and features a fine band including Donny McCaslin (tenor saxophone), Adam Birnbaum (piano), Yasushi Nakamura (bass) and Eric Doob (drums).  The program, all Gilkes' originals, sounds "lived-in" and not like a "studio session." From the dizzying opening riffs of "Presence - part 1", the listener is drawn to the melodies and harmonies and drawn in by the excellent rhythm section.  Nakamura, whose list of gigs is quite impressive for someone who's been playing professionally for less than a decade, is a steady presence throughout and also adds counterpoint to the main melody on numerous occasions.  Doob, who has worked with Paquito D'Rivera, Miguel Zenon and Christian Scott, is a fluid player who can really drive the band bit also provide softer colors (quite noticeable on the lovey ballad, "Bare.") Pianist Birnbaum, whose not only has 3 Trio CDs to his credit but also has recorded with Greg Osby, trumpeter Tatum Greenblatt and trombonist Ryan Keberle, is a fine 3rd voice. Supportive, muscular yet displaying a softer touch when called on (you can hear both sides of his playing is his lengthy solo on "First Song".)  McCaslin should need no introductions; he is such a strong foil to Gilkes' burred sound.  His solo on the opening solo is breath-taking, a riff driven roller coaster powered by Doob and Nakamura.

Gilkes knows he's surrounded by a feisty yet supportive crew and he gives each one of them plenty of freedom to move throughout the program. One can hear an orchestral approach on several pieces including the atmospheric yet forceful "Armstrong - Part 2".  As a soloist, he himself has a strong presence, leaning towards the melodic in the majority of his solos (even the harder-driving ones, such as "Anxiety - Part 2"; here, he starts quietly but artfully builds the intensity level atop the furious drums and slashing piano chords.)  His compositions bristle with ideas, abound with rhythmic possibilities and surprise at many a turn.  "Slashes" opens as if the 5 musicians were going to tear a hole in the roof of the studio yet drops in intensity for the beginning of the leader's solo.  Gilkes slowly but surely brings the musical stew back to a boil then McCaslin adds his own spice to the mixture (I'm not sure he is capable of anything less than an excellent solo!)

Self-produced and self-assured, "Sound Stories" is a major statement from Marshall Gilkes.  His music is mature, adventurous, a treat for listeners who enjoy contemporary artists such as Wayne Shorter, Dave Douglas, Tom Harrell and the latter Bob Brookmeyer.  There's a little touch of the latter's sound in Gilkes' playing, mostly in the smooth tones and articulated notes; that does not mean Gilkes does not use smears and "bent" notes but his phrases are quite clear.  At 75 minutes, there's plenty of music but never a dull moment.  For more information, go to www.marshallgilkes.com. 

"Duck" Dunn Passes

Coming of age in the 1960s and paying close attention to popular music, one had to be aware of the great rhythm sections that worked behind singers and vocal groups that regularly hit the "Top 40".  Whether it was James Jamerson (bass) and Benny Benjamin (drums) of Motown Records fame, bassists Carol Kaye or Max Bennett with drummers Hal Blaine or New Orleans transplant Earl Palmer in Los Angeles, these people were the foundation of the music that made many of us dance.

Then, there was Booker T. & The MGs. Organist Booker T. Jones, guitarist Steve Cropper and the rock-solid rhythm section of bassist Lewis Steinberg and drummer Al Jackson powered many of the great tracks that came out of Stax Studios in Memphis, Tennessee.   After Steinberg decided to leave the band in 1965, Donald "Duck" Dunn (already a studio musician) stepped in to the bass slot, locking in with Jackson (sadly, murdered in 1975) and never looking back.

The band toured and recorded with Otis Redding (you can see them in action behind the great singer at The Monterey Pop Festival of 1967 (search YouTube) but, basically, they worked as studio musicians, occasionally opening for other bands.

"Duck" Dunn, whose list of credits include many of the biggest hits and finest artists of the past 5 decades, passed away at the age of 70 Sunday May 13 in Tokyo, Japan, several hours after playing a date with long-time friend and associate Steve Cropper.  Many people saw Dunn in the "Blues Brothers" movies and he certainly had a long career.  My memories will include songs like Eddie Floyd's "Knock On Wood", William Bell's "You Don't Miss Your Water (Till Your Well Runs Dry)", Otis Redding's smoking version of "Rock Me, Baby" as well as dates with blues guitarist Albert King, Wilson Pickett, Herbie Mann, Bill Withers, Sam & Dave and so many others.  Dunn was not a "show-off"; instead, he was the heart of the rhythm section.  No matter who the drummer might be, Dunn stayed the course.  That doesn't mean he was not a creative player; listen to Booker T.'s "Melting Pot" Lp from 1971 and one can hear how he and Jackson interacted with Cropper and Jones, how the liquid bass lines flowed around the solos never losing direction, always solid as a rock..

Thanks to digital archives and fans of soul music, "Duck" Dunn's passing will not go unnoticed.  Solid as a rock, his bass playing may not have the influence of Paul McCartney, Jaco Pastorius, or Larry Graham but every time you hear a band playing "I Can't Turn You Loose" or "In The Midnight Hour", the blueprint of that music was the work of "Duck" Dunn.