Step Tempest

Voices for Valentine's Day (Vocal and Instrumental)

2012-02-12T20:55:00.001-05:00

First, a confession - up until "Tales of the Unusual", the new CD from vocalist/composer Lorraine Feather crossed my desk, I had never heard her music. Knew the name, knew she was the daughter of critic/composer Leonard Feather (1914-1994) and that was all.

In the past few weeks, rarely a day has gone by without listening to most or all of this wonderful recording. The music she has produced echoes in my ears all day, snatches of melody or swatches of lyrics get repeated with glee and, possibly, madness.

13 songs, 13 stories and not just any kind of song or story. In the past, Ms. Feather wrote lyrics for songs by Fats Waller (2001's "New York City Drag") and Duke Ellington (2003's "Such Sweet Thunder") - her past 2 CDs, "Languages" and "Ages", have featured new works by collaborators such as Russell Ferrante. Eddie Arkin, Shelly Berg, her husband Tony Morales and others. Those 4 composer/arrangers appear on "Tales of The Unusual" (Jazzed Media) plus Ms. Feather adds lyrics to works by Enrico Pieranunzi, Duke Ellington, Edvard Grieg and Nino Rota.

The opening track, "The Hole in the Map", tells the true story of Amazonian explorer Percy Fawcett (who disappeared on a journey to the river in 1925. At the onset of the piece, the music, by Ferrante, has a Romantic classical feel but soon the rhythm section of Michael Valerio (bass), Michael Shapiro (drums, percussion), and Grant Geissman (guitar) fall into a seductive blend of jazz and South American rhythms. Add to that mix the evocative violin of Charles Bisharat (whose splendid playing serves as a counterpoint to the voice on 8 of the tracks) and the listener is transported to a surreal yet utterly possible world. My initial reaction to this recording was that the project sounded like an extension of Steely Dan's 1977 classic "Aja" but with more concentration on the lyrics. In fact, the song "Out There" (music by Shelly Berg) seems to be based on the break of that Lp's title track that leads to Wayne Shorter's solo over the brilliant drumming of Steve Gadd. Eddie Arkin's music for "Sweet Miriam" has the feel of a Yiddish Theater piece (a glorious blend of vaudeville and Eastern European harmonies); one of the sweeter touches on the track is how Valerio's bowed bass plays the melody line that Ms. Feather is singing. Berg's country-jazz hoedown music for "Get a Room" sets the pace for a humorous look at an "odd couple" (certainly the first song that features a rhyme that pairs "I don't care whose cage I'm rattlin'/This isn't a matter of left and right/like Jim Carville and Mary Matalin".) In "The Usual Suspects", there are such sweet lines as "I told the guy to get ready to spill/Like the Exxon Valdez" and later on, Ms. Feather rhymes with "3 card-Monte" with "Richard Conte." Geissman's bluesy guitar licks and Ferrante's barrelhouse piano is a perfect fit for this tale of a criminal who fades into the background. Ms. Feather had recorded "Indiana Lana" with a large ensemble on her 2005 "Dooji Wooji" CD - here, it's just her and Shelly Berg (using Duke Ellington's 1939 composition that gives the CD its title - oops, check the comment below from Ms. Feather) telling the tale of a young woman who was a world-class runner who could only compete against motor cars.

Honestly, there's not a weak track on this recording. Ms. Feather has a supple voice with a wide range, never forces the pace, her witty lyrics often bringing a chuckle or smile - yet, there are songs like "Ahh" (music by Nino Rota - her overdubbed harmonies bring Harry Nilsson to mind) and "Cowbirds" (music by Ferrante adapted from Grieg) that have a serious side, with stories that make you pay close attention. Lorraine Feather and her musical compatriots have paid great attention to their craft and the results are quite satisfying. "Tales of the Unusual" is a true beauty! - for more information, go to www.lorrainefeather.com.

"Blame It On My Youth" (self released) is the second CD from Chloe Brisson, the 17-year old vocalist from New Hampshire. She recorded her debut CD, "Red Door Sessions", when she was just 13 - since then, her impressive alto voice has gotten deeper, fuller and more expressive. Tenor saxophonist and arranger Fred Haas organized a top-notch band to join Ms. Brisson in the studio. The rhythm section consists Bill Mays (piano), Martin Wind (bass) and Matt Wilson (drums) plus solo and background work from Marvin Stamm (trumpet) and Ben Williams (trombone).

The program is a good blend of recognizable standards and several intelligent covers. The CD opens with "Send For Me", a "jump blues" composed in the 1940s by Ollie Jones. Wilson and Wind push the tempo, the arrangement prominently features the horns, and Ms. Brisson has fun with the lyrics. She does not over-sing, no vocal gymnastics; for her, the words are quite important and she wants to make sure you can hear them. Her lovely version of the title track has strong solos from Haas and Wind, lovely brushes work from Wilson (he can really swing softly) and a handsome vocal. She swings the daylights out of Canadian songwriter Sharada Banman's "So Long, You Fool" (covered in 2007 by Sophie Millman) and caresses the lovely, soulful, "Aretha" from the pen of Rumer. That latter track, along with her fine duet with Bill Mays on the Gershwin's "Someone to Watch Over Me", are the best cuts on the CD.

Sheila Jordan, a mentor to the young vocalist, appears on the sprightly, New Orleans-inspired, version of "I'm Gonna Sit Write Down and Write Myself a Letter" that closes the program. Their playful conversation in the middle of the piece conveys their genuine friendship; Ms. Jordan sounds quite pleased to be singing alongside Ms. Brisson and the feeling is mutual. Might strike some as "cutesy" but they really are having a good time (as is the band, which swings with great zest.)

Chloe Brisson's sophomore release has much to offer fans of jazz vocals. One imagines that, as she continues to explore the possibilities of the world of music as well as continues to study and work with great musicians like Fred Haas, Matt Wilson and Bill Mays, her music will grow exponentially. She's definitely got the "voice" and the desire - it's going to be fun to see where Chloe Brisson goes. For more information, go to chloebrisson.com.

Flutist Holly Hofmann has been working with pianist Mike Wofford since she moved to San Diego, California, in the late 1980s, eventually marrying him in 2000. She's recorded with her husband as well as pianist Bill Cunliffe and issued a 3-flute recording with Frank Wess and Ali Ryerson.

"Turn Signal" (Capri Records) features the wife-and-husband with a Quintet that features Terell Stafford (trumpet, flugelhorn), Rob Thorsen (bass) and the fine drumming of Richard Sellers (who works with Thorsen in the San Diego-based quartet Ruby Blue.) Wofford's "The Dipper" (for Horace Silver) is a sweet ballad - the blend of Ms. Hofmann's alto flute and Stafford's trumpet is smooth and musical while Seller's steady hand keeps the music percolating. It's alto flute and flugelhorn in harmony on the opening of Vince Mendoza's "Esperança". Again, Seller's sparkling percussion makes the song stronger.

The music catches fire on a blazing reading of Bobby Watson's "Karita". Stafford's solo is so musical, so warm, swinging with a purpose (love the reference to "If I Only Had a Heart") and setting the stage for Ms. Hofmann's fine solo. The flute and trumpet sit out as the rhythm section does a soulful reading of baritone saxophonist Richard Twardzik's "The Girl From Greenland", which has a melody line that sounds somewhat like Roger Waters' "Just Another Brick In The Wall" (you can also hear it in Thorsen's walking bass lines). The closing track, "M-Line", features a fiery interchange between flute and drums. It's also great to hear how Stafford and Sellers interact during the trumpeter's solo.

Mike Wofford and Holly Hofmann (and their cohorts) have created a "joyful noise" on "Turn Signal". The music is well-played, intelligent, soothing, swinging and worth your time. For more information, go to hollyhofmann.com.

Found Sounds, The Drummer Leads and Live Heat

2012-02-10T23:27:00.002-05:00

Guitarist Wes Montgomery (1923-1968) left Indiana at the age of 25 to join the Lionel Hampton Band, playing electric guitar in the style of his main influence, Charlie Christian. Such a clean, clear, tone, such articulated notes - it wasn't until later that he began to play in the "octave" style that became his trademark. After several years on the road, he returned home to form a trio with his brothers Monk (bass) and Buddy (piano), all the time holding down a full-time job. He and his brothers released several Lps for the Pacific Jazz label in 1958 but, when the guitarist signed with Riverside Records in 1959, his star began to rise. Subsequent recordings with Verve and A&M Records moved him into more commercial territory and, at the time of his passing (from a heart attack), Montgomery was one of the best-selling jazz artists in the world.

"Echoes of Indiana Avenue" (Resonance Records) hearkens back to Wes Montgomery's Indianapolis days and nights. The tapes, made in 1957 and 58, are a blend of studio and live tracks (several from the splendidly named Hub Bub Club), were offered to Michael Cuscuna (of Mosaic Records) and he mentioned their existence to Resonance Records owner George Klabin. With the aid of producer Zev Feldman, the label purchased the digital transfers, did a slew of research (great booklet!) and, on March 6, the music will excite jazz fans the world wide. Among the musicians featured are the Montgomery Brothers, bassist Mingo Jones, pianists Earl van Riper and Melvin Rhyne (who plays organ on 1 track as well) plus drummers Sonny Johnson and Paul Parker. The majority of the material is jazz standards, ranging from "Round Midnight" to "Take The A Train" to "Misty" to "Body and Soul" - Wes is in fine form throughout, whether blasting through the changes on "Straight No Chaser" to a Buddy Guy-like "nasty" solo on "After Hours Blues." The "octaves" show in several solos but, much of the time, his single-note runs show his wonderful versatility and good taste. He never sounds rushed or timid -by this time of his career, he was in total command of his instrument.

Great package, fine music and a guitarist in his prime, "Echoes of Indiana Avenue" is more than collector's item. Go to www.resonancerecords.org and check out the video.

Drummer Jeff Williams first came to critical attention in the earloy 1970s as a member of both Lookout Farm (with Dave Liebman and Richie Beirach) and his work with Stan Getz. Since then, he has worked in the US and abroad, is currently teaching in England and continued to study his craft as a percussionist and composer. "Another Time" (Whirlwind Records) is his 3rd release as a leader and first since 1997. The recording features his "New York Quartet" composed of Duane Eubanks (trumpet), John O'Gallagher (alto saxophone) and John Hébert (bass). As you might imagine by the instrumentation, the influence of Ornette Coleman can be felt in this music but does not overwhelm it. What the listener comes to understand is that Williams plays to the strength of his collaborators, all of whom bring myriad influences to the project.

Williams leads the way throughout, whether it's opening tracks (as he does on "Search Me"), creating a ever-shifting pace (such as the one on Hébert's "Fez") and his ever-so-quiet work on O'Gallagher's "Go Where You're Watching". The musicians seem so comfortable with each other, no one overplays, solos flow organically from the "heads" or are influenced by the previous solo. Among the highlights is Eubank's ballad "Purple, Blue and Red" - the piece has tempo changes built into both the theme sections and during the solos. The music has an open feel and the soloists play off the interactions of the rhythm section. It's fun to hear Hébert's bowed bass beneath the sparse melody line at the onset of the title track which then leads to a medium-tempo piece. O'Gallagher's intense, probing, solo follows the more introspective work of Eubanks, all the while the rhythm section adjusts to the emotional movement of the front line.

"Another Time" is mature creative music, not so sober as to be uninteresting but playful and rhythmically involving. The compositions are strong without being stultifying allowing the players to move easily in and around each other. The more one listens, the better the music sounds and feels. To find out more, go to www.willfulmusic.com.

A strong sense of playfulness inhabits the new CD from Pete Robbins Transatlantic Quartet. "Live in Basel" (Hate Laugh Music) features the Brooklyn-based alto saxophonist-composer with a group he first played with in Copenhagen, Denmark. Joining him is Danish guitarist Mikkel Ploug, Irish-born electric bassist Simon Jermyn and Canadian-born drummer Kevin Brow. Robbins wrote all the pieces but the music has a lived-in quality; there's a sense that the quartet has played these pieces a number of times. For instance, there's a long bass intro to "There There" that suddenly yet easily drops into the main theme. The way the guitar gently moves beneath the saxophone on the verse and then pushes against him during the solo while the rhythm section also push and probe makes for great listening. The quiet coda at the end of Robbins' solo sets the stage for Plough's contemplative spotlight. Brow and Jermyn solo together to bring the piece back to the theme. Then, there's the yin-yang, "push me, pull you" feel of "Inkhead" - the intense drive of the rhythm section gives Robbins quite a boost for his solo while Ploug's section starts and stays quiet for several minutes before the intensity builds. "The Quiet Space Left Behind" is a fine ballad that features a pleasing bass solo and a long, well-constructed solo from the leader. Nothing is rushed nor is there a fancy arranged, just a well played piece.

There's no secret formula to the success of "Live In Basel"; Pete Robbins has created a book of pleasing melodies, there is an excellent rhythm section plus solos with power, thought and are well-shaped. Judging by the results of this recording, this Transatlantic Quartet is worth traveling to see play live. For more information, go to peterobbins.com.

Talking to Each Other and To the Listener

2012-02-09T21:17:00.000-05:00

Juhani Aaltonen (tenor saxophone) and Heikki Sarmanto (piano) have been friends and musical collaborators for nearly 5 decades, first playing together in 1964. Before that, they were both listening to American jazz on record and in person in their native Finland, influenced by the European tours of the John Coltrane band with Eric Dolphy, Elvin Jones, McCoy Tyner and Reggie Workman. Over the years, they played in ensembles large and small, classical and jazz.

One can feel their comfort level and hear their friendship on "Conversations" (TUM Records), a 2-CD set that combines Sarmanto's compositions, several on-the-spot improvisations and 2 standards from the team of Arthur Schwartz and Howard Dietz. Perhaps the most impressive aspect of this music is one can not easily tell the difference between the "composed" works and the improvised pieces. The program is heavy with ballads but none are ponderous - this is music that pulls one in and allows to get lost in the interplay.

Pieces like "Evening Prayer" unfold slowly, with the deliberate saxophone lines framed by the raindrop-like quality of the piano notes. Sometimes the song starts in a quite mode and then begins to move in fascinating directions. The improvised "...It Happened Today" opens like a haiku yet, before too long, the duo catches fire and the listener is pulled into their hearty interplay. There are several moments when one can hear the influence of McCoy Tyner on Sarmanto; yet he also has an impressionistic side that blends sustained, soft, notes with silence.

The first 3 tracks on CD 2 are like a thick novel with many plots, wondrous twists and turns. "From Nothing" and "No Work Bound Me" are inspired by the work of American-born poet Rika Lesser, with the former piece are forceful ballad that has a rich melody line wonderful support from Sarmanto. The pianist displays a fine range of emotions and styles on the second piece, his articulated lines weaving in and around the the more declaratory tenor. Meanwhile, "Free Souls" is a powerful improvisation, with Tyner-esque chords and runs from the piano and often fiery lines from Aaltonen alternating with more conversational phrases.

There is lot to digest in these "Conversations", much more than a listener would want to take in in one sitting. Spend some serious time with these songs, allow them to soak into your mind and being - chances are good you will be moved by the experience, moved in a positive way. For more information, go to www.tumrecords.com.

Israeli-born pianist Ehud Asherie teams up with tenor saxophonist Harry Allen for an 11-pack of standards, most, if not all composed before either player was born. "Upper West Side", the second CD the duo has recorded for Posi-Tone Records; they worked with a rhythm section on 2010's "Modern Life." If you have only heard Asherie as a organ player, you should be impressed by his formidable piano work. There are moments when his left hand has the power associated with "Jelly Roll" Morton or Art Tatum (listen to him fly on ("I Want To Be Happy") and one can hear a healthy dollop of Teddy Wilson. At times, a touch formal but he can be quite playful (i.e. his "Spanish tinge" on Jobim and Silva's "O Pato.") As for Allen, he's the perfect foil with his breathy Ben Webster tone and calm demeanor, bluesy smears and airy high notes. He dances his way through his solo on "Learning The Blues" bouncing over the rumbling piano bass and trilling high notes. His "old world" charm works just fine on "Our Love Is Here To Stay" and does he ever caress Billy Strayhorn's "Passion Flower" (with more than a hint of Johnny Hodges in his approach.)

"Upper West Side" is a positive experience from beginning to end. By returning to the blues roots of 1930's piano jazz, Ehud Asherie shows his continuing maturity as a player - his playing throughout command's one attention. Harry Allen makes no bones about his roots or "throwback" tenor style. He also loves melody and his solos are often quite hummable. Together, they sound as if they are having the best of times; the listener should laugh, sing along and tap his/her feet. What depression? This music will drive your "blues" right out of the house. To find out more, go to www.posi-tone.com.

Places to Be on 2/18/12

2012-02-05T06:28:00.000-05:00

On any given night, there is great music being created and played in and around big cities - for those of us in the Northeast US, just check out the offerings in New York City and Brooklyn.

Here's an interesting conundrum for the creative music fan in Connecticut. On February 18 of this year, you have to choose among 4 excellent shows.

Pictured on top of the post is the John Hollenbeck Large Ensemble (photo courtesy of Nuno Martins.) The 18-member ensemble is coming to the Buckley Recital Hall at Amherst College for an 8 p.m. concert in the school's "Parallels Series." The music that composer/drummer Hollenbeck creates and/or arranges for his group ranges from hard-hitting, sprawling, pieces (often featuring voices moving in and around the instruments) to quieter, hypnotic works that suggest contemporary classical music. Vocalist Theo Bleckmann will be with the group for the concert and he brings such a wondrous quality to the music, whether it's a heartfelt ballad to wordless sounds in counterpoint to the horns and reeds. Clink on the link to a concert that the JHLE played last year at the rain-swept Newport Jazz Festival - www.npr.org/2011/08/08/139066457/newport-jazz-2011-john-hollenbeck-large-ensemble-live-in-concert - and you'll get a taste for just how great this music can be. For ticket information, go to events.amherst.edu/2012/02/18/4085/ or call 413-542-2195.

The duo of Mary Halvorson (guitar) and Jessica Pavone (viola, voice) comes to The Big Room, 319 Peck Street in New Haven, to celebrate the release of "Departure of Reason" (Thirsty Ear Records). They blend jazz, pop, folk, classical and other influences into music that can surprise, soothe, shock and keep one of the edge of his/her seat. The intimate qualities of dancer/educator Rachel Bernsen's performance space is perfectly suited for this fascinating music. To reserve a seat (or 2), go to uncertaintymusic.com. To hear a sample of the duo's new CD, go to soundcloud.com/thirsty-ear-recordings/sets/mary-halvorson-jessica-pavone.

The Arts Center Killingworth (CT) presents its 8th Annual "Jazz Night Out" at 7:30 p.m. in the Ivoryton Playhouse, 103 North Main Street in Ivoryton. Headlining the show is the Eddie Allen Quartet. Trumpeter Allen, whose horn has graced stages and pit orchestras throughout the country, is one of the more versatile players on the scene. He's worked with Art Blakey, Mongo Santamaria, Benny Carter, Vanessa Rubin, Lester Bowie and many others while recording 7 CDs as a leader. For the 2/18 gig, he's joined by Donald Vega (piano), Carl Allen (drums) and Hartt School of Music instructor Nat Reeves (bass). Opening the show will be pianist Alma Macbride and her Trio. The 16-year old Macbride, a West Hartford native whose older brother Jimmy (drums) is also a rising star (and a member of his sister's Trio), is graced with great talent and stage presence. Tickets for this event are going quickly so go to www.artscenterkillingworth.org/jazz2012.shtml to find out more. For more information about Eddie Allen, go to www.eddieallen.net. You can find out more about Alma Macbride by going to almamacbride.com.

The Buttonwood Tree, 605 Main Street in Middletown, presents the duo of Avery Sharpe (bass) and Charles Neville (saxophones) at 8 p.m. Mr. Neville (pictured left) may be best known for his work with the Neville Brothers Band, has his musical roots in the sounds of Louis Jordan, John Coltrane and Sonny Rollins as well as the myriad sounds emanating from his New Orleans home. Mr. Sharpe, born in Georgia but moved to Massachusetts to attend college (and never left), is a prodigious musician who has worked alongside Pat Metheny, Archie Shepp - for many years, he played, toured and recorded with pianist McCoy Tyner. They call their program "From New Orleans to New England"; judging by their various influences and experiences, this music should be a real treat. To find out more, go to www.buttonwood.org. To learn more about the work of Avery Sharpe, go to www.averysharpe.com - for Charles Neville, go to www.charlesnevillesite.com.

Ms. Jazz Master, Sam He Is, BG Speaks + Hello Bill Lowe

2012-02-01T21:07:00.000-05:00

Whenever I listen to Sheila Jordan, her voice mesmerizes me. It's easy to enter her musical world, easy to sit and listen as she tells her stories through song. Just last month, the National Endowment for the Arts honored her life's work by naming her one of the 2012 Jazz Masters. Honestly, what took so long?

Her latest CD, "Yesterdays" (HighNote), features Ms. Jordan alongside bassist Harvie S. Recorded live in concert circa 1990, the tapes turned up one day and we are so lucky they did. The duo recorded 3 Lps/CDs in their decade+ association but none with the warmth, the experimentation and the musicality that this program. All of their recordings are worth hearing but this one is a necessity. Bassist S manages to be an "orchestra" behind the voice, his thick tones and fleet lines serving as both support and equal partner. They "rock" out on "It Don't Mean A Thing" then make "Mood Indigo" a very deep hue of the blues. Their playful take of "The Very Thought Of You" moves beyond the lyrics into a personal story of the singer being told by critic Leonard Feather taking her task for not singing the melody.

There is so much to like here, from the title track that opens the CD as a longing paean to "olden days, golden days" (Harvie S's bass chords are wonderful) to the "Fred Astaire Medley" that closes the program. The duo blaze through "Let's Face The Music and Dance" before their playful take of "Cheek to Cheek" ending with an absolutely jovial (and operatic!) version of "I Could Have Danced All Night"; Ms. Jordan collapses in laughter at the end, a splendid exclamation point to an excellent set.

If you don't own a Sheila Jordan recording and claim to be a fan of jazz vocalists, you should be ashamed. "Yesterdays" is one of her best and a good place to start. To find out more, go to www.sheilajordanjazz.com.

"From Sun to Sun" (Origin Records) is the second CD pianist/organist Sam Yahel has recorded with bassist Matt Penman and drummer Jochen Rueckert - PosiTone Records released the first, "Hometown", in 2009. Yahel, who many listeners first encountered as an organist on numerous CDs, has worked with Joshua Redman, Norah Jones, Bill Frisell and Peter Bernstein (among others), surprised many people with the excellence of his piano playing on the previous CD and this new one (recorded in May of 2010) is equally as pleasing. The 3 musicians are quite comfortable with each other and don't play it safe. Their work on "A Beautiful Friendship" sounds effortless yet is filled with emotional and melodic richness. The shifting tempos of "2 Pilgrims" allows for shimmering cymbal sounds, pleasing counterpoint from the bass and piano figures that move from swinging jazz to mellifluous classical phrases (check out Yahel's left hand..very nice.)

One hears traces of Americana in the melody of the title track (Rueckert's drumming is pleasingly interactive) while the trio's version of Cole Porter's "So In Love" is a musical celebration of a fiery romance. Here, Penman's bass pushes the piece forward, spurring the pianist on to one of his more "high-energy" solos. There is plenty of playfulness in this music, whether it's the bluesy, Ornette Coleman-like, melody of "By Hook or By Crook" to the funky sprint through "Git It" (again, Rueckert's drumming is quite a joy to listen to.)

The sounds emanating from the minds, hands and feet of Sam Yahel, Matt Penman and Jochen Rueckert is a true pleasure. "From Sun to Sun" is bright and joyous music, well worth exploring. To find out more, go to www.origin-records.com. FYI, Sam Yahel sits with Josh Jackson on the 1/31 edition of "The Checkout" and plays the "iPod Shuffle" - check it out at by clicking here.

The same show features a long, very enjoyable, conversation with saxophonist/composer Benny Golson. Golson, composer of "Whisper Not" and "Killer Joe" (and lots more), turned 83 on January 25 and continues to compose, perform and record. A 1996 NEA Jazz Master, the stories he tells to host Jackson are filled with humor, wisdom and joy. There are moments when Golson drops into a whisper, effectively drawing the listener into his world. Check it out at www.wbgo.org/thecheckout/benny-golson-creativity-never-retires/.

Bass trombonist and tuba player Bill Lowe has performed with a slew of fine musicians over his 4+ decades as a musician. He's also spent many years as an educator at Wesleyan University, Northeastern, Columbia and, most recently, at Brown University. Professor Lowe has recorded and toured with Henry Threadgill, Bill Dixon, James "Jabbo" Ware's Me, We & Them Orchestra, and currently is a member of Taylor Ho Bynum's Sextet. Along the way, he's worked with Dizzy Gillespie, Eartha Kitt, Mercer Ellington and Bill Barron (that's only 4 out of many.) He's composed work for small ensembles, orchestras and for theater productions.

Bynum, his former student and long-time friend, has assembled recordings and radio broadcasts for the fine music blog, "Destination Out." Part 1 is up now - it's a well-deserved (and long overdue) look at the man, his music and fascinating journey. Give a look and listen at destination-out.com.

Amy Sings Blossom + Soul Ballads + Cafe Music

2012-01-30T23:10:00.000-05:00

Blossom Dearie (1924-2009) first arrived in New York City in the 1940s but really began her career in the early 1950s. After several years in France as a member of singing groups, she began her solo career recording in a small group setting where she played piano and sang. As opposed to blues belters or melismatic scat singers, Ms. Dearie has a soft, girlish, voice - she drew the listener in by telling "stories" in her songs. A whole generation of kids in the 1970s grew up on her voice when she sang Bob Dorough's songs "Figure Eight" and "Unpack Your Adjectives" for ABC-Television's "Schoolhouse Rock."

"Digging Me, Digging You" (Anzic Records) is Amy Cervini's 3rd CD and is dedicated to the music of Ms. Dearie. Ms. Cervini opened her previous release "Lovefool" with "Bye Bye Country Boy", a song Ms. Dearie recorded on her final studio Lp in 2000. The title of Ms Cervini's recording comes from a song Ms. Dearie wrote after meeting John Lennon - that track, "Hey John", is a lilting, medium-tempo piece featuring the sensitive percussion of Matt Wilson, the bluesy piano of Bruce Barth and fleet bass lines of Matt Aronoff, the trio who supply the heartbeat of the CD. Arranger Oded Lev-Ari adds a horn section of a number of cuts and it's quite a lineup. Anat Cohen (clarinet), her brother Avishai (trumpet), Jeremy Udden (alto saxophone), Josh Sinton (baritone sax), and Jennifer Wharton (bass trombone) create a handsome orchestra on "Once Upon A Summertime" and swing like mad on "Everything I've Got" (Anat really digs in right after guitarist Jesse Lewis - who appears on 5 tracks - gets a "hot" chorus.) Avishai's muted trumpet shines on "Down With Love" as he picks up on the Art Tatum-esque spot from Barth. Lewis's gentle guitar flows sweetly (sans accompaniment) behind Ms. Cervini on the opening verse of "Tea For Two", which is given a lovely ballad setting and has a handsome alto saxophone solo from Udden. Lev-Ari (Ms. Cervini's husband) replaces the rhythm section with a cello choir for "Figure Eight", creating a lovely backing that gives the mathematics lesson the feel of a love song.

I had never heard Cole Porter's "The Physician", a comic love song he composed for Gertrude Lawrence's 1933 "Nymph Errant" but it's a hoot (loving a woman for her interior as opposed to "outer" attributes makes for a fascinating twist.) "Rhode Island Is Famous For You" comes from the pens of Howard Dietz and Arthur Schwartz and was written for the 1948 Broadway show, "Inside USA" - the puns in the second half of the song always raise a smile as well as a groan. "My Attorney Bernie" is a portrait of a hip lawyer from the pen of Dave Frishberg. For this version, Wilson's dancing drums and Barth's swirling piano lines enliven the piece.

To her credit, Amy Cervini does not try to imitate Blossom Dearie nor does she (or arranger Lev-Ari) rein in the musicians. The majority of the solos are short and quite sweet - considering the program was recorded in 1 day, nothing sounds rushed or incomplete. From beginning to end, "Digging Me, Digging You" will make you smile - if this recording does not brighten your day, seek outside help. For more information, go to www.amycervini.com.

I spoke with Amy Cervini for my Sunday radio show and you can hear it here (sans music) - www.archive.org/details/Nshoma-AmyCerviniInterview.

Trumpeter-composer Jeremy Pelt continues his impressive run of CD releases with "Soul" (HighNote Records). It's his 4th recording with the group of J.D. Allen (tenor saxophone), Danny Grissett (piano), Dwayne Burno (bass) and Gerald Cleaver (drums), all leaders on their own yet they have forged a group sound that rivals any working unit on the scene today. The majority of the pieces are ballads with 6 of the 8 cuts Pelt originals. What makes this music so successful is that the front line is so strong and the rhythm section equally so. Burno and Cleaver know how to support as well as incite the soloists; the percussive storm on "The Tempest" opens the door for the soloists to dig in while the active "walking" bass on "What's Wrong Is Right" sets a pace that pushes Pelt and Allen to react in kind. Grissett's spare yet dramatic piano opens "The Ballad of Ichabod Crane", with handsome unison work from Allen and Pelt. The latter's muted solo creates a pensive mood, one that carries over (after the harder-edged "The Tempest") to "The Story", with its languid melody leading to a ruminative tenor statement. No one rushes yet the piece never drags. Joanna Pascale adds her highly expressive voice to "Moondrift" ( from the team of Sammy Cahn and Bela Malcsiner) - the piece is fairly short (3:45) but the interaction of the voice with the trumpet and tenor sax is excellent.

A recording that is mostly ballads by a group that is known for its highly charged work may put off some fans but "Soul" more than lives up to its name. Jeremy Pelt and company create strong moods throughout and the attentive listener has much to dig into. This music does not overstay its welcome; in fact, one can hit the "repeat" button and savor these sounds all night long. For more information, go to www.jeremypelt.net.

The Cornelia Street Cafe, 29 Cornelia Street in New York City, continues its impressive lineup of poetry and jazz with events most nights every week. Go to corneliastreetcafe.com to check out the offerings - the music listings are especially impressive. Now, the Cafe has a podcast that features songs from recent performances. Right now, you can find music from Tim Berne's Los Totopos, drummer Tom Rainey's Trio (with guitarist Mary Halvorson), bassist Michael Bates' Outside Sources, legendary saxophonist George Garzone & the Australian Connection and others (12 separate performances "up" at the moment.) The site is corneliastreetcafe.com/downstairs/podcasts.html - if you like contemporary creative music, a visit to this page will whet your appetite.

Percussion Masters + New Music from Underground

2012-01-29T22:55:00.000-05:00

Drummer Andrew Cyrille has had a long and impressive career. A Brooklyn, NY, native (his parents came from Haiti), he made his first recordings in 1961 with Coleman Hawkins and vibraphonist Walt Dickerson. Since then, he has worked with pianist Cecil Taylor, clarinet master John Carter, saxophonist Oliver Lake as well as making numerous recordings as a leader or co-leader. Cyrille has been involved in education for nearly 4 decades.

His latest CD, "Andrew Cyrille & Haitian Fascination: Route de Freres" (TUM Records), was recorded in December of 2005 with a group featuring bassist Lisle Atkinson, acoustic guitarist Alix "Tit" Pascal, percussionist Frisner Augustin and baritone saxophonist Hamiett Bluiett. The presence of Pascal and Augustin, both natives of Haiti, gives the music a softer edge while Bluiett's expressive baritone adds depth. Atkinson is the "glue" while Cyrille lights the fire under the songs. On several of the pieces ("Route de Freres, Part 1 - Hills of Anjubeau" and "Isaura"), his floor tom work reminds this listener of Ed Blackwell's later work. It's fun to heard him play so "in the pocket" on "Route de Freres, Part 3 - Manhattan Swing", adding pithy fills beneath Pascal's guitar solo. The interplay of Pascal's guitar, Atkinson's bowed bass and Bluiett's squalling baritone on "Sankofa" contains the "freest" playing on the program. Pascal, who recorded with Cyrille in the 1990s, blends Caribbean and South American influences into his playing, especially his wonderful background work (many times, his playing is as rhythmic as the drummers) and his solo lines are quite articulate.

"Route de Freres" may surprise listeners who are used to the more high-energy work of Andrew Cyrille. Much of this music "sings" with the joy of creative freedom, contains the genuine warmth one feels when encountering a native of Haiti, an island nation that has suffered many indignities (both natural and man-made) since winning its freedom from France in 1804. For more information about Andrew Cyrille and this group, go to www.tumrecords.com.

Jack DeJohnette, a newly minted NEA Jazz Master, has been a mainstay on the creative music for nearly 5 decades. He's played on numerous ECM recordings, ranging from duets and trio settings with Keith Jarrett to the Gateway Trio with John Abercrombie and Dave Holland to his own projects. DeJohnette has also recorded for Milestone, Impulse and on his own Golden Beam Productions. Not only is he a master drummer but also a fine pianist and his latest recording, "Sound Travels" (E1 Records) turns the spotlight on those aspects on his talents as well as his compositional skills.
DeJohnette and producer Robert Sadin have assembled a fine (and fairly youthful) band including bassist/vocalist Esperanza Spalding, trumpeter Ambrose Akinmusire, percussionist Luisito Quintero, guitarist Lionel Loueke and veteran (relatively speaking) saxophonist Tim Ries. Guests include Bruce Hornsby, Bobby McFerrin and Jason Moran, each appearing on one track apiece.

On the surface, this is not the "high energy" DeJohnette one has heard on countless recordings; instead, it's a joyous and joy-filled smorgasbord of sounds that literally dances out of the speakers. The program opens on a meditative note with "Enter Here", a quiet tune featuring just gentle piano figures and resonating bells. Then, it's right into "Salsa for Luisito", with percussive guitar lines, Spalding's sensuous wordless vocals, and Quintero's responsive drum work. Hornsby, who employed DeJohnette and bassist Christian McBride for his 2007 "Camp Meeting" piano trio CD, adds his expressive vocals to the soul-drenched "Dirty Ground", replete with the funkiest guitar one has ever heard from Loueke. Many of the pieces have a distinct Latin feel (Quintero is on all but 3 of the 9 tracks) - Moran joins the band on "Indigo Dreamscapes" which features a long and passionate tenor
solo from Ries. McFerrin appears alongside DeJohnette (piano) and Quintero on "Oneness", a lovely
song with rich piano melodies and a charming expressive wordless vocal. The program closes with "Home", a work with well-defined gospel roots and a sweet, soft, fade.

As Jack DeJohnette enters his 8th decade (he turns 70 in August of this year), his music continues to deepen, exposing more of his soulful expressions and lilting rhythms. Yes, there are other projects on which he drives relentlessly but "Sound Travels" delights at every turn with pure melodic intent (and gently stoked "fire" from the rhythm section.) To find out more, go to www.jackdejohnette.com.

March 13 sees a new recording from the Chicago Underground Duo. CUD - Chad Taylor (drums, percussion, electronics) and Rob Mazurek (cornet, electronics, voice) - has been a unit since 1997, sometimes a trio or a quartet but always with Taylor and Mazurek. Their music ranges from free improvisation to drones to forays into electronic soundscapes to soft ballads with a creative interplay that defies categorization.
Here's a track from the upcoming Chicago Underground Duo CD, courtesy of Northern Spy and Soundcloud:

Winter Listening (Part 2) + Matt Chats

2012-01-23T22:08:00.001-05:00

What a treat is in store for fans of Uri Caine. This new Trio disk - "Siren" (Winter & Winter) - finds Caine in the studio with bassist John Hebert and drummer Ben Perowsky. The program hits the ground running with the funky opener "Tarshish" and drives right through to the Latin/Caribbean/"free" jump of "Manual Defile." The rhythm section really spurs Caine on "Calibrated Thickness" and he is up to the task, his active phrases spilling out of the speakers. The 3 slow down a notch on the bluesy "Hazy Lazy Crazy", Hebert's thick bass lines living up to the title - his solo is a bluesy treat, egging Caine on to respond with some "raggy" lines of his own. Pay attention to how Perowsky interjects his sweet brush work on the choruses. "Free Lunch" is a tasty if out-of-kilter piece that hits its stride in the middle when the rhythm section really fires up Caine by varying the dynamics and shifting gears on the tempo. The title track is slow, quiet, with more fine bass work and phrases from the pianist that smartly blends blues and classical lines. The jagged edges and raucous rhythmic feel of "Crossbow" is such a pleasing 3-way conversation that it seems too short at 4:17 - one just wants this kind of this kind of fun to go on a lot longer. Several other pieces have a similar feel, like the propulsive "Succubus" and the jaunty "Interloper."

With the exception of "Green Dolphin Street", Caine contributed all the pieces on the CD. Messrs. Caine, Hebert and Perowsky know each other well and that familiarity breeds musical success. They constantly challenge each other to play harder, smarter, funkier, and melodically. As I wrote above, what a treat! Dig in and dig it! For more information, go to www.uricaine.com.

Krzysztof Komea (1931-1968) is best known to the Western audiences as the Polish composer who wrote scores for the early movies of Roman Polanski ("Knife In The Water" and "Rosemary's Baby") but, before he turned his attention to cinema, he led a series of jazz ensembles that played throughout Europe. Trumpeter Tomasz Stanko, who played in Komeda's quintet from 1963-65, has recorded a number of Komeda's compositions and, in the last several years, there have been several CDs that celebrate his music. Those include 2009's "Requiem" by the Komeda Project (WM Records) and 2010's "Komeda - The Innocent Sorcerer" by saxophonist Adam Pieronczyk (Jazzwerkstatt).

Pianist Leszek Możdżer pays homage to the composer on "Komeda" (ACT Records), a solo record that is, at turns, quite lovely and magical. The 8 pieces on this CD have a grace and elegance, not surprising considering Możdżer's classical training - one can hear the influence of Keith Jarrett in the slower works but the pianist is really interested in the rich melodies and often exquisite harmonies. The 2 long pieces in the middle of the program - the stately "The Law and the Fist" (10:52) and the multi-faceted "Nighttime, Daytime Requiem" (13:36) - cover much musical territory and engrossing, fascinating compositions. There is a sense in the dancing left hand on "Cherry" while Możdżer displays a Bill Evans-touch on the medium-tempo "Moja Ballada" that closes the CD.

Krzysztof Komeda's music, in the creative mind and hands of Leszek Możdżer, is music to be savored many times. On each listen, the music reveals a bit more of the impressive depth in Komeda's works. Excellent from start to finish - to find out more, go to www.mozdzer.com.

There are those who believe that a big city needs a river to make it great. Jazz, in its infancy, used the Mississippi River to spread its influence up to Memphis and St. Louis then up the Chicago River to the Windy City. For his 3rd CD on Challenge Records, tenor saxophonist Harry Allen (born 1966), along with producer Chris Ellis, selected 13 songs for "Rhythm On The River." Joining Allen on this musical journey is his regular crew of Joel Forbes (bass), Chuck Riggs (drums) and the classy Italian-born pianist Rossano Sportiello - Warren Vache brings his cornet along for 4 of the cuts. The vast majority of the compositions come from the 1920s and 30s with "Cry Me A River" being the "newest" piece (1955).

Allen's blend of Coleman Hawkins' "heft" and Ben Webster's "breathy" sound is perfect for this music. He rarely, if ever, overplays and his ballad work is quite pleasing. "Cry Me A River" is a slow blues, ruminative not mournful. Sportiello, who is an impressive "stride" player, shows his tender side on the slower piece. He can swing nicely - the pianist's short solo on "River, Stay 'Way From My Door" has a sprightly bounce especially beneath Vache's New Orleans-influenced solo. Vache is an excellent addition. When he rises out of Allen's soft tenor lines on "Swanee River", the song shimmers. He adds just the right spice to "Lazy River", a dash of cayenne pepper to Allen's buttery roux. That "mellow" tone serves the tenor player well on the Rodgers-Hart ballad "Down By The River", a pleasing ballad with more fine work from the pianist. The rhythm section deserves praise as well; Riggs keeps the beat percolating without being showy (sounding much like Mel Lewis when he played in small group settings) while Forbes shows both a lyrical side as well as being in step with his section partner's ride cymbal.

It's snowing lightly while I'm writing but this music has warmed our house nicely. The songs have a sweet feel without coming off as "fluffy" or even dated. Harry Allen, along with his cohorts, make music to relax the tired soul. For more information, go to www.harryallenjazz.com.

Yes, I write about Jason Crane and "The Jazz Session" a lot but his insightful interviews are a pleasure to listen to. Now you can link to those interviews on the top of this blog. This week, Mr. Crane spends some quality time with drummer/composer/teacher/all around "swell fella" Matt Wilson. Not only can you listen to them chat but, thanks to jazzdiy.com, you can watch Matt in a separate but equally fascinating conversation (although the questions are written on the screen and you do not hear Jason Crane's voice.) If you have ever seen Matt Wilson play, you know he can be quite funny (even silly) but he is quite the consummate musician. Thanks to Scott Menhinick for organizing the fascinating website, a source for all creative musicians and the people who help move the music forward. Go to jazzdiy.com/2012/01/23/interview-wilson/ to watch and enjoy.

Winter Listening (Part 1)

2012-01-16T23:20:00.000-05:00

Vocalist Tierney Sutton, Wesleyan University Class of 1986, has often explored the "Great American Songbook" to great effect. "American Road" (BFM Jazz) moves away from Tin Pan Alley and Hollywood for a mesmerizing blend of traditional music, gospel, and popular music with a fascinating side trip to "Porgy and Bess" and "West Side Story." The CD is credited to the Tierney Sutton Band, a quartet that has been her "main men" for nearly 2 decades. In the studio, Kevin Axt and Trey Henry share the bass duties (Axt is the one who goes "on the road" and he designed the CD cover ). Pianist Christian Jacobs has developed into a major voice (he often tours with Henry and TSB drummer Ray Brinker) as important to Ms. Sutton's music as Laurence Hobgood is to Kurt Elling.

Sutton is famous for her "cooperative" approach to the band's repertoire; the arrangements on "American Road" are credited to the entire band and there's nary a false note on the CD. Opening with a highly rhythmic version of "Wayfaring Stranger" which leads into a reverential take of "Oh Shenandoah" that is paired with the Scottish folk song "The Water is Wide." Up next is a highly charged reading of the Mann/Weill/Lieber/Stoller classic "On Broadway." Built off of Brinker's
powerful percussion and throbbing electric bass, Ms. Sutton really digs into the lyrics, standing aside for Jacobs' wonderfully angular solo. The group's intelligent reworking of "Amazing Grace" shows reverence for the original at the onset then a subtle and sweet move into a blend of gospel, jazz and blues.

Purists might object to the heavy backbeat on "It Ain't Necessarily So" but it's a solid lead-in to the trio of songs from "Porgy & Bess" - here, "Summertime" is slow, sultry and impressionistic while "My Man's Gone Now" has a sweet, funky, feel.

Before Ms. Sutton moves to "West Side Story", she and Jacobs take a Debussy meets Teddy Wilson approach to "Tenderly"; then, she and the bassists do a short, bouncy, version of Yip Harburg-Harold Arlen's "The Eagle and Me." Bernstein-Sondheim's "Somewhere" is often approached in a overly emotional fashion. Here, it is a lovely ballad, filled with feeling yes but neither cloying nor overblown. The band's approach to "Something's Coming/Cool" puts the excitement in the vocal and not in an incessant rhythm - the second tune gets the energy, especially in the "running" bass line.

The program closes with "America The Beautiful", another song that can be too dramatic. Ms. Sutton avoids melismatic swoops or any other vocal acrobatics. Instead, she caresses the melody, opting to begin with a verse of wordless vocals before moving into the lyrics. As opposed to many who sing this song (including a politician currently campaigning for the presidential nomination) as a patriotic screed, Ms. Sutton understands the message of acceptance and brotherhood in the lyrics. Just her voice and Jacobs' fine piano accompaniment, a fitting close to an adventurous program.

"American Road" is a journey that takes the listener deep into songs that, for the most part, have had had an emotional impact on Americans, doing so without being jingoistic or snide. Instead, the Tierney Sutton Band celebrates the breadth of this country's music, making the listener pay attention to the words and feelings in each song. For more information, go to www.tierneysutton.com.

Late last year, saxophonist Dan Blake (Kenny Werner Group, Anthony Braxton's "Trillium Project", Julian Lage) joined forces with BJU Records to issue "The Aquarian Suite", a fascinating project that combines the influence of Ornette Coleman (in the instrumental choices) with the melodies that open up in various directions. Alongside Blake is Jason Palmer (trumpet), Jorge Roeder (bass) and the fine young Hartford, CT, native Richie Barshay (drums.) The music Blake created for this group has fire, swing, and breathes in such a way that the listener relaxes into the distinct moods of each track. "The Whistler" opens the program - it has a loping rhythm (somewhat like the feel of Sonny Rollins "Freedom Suite") and the front line dances over the active drums and bass. Roeder's chordal bass leads in "How It's Done", a multi-sectioned piece that blends a hard-bop feel with Middle-Eastern influences - listen to how Blake rises above the driving rhythm section setting the table for Palmer's excellent solo turn.

Other highlights include the bluesy ballad "The Road That Reminds", where the tenor saxophone and muted trumpet move together in wonderful dialogue before Blake moves out for a heartfelt (and pleasingly long) solo. Late in the piece, the bass and drums drop out, leaving Blake and Palmer locked in a musical conversation that comes to a satisfying conclusion. "You Cry So Pretty" is a lovely ballad, not cloying or sentimental but gentle with a sweetness that brings the listener back to dwell in its warmth.

Honestly, there is not a weak track on "The Aquarian Suite" plus the interaction of the musicians is a joy to behold. Yes, there are moments when the music "swings" with a vengeance and it makes one wish to see and hear this music in a performance space. Go to www.bjurecords.com/DBlake.html and find out more about this excellent recording and the man behind its creation.

Here's the effervescent "How It's Done", courtesy of BJU Records and IODA Promonet - click on the link and enjoy!
How It's Done (mp3)

2012 NEA Jazz Master Jimmy Owens (trumpet, flugelhorn) does not go into the studio very often so, when he does, he makes certain the music shines. "The Monk Project" (IPO Records), Owens has taken a selection of Thelonious Monk songs (plus a Monkian take on "It Don't Mean A Thing If It Ain't Got That Swing"), assembled a crackerjack septet of musicians younger and older, and created a sweet bouquet of a tribute. The front line includes Owens, Marcus Strickland (tenor saxophone), Wycliffe Gordon (trombone), Howard Johnson (tuba, baritone saxophone) - the rhythm section is also quite fine, including Kenny Barron (piano), Kenny Davis (bass) and the electrifying drumming of Winard Harper. They do not treat this music as religious artifacts, to be approached with reverence. Instead, they engage in making the music comes alive. "Well You Needn't" gets a modal feel (with the occasional 8 bars of swing) with a sound not unlike the "Acknowledgement" section of John Coltrane's "A Love Supreme".) "Blue Monk" leans more towards the blues, with a ripping solo from the leader, a raucous turn from Gordon, and a "gutbucket" turn from Strickland (who sounds as if he is having the time of his life.) Barron shows his "Southside Chicago" moves to lead the piece back to its rousing finish. Johnson's tuba dances around the unison trumpet-tenor lines on "It Don't Mean A Thing..." exhibiting how he swings with the best of them. This version is based on a transcription from a Monk Trio recording on Riverside Records. Owens switches to flugelhorn for a a lovely reading of "Reflection" - here, he trades lines with Gordon while Barron plays the role of rhythm section (the rest of the group sits this piece out.)

There are scores of recordings dedicated to the music of Thelonious Monk, some with very fancy rearrangements and odd choices for instrumentation. Here, Jimmy Owens and company do it right. They play this music with joy, love and great spirit (Gordon, in particular, sounds like he's having the time of his life while Harper plays his butt off.) This music is timeless and worth your time. To find out more, go to jimmyowensjazz.com.

The Wee Trio - Dan Loomis (bass), James Westfall (vibraphone), and Jared Schonig (drums) - creates modern music that makes one think while tapping your feet. For its 3rd CD, TWT take a short (under 32 minutes) but lively tour on "Ashes to Ashes: A David Bowie Intraspective" (Bionic Records). No matter how one feels about Mr. Bowie's music, he knows how to write melodies and the Wee threesome have fun with these songs. The ensemble mixes more familiar tunes ("The Man Who Sold The World", "Queen Bitch", the title track) with obscure ones ("The Battle For Britain", "Sunday"), putting their unique spin on each track. The program opens with the punk-ish sounds of "The Battle.." yet the Trio finds the handsome melody lurking within. Schonig's hard-edged drumming revs up the middle of the piece. For "The Man...", they give the song a Caribbean feel, with hand drums and a marimba-like tone from the vibes. The Trio stays true to the disco-feel of "1984" yet give it a vibrant swing that one does not miss the fantastical lyrics. The martial beat of "Sunday" opens up to reveal the melody played first on the vibes then moves to bassist Loomis whose introspective lines give way to a rollicking finish. Throughout the program, Westfall's vibes have a rich sound and his playing is thoughtful and, at times, animated. The rhythm section fully inhabits each track; this music must really "fly" in person.

Even if you are not a fan of David Bowie's music, The Wee Trio's exuberance and intelligent arrangements should please fans of creative music. Plus, the group really knows how to "rock out!" To find out more, go to www.theweetrio.com.

2011 Critics Poll + An Addition

2012-01-12T16:47:00.000-05:00

Cue the fireworks - the Rhapsody Jazz Poll 2011, based on ballots from 122 critics and reviewers, is now online for you to view. You can do so by going to www.rhapsody.com/blog/2012/01/jazzpoll. Formerly hosted by the Village Voice, the new home gives readers the opportunity to sample the winners in the various categories.

On a personal note, this was the first time I took part in the voting. For those of you who read this blog's Top CDs, you know it's tough to get to 10 never mind keeping the list under 30. It's fun (for me) to see how my colleagues voted and, as it turned out, 6 of my selections made the Top 60 (my entire list is below.) 2011 really was a banner year for jazz, creative music, Black American Music....what have you - some of the disks others rated highly showed up in my complete list. Take your time to wander through the voters' lists.

Here's mine:
Marcus Shelby Orchestra - Soul of the Movement (Porto Franco Records)
Ernesto Cervini Quartet - There (Anzic Records)
Dan Tepfer - Goldberg Variations/Variations (Sunnyside Records)
Alexis Cuadrado - Noneto Iberico (BJU)
Miguel Zenon - Alma Aldentro (Marsalis Music)
David Binney - Barefooted Town (Criss Cross)
Fred Hersch - Alone at the Vanguard (Palmetto Records)
Ben Kono - Crossing (1918 Records)
Captain Black Big Band - self-titled (Posi-Tone Records)
Noah Preminger - Before the Rain (Palmetto Records)

Best New Artist:
Ben Kono - Crossing (1918 Records)

Best Vocal CD:
Sara Serpa - Mobile (Inner Circle Music)

Best Latin Jazz:
Arturo O'Farrill & the Afro-Latin Jazz Orchestra - 40 Acres and a Burro (ZOHO)

Reissues:
Julius Hemphill - Dogon A.D. (International Phonograph)
Charles Tolliver - Mosaic Select: Charles Tolliver Big Band (Mosaic Records)
Gerry Mulligan - The Complete Verve Concert Jazz Band Sessions (Verve)

In an effort to "class up the joint", I have added a link to "The Jazz Session", Jason Crane's excellent podcasts featuring his interviews with many of the finest musicians form around the world (who just happen to be in New York City so he can talk with them.) In the right hand corner of the blog, you'll see links to the most recent 3 shows. Just click and listen! One of these days, I'll post links to my interviews but you should hear how a "pro" does it. Enjoy!

Live Music in Hartford and New Haven January 2012

2012-01-11T17:18:00.000-05:00

Cornetist (and "foodie") Stephen Haynes along with guitarist/bassist Joe Morris, is presenting a series at Real Art Ways, 56 Arbor Street in Hartford, called "Improvisations." The 4th installment is Thursday January 12 and features the duo with special guest Sara Schoenbeck (bassoon) and Michael Evans (drums, percussion). Ms. Schoenbeck is a member of several different ensembles ranging from Anthony Braxton's 12 (+1)tet to Wadada Leo Smith's Silver Orchestra to Wayne Horvitz's Gravitas Quartet. She's also performed with the Mancini Orchestra and recorded in a trio setting with Morris and Taylor Ho Bynum. Evans has worked with numerous creative musicians and ensembles including Evan Parker, bassist William Parker, EasSide Percussion and Psychotic Quartet.

The program starts at 7 p.m. For more information, call 860-232-1006 or go to www.realartways.org. For a look into the world and work of Stephen Haynes, go to stephenhaynes.blogspot.com/. To learn more about all the many facets of Joe Morris's music, go to www.joe-morris.com/.

The Uncertainty Music Series, the New Haven-based creative music series curated by composer/bassist Carl Testa, presents Ca Caw in concert Saturday January 14 at 8 p.m. in Never Ending Books, 810 State Street in the Elm City. Ca Caw (pictured left)is a trio composed of Landon Knoblock (keyboards, synthesizer), Jeff Davis (drums) and Oscar Noriega (alto saxophone) - for the New Haven gig, Loren Stillman replaces Noriega. The group makes music that blends fiery improvisations with sonic explorations that move in many directions. For more information about the band, go to www.landonknoblock.com/ca-caw. For ticket information and directions, go to uncertaintymusic.com.

Next Wednesday (January 18), the Uncertainty Music Series presents the duo Pygmy Jerboa and cellist Nathan Bontrager in concert at 9 p.m. in Elm Bar, 372 Elm Street in New Haven. Pygmy Jerboa, featuring Iván Naranjo (electronics) and Maria Stankova (electronics, voice), creates music they describe as "free and rule-based improvisation." You can a sense of their experimental sounds by going to www.pygmyjerboa.info. Bontrager, based in New Haven, is a member of Dr. Caterwauls Cadre of Clairvoyant Claptraps, a quartet that plays a fascinating blend of musics from all over the world. He, also, performs with the "early music" trio Entwyned. To learn more about the creative cellist, go to nathanbontrager.com.

NEA Honors Jazz Masters 2012

2012-01-10T10:17:00.000-05:00

The National Endowment of the Arts presents its annual Jazz Masters Fellowship tonight at Lincoln Center in New York City (January 10, 2012), a presentation that can be viewed, via webcast, at www.jalc.org/neajazzmasters/.

The NEA originated this program in 1982 to pay tribute to those artists who have enhanced this American art form with originality, spirit and the desire to educate. This year's honorees are no exception.

Sheila Jordan (pictured above), born in Detroit, Michigan and raised by her grandparents in Pennsylvania, became exposed to jazz when she returned to the Motor City during the early years of World War II. She met numerous jazz musicians and, by the end of the decade, was singing in a vocal trio. Moving to New York City in 1952, it was 10 years before she made her recording debut on composer/arranger George Russell's "The Outer View." Within in few months, she released her first Lp under her own name on the Blue Note label, "Portrait of Sheila." Over the next decade-and-a-half, she spent much of her time raising her daughter yet found time to perform in clubs and churches as well as working with trombonist Roswell Rudd. In the late 1970s, she began working, recording and touring with pianist Steve Kuhn - their 2 recordings for ECM helped to bring Ms. Jordan to a wider audience. She also displayed an affinity for performing in duos with bassists. She's recorded with Arild Andersen, Steve Swallow, Cameron Brown (a collaboration that continues to the present day) and Harvie S. Later this month, HighNote Records will issue "Yesterdays", a recording of a 1990 concert with Harvie S. Sheila Jordan still tours and teaches workshops around the world. Find out more by going to www.sheilajordanjazz.com/.

For many music fans, tenor saxophonist Von Freeman, born in October 1923, is Chicago jazz personified (truly, he shares that title with the late Fred Anderson.) Freeman made the Windy City his base of operations for a career that spans over 7 decades! After spending World War II in the US Navy band, he returned to Chicago and began performing in clubs with his brothers George and "Bruz", often backing touring jazz artists. In the 1950s, he played with Sun Ra, pianist Andrew Hill, blues man Jimmy Witherspoon and others. Freeman made his national recording debut in 1972, "Doin' It Right Now", an Lp produced by Rahsaan Roland Kirk. Later recordings paired with his son Chico (1982) and another fine Chicago saxophonist Frank Catalano (1999) - the series of CDs on Premonition Records (recorded and released between 2001 and 2006) are among his strongest work. In June 2010, Von Freeman received the Jesse L. Rosenberger Medal from the University of Chicago "in recognition of achievement through research, in authorship, in invention, for discovery, for unusual public service or for anything deemed of great benefit to humanity."

New York City born and raised (December 9, 1943), trumpeter Jimmy Owens began his studies at the age of 14 with Donald Byrd. He would go on to study with composer Henry Brant and get his Masters Degree in Education from the University of Massachusetts. Owens also has been a very busy musician, performing alongside Dizzy Gillespie, Kenny Burrell, Kenny Barron, Gerald Wilson, Max Roach and Billy Taylor. He was a charter member of the Thad Jones-Mel Lewis Jazz Orchestra and musical director of musical director of the New York Jazz Repertory Company. Owens has been an educator on campuses and on the streets (working with Billy Taylor's Jazzmobile Program) and an advocate for the rights of performing artists, helping in the foundation of the Jazz Musician's Emergency Fund, a program to help individual musicians with medical, financial, and housing assistance. Jimmy Owens is the recipient of the 2012 A.B. Spellman NEA Jazz Masters Award for Jazz Advocacy. This month, IPO Records issues Owens' newest CD, "The Monk Project", dedicated to the music of Thelonious Monk and featuring, among others, Kenny Barron, trombonist Wycliffe Gordon and saxophonist Marcus Strickland. To find out more and check out his extensive discography, go to jimmyowensjazz.com.

If you are not aware of bassist Charlie Haden's impressive body of work as well as his commitment to social and political justice, you've missed a lot. Moving to Los Angeles, California, in 1957 from Missouri, the bassist came in contact with legendary musicians such as saxophonist Dexter Gordon, pianists Hampton Hawes and Paul Bley. Still, it was his meeting with saxophonist Ornette Coleman that set his career in motion. The series of recordings Coleman made for Atlantic Records from 1959-61 turned the jazz world on its ears. Haden went on to work with pianist Keith Jarrett, first in a trio setting with drummer Paul Motian - with the addition of saxophonist Dewey Redman, the pianist's "American Quartet" made an impressive group of recordings for Impulse and ECM. In 1969, Haden paired with pianist/composer/arranger Carla Bley to create the Liberation Music Orchestra, a big band that combined jazz and politics to shed light on causes the bassist felt were quite important (most especially, American "Imperialism.") He's recorded in so many settings, from duos (with Hank Jones, Keith Jarrett, and Pat Metheny) to trios (with Geri Allen and Paul Motian as well as Jan Garbarek and Egberto Gismonti plus Don Cherry and Ed Blackwell) to leading his Quartet West (displaying his love of standards and Hollywood movie music). This week sees the release of "Come Sunday", a duo CD with Hank Jones. To find out more, go to www.charliehadenmusic.com.

Another musician who should need no introduction to jazz fans is drummer/pianist/composer Jack DeJohnette. The Chicago native first came to critical notice in 1966 as a member of saxophonist Charles Lloyd's Quartet (also featuring Keith Jarrett) and, within a few years, recorded with pianist Bill Evans, saxophonist Joe Henderson, trumpeter Freddie Hubbard, Herbie Hancock and Chick Corea. He joined Miles Davis "electric" band and appeared "Bitches Brew" and other recordings from that era. DeJohnette is featured on many ECM recordings, including 10 as a leader. He started his own label, Golden Beams, with releases ranging from "New Age" to piano trio jazz. To celebrate his 70th birthday, DeJohnette will bring 3 groups to this summer's Newport Jazz Festival and, next week, E1 Records will issue "Sound Travels", a project that finds the drummer playing many different styles of music with guests Bruce Hornsby, Bobby McFerrin, guitarist Lionel Loueke, trumpeter Ambrose Akinmusire, Jason Moran and Esperanza Spalding (DeJohnette appears on 3 tracks on her upcoming release.) To find out more about his amazing career, go to www.jackdejohnette.com. For an excellent interview, go to thejazzsession.com/2012/01/09/the-jazz-session-336-jack-dejohnette/ and listen to his chat with Jason Crane.

If you want more information about the NEA, its Jazz Initiatives and the Jazz Masters Program, go to arts.gov/national/jazz/index.html.

Large Ensembles, Expressive Voices

2012-01-08T21:21:00.000-05:00

The best review of "Standards", the latest release from Bob Brookmeyer (ArtistShare), comes inside the package. Maria Schneider, a disciple/student of the late composer-arranger, does a thorough job of explaining each one of the 8 tracks. This CD, released several weeks before Brookmeyer passed in December of last year, features his favorite aggregation of the past 15 years, the New Art Orchestra with special guest Fay Classens on vocals.

If you are a Brookmeyer fan, you probably already own the recording (perhaps you even contributed to ArtistShare to support the project.) If you have never heard a CD with Brookmeyer and the NAO, then you are missing some of the most vital contemporary music created in the new millennium. The way the arranger uses the different sections (the brass writing is particularly sharp on "Standards") can often be breathtaking. On this CD, the different ways that Brookmeyer frames Ms. Classens' vocals really captures the ear. "Detour Ahead", a piece co-written by Herb Ellis, Johnny Frigo and Lou Carter, has been recorded by scores of artists, from Billie Holiday to Sarah Vaughan to Kurt Elling, features smooth horn lines (lovely soprano saxophone shadowing the vocal) and the most delicate drumming from John Hollenbeck. The "heavy" opening of "Love for Sale" gives away to a lovely brass and reed introduction to the vocal, which is sung over Kris Goessens' expressive piano. Yet, the bluesy swagger of the opening returns for a short lead to the brass & reed intro. The "cat-and-mouse" game goes on throughout the song - on the final verse, Ms. Classens gives the tune a tremendous emotional life.

Brookmeyer has recorded "Willow Weep for Me" on numerous occasions starting in 1966 with his arrangement for the Thad Jones-Mel Lewis Orchestra. Here, the arrangement retains its bluesy mood but has a darker feel in the opening. The sweet trumpet solo from Ruud Breuls over a rhythm that could have come from Gershwin's "Porgy and Bess" is long and languid and goes out on a playful note; still, the ominous horns and synthesizer lines lead the song and soloist out.

The opening section of "I Get A Kick Out of You" is literally indescribable - magical, classically inspired, it drops away to Goessens' piano and Ms. Classens' singing the rarely-heard opening verse. Then, we move into the body of the song and the arrangement builds off the simple piano riff and Hollenbeck's propulsive ideas.

"Standards" allows the listener to bask in the light of Bob Brookmeyer one more time. Like most of his big band work (starting with Gerry Mulligan in the late 1950s until this recording), the more you listen the more you hear. John Hollenbeck's drum work is quite impressive; not only can he drive a large ensemble, but he plays so subtly behind the Ms. Classens (listen to his simple yet brilliant work on the last verse of "Detour Ahead.") It may be a cliche to write that Bob Brookmeyer (1929-2011) will live as long as music lovers continue to explore his recordings and bands play his arrangements or his numerous students continue to create new music for large ensembles but it's true. Thanks to the wonderful musicians and vocalist, the engineers, the people who supported the project as well as the people who buy the CD, this music is a living and breathing testament to the joy Bob Brookmeyer gave to all of us through his creativity and hard work. To find out more, go to www.bobbrookmeyer.com.

"Changing Seasons"(ALMA Records) is an ambitious project composed and arranged by Canadian-born saxophonist/pianist Phil Dwyer. The 4-part suite - "Spring", "Summer", "Autumn" and "Winter" - features a 37-piece orchestra plus guest soloists Mark Fewer (violin, conductor of the 21-member string section) and Ingrid Jensen (trumpet on "Winter"). The music is supple, luscious, built around Fewer's expressive violin work. The band can swing, powered by the rhythm section of Chris Gestrin (piano), Ken Lister (bass) and Jon Wikan (drums, percussion) and there are many moments when Dwyer's arrangements balance the strings and "big band" sound. Wikan, who also is the propulsion beneath Darcy James Argue's Secret Society, does fine work throughout the program. His subtle yet strong work under Fewer's solo on "Autumn" allows the piece to breathe and his rambunctious work on "Winter", especially as Fewer then Ms. Jensen solo is quite enjoyable.

Fewer, Artistic Director of the Sweetwater Music Festival and chair of the string department at the Schulich School of Music at McGill University, plays with emotional intensity throughout. He opens "Autumn" by himself, with a lovely melody that shows his impressive technique; yet it's his heart that one hears in the music. In the middle of the piece, his poetic lines dance atop the active rhythm section.

"Changing Seasons" is the second recording I've reviewed in the last few weeks that uses the different times of the year to tell its story - Anthony Wilson's "Seasons: A Song Cycle for Guitar Quartet" was the other. Both CDs are rich with melodic inventions and strong musicianship. Phil Dwyer, who's recorded with bassist/vibraphonist/pianist Don Thompson as well as the Bridge Quartet, truly stretched himself to create this stirring music. The blend of strings with big band reeds, brass and rhythm section sounds natural, relaxed yet with much depth. For more information, go to www.phildwyer.com or www.almarecords.com.

Guitars' Suites

2012-01-01T22:38:00.000-05:00

The DVD that accompanies this wonderful new recording by guitarist and composer Anthony Wilson serves as an eye-opener for those who never think beyond the music. There are some listeners who can't tell the difference in sound between a hollow-bodied electric guitar and, say, a Fender Telecaster. Watching master luthier John Monteleone "listening" to the raw material he is using to create the 4 guitars that make the sounds in "Seasons" A Song Cycle for Guitar Quartet" (Goat Hill Recordings)is like watching a master wine maker blending grapes from different areas of a vineyard to produce a vintage wine.

Once the guitars were built, Monteleone commissioned Wilson to create his "song cycle". The composer invited 3 friends to play the suite with him, jazz plectrist Steve Cardenas, the splendid Brazilian guitarist Chico Pinheiro and the impressive "child prodigy" (now 23) Julian Lage. The 4-part composition - "Winter", "Spring", "Summer" and "Autumn" - incorporates the quartet of guitars into a wistful yet often intensely emotional world of shimmering notes, highly rhythmical strumming, intricate melodies, and single-note runs that are, at turns, delicate and breath-taking. Recorded in concert at The Metropolitan Museum of Art in New York City, the performance (some of which is documented on the DVD) is filled with handsome interplay, dazzling unison lines, and, when one sits back and really pays attention, wonderful conversations between friends. Each guitarist gets a "solo" turn; Pineheiro plays a lovely version of Jobim's "Tide" on the "spring" guitar while Lage caresses Eddie Lang's "April Kisses" on the "summer" 6-strings. Cardenas utilizes the "winter" guitar to create a simple yet stunning version of "Spring Can Really Hang You Up The Most" and Wilson plays "Mediation on Autumn/Fall" (a medley of an original piece with the Wayne Shorter composition from Miles Davis's "Nefertiti" Lp) on, naturally, the "autumn" guitar. The program closes with the quartet reconvening for a pleasing performance of Joni Mitchell's "The Circle Game" (wonderful counterpoint throughout the song.)

"Seasons" is all acoustic music yet there is electricity in the interplay. The warmth of John Monteleone's 4 guitars is evident throughout as is the camaraderie of the Anthony Wilson, Steve Cardenas, Julian Lage and Chico Pinheiro. Wilson's writing, arrangements and playing continues to mature and this recording is a gem. For more information, go to www.anthonywilsonmusic.com.

Enjoy "Spring" from "Seasons:

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://anthonywilson.bandcamp.com/track/spring"&amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Spring by Anthony Wilson (featuring Steve Cardenas, Chico Pinheiro, &amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp; Julian Lage)&amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;The Michael Musillami Trio - guitarist/composer Musillami, bassist Joe Fonda and drummer George Schuller - is celebrating 10 years as a unit in 2012. Over that span, they have issued 2 CDs,3 as a Trio and 2 with guests (violinist Mark Feldman is on "The Treatment" while Ralph Alessi, Matt Moran and Marty Ehrlich are added on "From Seeds.").

For its 6th release, the Michael Musillami Trio + 4: "Mettle" (coming in February on Musillami's Playscape Recordings), vibraphonist Moran rejoins the group and Russ Johnson (trumpet), Ned Rothenberg (alto sax, clarinet) and Jeff Lederer (tenor saxophone, clarinet) are added as well. The program is comprised of 4 original pieces, each with a story connected to it. The centerpiece of the disk is the nearly 35-minute "Summer Suite: Twenty Ten" - the work has 8 distinct sections. It opens with "Iceland", a tune written prior to the Trio's planned journey to Europe and the fear that the volcano eruption (and the subsequent ash cloud) might cancel the flight. The composer's shaved head provides the title for "Bald Yet Hip", a bluesy piece that features an exciting interchange between Johnson and Fonda. Moran's "floating" vibes leads "Piazzolla On The Porch" in and the splendid blend of the dancing melody (played by the reeds and horn) with Moran's hearty solo captures the ear (yet pay attention to the great rhythm trio by the Trio.) Johnson's muted trumpet sounds above the Musillami's quiet tones on "Nebraska" is quite beautiful. Other highlights include Fonda's handsome solo piece "High Likeability Factor", Schuller's drum spotlight "Moe" and Lederer and Rothenberg's lively tenor and alto sax lines on the short "Barnstable News" that closes the suite.

3 longer pieces complete the CD. The opening track, "Piana Dei Greci" (dedicated to the small Sicilian village for which all 4 of the guitarist's grandparents came from), starts quietly withy shimmering vibes supporting a rich guitar melody. Here, as in other moments on the disk, Musillami's guitar work and tone sounds like a bit like Carlos Santana - the tune opens up to allow short solos from the front line. "Blues for the Wounded Warrior" is dedicated to the Wounded Warrior Project that assists members of the armed services who have life-altering injuries. This is not a sorrowful "blues" but a defiant one with exciting solos from Rothenberg and Lederer on saxophones as well as Moran on vibes. 2/3rds of thr way through the 14-minute track, Musillami commences a series of dialogues, first with the drums, then the bass and culminating with the trumpet leading to rousing, upbeat, finish. The final track, "Thuggish Mornings", was inspired by the composer and his daughter wearing their "hoodies" to breakfast as well as the music and rhythms of Biggie Smalls and Tupac Shakur. In the midst of the funky "beats", the melody line reflects both European classical and Jamaican influences (!) Johnson's solo is an aural treat then Lederer and Rothenberg duel and dance around on their respective clarinets. It's a joyful close to an impressive CD.

Michael Musillami shows continued growth and new strength on "Mettle" - the tunes are all strong, the arrangements impressive and his playing shines. Yet, this is primarily an ensemble recording and he allows his 6 fellow travelers plenty of room to display their talents.To find out more, go to www.playscape-recordings.com and follow the links.

On Friday January 13th, Musillami bring the Trio +4 to the Hotchkiss School in Lakeville, CT, to celebrate the release of "Mettle." The guitarist is Director of jazz Studies at the private high school Long-time associate Peter Madsen (piano) replaces Matt Moran for the gig that will feature new material arranged for the different lineup. To find out more, go to www.hotchkiss.org or call 860-435-4423.

Chuck Obuchowski's 2011 Favorites

2011-12-30T18:01:00.000-05:00

I invited Chuck Obuchowski, Jazz Music Director at WWUH-91.3 FM and writer for the Hartford Courant, to post his Favorite CDs of 2011. What follows is a somewhat altered version of the article that will appear in the January 2012WWUH Program Guide. (I'll be joining Chuck on the radio Tuesday January 3 2012 from 9 a.m. - 12 noon and we'll play selections from our "Best-of..." and/or "Favorites" lists.)
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Friends often complain to me that they have a tough time finding new music which really wows them. They suggest that the current jazz scene needs more star power: after all, where are the Armstrongs, the Ellingtons, the Monks and the Coltranes of this generation?

While it may be true that no bona fide jazz musician – save perhaps Wynton Marsalis – has attained household-name status lately, there are still many exceptional improvising artists around, and – I would argue – a decent number of noteworthy jazz recordings continue to be issued every year. Looking back on my 2011 Tuesday Morning Jazz play lists, I identified over 50 contenders for inclusion on my “top 10 list.”

I prefer to call them my “10 favorites,” but everybody else insists on using the “10 best” prefix with such lists … call ‘em whatever you wish, but – if you like online samples of any of these albums – please purchase the music; musicians need to eat, too.

At WWUH, we still receive a plethora of new jazz discs every year, even though it seems every few months some “expert” predicts the imminent demise of the compact disc. While I applaud the resourcefulness of independent artists, a lot more mediocre music finds its way onto disc these days without anyone around to offer quality control. So it can be daunting to slog through lots of so-so recordings in search of a few gems.

Hopefully, you’ll discover something gem-like in at least a few of the releases I’ve selected here; great music has the power to transcend time and space if we allow ourselves to fall under its spell.

Please note that I have listed these releases in alphabetical order according to the artists’ surnames; they are not ranked in order of preference.

The New Gary Burton Quartet – Common Ground (Mack Avenue Records)

Vibraphonist Burton, who will be 69 years old on January 23, is still making vital music, as this album attests. His four mallets dance effortlessly across the keys of his instrument, as he and three highly skilled composer-improvisers take the listener on a sensual sonic sojourn.

Julian Lage, who first joined forces with Burton while a student at Berklee, shares the leader’s gift for lyricism. He provides many of the album’s most compelling solos on his distinctive archtop semi-acoustic guitar. Listen to his ebullient exchanges with Burton during “Did You Get It?,” written by drummer Antonio Sanchez. Sanchez has worked extensively with Pat Metheny, who – like Lage – earned accolades as a member of the vibist’s band while still a teenager.

Here's a track from the CD courtesy of Mack Avenue & IODA Promonet:
Was It So Long Ago? (mp3)

Joseph Daley Earth Tones Ensemble – The Seven Deadly Sins (JARO)

This is certainly one of the most ambitious jazz projects to be released in 2011. Fronting a band of nearly 30 musicians, Daley conducts a suite he composed based on the seven deadly sins. The work was specifically inspired by paintings by Wade Schuman which portray each of the infamous transgressions as animals; prints of these paintings are included in the CD package, which also contains a DVD of the recording sessions.

Astoundingly, this is the 62-year-old tuba player’s first release as a leader, although Daley has worked with everyone from Lionel Hampton to Cecil Taylor during his busy career. The music here is bold and brassy – with multiple trumpets, trombones, tubas and French horns – plus five percussionists. Saxophones, piano and vibraphone also add to the tonal palette.

Daley performed with Connecticut-based trumpeter Stephen Haynes in his Paradigm Shift brass ensemble during the 1990s. The group’s sole recording was culled from a performance at Real Art Ways in Hartford.

Tim Horner – The Places We Feel Free (Miles High Records)

Like Joseph Daley, Horner has made a name for himself as a first-rate sideman, working for many years with outstanding jazz composers like Maria Schneider and Rufus Reid. He credits them with encouraging him to step forward as a leader and composer at last.

The results are delightful; not only has the drummer written 10 fascinating tunes, some inspired by his world travels, but he’s also assembled an excellent team to interpret them. Horner employs seven musicians in all, in various combinations on each track. It’s tough to single out any one soloist, but guitarist John Hart, trumpeter Ron Horton and keyboardist Jim Ridl offer especially engaging improvisations.

Ben Kono – Crossing (19/8 Records)

Kono’s music is panoramic in scope, ranging from the lovely flute-and-reed chorale that introduces this disc’s title track to the Asian-flavored fusion of “Rice” – from the fiery tenor sax and guitar solos on “Tennis” to the carefully crafted 12-tone abstractions which highlight “Celestial Birch.”

The Vermont native and former U.S. Army Jazz Ambassador plays eight horns on this, his debut CD. In addition to typical jazz axes like saxophone and flute, Kono provides more unusual aural textures on oboe, English horn and shakuhachi.

His terrific ensemble includes drummer John Hollenbeck, guitarist Pete McCann and bassist John Hebert. All five accompanists seem perfectly suited to bringing Kono’s distinctive compositions to life.

Peter McEachern Quintet – Shockwave (self released)

What a joy that Connecticut trombonist McEachern took it upon himself last year to finally bring this amazing music – recorded in 1994 – to the public’s attention. It finds him in the company of two longtime colleagues: bassist Mario Pavone and multi-reedman Thomas Chapin, both operating at the height of their powers.

Plans to have the album released back then on Knitting Factory Works fell through when the label began having financial problems, and McEachern shelved the project after Manchester native Chapin was diagnosed with acute leukemia.

The quintet featured here only worked together a few times, but all had performed with the trombonist before, including trumpeter Jamie Finegan and drummer Steve Johns. McEachern’s compositions are highlighted, yet everyone but Johns contributed at least one tune. The improvising is uniformly inspired throughout; fans of Pavone’s and Chapin’s edgy-but-swinging work will rejoice in hearing this lost treasure for the first time. It’s also worth noting that these sessions marked Chapin’s debut on baritone saxophone, but he plays with the authority and daring he brought to every one of his chosen instruments.

Brad Mehldau – Live in Marciac (Nonesuch)

The onetime West Hartford resident continues to hone his impressive ability to blur distinctions between musical genres: seamlessly shifting from classical precision to the jangly discord of Kurt Cobain’s “Lithium,” heard in medley with 1970s singer/songwriter Nick Drake’s hypnotic “Things Behind the Sun.”

It’s all here – along with much more – on this two-disc document of a 2006 solo recital in France (A 10-song DVD from the concert is also included in the package.) Despite his staggering virtuosity, Mehldau never forgets the importance of conveying a range of emotions to his audience. There are solemn ballads (“Goodbye Storyteller”) and carefree romps (the Lennon/McCartney trifle “Martha My Dear”), even the occasional jazz standard (“Dat Dere”).

Mehldau’s solo performance at the Garde Arts Center in New London last February preceded the release of this album by just two days. That event was one of the concert highlights of my year. There, he strayed even further from the usual jazz repertoire, including a 20-minute rendition of Massive Attack’s “Tear” and a poignant cover of an old Neil Young song.

Marcus Shelby Orchestra – Soul of the Movement (Porto Franco)

The San Francisco bassist has subtitled his big band’s latest recording “Meditations on Dr. Martin Luther King, Jr.” The music combines striking arrangements of spirituals, “We Shall Overcome” and Shelby originals to create a vivid musical portrait of the life and times of the famed civil rights leader.

Faye Carol and Kenny Washington bolster the instrumentalists’ contributions with their dramatically delivered lyrics and swinging scat vocals. Shelby also includes potent interpretations of appropriate material by Charles Mingus and Curtis Mayfield to flesh out Dr. King’s story.
Here's one of the great original tracks from the CD, courtesy of Porto Franco Records & IODA Promonet:
Black Cab (mp3)

Jack Wilkins – The Blue & Green Project (Summit Records)

It’s a safe bet that this disc features the first jazz piece to incorporate a “field recording” of two master blacksmiths at work. “Song of the Anvil” uses their clanging interplay as the basis for its mesmerizing rhythms.

But “The Blue & Green Project” is no mere novelty record. Rather it’s a collection of eclectic musical stories “inspired by Appalachian Mountain culture and environment.” Each weds elements of jazz with American roots music ranging from gospel to bluegrass. Saxophonist Jack Wilkins (not to be confused with the guitarist of the same name) also translates his impressions of the region’s geography into pieces like “Mountain Watercolors” and “River Run.”

Wilkins, Director of Jazz Studies at The University of South Florida, coaxes an astonishing array of moods and improvisations from his large ensemble. Guitarist Corey Christiansen rocks out one moment, and violinist Sara Caswell glides sweetly along the mountaintops the next. Drummer Danny Gottlieb keeps everyone in line with his surefire drumming, but the bandleader deserves the most credit for shaping these diverse elements into a coherent whole.

Dr. Michael White – Adventures in New Orleans Jazz Part 1 (Basin Street)

This one gets my vote for “fun album of the year.” If you don’t find yourself tapping along to some of the euphoric rhythms on this disc, it may be time to have your hearing examined.

Clarinetist White has assembled a dynamic cast of Crescent City players to present a musical adventure that takes the listener on a journey through the African Diaspora, including stops in Jamaica and Haiti – as well as visits to back porches and black churches in the Deep South.

He gives the Bob Marley classic “One Love” a trad jazz twist, and similarly imbues the music of South African songstress Miriam Makeba with a N’orleans vibe. Elsewhere there are charming vocals and a blues-drenched duet with banjo on “House of the Rising Sun.” White’s newest endeavor reminds us that, even in the 21^st century, New Orleans remains an indispensible musical melting pot.

Various Artists (produced & arranged by Bob Belden) – Miles Español (E One)

Talk about ambitious projects! Bob Belden invited some of today’s most broad-minded improvisers to explore the history and influence of Spanish and Gypsy musics as they relate to jazz. A longtime Miles Davis aficionado, Belden used elements of the renowned Davis/Gil Evans collaboration “Sketches of Spain” as a springboard for these explorations.

This album begins – as did the 1960 Davis/Evans classic – with an enticing version of Joaquim Rodrigo’s “Concierto de Aranjuez.” More exotic instrumentation is employed, however – with gorgeous contributions from harp, oud, bassoon and percussion.

Many of the musicians who perform on this two-CD set have opted to contribute their own compositions based on the aforementioned concepts. This results in a blend of folk forms and inspired jazz improvisations by an impressive roster of talent. Some of the names you just might recognize: Chick Corea, Ron Carter, John Scofield, Sonny Fortune and Jack DeJohnette.

Two Creative Voices Silenced

2011-12-27T18:54:00.000-05:00

Adrienne Cooper died on Sunday December 25at the age of 65 and in the prime of his creative career. Arguably the finest interpreter of Yiddish music of her generation, Ms. Cooper had worked with numerous groups including Kapeleye, the Flying Bulgar Klezmer Band, the Klezmatics and Mikveh. I had the honor of presenting Mikveh in concert at out local synagogue here in Middletown. That ensemble, an all-star and all female group, lit up the night with the splendid musicianship but Ms. Cooper's forceful vocals and formidable stage presence was the highlight of the evening.

Along with pianist Zalman Mlotek, she created "Ghetto Tango: Wartime Yiddish Theater", a fascinating collection of songs from shows written in the ghettoes of Eastern Europe during World War II. She also co-wrote (with Jenny Romaine and Frank London) "The Memoirs Gluckl of Hameln", presented to acclaim in New York at the legendary La Mama Annex. Her most recent CD, "Enchanted: A New Generation of Yiddish Song" (Golden Horn Records), is a varied and wondrous collection of songs, ranging from songs from "..Gluckl.." to traditional pieces to sound collages.

In addition to her performing career, Adrienne Cooper served as the Workman’s Circle’s external affairs officer for cultural programming, and had worked previously as the assistant director of the YIVO Institute for Jewish Research. She won several prestigious awards including Jews for Racial and Economic Justice’s Risk Taker Award.

Adrienne Cooper sang with heart, emotion, fortitude and with great joy. She will be greatly missed. For more information about her life and music, go to www.adriennecooper.com.

Saxophonist, composer, arranger and educator Sam Rivers passed away on Monday December 26 at the ago of 88. His career spanned 6 decades but his rise to critical notice came in the early 1960s when he began performing with the young drummer Tony Williams. It was Williams, who joined Miles Davis classic mid-60s Quintet in 1964 (at the age of 17!) who recommended Rivers for the tenor saxophone role in the group. He lasted for just a few months before Davis replaced with Wayne Shorter. That did not curtail Rivers' career - he signed with Blue Note Records and released 4 Lps while playing as a sideman on numerous sessions. In 1970, Rivers and his wife Beatrice (who died in 2005) opened Studio Rivbea in New York City and the performance space became the "hot spot" for the "new" music that grew out of the revolutionary sounds of John Coltrane and Chicago's AACM. Rivers recorded a slew of sessions for Impulse Records and a number of smaller labels, including a series of duets with bassist Dave Holland on the Improvising Artists label. He shared the front line with fellow reed player Anthony Braxton on Holland's wonderful 1973 ECM recording "Conference of the Birds."

Rivers also fronted the Studio Rivbea Orchestra culminating in a pair of strong recordings for RCA Victor (the last "major" label to release his music.) In 1995, he created a masterful solo performance for the "Workshop Freie Musik" in Berlin, Germany - the FMP label issued 9 of the solo pieces as "Portrait: Sam Rivers" in 1997.After moving to Florida, he formed a trio with bassist Doug Mathews and percussionist (and tenor saxophonist) Anthony Cole, creating intense music and touring throughout the country. The Trio worked closely with Steven Bernstein on his 2002 Tzadik release, "Disapora Blues", the trumpeter's imaginative rearrangements of Jewish cantorial melodies.

Over the last decade, Rivers appeared on CDs with NOJO (the Neufield-Occipinti Jazz Orchestra from Canada), on pianist Jason Moran's "Black Fire", and in a trio setting with percussionists Adam Rudolph and Harris Eisenstadt.

Sam Rivers did not rest on his laurels. He was a "forward" thinker when it came to his music but did not shy away from working with anyone (he played in several ensembles led by Dizzy Gillespie for 4 years.) He could play "in", "out", through-composed music, totally improvised pieces, in solo settings, trio, big band - Sam Rivers made music and, over the years, influenced many people. Not only musically but with his sense of business and independence. For more information about his life and work, go to www.rivbea.com.

...And One More For The Road

2011-12-25T07:36:00.000-05:00

The joy of having a blog is that one can correct his mistakes - the flipside of that statement is that I make too many mistakes (all the more as I approach "alter kocker" status - look it up.)

In my previous post ("Rest of Best Of.."), I inadvertently omitted the splendid "Goldberg Variations/Variations" recording of pianist Dan Tepfer (Sunnyside). And, in my haste to complete the list before 2012, I left out a section of favorites that fall, for me, in the category of "Uncategorizable." In June, I reviewed "Interstitials", the latest release by composer/vocalist/guitarist Joshua Stamper. Returning to the music over the past week, it still sounds fresh and refreshing; the blend of voices, guitars, low brass and woodwinds makes me smile, replacing the chill of the outside world with the joy of creation. My review (click here) still contains a link to the music.

"Flickers of Mime/Death of Memes", the latest "solo" creation of Alexander Berne & The Abandoned Orchestra (Innova Recordings) is filled with sounds that are wonderfully strange and familiar at the same time. Berne's music is a mysterious world of sounds from many different sources, including instruments of his own making. Like many other composers whose work is considered "out" (such as Roscoe Mitchell, Terry Riley, John Cage), the listener has to jettison preconceived notions of what music "should be" and revel in composer's sonic world. Yes, easier writ than done but... For more information and a fascinating visual experience, go to www.alexanderberne.com.

There are numerous examples of musicians who came of age in the 1960s who still perform their "hits" on a regular basis - because they are in the "music business", many of them plow the same fields that gave them their fame.

Paul Simon will still perform his "big hits" but he is no nostalgia act. He continues to write, record and go on tour, all the while continuing to experiment. Some work, some don't, but his music stays pliant and current. "So Beautiful or So What" (Hear Music) shines, plain and simple. Make of the lyrics what you will but this music, a wondrous amalgam of guitars, drums, blues and world music influences, is often exhilarating.

Darcy James Argue has added his voice (and the words of others) to the tributes for Bob Brookmeyer. Argue blends his heartfelt words with reflections from others who have been touched by the music and teachings of this man whose career spanned 6 decades and whose influence on large ensemble music can be compared to that of Edward Kennedy "Duke" Ellington. Go to www.newmusicbox.org/articles/celebration-remembering-a-tribute-to-bob-brookmeyer/ to read the entire piece.

Musician, yogi and teacher Pat Donaher also writes a lovely tribute to Mr. Brookmeyer - go to visionsong.blogspot.com/2011/12/rip-bob-brookmeyer.html to read his fine words.

Rest of Best of 2011 + Recap

2011-12-24T07:00:00.002-05:00

The Holiday Season is a swirl of activities, new beginnings and endings, so much to do. I'd like to be a bit more expansive in this final part of the list but life, in its glorious mash of good and bad, is in the way.

Therefore, here's a "shout-out!" to more of the most exciting music from the past 12 months (including several "smoking" live shows.

So Percussion - Eric Beach, Josh Quillen, Adam Sliwinski, and Jason Treuting - has been a creative unit since its inception 12 years ago at the Yale School of Music. Over that span, they recorded music by Steve Reich (this year, they perform his "Mallet Quartet" on the "WTC 9/11" CD), Paul Lansky, David Lang, Bjork and many others. In 2011, they released Steven Mackey's "It Is Time" , Lansky's "Threads", Yale Professor of Composition Martin Bresnick's "Caprichos Enfaticos" ( a collaboration with pianist Lisa Moore (all issued by Canteloupe Music), and "Bad Mangos" a collaboration with trumpeter Dave Douglas issued on his Greenleaf Music label. If I had to pick one to recommend over the others, I'd say "it depends on the day." Each program is absorbing and challenging, especially if you pay attention. So Percussion does not create background music, they change the world around you. For more information, go to www.sopercussion.com.

Several piano trios caught my ear this year. Jean-Michel Pilc-Francois Moutin-Ari Hoenig released "Threedom" (Motema Music), a series of in-studio improvisations that revolve around the musicians' magical interactions. Cuban-born pianist Fabian Almazan issued his debut CD, "Personalities" Biophilia Records), utilizing the talents of bassist Linda Oh and drummer Henry Cole to create music that shimmers and soars. The Trio (with Kendrick Scott sitting in for Cole) opened the Fall 2011 Concert Series at Firehouse 12 in New Haven and shone brightly. Posi-Tone Records issued a slew of fine CDs this year including "Noble Path" by Art Hirahira and "Freedom" by Orrin Evans.

The saxophone, bass and drum ensemble known as Honey Ear Trio (Erik Lawrence, Rene Hart and Allison Miller) issued its debut CD, "Steampunk Serenade" (Foxhaven Records) while pianist Joan Stiles got together with drummer Matt Wilson and saxophonist Joel Frahm to produce the joyous "Three Musicians" (Oo-Bla-Dee Records). FAB Trio (bassist Joe Fonda, drummer Barry Altschul and violinist Billy Bang) created "History of Jazz in Reverse" (TUM Records), arguably its best recording and sadly issued just after Bang's passing.

BJU Records also issued "Mulberry Street", the delightful and pleasingly detailed big band recording by trombonist/composer Jeff Fairbanks' Project Hansori. Featuring (among others) the hearty baritone saxophone work of Fred Ho, the music reflects the myriad influences the composer hears on the street where he resides plus what he has encountered in his relationship with his wife, cellist Heun Choi Fairbanks (a native of South Korea.) One other large ensemble, bassist/composer Pedro Giraudo Jazz Orchestra makes the list with its expansive and highly musical "Cordoba" (ZOHO).

Drummer John Hollenbeck continues to mature as composer, arranger and musician. This year, his Claudia Quintet released "What Is The Beautiful" (Cunieform Records), a collection of songs paired with the poems of Kenneth Patchen (1911-1972). The CQ - Hollenbeck, Chris Speed (reeds), Ted Reichman (accordion), Matt Moran (vibraphone) and Drew Gress (bass) - expands to include pianist Matt Mitchell as well as the voices of Kurt Elling and Theo Bleckmann. This is one of those recordings that each time I play it, something new is revealed either in the words or music that frames the poems.

Hollenbeck, a student of the late Bob Brookmeyer (as well as a frequent collaborator), also wrote a touching elegy for his teacher and mentor - you can (and should) read it by going to johnhollenbeck.com/.

Earlier this year, I wrote about journalist/pianist/composer Peter Hum's excellent CD "A Boy's Life" (self-released). It remains a favorite as does "Across the Sky", a sparkling CD from bassist John Geggie's Trio plus saxophonist Donny McCaslin. And, although the music was recorded in 2009, "MY Duo - Andrew McCormack & Jason Yarde (Joy and Ears) was a pleasing find this year.

Finally, I had the good fortune to attend a number of excellent concerts this year including the Charles Lloyd Quartet (Wesleyan), Janus Trio (East Haddam Congregational Church), and a slew at Firehouse 12 in New Haven. One of the most exciting was Jeff Lederer's Sunwatcher, his quartet with Matt Wilson, Jamie Saft and Avery Sharpe - my, o my, there was spirit in abundance on that evening. Most recently, I was knocked out by the wonderful melodicism, interplay and fire of Harris Eisenstadt's Canada Day. The band's second CD (issued this year on Songlines ) is really strong but the quintet's live show was transcendent.

Here's the recap of the recordings that made this (expansive) list:
David Binney - "Barefoot Town" (Criss Cross)
Ernesto Cervini Quartet - "There" (Anzic)
Marcus Shelby Orchestra - "Soul of the Movement" (Porto Franco Records)
Dan Tepfer - "Goldberg Variations/Variations" (Sunnyside)
Ben Kono - "Crossing" (Nineteen-Eight)
Captain Black Big Band - self-titled (Posi-Tone Records)
Fred Hersch - "Alone at The Vanguard" (Palmetto Records)
Miguel Zenon - "Alma Aldentro" (Marsalis Music)
Arturo O'Farrill & the Afro-Latin Jazz Orchestra - "40 Acres and a Burro" (ZOHO)
Tom Harrell Quintet - "The Time of the Sun" (HighNote Records)
Chris Dingman - "Waking Dreams" (self-released)
Noah Baerman - "Know Thyself" (Lemel Records)
Noah Preminger - "Before the Rain" (Palmetto)
Alexis Cuadrado - "Noneto Iberico" (BJU Records)
Jeff Fairbanks' Project Hansori - "Mulberry Street" (BJU Records)
Jean-Michel Pilc, Francois Moutin & Ari Hoenig - "Threedom" (Motema Music)
Honey Ear Trio - "Steampunk Serenade" (Foxhaven Records)
FAB Trio - "History of Jazz in Reverse" (TUM Records)
So Percussion - "It Is Time" (Canteloupe) + "Caprichos Enfaticos" (with Lisa Moore, also on Canteloupe) + "Bad Mangos" (with Dave Douglas, on Greenleaf)
Peter Hum Quintet - "A Boy's Journey" (self-released)
Geggie Trio + Donny McCaslin - "Across The Sky" (Plunge)
Andrew McCormack + Jason Yarde - "My Duo" (Joy and Ears)
Claudia Quintet - "What Is the Beautiful" (Cunieform)

Have a happy and safe Holiday Season - here's to a peaceful and creative 2012!

More on Bob Brookmeyer

2011-12-17T16:06:00.000-05:00

In the rush to get my previous post on Bob Brookmeyer completed, I forgot to mention the influence the arranger/composer had on the life and work of Darcy James Argue. When you listen to the debut CD of DJA's Secret Society, "Infernal Machines" (New Amsterdam), one can hear brass sweeps, long sections of melodic development and just how important a strong drummer (in this case, Jon Wikan) is in the music of a larger ensemble. And you can trace that style back to Bob Brookmeyer. Like most smart, creative, and hard-working composer/arrangers. Argue adds other influences to the mix to make the music his own. Go to secretsociety.typepad.com and read what Mr. Argue has to say about his mentor and friend.

Then, go take a look at what 26-year old Nicholas Urie (click here) has to say about Mr. Brookmeyer. A teacher, an elder statesman, a friend, a mentor, Bob Brookmeyer, through his life's work, set an example that not only resonates through his music but now courses through the creations of his students and admirers.

Mr. Bob Brookmeyer - Spirit Dance Indeed

2011-12-16T17:55:00.001-05:00

I had the post planned out in advance. This coming Monday (December 19), I would wish the composer-arranger-valve trombonist Bob Brookmeyer a Happy 82nd Birthday with a sparkling review of his new CD, "Standards" (Artist Share), recorded with his most constant ensemble of the last 15 years, the New Art Orchestra, and guest vocalist Fay Claassen.

Instead, this post is 3 days before his birthday and written the day after Bob Brookmeyer died. There will be plenty of deserving tributes for this man who had a most wonderful talent to write handsome melodies, unique arrangements, and could play with humor. Oddly, his passing comes at the same time as the writer and political & cultural correspondent Christopher Hitchens. Although the politics of the 2 men were diametrically opposed (Brookmeyer strongly opposed the Iraq War and it's another odd coincidence that the US involvement in that country - a deployment Hitchens greatly supported - is now history.) Both men wrote with great passion and disregard for the feelings of those who disagreed with them. And, both deplored complacency, an attitude that has been in abundance for the longest time.

Bob Brookemeyer leaves behind a legacy of 50+ years of fine recordings (his work in the 1950s and 60s with Jimmy Guiffre and the Gerry Mulligan Concert Jazz Band) and splendid compositions and arrangements for the Thad Jones-Mel Lewis Big Band. He co-led a Quintet with trumpeter Clark Terry in the 1960s and recorded a 2-piano date with Bill Evans. After Thad Jones left the US to work overseas, Brookmeyer became musical director of the Mel Lewis Orchestra (the band's 1982 classic, "Make Me Smile", is woefully not available on CD). He also recorded a duo set with Jim Hall,
recorded in smaller group settings (one quite memorable one with trumpeter Kenny Wheeler and never shied away from experimentation. Yet, his output with the New Art Orchestra supplied with a vast canvas and he painted so many memorable musical portraits with that ensemble ("Waltzing With Zoe", "Elegy", the entire "Spirit Music" CD) - on the new CD, the opening section of "I Get A Kick Out Of You" channels Aaron Copland, Erik Satie, and Nino Rota without sounding like any of them.

He also leaves behind a slew of disciples and students ranging from Maria Schneider (who sent out the initial announcement of his passing) to John Hollenbeck (who Brookmeyer installed as the drummer in the NAO) to Ayn Inserto to Ed Partyka to Nicholas Urie and many more. Ms. Schneider was also the driving force behind the new CD, making the initial suggestion and writing the expansive liner notes.

As I wrote above, in the next few days and weeks, there will be plenty of tributes. Start here with Terry Teachout, move on to Peter Hum (who has a fine knack of getting quotes from musicians - click here) and then take the time to read this excellent 2009 interview on Marc Myers' JazzWax website (click here for Part 1). Such a great talent - we are so lucky to have so many examples of his music to get lost in. Losing Bob Brookmeyer and Paul Motian is the space of 3 weeks is quite shocking but that's one of the mysteries of life.

More of Best Of 2011 (Including Local Folks)

2011-12-15T20:59:00.000-05:00

25-year old Noah Preminger grew up in the Hartford, CT, area and studied at the New England Conservatory of Music in Boston, Massachusetts. Since arriving in New York City, he's played with a slew of great musicians including Frank Kimbrough, Fred Hersch, Dave Liebman and Dave Douglas. For his second CD as a leader, "Before the Rain" (Palmetto Records), he once again called upon pianist Kimbrough while added bassist John Hebert and drummer Matt Wilson. This is not your typical sophomore attempt. Preminger rarely if ever overplays and his compositions offer much space for Hebert's counter-melodies, Wilson's expansive percussion and Kimbrough's impressionistic piano. Several of the pieces are informed by Ornette Coleman (the quartet plays Coleman's "Toy Dance" from his Blue Note Lp, "New York Is Now"). Preminger often displays a light tone, playing high in the tenor range but, like Charles Lloyd, he does not squall or scream. This music is timeless, this music is contemporary and my desire to hear the entire program has not waned over the year since its release.

I admit to a soft spot in my heart for pianist/composer Noah Baerman's "Know Thyself" (Lemel) - I've known Mr. B for over a decade and was in the audience at Wesleyan University (where he directs the Jazz Ensemble) when the piece was premiered in 2009. The 65-minute work, broken into 13 parts for the recording, is a story in sound featuring musicians who are long-time friends and associates. Wayne Escoffery (tenor and soprano saxophones), Amanda Monaco (guitar) and Baerman met in their teens and have played together in various formations for over 2 decades while bassist Henry Lugo and drummer Vinnie Sperrazza have been the nucleus of his Trio for the past 7 years. Also in the mix are Erica von Kleist (alto saxophone, flute) and Chris Dingman (vibraphone). The music covers a wide swath of stylistic territory, from gospel to blues to pop influences to straight-ahead hard-bop - it's filled with great emotion, at times gentle, yet Sperrazza can be a firebrand and both Escoffery and Baerman create powerful statements near the end of the work. This is music to contemplate and celebrate. For more information, go to www.noahjazz.com.

Dingman issued his debut CD this year and "Waking Dreams" (Between Worlds Music) is stunning. The Wesleyan graduate, who was turned on to the vibraphone by Wesleyan Professor Jay Hoggard, wrote this extended suite (he does not call it that but there is a sonic thread that is woven throughout the program) for a group that features Ambrose Akinmusire (trumpet), Loren Stillman (saxophones), Fabian Almazan (piano) and the superb rhythm section of Joe Sanders (bass) and Justin Brown (drums). One of the 14 pieces, "Manhattan Bridge", is truly one of the loveliest songs you'll ever hear. Akinmusire, whose Blue Note debut CD I have yet to hear in its entirety, plays so gracefully as does Almazan and, with the bass and drums creating a rich bottom, this music is gets inside you and does not let go. To find out more, go to www.chrisdingman.com.

Dingman also appears on drummer Harris Eisenstadt's "Canada Day 2" (Songlines Records), a recordingripe with possibilities which one can really hear when you see the band live. The CD is quite good but the current lineup (also including original members saxophonist Matt Bauder and trumpeter Nate Wooley plus newcomer bassist Garth Stevenson) really shine.

Other 2011 faves include the delightful "Noneto Iberico" (Brooklyn Jazz Underground Records), yet another suite of tunes that celebrate composer and bassist Alexis Cuadrado's Catalan upbringing. Infectious dance shares the musical stage with soft ballads, performed by a wonderful nonet including saxophonists Perico Sambeat and Loren Stillman, pianist Dan Tepfer, trumpeter Avishai Cohen, trombonist Alan Ferber, his brother Mark on drums, guitarist Brad Shepik and percussionist Marc Miralta (4 of the 8 tracks feature a Flamenco "handclap" trio). I love the way this music flows and how the musicians inhabit these with their talent and their soul. It's hard to sit still during the moments when this music hits the groove. To find out more, go to www.bjurecords.com.

Other fine BJU releases this year include the Rob Garcia 4 "The Drop and The Ocean" (also featuring pianist Tepfer) and bassist Anne Mette Iverson Quartet "Milo Songs."

In the final installment of the "Best of 2011" will be a nod to "Mulberry Street", the sweeping new big band sounds of Jeff Fairbanks Project Hansori (also on BJU), plus a look at the incredible streak of fine releases by So Percussion, several fine piano CDs by people mentioned above, and a tribute to an American poet by one of the more impressive musician/composers on the planet.

In the meantime, I leave you with a piece from the Rob Garcia 4:
The Return (mp3)

Seasons Come and They Go

2011-12-11T07:27:00.000-05:00

Trumpeter Russ Johnson possesses a wonderful clear tone, at times quite classical, yet plays with wit and invention that defies categorization. He has had (and still has) a slew of sideman gigs, ranging from Lee Konitz's New Nonet to violinist Jenny Scheinman to bassist Michael Bates and on to Michael Buble and Elvis Costello. He has co-led the Other Quartet (with saxophonist Ohad Talmor), worked in a duo setting with pianist Mick Rossi, and teaches in a number of different schools.

He is also the leader of Out To Lunch, a quintet that takes its name and part of its repertoire from the classic 1964 Blue Note Lp created by reedman Eric Dolphy. That recording featured the explosive trumpet of Freddie Hubbard, the expansive vibraphone work of Bobby Hutcherson and the stunning rhythm section of Richard Davis (bass) and 18-year old Tony Williams (drums). Johnson's bandmates are also excellent musicians; they include Myra Melford (piano), Roy Nathanson (alto saxophone), Brad Jones (bass) and the ever-inventive George Schuller (drums). Schuller's father, the esteemed composer and educator Gunther, contributed several pieces that he has composed for Dolphy to Johnson's project.

Expect an evening of music that will go in many directions, challenging yet exciting the listener at every turn. Out To Lunch plays 2 sets, 8:30 and 10 p.m. and you can get tickets and more information by going to firehouse12.com or calling 203-785-0468.

Guitarist Julian Lage, seen here in a 2010 photo by Ken Francking, has assembled a special trio to play New Year's Eve in Boston, Massachusetts, and he's playing the night before (Friday 12/30) at Firehouse 12. Joining the fine young musician will be bassist Larry Grenadier (Brad Mehldau Trio, FLY) and drummer Eric Harland (Charles Lloyd, SF Jazz Collective). Lage continues to impress as a guitarist and his compositional skills are growing exponentially (consider the fact that he is but 23 years old!)

The music starts at 8 p.m. and there are tickets still available but going quickly. Go to the website or call the number above to join in on the fun.

On Wednesday January 25 2012, Firehouse 12 presents Bill Frisell's Beautiful Dreamers, the guitarist's trio with Eyvind Kang (viola) and Rudy Royston (drums). The band's repertoire consists of Frisell's imaginative arrangements of standard and classic American music as well as his own unique compositions. The Dreamers have been making music together since early 1990s and played in the New Haven venue in February of 2010. I can make several promises about this show; 1) - the music will be wonderful and 2) - the 2 sets (8:30 and 10 p.m.) will be sold out very quickly. So, go to firehouse12.com or call 203-785-0468 and make your reservations.

Kudos to Nick Lloyd and the staff at the Firehouse for another impressive season of music. They continue to bless the area with musicians that create work deserving to be heard in such an impressive sound environment. Honestly, I can't wait to see and hear what 2012 has in store for Firehouse 12.

O Canada Day!

2011-12-10T00:40:00.000-05:00

Had the great joy of seeing and hearing Canada Day, the quintet led by drummer-composer Harris Eisenstadt, at Firehouse 12 earlier tonight. I have the pleasure of attending a number of concerts at the New Haven venue, listened to a slew of excellent musicians, and the 2 sets I heard from this group were among the most consistent and original that i can recall. (In my notebook, I renamed them "4 Beards and Matt Bauder" - with the addition of bassist Garth Stevenson, only the saxophonist is clean-shaven. The leader, the bassist, trumpeter Nate Wooley and vibraphonist Chris Dingman all have beards - I digress.)

The 2 CDs the band has released, the first on Clean Feed and the second on Songlines, are quite good but, in person, the band really shines. Eisenstadt arranges the pieces so that there are concise sections of thematic development, often with the main theme shared among the musicians on the front line. There are phrases played behind many of the solos, sometimes tempos shift, voices drop out; the textures are rich and varied, the rhythms often thrilling and the band shows great sensitivity in the quieter moments. Wooley's solos are often rough-edged yet he also has a softer side. Bauder's notes in the higher ranges of his tenor saxophone had sweetness yet he, too, had fiery moments. Dingman's vibes added color, sustained chords and phrases that ranged from clean, single-note runs to distorted textures. Stevenson, a new name to me, played with great authority - his "bow" work was rich as well as rhythmical. Through it all, Eisenstadt created wonderful torrents of percussion, egging on the band slamming on the 4/4, and keeping the tempos alive and lively (his brush was just as impressive.) But, to my ears, the best part of Canada Day's music is that every song sounded fresh and original - I could not pick out any obvious influences. I'm sure the drummer might point some out but I just sat back and soaked it all in.

I recommend you go to www.harriseisenstadt.com and find out when the quintet is playing in a venue near you. If you love music that will surprise you with its wit, intelligence, strength and rhythmic variety, go celebrate the work and play Canada Day (and not just on July 1 - look it up.)

Best of 2011 (Part 1)

2011-12-07T20:57:00.000-05:00

Going back through the past 12 months, there have a number of mighty impressive CDs that have caught my attention. So, in no particular order (and, of course, in 2 parts), here's my choices for music you should pay attention to.

Saxophonist-composer David Binney released 2 CDs as a leader this year and both are excellent. He issued the expansive "Graylen Epicenter" on his Mythology label and it's chock-full of ideas, smart arrangements, handsome melodies and strong solos. At the moment, I'm leaning more towards "Barefooted Town", a quintet session recorded in 1 day and issued on Criss Cross. Like the 4 other releases Binney has led or co-led for Gerry Teekens label (based in Holland), this is no jam session. Binney always approaches a recording knowing how he wants it to sound and with material suited for his musical cohorts. Here he shares the front line with trumpeter Ambrose Akinmusire (whose own CD will appear on many "Best Of" lists) and tenor saxophonist Mark Turner with the rhythm section of David Virelles (piano), Eivind Opsvik (bass) and the delightful drummer Dan Weiss (both Opsvik and Weiss appear on "Graylen Epicenter"). Several of the tunes feature the combination of saxophones and trumpet playing the melody in unison, with solos that grow for the handsome themes. Akinmusire plays with great intensity without overblowing. Both Turner and Binney are fine soloists who know how to construct a solo that captures the ear and mind. As for Weiss and Opsvik, both bring so much maturity and emotion to the music while Virelles is an intelligent accomanpist and spirited soloist. "Once When She Was Here", the track that closes the CD, is one of the prettiest ballads of this or any year.

Drummer Ernesto Cervini leads a smashing quartet on "There" (Anzic Records) with Joel Frahm (saxophones), Adrean Farrugia (piano) and Dan Loomis (bass). Recorded live over 2 evenings at Cory Weeds' Cellar Jazz Club in Vancouver, British Columbia, the interplay of the musicians and the strong material makes this such a great listening experience. Frahm and Farrugia are splendid together, dropping quotes in the midst of snappy solos, while the rhythm section eggs them right along. The sound quality is excellent - it feels like you're at a table close to the bandstand. You can just feel these musicians are having a great time. The ECQ's take on the standard "Secret Love" should win you over.

Bassist-composer Marcus Shelby celebrates the life and work of Dr. Martin Luther King, Jr., on "Soul of the Movement", issued in January of 2011 on Porto Franco Records. Blending gospel, blues, r'n'b, Ellington-style arrangements and 3 fine vocalists, Shelby teaches a new generation a lesson in the history of Civil Rights in Memphis, Tennessee, without beating the listener over the head. The packaging is excellent, the sound quality quite good and the musicians as well as the vocalists are top-notch. Some intelligent person or foundation should send the Marcus Shelby Orchestra on the road with this program, a reminder to be ever vigilant and true to your convictions.

The first time I listened to "Crossing" (Nineteen-Eight), the debut CD by multi-reed player Ben Kono, the music stopped me cold. Not only does Kono play a slew of instruments (oboe, english horn, flute, alto flute, clarinet, tenor saxophone and shakuhachi), his compositions and arrangements are strikingly good. Supported by the rhythm section of John Hollenbeck (drums) and John Hebert (bass) plus the fine keyboard work of Henry Hey and soaring electric guitar of Pete McCann (his acoustic work is also excellent), Kono creates an aural auto-biography that is as moving as it is musical. His wife, Heather Laws, adds vocals and french horn to several tracks. What a debut!

Pianist-composer Orrin Evans created the Captain Black Big Band as a workshop ensemble in his hometown of Philadelphia with a contingent in New York City. The 38 musicians who appear on the CBBB's debut recording (issued on Posi-Tone Records) bring an impressive amount of energy to this project. While not as polished as a Duke Ellington group, this music (recorded live in various venues) has such life, such energy (reminiscent of music that Charles Mingus created in the late 1950s and early 1960s) and a swagger that the results are so appealing. This is music that needs to be heard live because it will grab you by the throat and the heart.

Pianist Fred Hersch recorded all 6 nights of his week-long solo gig at The Village Vanguard from November 30 - December 2010. The 9 tracks that make up "Alone at the Vanguard" (Palmetto Records) turn out to be the entirety of the final set of the last night. Ranging from standards to blues to classical to Brazilian to Monk and Sonny Rollins, this music is exhilarating, emotionally rich, and ever-so-melodic. Perhaps Fred Hersch viewed this weeks of playing by himself as a vacation from the preparations for his "Coma Dreams" project that debuted in the Spring of this year - whatever, his joyous playing is a welcome respite from the craziness of everyday life.

3 other recommended releases include the latest gem from alto saxophonist Miguel Zenon, "Alma Aldentro: The Puerto Rican Songbook" (Marsalis Music), his tribute to the music of his parents' generation. Also, "40 Acres and a Burro", the genre-bending release from Arturo O'Farrill & the Afro-Latin Jazz Orchestra on ZOHO Records. The arrangements on both recordings (Zenon's excellent quartet is aided and abetted by a string section led by Guillermo Klein) really shine. Tom Harrell issued yet another impressive recording with his Quintet - "The Time of the Sun" (HighNote Records) is filled with great playing, intelligent melodies and arrangements that allow each musician to shine.

Yes, there's more but these are the ones I returned to listen to over the past 8-10 days. Stay tuned!

In the meantime, dig in to the Ernesto Cervini Quintet and "Secret Love."

&amp;lt;a href="http://anzicstore.com/track/secret-love"&amp;gt;Secret Love by Ernesto Cervini&amp;lt;/a&amp;gt;

Canada Day in New Haven + CD Pick

2011-12-06T00:28:00.000-05:00

Drummer-composer Harris Eisenstadt brings his wonderfully musical quintet Canada Day to Firehouse 12 in New Haven this coming Friday December 9. The group, featuring Wesleyan graduates Chris Dingman (vibraphone) and Matt Bauder (saxophones) as well as Nate Wooley (trumpet) and Garth Stevenson (bass), makes music that blends handsome melodies with impressive improvisations. And, how Eisenstadt and bassist Stevenson (the 2 Canadians in the group) interact with the soloists gives the music a conversational quality - in other words, no one is out there just to show off his impressive technique. Some of the material can have a "thornier" edge while other pieces are more ethereal but the music is never mundane.

The group has 2 CDs, the latest "Canada Day 2" released by Songlines Recordings (a label based in Canada - naturally!) and are now working on its 3rd recording, adding 3 members to create an octet. But, it's back to 5 for the Firehouse gig. Canada Day will play 2 sets, 8:30 and 10 p.m. For ticket information, go to firehouse12.com or call 203-785-0468. To find out more about Harris Eisenstadt, go to www.harriseisenstadt.com.

My wife is fond of reminding me to clean the desk every chance she gets and I am remiss in most instances. But I took her suggestion on Thanksgiving Day and, lo and behold, we discovered this Samuel Blaser CD I had misplaced several months ago. "Consort in Motion" (Kind of Blue) features the Swiss-born trombonist rearranging works by Claudio Monteverdi, Girolamo Frescobaldi, and Biagio Marini, Italian composers born in the 16th Century and who wrote well into the 17th Century (Marini died in 1663 while the other two both passed in 1643.) Blaser re-imagines 10 works for a quartet featuring Russ Lossing (piano), Thomas Morgan (bass) and Paul Motian (drums) - no mention in the notes if the title is a play on the drummer's name.

The casual listener, not confronted with the concept of this music, might find this a charming and somewhat moody collection of jazz improvisations. But, dig deeper and hear how Blaser takes the themes and allows them to move in new directions. The lovely "Lamento della Ninfa" that opens the program sets the tone (one of thoughtful experimentation) with the melody line given a gentle ride, though the first "voice" you hear is a simple drum pattern. And this music can go outward - listen as Blaser and Motian engage in a lively conversation during parts of "Si Dolce e l'Tormento." The drummer rarely if ever pulled punches and he really pushes his cohorts here. The trombonist reads the theme using multi-phonics while Lossing responds with an impressionistic solo sojourn. Morgan is the glue on this CD, holding down the bottom and adding his full tone to melodic counterpoint. Pay attention to the way he moves through "Balletto Secondo - Retirata", his probing bass lines pushing against Lossing; then Blaser rises over the rhythm section, initially with the melody then with his solo. "Ritornello" is offered twice. The first, and longer, version has an abstract feel in how Blaser and Lossing play the theme section but, underneath them, Motian is a subtle "swinger" and Morgan a slow "walker." Version #2 is a lovely ballad, much closer to the original, played by just the trombonist and bassist.

So much goes on in this music that one should take his or her time to allow to sink into the mind. While the pieces have many quiet moments, there is an intensity of creativity that imbues each track. Messrs. Blaser, Motian, Morgan and Lossing all make cogent statements throughout and always serve the arrangements with a heady mixture of respect and joy. To find out more, go to www.samuelblaser.com.

Speaking of Paul Motian, the crew at Destination Out has added its voices to the many tributes to the late drummer. They also post several hard-to-get musical pieces. Take a look and listen at destination-out.com.

Fusions + More Tributes to Paul Motian

2011-12-03T18:47:00.000-05:00

"Suno Suno", the new recording by guitarist-composer Rez Abbasi, is his first for ENJA Records and second with his formidable quintet known as Invocation. Here, as on 2009's "Things to Come" (Sunnyside Records), Abbasi creates a fascinating program of music for Vijay Iyer (piano), Rudresh Mahanthappa (alto saxophone), Johannes Weidenmueller (bass) and the splendid drummer Dan Weiss. The percussionist has been a mainstay of Abbasi's groups (save for the Acoustic Quartet) for over 5 years is the lynchpin of this music. The compositions are informed by the guitarist's love of Qawwali music from his native Pakistan (he was born in Karachi but raised in Southern California). Pieces such as "Thanks for Giving" and "Onus On Us" (the title of the CD backwards but also Hindi for "listen") have rhythms that may remind some listeners electric jazz-rock from the 1970s. Yet, it is never bombastic nor static and the solos are very good. Mahanthappa displays a fuller tone than on his recent "Samdhi" project (released on ACT Records), still playing in that vigorous style of his - on more than one occasion, his solos sounds like a fusion of Indian music and Charlie Parker riffs. Listen to the way Iyer weaves blues riffs and Cecil Taylor-like power into his solo on "Onus On Us." "Monuments" has a similar feel in its rhythmic drive and bounce - Weidenmueller's thick bass and Iyer's single-note left hand lines create a solid bottom while Mahanthappa and Abbasi play the melody. Things get both fiery and funky during the guitar solo, with Abbasi playing off Weiss's pulsing percussion. The forward motion of "Part of One" is irresistible and the way the melody plays against then with the beat makes the piece stand out; then again, the solos by Abbasi, Iyer and Mahanthappa and the way that Weiss spurs them to intense playing is also quite glorious.

It's a treat to get lost in this music. Played loud, the rafters shake - even on lower volume, one can not miss the intensity of the interplay and the joyous work of the rhythm section. To find out more, go to www.reztone.com.

British-born pianist John Escreet creates music that has myriad influences and, for such a young person, sounds like no one else. His debut recording, "Consequences" (Posi-Tone Records), recorded when he was 24 (he's now 27), displayed a musician with great technique and burgeoning compositional talent - by the time "Don't Fight the Inevitable" (Mythology) hit the racks in 2010, there was no doubt Escreet was a force to be reckoned with. "Exception To The Rule" is his first for Gerry Teekens' Criss Cross Jazz label and features his compatriot (and mentor) David Binney (alto saxophone, electronics), drummer Nasheet Waits (he's appeared on 3 of the pianist's 4 CDs) and bassist Eivind Opsvik. Unlike many of the releases on Teekens' label, there is an experimental edge to this music (several of the shorter tracks feature electric piano and synthesizers) - "The Water Is Tasting Worse" has such a complex rhythmic patterns that the execution of it creates great tension. Binney's billowing alto solo over Escreet's accompaniment ( a swirl of pounding chords alternating with swift, single-note, runs) is a highlight of the program. "Escape Hatch" opens with a rapid-fire melody line and then, after a piquant alto solo (over impressive percussion), the pianist plays impressionistic figures while synthesizer sounds erupt around him(and the rhythm section colors the background.) The multi-sectioned "Wayne's World" (a piece from Escreet's debut CD) goes in many directions with the interplay of Waits and Opsvik with Escreet particularly impressive. Binney's solo is filled with melodic twists, a percussive attack that moves the track forward and, at times, "out." After the solo reaches its climax, Escreet takes a short, unaccompanied, solo that starts quietly but picks up fire, leading the rhythm section back in for more fiery interplay (Binney rejoins the trio to take piece out.)

"Exception to the Rule" is an excellent program that should be listened to in one sitting. If you only check out the shorter electronic pieces or the longer, up-tempo romps, you will not get the full effect of the project. John Escreet is an exciting composer and Messrs. Binney, Opsvik and Waits make his writing come alive. He is also an exciting musician as well as a person who has no fear of experimentation, crossing genres and avoiding cliches. What more can an adventurous listener ask for? To find out more, go to www.johnescreet.com.

The week after drummer-composer Paul Motian's passing on November 22, Ottawa-based journalist Peter Hum posted a series of remembrances from a dozen musicians who either worked with or were influenced by the master of understatement and supreme musicality. Veteran players, such as Lee Konitz and Marc Copland, share their thoughts along with his long-time band-mates Bill Frisell and Joe Lovano as well as younger collaborators like Dan Tepfer and Jerome Sabbagh. If you start with the comments of Larry Goldings, you can find links to the other musicians at the bottom of the page. Go to http://blogs.ottawacitizen.com/2011/11/27/musicians-on-motian-xi-larry-goldings-writes/ - the tributes are heartfelt, honest, touching, and giving the often irascible Mr Motian a sweet sendoff.

Pianist-composer-journalist Ethan Iverson (keeper of the keyboard in The Bad Plus) weighs in on the life and appeal of Paul Motian on his blog, "Do The Math." Read it and you'll learn even more why this drummer was such a influential and inspiring musician (with a wicked sense of humor). Go to http://dothemath.typepad.com/dtm/the-paradox-of-continuity.html - once you finish reading, find some Motian music and be thankful for his long, fascinating, career.

Live Music for Early December + Duo Picks (on CD)

2011-11-28T22:32:00.000-05:00

Drummer-composer Ralph Peterson is a big man with a giant sound. For over 25 years, he's been powering ensembles big and small, mentoring young musicians and producing music that celebrates both the past and future of jazz - in other words, he does not sit still. Peterson is a dazzling player, who drive a band relentlessly yet turn on a dime to caress a ballad.

While making his recording debut with Blue Note Records and the group Out of the Blue (a sextet that also introduced saxophonists Ralph Bowen and Kenny Garrett as well as bassist Robert Hurst), he also began making CDs under his own name with his trio and the Fo'Tet. He moved on to record for Evidence Records and Criss Cross. His latest ensemble, Ralph Peterson's Unity Project, released its debut CD last year on Onyx Music. Titled "Outer Reaches", the music pays tribute to both trumpeter Woody Shaw and organist Larry Young. The recording features Connecticut natives Josh Evans (trumpet, Hartford) and Jovan Alexandre (tenor saxophone, Wallingford) along with organist Pat Bianchi.

Peterson, Evans and Bianchi are coming to Firehouse 12 in New Haven this Friday (Dec. 2) to play 2 sets of this high-energy music. Saxophonist Craig Handy joins this group for this show, bringing his own magic to an evening that should rock the performance space. The Unity Project will play at 8:30 and 10 p.m. - for ticket information, call 203-785-0468 or go to firehouse12.com. To learr more about the drummer and his music, go to ralphpetersonmusic.com.

Firehouse 12 will also open its doors on Saturday night this week (12/03) to celebrate the new CD by the New Haven Improvisers Collective. Titled "NHIC: Atlas", the program features the organization's founder Bob Gorry (guitar), Steve Asetta (saxophones), Nathan Bontrager (cello), Jaime Paul Lamb (bass), Adam Matlack (clarinet) and Stephen Zieminski (drums, percussion) - the music is informed by electric Miles Davis, world music, 20th Century classical music, progressive rock, the experimental side of the AACM and more.

For the CD Release party, Gorry, Asetta and Matlack will join forces with Pete Brunelli ( acoustic bass guitar), Gabriel Kastelle (viola) and Mike Paolucci (drums, percussion) in the first set (8:30 p.m.) At 10 p.m., Gorry and Brunelli will take the stage alongside Paul McGuire (saxophones), Jeff Cedrone (electric guitar), and Pete Riccio (drums) for Electric NHIC, an exciting set of improvised music. For more information, go to www.nhic-music.org. To buy tickets (one charge for both sets), contact Firehouse 12 at the numbers and web address above.

Trumpeter-composer Dave Douglas is coming to the Jazz Standard, 116 East 27th Street in New York City, for 4 nights of new music from December 8 - 11. On Thursday (12/08), Douglas plays 2 sets (7:30 and 9:30 p.m.) with Key Motion, a quintet featuring Donny McCaslin (saxophones), Adam Benjamin (Rhodes), Tim Lefebvre (bass) and Mark Guiliana (drums). On Friday (12/09), the trumpeter shares the stage with So Percussion to play music from their new digital release "Bad Mango" (Greenleaf Music). The 5 musicians will play 3 sets (7:30, 9:30 and 11:30 p.m.) so the music will move beyond the recorded program. 3 sets the following night (12/10) when Douglas brings the Orange Afternoons Quintet to the performance venue - composed of Vijay Iyer (piano), Linda Oh (bass), Ravi Coltrane (saxophones) and E.J. Strickland (drums), the OAQ creates expansive melodies with solos that soar. Sunday December 11 brings the weekend to a close with Brass Ecstasy, the unit formed to celebrate the life and music of Lester Bowie; the quintet features Vincent Chancey (french horn), Luis Bonilla (trombone), Marcus Rojas (tuba) and Rudy Royston (drums). They'll play 2 sets - 7:30 and 9:30 - and you find out more by going to www.greenleafmusic.com. Any one of these shows would be worth the trek to the Big Apple - give yourself an early Holiday present and go for all 4.

Bassist Christian McBride is known for his awesome technique, his swaggering "swing" and his melodic chops. He's also the host of "Conversations with Christian", a podcast that he produced for iTunes in 2009. Mack Avenue Records has just a CD with the same title that features strictly musical selections from 13 of the podcasts with artists ranging from the sublime (Hank Jones, Eddie Palmieri) to the laughable (Gina Gershon playing the blues on jew's harp) to downright joyful (Dee Dee Bridgewater getting down on "It's Your Thing"). McBride's bass also converses with Sting, Regina Carter, Roy Hargrove, Angelique Kidjo, Dr. Billy Taylor, George Duke, Chick Corea, Russell Malone and saxophonist Ron Blake. It's a delightful recording that is so entertaining - even the Gershon/McBride blues is great fun. There is no information up yet on either www.mackavenue.com or www.christianmcbride.com.

Here's the track with George Duke, courtesy of Mack Avenue and IODA Promonet:
McDukey Blues (mp3)

This should not count as a "duo" recording because both pianos are played by the same person. Alan Pasqua is a big fan of pianist Bill Evans (he calls him "my greatest influence") and "Twin Bill" (BFM Jazz) is his tribute to that great yet tragic figure of the keyboard. It's Pasqua's "Conversations with Myself" with different material than the Evans' Lp of that name and with more than a small nod to the game of baseball.

With the exception of Pasqua's lovely ballad "Grace" that closes the program, all the pieces are connected to Evans. There are 6 originals plus one each by Miles Davis ("Nardis") and Scott La Faro ("Gloria's Step") as well as "Vindarna Sucka Uti Skogarna" (a piece Evans recorded with Swedish vocalist Monica Zetterlund) and a rousing version of "Take Me Out to the Ballgame" (a piece not recorded by Evans but played in his swinging and exploratory style.) This is a delightful program from the first pitch to the final (fade)out. Sweetly musical, highly melodic and a wonderful tribute, "Twin Bill" is a big hit. Puns aside, this CD will please lovers of jazz piano, fans of Bill Evans, and listeners who love good music. To find out more, go to www.alanpasqua.com.

The duo of Eddie Daniels (clarinet, top) and Roger Kellaway (piano, bottom) have a new CD just out on IPO Records. "Live at The Library of Congress" is the follow-up to the duo's wonderful "A Duet of One/Live at The Bakery" (I wholeheartedly recommended that release is 2009 - click here) and this one is just as fine. The material ranges from the playful "Strike Up The Band" to the sweet reading of "America The Beautiful" (with traces of blues, gospel, and New Orleans) to the lovely pairing of Daniels' "Etude of a Woman" with Stephen Sondheim's "Pretty Women." Both musicians shine throughout the program, displaying their virtuosity without flaunting their technique. Kellaway is one of those pianists who can play anything and not sound like someone else (Jaki Byard could play in many different styles and always sounded like himself) - he's not afraid to be impressionistic (like he is at the onset of "Just Friends") or display his "stride" roots ("50 State Rambler") and his work on Leonard Bernstein's "Somewhere" is achingly beautiful, ever-so-graceful and filled with emotion. Daniels matches his partner's melodic intensity and creativity at every turn - listen to them playing around on "Rhythm-a-ning" and I'm sure that even Thelonious Monk would say their inventive romp perfectly illustrates the song's title.

"Live at the Library of Congress" is not scheduled for release until early 2012 but is already garnering great reviews. Well, I couldn't wait either because this CD, to me, is what creative music is supposed to be - emotionally rich, wonderfully melodic and, at times, rhythmical to the max!

Rhythm, Melody, Sound and Style - Learning to Listen

2011-11-22T23:55:00.000-05:00

By now, anybody who is a fan of jazz knows that Paul Motian died Tuesday morning (the link to the obituary in the New York Times is here). The drummer/composer had a wonderfully long career, beginning in the late 1950s and a stint with pianist Bill Evans and truly coming to notice with Keith Jarrett in the 1970s.

But, his CDs as a leader on Black Saint, ECM and Winter & Winter is what most fans of his music love him for. Motian did not really follow fashions; instead he created pieces that opened improvisational doors for his fellow musicians while he (usually) eschewed the spotlight. He played alongside bassist Charlie Haden in a number of projects (besides the Jarrett "American" Quartet, they recorded with a series of wonderful CDs with pianist Geri Allen) and had a long-standing trio with guitarist Bill Frisell and saxophonist Joe Lovano. Motian recorded standards as well as Broadway show tunes and bebop swingers while his own compositions were often, in later years, ballads with long melody lines. His recent work with saxophonist Bill McHenry, pianists Frank Kimborough and Russ Lossing and trumpeter Enrico Rava displayed his "minimalist" tendencies. Paul Motian did not "swing" like the bebop drummers he grew up listening to; more likely he was constructing percussive "cushions" for soloists and space for bassists to create counterpoint. If you pay attention to the sound of his drums on the ECM CDs with Frissell and Lovano, he plays as much melody as they do as well his own aural sound-scapes that captured the ear without overwhelming the songs. Still, he was no slouch when it came to playing rhythms and there are a slew of recordings to back up that claim.

There should be plenty of well-deserved tributes to Paul Motian - on the eve of Thanksgiving, one should give thanks he had such a long and often fascinating career. Terry Gross chatted with Motian in 2006 and it gives great insight into his style - go to www.npr.org/2006/03/13/5256495/paul-motians-jazz-garden-of-eden. Then, listen to him put his ideas to work in this 2008 live gig from the Village Vanguard, a place that was Motian's home away from home (especially in the later years of his career when he rarely left New York City. Go to www.npr.org/2011/06/10/94206624/paul-motian-bill-frisell-joe-lovano-live-at-the-village-vanguard and enjoy the ride.

Raising the Roof and the Spirit

2011-11-20T08:40:00.000-05:00

Jeff Lederer's Sunwatcher elevated the spirits gathered this past Friday evening (11/18/11) in Firehouse 12, at least, those who ventured into the performance space/recording studio on the second floor. With the support of Matt Wilson (drums a'plenty), Jamie Saft (acoustic piano, Korg organ) and Mr. Avery Sharpe (acoustic bass master), Lederer (who played tenor and soprano saxophones plus clarinet) illustrated how "ecstatic" playing over rock-solid rhythms can set the soul free. He originally assembled the band for a project inspired by the music and visions of saxophonist Albert Ayler (1936-1970), whose often ferocious solos and squalling sound sent jazz fans to the exit but whose music was based on the rhythm 'n' blues and jazz he heard growing up in Cleveland, Ohio. Oh, yes, he played "free" music but music rarely far from its roots.

Throughout the 2 sets, Lederer and company continually blurred the lines between genres but rarely if ever lost the heartbeat of the music. Whether it was the church organ-fueled blues-soaked "Cristo Redentor" (composed by Duke Pearson) or the pounding drums and throbbing bass of Ornette Coleman's "Old Gospel, New Gospel", the joy in the music never wavered. The quartet genuinely enjoyed creating music together and their spirit elevated the vast majority of audience members (a few people could not handle the intensity of Lederer's energetic "blowing.")

It's always fun to watch Matt Wilson at play. Yes, he can be goofy but he is also a rock-solid rhythm master who knows when to push, when to "color", when to carry on and when to lay back. His relationship with the other band members ranges from shouting encouragement to wide smiles when Sharpe strummed his upright bass like a flamenco guitarist and Saft filled the quieter moments with waves of glissandos (foot holding the sustain pedal).

O, what a way to elevate a day from tiring to inspiring! Sunwatcher takes its name from a funky Ayler tune off his unjustly maligned "New Grass" Lp - if you suffer from SAD (seasonal attitude depression), my prescription would be a healthy dose of Jeff Lederer's musical elixir. I've not heard the band's 2011 CD on Jazzhead (with Buster Williams on bass) but, if the groove comes close to that of the live show, find it. To discover more about Jeff Lederer, go to www.littleimusic.com.

In 2010, Matt Wilson released his "Christmas Tree-O" CD (Palmetto Records), a joyful and somewhat wacky collection of tunes ("The Chipmunk Song" side by side with "Winter Wonderland" and "Little Drummer Boy") - if you have yet to discover the CD which features the drummer with Lederer and bassist Paul Sikivie, put it on your list or go get it right now. The trio's performance on Claude Thornhill's "Snowfall" is stunning in its beauty - and you will probably never hear a more forceful and dramatic version of Handel's "Hallelujah Chorus" or happy, hard bop-march, rendition of "Hark! The Herald Angels Sing."

The Christmas Tree-o will be playing concerts Christmas week in Washington D.C. (12/21 at Atlas Perforrd ng Arts Center, 1333 H Street NE) and the following night at Cornelia Street Cafe in New York City. For more information, go to www.mattwilsonjazz.com.

A Catastrophe in New Haven (Positive One) + CD Pick + Interview

2011-11-14T23:30:00.001-05:00

I posted a review of the new Taylor Ho Bynum Sextet CD this morning and forgot to add that he's playing this Saturday evening (11/19) at 8 p.m. in The Big Room, 319 Peck Street in the Elm City. The composer/cornetist is appearing with Positive Catastrophe, the 10-member band he co-leads with Abraham Gomez-Delgado (vocals, percussionist). The band plays a fascinating mix of Latin, progressive jazz and world music (the co-leaders call it "trans-idiomatic") and they do it with panache and great joy. The other members of the band include Kamala Sankaram (voice, accordion), Mark Taylor (french horn), Reut Regev (trombone), Matt Bauder (tenor saxophone), Michael Attias (baritone saxophone), Pete Fitzpatrick (electric guitar), Alvaro Benavides (electric bass) and Tomas Fujiwara (drums). The New Haven gig is the second in a 4-day jaunt that starts in New York City on Thursday and ends on Sunday in Baltimore. The band is working on new material in preparation for its second CD (to be released on Cuneiform Records in the Spring of 2012.) Seating is limited for The Big Room so send an email to thebigroomnewhaven@gmail.com and reserve your tickets. To find out more about this adventurous group, go to www.cuneiformrecords.com/bandshtml/positive.html.

Israeli-born guitarist Assaf Kehati came to the United States in 2007 to study at the New England Conservatory of Music in Boston, Massachusetts. There, he had the opportunity to study and play with saxophonist George Garzone, pianist Ran Blake and drummer Billy Hart. "Flowers and Other Stories" (AK Jazz) is his 2nd release and also the 2nd one to feature his Israeli "working band" of Alon Farber (saxophone), Daniel Sapir (bass) and Udi Shlomo (drums). Kehati's music is a pleasing blend of jazz and world music influences with an occasional touch of adult-contemporary rock music. One of the most pleasant aspects of the program is that the compositions and arrangements are so intelligent - this is not just theme-solo-theme music. Kehati's round tone may remind some of Kurt Rosenwinkel and Pat Metheny; his single-note runs rise pleasingly over the lively and involved rhythm section ("Mr. Mario" shows them at their best, both reacting to and pushing Kehati forward.) There's a melancholy sweetness to "Tali" and Farber's fluid soprano saxophone. Shlomo's drumming has a conversational feel yet is not intrusive. Kehati's hypnotic guitar chording leads in the 12-minute "The Most Beautiful Flower"; his solo, following Farber's reading of the theme, starts so quietly, little fragments of melody supported by Sapir's long bass tones and the gentle drum work. As the solo continues, the intensity builds and Kehati's lines get longer until Farber takes over and goes on his own dynamic roller-coaster. Again, Shlomo's drum work stands out, his propulsion and fire leading to the quiet guitar chords that slowly take the song to its conclusion.

"Don't Attack" is another long piece (just under 10 minutes) that starts as a ballad and again Farber's sweet soprano lays out the melodic theme. As he moves through his fine solo, the rhythm section begins to intensify their attack and continue the driving support as Kehati digs deeply for his solo. Sapir's bass work on "The Snow and the Sun" is exemplary, quite melodic even as he is supportive. Here, Farber's tenor saxophone explores a melody that is closer to folk-rock. The final track, "Invisible Green", is a ballad all the way through. Farber sits out as the guitarist plays the plaintive theme (reminiscent of Pat Metheny but also one might hear The Beatles in several of the chord patterns) and delivers a solo filled with rippling lines and bell-like tones.

"Flowers and Other Stories" does not hit the listener over the head with pounding rhythms and long, complicated, solos. Instead, it is thoughtful and thought-provoking music that attracts one with its melodic framework, its dynamic variations and strong instrumental work from all involved. Music to ponder not to blast through the house. For more information, go to www.assafkehati.com.

Gerald Wilson, composer and bandleader, turned 93 in September of this year. Mack Avenue released his latest CD, "Legacy", in July and Jason Crane of The Jazz Session conducted a 2-part interview with the master arranger that he posted in late October. Thanks to the late October snowstorm here in Central Connecticut, our yard is filled tree limbs and scattered branches. Listening to Mr. Wilson account of how he got started in the world of jazz made the cleanup go a lot easier. Crane let the Mississippi native dominate the conversation and the story of his time with Jimmy Lunceford as well as how Eleanor Roosevelt coerced the United States Navy to start a jazz band in World War II is both entertaining and priceless. Go to thejazzsession.com/2011/10/24/the-jazz-session-318-gerald-wilson-part-1/ and enjoy the history (and civics) lesson.

Catching Fire in the Firehouse + CD Picks by CT Musicians

2011-11-14T09:21:00.001-05:00

That's saxophonist Jeff Lederer and drummer Matt Wilson on the left - both gentlemen will be in New Haven on Friday night (11/18) as Lederer's Sunwatcher quartet performs 2 sets at Firehouse 12, 45 Crown Street. Joining them will be bassist Avery Sharpe and pianist Jamie Saft, playing a program described as a "love letter to Albert Ayler. Lederer, a native of Los Angeles, California, is a long-time member of Wilson's Quartet. He's a fiery player (not unlike Ayler) who doubles on clarinet and writes songs that stretch time and melodies that burn with intensity as do the solos that follow. He's recorded 4 CDs with his wife, the vocalist Mary LaRose, that combine folk, jazz and world music influences plus he leads Shakers 'n' Bakers, a group whose repertoire comes from the ecstatic music of the Shaker religious sect. Lederer is an educator and has also created an arrangement of Vivaldi's "Four Seasons" for chamber orchestra and Salsa band(!)

I expect that performance space/recording studio is going rock when Sunwatcher hits the stage. The first set begins at 8:30 p.m. with the second at 10. For tickets, call 203-785-0468 or go to firehouse12.com. To learn more about Jeff Lederer and his music, go to www.littleimusic.com.

Chuck Obuchowski interviews Jeff Lederer on WWUH-91.3 FM Tuesday morning 11/15 at 10 a.m. You can listen online at wwuh.org.

Firehouse 12 is also excited about its latest CD release, "Apparent Distance" by the Taylor Ho Bynum Sextet. Cornetist Bynum created the 43-minute long 4-part Suite with support from Chamber Music America New Jazz Works and the Doris Duke Charitable Foundation. Recorded at the Firehouse in New Haven (where Bynum now resides with his wife, the dancer/choreographer/teacher Rachel Bernsen), the music is, at turns, bluesy, hard-edged, "in-the-pocket", conversational, raucous and exciting. Written for his "working" sextet of Bill Lowe (bass trombone), Jim Hobbs (alto saxophone), Mary Halvorson (electric guitar), Ken Filiano (bass) and long-time friend Tomas Fujiwara, the "Suite" opens with "Shift"; Bynum starts the piece with one of his signature statements, moving rapidly through phrases, stopping short to smear notes or squeal like a teapot. Lowe and Hobbs join in for a 3-part discussion that is ballad-like in structure that leads directly into "Strike", a rapid-motion rhythmic piece built off the propulsive drumming of Fujiwara, the pulsating bass of Filiano and the furious strumming of Halvorson. Hobbs, Bynum's cohort in The Fully Celebrated Orchestra, takes the first solo, building to a hyper-climax. Everyone stops for Bill Lowe's tuba solo, a growling, multi-phonics filled, statement that allows Filaino's bowed bass to join in with the sax and cornet quietly keening in the background. The longest section (at nearly 21 minutes), "Source" opens with an understated guitar solo before Bynum steps up and joins Halvorson in a dialog. Later in the piece, Hobbs' alto solo ignites the rhythm section into creating a fiery conversation. The final section, "Layer", moves through various sonic landscapes, ending in a funereal march led by highly amplified and distorted guitar lines and martial drumming.

I was lucky enough to see and hear the Bynum Sextet play this music several times before they committed it to CD. Though much of it notated, there's room for the musicians to "speak their piece" within the framework of the composition. "Apparent Distance" is Taylor Ho Bynum's most complete work; his influences (Bill Dixon, Anthony Braxton, Lester Bowie) have been absorbed and what the listener hears is fresh, exciting and forward-looking. To find out more, go to taylorhobynum.com.

Over the past decade, I have heard a lot about and read even more about the Curtis Brothers. The Hartford, Connecticut, natives have been turning heads since their teenage years and time spent at Jackie McLean's Artist Collective and the Greater Hartford Academy of the Performing Arts. Their 2009 recording, "Blood.Spirit.Land.Water.Freedom", displayed pianist Zaccai's burgeoning composing talent and ability to infuse the pieces with both jazz and contemporary Latin influences. Bassist Luques has worked with a slew of jazz artists, from Gary Burton to Dave Valentin to Christian Scott as well as trumpeter Brian Lynch, saxophonist Donald Harrison and drummer Ralph Peterson.

The latter 3 appear on "Completion of Proof" (Truth Revolution Records), the Brothers' 3rd CD and most fully realized program. Zaccai composed and arranged the entire album and it's his propulsive piano mixed with Luques' rock-solid bass lines and Peterson's highly-active drumming that is the heart of this music. The majority of the pieces are up-tempo, replete with strong melodies and arrangement that allow each soloist to dig in. It's Lynch one hears first on the opening track, "Protestor", and he works well against the rhythmic tidal wave beneath him. Alto saxophonist Harrison actually stokes the fire higher and one can hear Peterson react with his "conversational" drums. Zaccai goes next and he, too, spars with Peterson - the results are exhilarating. The mid-section of the CD is dedicated to the 3-part "Manifest Destiny Suite" - joining the rhythm section and Lynch are alto saxophonist Joe Ford, tenor saxophonist Jimmy Greene, bata player Pedro Martinez (2 tracks) and percussionist Rogerio Boccato (1 track). This is not music for the faint of heart. "The Wrath" builds off the strong percussion and McCoy Tyner-like chords to include strong solos and great interaction. "Mass Manipulation" is more thoughtful, Lynch's lyrical lines over the cascading saxophones, rippling piano, the counterpoint from the bass and shimmering percussion. Here, the arrangement has the saxophones playing echoing lines that lead into Greene's forceful statement and a strong bass solo. The title track blends Latin rhythms, be-bop horn lines and hard-bop drive into a heady plunge into the politics of occupation. Zaccai's piano solo is a dazzling blend of rapid-single note runs that push Peterson into driving even harder. "Sol Within" starts softly but gets louder on the strength of Reinaldo De Jesus pushing the tempo on the Barriles de Bomba (drums made from the wood of rum barrels.) Lynch and Zaccai both take fine solos, the latter creating an exciting interaction with the drummers.

One can clearly hear on "Completion of Proof" that The Curtis Brothers are not only carrying on the jazz tradition but adding fresh ideas into the ongoing fusion that is jazz. They take no shortcuts but play with vigor, honesty and the purest of intentions - creating a better world through musical interactions. To find out more, go to curtisbrothersmusic.com.

3 Cohens + 1 + 1 More (Not Related)

2011-11-12T23:29:00.001-05:00

Yuval (soprano saxophone), Anat (tenor saxophone, clarinet) and Avishai (trumpet) are the children of Bilha and David Cohen. Born and raised in Tel Aviv, Israel, the siblings attended the Thelma Yellin High School of Arts and, thanks to scholarships from Israel-American cultural foundations and the World Scholarship Tours, they were able to attend Berklee School of Music. Yuval is the only one of the 3 to live in Israel - he is currently a Professor of Music at the Rubin Academy of Music & Dance in Jerusalem; he also teaches at the Rimon School for Jazz and Contemporary Music, at his alma mater Thelma Yellin High School and is the conductor of the big band of the Tel Aviv Music Conservatory. Most jazz fans know that Anat has worked with the DIVA Big Band and currently leads several groups. Avishai holds down the trumpet chair in the SF Jazz Collective, tours and records with Third World Love and his own Triveni Trio. He's also now part of trumpeter Dave Douglas's Tea for Three, a sextet that also features trumpeter Enrico Rava.

"Family" (Anzic Records) is the 3 Cohens' 3rd CD. The self-produced recording features the exciting rhythm section of Aaron Goldberg (piano), Matt Penman (bass) and Gregory Hutchinson (drums). After meeting and gigging with vocalist Jon Hendricks, the Cohens invited the 90-year old scat master to record several tracks. He ambles through a sweet reading of "On the Sunny Side of the Street" getting great support from pianist Goldberg. After an impressive and jaunty scat solo, the Cohens take the tune to New Orleans, trading "fours" and then playing together for a chorus. Hendricks also graces the final track, "Roll 'Em Pete", an uptempo romp with a pretty sprightly "vocalese" solo followed by a raucous clarinet spot from Anat. Yuval then takes off on the soprano then hands the spotlight to Avishai for a bluesy solo. Goldberg swings mightily then cedes the floor to
Penman and Hutchinson. 5 minutes of pure joy that ends way too soon.

If you only listen to the opening 3 tracks, you'd think the family was making a tribute to Charles Mingus. The blues-drenched "Shufla De Shufla" with its hard-edged drive and fiery solos can be compared to "Wednesday Night Prayer Meeting" and "Haitian Fight Song" while "Blues for Dandi's Orange Bull Chasing An Orange Sack" opens with a George Gershwin-like piano solo the front line moves into a rapid hard-bop melody. The third track, "With the Soul of the Greatest of Them All" is sub-titled "Dedicated to Charles Mingus" - Penman starts the tune off with a muscular solo and Yuval's splendid soprano soars through the melody line and chord structure that suggests the great bassist-composer without imitating him.

There are several fascinating covers including a New Orleans style arrangement of Duke Ellington's "The Mooch" followed by a up-tempo, modernistic, jaunt through "Do You Know What It Means to Miss New Orleans." Anat supplies a Middle-Eastern intro to "Tiger Rag" which then jumps right into a clarinet romp that would please Benny Goodman. She and Avishai pull out the stops for one chorus then Penman and Goldberg hit it hard.

Avishai's title track is a sweet ballad with a stunning arrangement for the saxes and trumpet plus more excellent work from the rhythm section. Goldberg is quite sympathetic here, supporting and supplying a rich chordal backdrop. He leads the group in and quietly takes the piece out.

"Family" is a real treat, well-played, smart arrangements, solid songs and a real sense of a group having a great doing what they love. That all starts with the close-knit Cohens and the joy that emanates from their love and respect for each other as well as their great knowledge of the jazz tradition. And, with Jon Hendricks as the icing on the musical cake, this CD is loads of fun. For more information, go to 3cohens.com.

In 2009, Yuval Cohen recorded a duo CD with his good friend and pianist Shai Maestro. Over the course of 3 sessions in a Jerusalem , they produced "Song Without Words" (Anzic Records), 8 intimate musical conversations. The 24-year old pianist is best known for his association with Israeli-born bassist-composer Avishai Cohen (no relation to Yuval and his family) and will be releasing his debut CD as a leader in 2012.

But, this recording is a series of sweet encounters throughout. The hypnotic melody line that permeates the title track hints at a Brazilian love song while the melody and rhythm of "Nehama" reminds the listener of Erik Satie and Paul Simon. The duo plays with the structure of "Bye Bye Blackbird", hinting at the melody as they dance around each other. Yuval's playful solo quotes several different tunes while Maestro romps gaily through the chords. The impressionistic aural painting of Johnny Mercer & Hoagy Carmichael's "Skylark" is heartfelt, the soprano sax lines hinting at the latter composer's laconic vocal style. The duo offer a fun romp through John Coltrane's "26-2", with fine unison playing on the theme and "Giant Steps" style chords from the pianist (dig the quick double-time lines Maestro throws in several times.) "Shir Hasade" (the Song of the Field) is a work by noted Israeli composer David Zehavi (1910-1977); the piece has a lovely melody and this emotional performance has to be a reflection of the love the musicians have for their native land.

"Song Without Words" may remind some listeners of "Red Lanta", the 1973 ECM recording of pianist Art Lande and reed player Jan Garbarek. Several of the pieces that Yuval Cohen and Shai Maestro create here have the same innocence and sweetness that the earlier duo displayed on several tracks. Both recordings are conversations, not competitions, encounters where melody and harmony are king and queen, where the interplay is intuitive, not forced. During the recent power outage in Connecticut, this CD, along with Dan Tepfer's delightful "Goldberg Variations/Variations", kept me sane and entertained in the car. For more information, go to www.yuvalcohenmusic.com.

Pianist Emmet Cohen (no relations to any other Cohen in this review) recorded his debut CD, "In The Element" (Badabeep) in August of 2010 when he was 20 years old. However, he is no newcomer, having started piano at the age of 3. He later studied at the Youth Keyboard program at the University of Miami and, at the age of 10, was accepted in the Manhattan School of Music Pre-college Program. He's won a slew of awards and came in third in the 2011 Thelonious Monk Piano Competition.

So, can Emmet Cohen play? Yes, can he play! This program features the fine rhythm section of Joe Sanders (bass) and Rodney Green (drums) - they push him hard on the uptempo pieces and offer finely honed accompaniment on the slower or softer pieces. Trumpeter Greg Gisbert shows up for 3 tunes, his crisp tone leading the way on Cohen's funky hard-bop Cohen original "Just Deserts." The pianist and trumpeter caress "Good Morning Heartache", both delivering sweet solos while Sanders plays fine counterpoint and Green offers soft brush work. The trio rendition of Frank Foster's "Simone" is quite entrancing with good solos from all, especially bassist Sanders, a player with great melodic instincts (he's an integral member of pianist Gerald Clayton's trio and has also recorded with trumpeter Ambrose Akinmusire.) Cohen shows impressive "chops" on the burning "Resentment (Without Reason)", flying above the bass and drums. The title track also offers the listener an opportunity to hear the trio swing mightily, Cohen leading the way with passion.

Cohen goes it alone on "For All We Know" and creates a lovely piece, reminiscent of Fred Hersch, a pianist who makes sure we can always hear the melody even as he moves through different chordal variations. The young man displays his impressive skills but never at the cost of losing sight of the song's heart.

"In the Element" introduces Emmet Cohen, a young man with great talent and great promise. Joe Sanders and Rodney Green are a delight, allowing Cohen the freedom and breathing room he need to explore the myriad possibilities. To find out more, go to www.emmetcohen.com.

Unique

2011-11-10T23:11:00.001-05:00

Alexander Berne is a musician/conceptualist who began his career as a jazz saxophonist who left the music world for over a decade and became immersed in the world of art. Still, music filled with his mind but not the jazz he had been playing. Now, he heard new instruments and, acting on his instinct, started to build a collection of reeds (for instance, there is a reed slide trumpet and a "saduk" that is a cross between a saxophone and a daduk, a double-reed pipe) that would create the myriad sounds he was imagining. Wine glasses, vacuum cleaner, prepared piano, specially tooled pipes, and much more become the rhythm section and front lines in this project. Calling his one-man operation the Abandoned Orchestra may suggest a desolate aural landscape but this program is so much more than that.

"Flickers of Mime/Death of Memes" (Innova) is the result of months creating sounds, mixing concepts, and being patient. And the listener must be patient as well. There is a story line in the notes but my suggestion is to first approach these 2 discs with open ears. The music , can be quiet with flowing lines that do not suggest recognizable melodies-yet, there are moments on the first disc when the rhythmic patterns suggest African rhythms meshing with the sounds of a gamelan. "Flicker III" conjures up the percussive experiments of Peter Gabriel in the 1980s while "Flicker IV" blends flute, saxophone and homemade reeds in a trance-like East Asian style. There are places when the percussion swirls, the reeds moan and swoop upwards and sounds enter from all sides, when a piano line will rise out of the aural stew and then be covered by random noises. The percussive drive on "Flicker VIII" beneath the dervish-like reed lines and keyboard swirls bears a strong resemblance to The Beatles' "Tomorrow Never Knows" while "Flicker X" channels Phillip Glass.

"Death of Memes" (Disc 2) begins with ominous percussion and an indeterminate direction but, as the piece moves forward, one hears the melodic fragments rise out of the mist, piano figures that recall Appalachian banjo lines and reeds that reflect the music of India and the Far East. There is a solemn beauty to the softness of "Meme III" while "Meme V" has rotating reed lines over a drone that remind this listener of the Muslim call to prayer blended with traditional South Indian melodies. "Meme VI" is a darker work; now the drone swells while the melody is a low, keening, wail. The steady drum beat (the heart) of "Meme VIII" fades in and out as the reeds rise and fall - we are walking through a sonic rainforest that is unfamiliar yet not uncomfortable. "Meme IX" is the closing prayer rising to an unseen power that reaches a peak then slowly fades to silence.

With "experimental" music such as this or certain works of Terry Riley, it takes the listener a while to find the emotional heart and, yes, this is an emotional experience. Alexander Berne is not concerned with displaying technical prowess, with reworking the ideas of other people. Like John Cage, Anthony Braxton, Henry Threadgill and the author James Joyce, he has created a language that is all his own from what has come before. "Flickers of Mime/Death of Memes" is an adventure and a wondrous one at that. For more information, go to alexanderberne.com.

Rites Make Mighty Music + Bass-less Trios

2011-11-08T10:03:00.000-05:00

Saxophonist-composer Marty Ehrlich brings his Rites Quartet to Firehouse 12 in New Haven this week (11/11/11) for 2 sets, 8:30 and 10 p.m. Ehrlich, a native of St. Louis, Missouri, has been involved in the creative music scene since his teen years when he performed with the Human Arts Ensemble, an improvisatory group with a similar approach to the Art Ensemble of Chicago. After attending the New England Conservatory of Music in Boston, Ehrlich (a fine clarinettist as well as an excellent alto saxophonist) moved to New York City. Over the past 3+ decades, he's worked and recorded with Muhal Richard Abrams, Oliver Lake, Anthony Braxton, Leroy Jenkins, Myra Melford and Julius Hemphill. His association with Hemphill(1938-1995) still resonates in Ehrlich's music, through his passionate musicianship, the blues-soaked melodies and the exciting, challenging, ensembles that he leads.

The group he brings to the Elm City - cellist Erik Friedlander, trumpeter Ron Horton and drummer Ben Perowsky - plays music that hearkens back to and expands upon the music Hemphill created for his ground-breaking "Dogon A.D." Lp. The blend of Ehrlich's plaintive alto sax and the fullness of the cello lines is complimented by the sharp brass and exciting drumming. The quartet's 2009 debut CD, "Things Have Got To Change" (Clean Feed), featured Freidlander, trumpeter James Zollar and drummer Pheroan akLaff, is a splendid recording that includes 3 pieces from Hemphill. For ticket information, go to firehouse12.com or call 203-785-0468.

Upon initial listening to "Pink Paradise" (Naive), the 2nd CD by the French "power trio" Sidony Box, I heard parallels to the music of the late drummer Tony Williams' Lifetime. That group,featuring the powerful guitar work of John McLaughlin and the fiery organ of Larry Young, took its cue from the electric fusion of Miles Davis and moved it even further "out." Instead of organ, Sidony Box utilizes the melodic alto saxophone of Elie Dalibert yet one can connections to Lifetime in the excellent guitar playing of Manuel Adnot and the colorful, inspired, drumming of Arthur Narcy. There are several pieces, including the opening track "Last Star", where the Narcy is the lead voice (without being a soloist) for long stretches. His "machine gun" snare and pounding floor tom lead the way on "Suédois", a powerful work framed by Adnot's guitar with an emotional alto solo. "Léman" is reminiscent of John Abercrombie's "Timeless"; this is a soft meditative work that moves slowly over its 10 minutes, the volume rarely rising above a whisper. That is followed by "Ultimate Pop Song" which also takes some time before the volume picks up but turns out to sound like its title, with a handsome melody played by alto and atmospheric guitar.

The propulsive "Tatooine" , the punkish "TMNT", the incendiary "Suédois" and the squalling "Wilson" (hints of "death metal") led me to make the Tony Williams' Lifetime connection. And when Sidony Box changes gears, the contrast is delightful. Altogether, "Pink Paradise" is, at times, noisy but always entertaining. To hear for yourself, go to en.naive.fr/#/artist/sidony-box.

I must admit that I am always pleased to see the names of Matt Wilson (drums) and Joel Frahm (tenor saxophone, soprano saxophone) on the cover of recordings. Both are exhilarating, expansive, musicians who play with a seeming ego-less blend of intelligence and wit. And, you will discover by the end of the first few tracks, so does the leader.

Brooklyn, NY, native Joan Stiles (piano) started out playing guitar in her teenage years but soon moved to keyboards. Later, after starting a family, she went back to school to study classical music and soon began studying jazz piano with Dick Katz and, later, with Harold Danko.

"Three Musicians" (Oo-Bla-Dee Music) is her 3rd CD. 10 of the 12 tracks are standards with one, "In the Sunshine of My Funny Valentine's Love" that is a snappy mash-up of Cream, the Richard Rodgers' melody from "Babes in Arms" and a theme from J.S. Bach. The other catchy medley, "Brother, Can You Spare a Dime" paired with "Can't Buy Me Love" may sound like a "cutesy" idea but is really inspired and downright fun. The 3 tracks in the middle of the program - "All The Things You Are", "Blood Count" and Mary Lou Williams' "O.W." - are duets with Frahm that sparkle with ideas and interplay. "Blood Count", the lovely Billy Strayhorn melody, one of the last songs he composed, is striking in its emotional content yet both the pianist and saxophonist (Frahm playing high in the tenor's range) create a performance that is neither saccahrin nor lifeless. The 2 Thelonious Monk tunes, "Introspection" and "Nutty", live up to their names and notable for Frahm's excellent solo on the former and Stiles' intelligent accompaniment (dig the "Rhapsody in Blue" quotes) on the latter (love Wilson's martial and melodic drumming as well.)

Listeners can tell when musicians are just goofing or going through the motions. While there is much humor on "Three Musicians", Ms. Stiles, along with Messrs. Frahm and Wilson, are having a wonderful time and their joy radiates through the speakers. The ballads are sensitive without being sappy and the 2 originals show Ms. Stiles' myriad influences without aping any particular pianist. This CD should bring a broad smile to your face because the 3 musicians play music with heart, soul and joy. For more information, go to www.joanstilesmusic.com.

Live Music, Power Emitting and Permitting + Music to Weather the Storm

2011-11-02T20:48:00.000-04:00

The good news about the October storm is that New Haven seems to be unscathed and that Firehouse 12, 45 Crown Street, will continue its Fall 2011 Concert Series Friday November 4 with a visit from Rudresh Mahanthappa & Samdhi. Alto saxophonist Mahanthappa has been on quite a creative tear over the past several years, releasing CDs with fellow alto saxophonists Bunky Green and Steve Lehman, working alongside guitarist Rez Abbasi, trumpeter Amir El Saffir and pianist Danilo Perez. His tart tone and rapid-fire lines combine the intelligence of Charlie Parker and Indian classical music.

Samdhi is the saxophonist's "electric" quartet; the band features guitarist David Gilmore, electric bassist Rich Brown and drummer Damion Reid. Their self-titled debut CD, released on ACT Music, is quite exciting and wonderfully musical, with melodies that rush forward like waves breaking on the shore during a storm and solos that leap from the speakers.

Samdhi plays 2 sets, 8:30 and 10 p.m. There's a waiting list for both sets (no surprise) so call 203-785-0468 to put your name on it. For more information, go to firehouse12.com.

The blur to the left is guitarist Sean Clapis performing at The Buttonwood Tree, 605 Main Street, in Middletown. He and pianist Noah Baerman were scheduled to make a return appearance to the performance space in late August but their plans were curtailed by Hurricane Irene. This week's snow-ice storm has paralyzed the Middletown area but it looks like Main Street is back in business so Clapis and Baerman, who first played together a decade ago when the guitarist was a student in the Center for Creative Youth summer program at Wesleyan (Baerman was the instructor), will perform Saturday night at 8 p.m. I saw their first Buttonwood gig in 2010 and really enjoyed the duo's give-and-take. Over the last year, they have played a number of times and are building a strong repertoire. To reserve a seat or 2 (I recommend that you do), call 860-347-4957 or go to www.buttonwood.org.

There are certain pieces of music that help to heal during times of duress and, for me, Johann Sebastian Bach's "Goldberg Variations" is one on those magical works. Composed in 1741 and consisting of an "aria" and 30 "variations" using the same chord progression, the work, written for harpsichord, was popularized in the 20th Century by Canadian pianist/conceptualist Glenn Gould. There have scores of recordings over the past 4+ decades (Gould alone recorded the "Goldbergs" 4 times) by the likes of Peter Serkin, Keith Jarrett, Murray Perahia, Roslyn Tureck, Simone Dinnerstein, Anthony Newman and Pierre Hantai.

On November 8, Sunnyside Records will release a splendid recording of the "Goldberg Variations" by pianist Dan Tepfer. The 29-year old Tepfer adds his own twist on the piece by adding improvised "variations" on the original "variations" - make sense? His improvisations use the same chord progression but stretches those chords in many fascinating directions. Of course, when Tepfer plays the piece live, his "variations" will be different each time.

"Goldberg Variations/Variations" is quite lovely yet it may be challenging for some when Dan Tepfer plays his more "modern" takes on the 270-year old chord progressions. But, challenging in a good sense. He certainly plays the original with both dexterity (some of the passages are incredibly fast) but his improvisations help to bring out the emotional and melodic richness of the work. One hears joy, melancholy, pride, a touch of sorrow and, most certainly, the kind of beauty that is created from love of creativity. and follow the instructions.

Self-recorded (the pianist was granted use of the Yamaha Artists Services Salon in Manhattan in the middle of the night), Dan Tepfer approaches JS Bach's composition, a work that many consider timeless, and makes the music sound "new" again. Find this recording - play it when you are happy and your spirits will rise even higher. Play it when your life has turned dark and your spirit will be caressed. To find out more, go to www.dantepfer.com.

If you are quick enough, the website nextbop.com is streaming the recording. Click on the link and follow the instructions.

Two's A Winner (Part 1)

2011-10-27T23:17:00.000-04:00

Don't know much about drummer Deric Dickens but one listen to "Speed Date" (self-released) and you'll know he's influenced by Ornette Coleman and the "Mu" duo of Don Cherry & Ed Blackwell (you'll also know that if you read the liner notes, which I did after listening to the CD.) Joining him on this 20-track "date" are Ben Cohen (tenor saxophone on 3 tracks), Jon Crowley (trumpet on 3 tracks), Kirk Knuffke (cornet on 4 tracks), Jeff Lederer (tenor saxophone on 2 tracks, clarinet on 1), Jeremy Udden (alto and C Melody saxophone on 3 tracks) and Matt Wilson (drums, wooden flute, bottle on 4 tracks). 6 tracks were created "by the clock" in that a stop watch was used and the duo had 74 seconds to instantly compose a piece.

Each participant brings his special flavor to the program, whether it's Lederer somewhat madcap style, Knuffke's exploratory side, Crowley's low-key playfulness (a la Lester Bowie), Udden's sweetly melodic side, Cohen's mellow edge (a Ben Webster quality is evident in his smoky tones) and Wilson's...well, Matt Wilson is always irrepressible. Lederer's "Duck Dance", adapted from a traditional Seminole Indian song is a quirky formal then informal then "free" romp while "Swing It Sista", featuring Udden, could easily have been a radio favorite in the 1930s or 40s (dig that hepcat brush work.) Knuffke's "coronet" (at least, that is what's listed in the liner notes) jumps out of the speakers on the danceable "Roy at the Store" while turning muted and mournful on "Knowing the Unknown." Wilson and Dickens do their Buddy Rich impressions on the short but spunky "Hold On" Barney", go "native" on the sharp-edged "I Don't Speak Caveman" (Wilson shrieking on wooden flute) and tell quite a story on "Search For the Cobra." Dickens can be flashy but prefers to swing with Lederer on the saxophonist's free-bopping "4 on the Floor." Crowley stays in his trumpet's mid and lower ranges for "Bizsnatch" and dances along on the snappy "My Beard Only Grows Red" (one of the pieces where you can really hear the Blackwell influence and also shades of Billy Higgins.)

"Speed Date" should please listeners who believe that 21st Century jazz is too conservative (that is what I have read in some publications.) Deric Dickens and his 6 collaborators are very involved in their dialogues and, lucky us, we get to sit right in the middle. For more information, go to www.dericdickens.com.

Baggetta Four in the 'House + CD Picks

2011-10-24T21:22:00.000-04:00

The Firehouse 12 Fall 2012 Concert Series rolls on this week (October 28) with the Mike Baggetta Quartet. Guitarist-composer Baggetta, a native of Agawam, Massachusetts, has worked with a slew of creative musicians but, perhaps, is best known for his collaborative duo with trumpeter Kris Tiner, TIN-BAG.

This Quartet, composed of Jason Rigby (saxophones), Eivind Opsvik (bass) and George Schuller (drums), has just issued "Source Materials" (Fresh Sounds New Talent), a pleasing blend of uptempo, harder-edged pieces with quiet yet challenging acoustic ballads. The Elm City concert, part of a short tour of East Coast cities, is a great way to watch creativity in action. Baggetta's pieces all have strong melodies yet most songs have generous spaces for the musicians to show their improvisational power. And, this rhythm section is not only supportive but also inventive in how they frame the pieces and interact with the soloists.

The Baggetta Quartet will play 2 sets, 8:30 and 10 p.m. For ticket information, go to firehouse12.com or call 203-785-0468. To learn more about the band, go to www.mikebaggetta.com.

RECOMMENDED NEW RELEASES:

Recorded live over 3 separate sessions (19 of the 21 tracks(!) are from a 2-night gig in Pasadena, California), "Tenderly: Solo Guitar Concert" (HighNote Records) is a real treat for guitar lovers. Kenny Burrell is not known for excessive noodling or flashy pyrotechnics - he thinks melody first and builds his solos logically off the chord structures. My suggestion is to start with the "Ellingtonia Montage", a 7-part medley that is so blessedly musical and intelligently played, transforming pieces written for big band to a 6-string electric guitar and making the transition flawlessly. Burrell gets to the heart of each of these songs, from Thad Jones' lovely "A Child Is Born" to the bouncy "Recado Bossa Nova." "Be Yourself" features a sweet vocal from Burrell on a his composition originally created for the Harlem Boys Choir. It's one of many lovely moments on a CD that is a gift of for tired ears. Sit back, relax, and let the sounds bring you peace.

Guitarist Pat Martino has had quite a career, one that spans nearly 5 decades. In his early years, he played "pop music" with local Philadelphia artists such as Bobby Rydell and Frankie Avalon and, before his 20th birthday, was on the road with organist Charles Earland. While in the midst of a 1976 tour with his fusion group, Joyous Lake, he suffered a series of seizures caused by a condition known as AVM (arteriovenous malformation) and had surgery that saved his life but took away his memory and ability to play guitar. Through extensive therapy, Martino made a full comeback.

"Undeniable: Live at Blues Alley" (HighNote Records) features a "smoking" ensemble including Eric Alexander (tenor saxophone), Tony Monaco (Hammond B-3 organ) and Jeff "Tain" Watts (drums). The 7 tracks are all composed by the guitarist save for the bluesy take on Thelonious Monk's "Round Midnight" and while there is nothing earth-shattering here, this music has an undeniable groove that will have you snapping your fingers and wishing you were in the D.C. nightclub for the 3 nights in June 2009 that produced these tracks. You just have to smile hearing the audience clapping along on "Goin' To A Meeting" or shouting encouragement as Martino and Watts take "Double Play" to a fiery climax right before Alexander digs in for his own hard-edged solo. The saxophonist always seems to hit the right notes, most noticeably on the blues-drenched "Inside Out." It's fun to hear Watts in a more straight-ahead vein - he still plays stokes the fires hard with his crashing cymbals and snappy snare work. Monaco's groove never fails and his active bass pedals really keep the "bottom" flowing.

"Undeniable" is my kind of party music; a touch of fatback funk, a dollop of blues, solos that go for the jugular and a rhythm section that never lets up bit knows how to lay back when called for. A "guilty pleasure"? Perhaps, but a pleasure all the same.

Trumpeter-composer Tim Hagans can bring his horn to just about style of creative music and make it his own. "The Moon is Waiting" (Palmetto Records) is an excursion into a "fusion soundscape" powered by the hard drive of drummer Jukkis Uotila, electrified by the adventurous guitar of Vic Juris, and underpinned by the forceful bass work of Rufus Reid. For those used to hearing Reid in more "straight-ahead" settings, his work here on acoustic bass is monstrous, his big, thick sound meshing well with the active drumming.

Meanwhile, Hagans plays with great gusto throughout, whether it's floating over the stop-start rhythms of "Ornette's Waking Dream of a Woman" or roaring through a duet with Uotila near the close of "First Jazz." There are some allusions to electric Miles (Davis, of course) in both the funky "Boo" and the sound-scapes of the title track. Juris, another musician whose guitar can move among genres, is impressive, especially his work in the background. His lovely intro and solo on the ballad "What'll I Tell Her Tonight" is rich both melodically and emotionally, setting the stage for Hagans' fine muted trumpet solo. The guitar and trumpet section of "Get Outside", framed by the tolling piano chords (supplied by Uotila), is edgy yet playful. By the time you get to the closing track, "Things Happen In a Convertible", you realize that these guys enjoy each others' company and that, because of the trust they have, the music can and does go in many different directions without ever getting lost.

The first 3 tracks were originally created for the Michelle Brangwen Dance Ensemble yet there are inspired moments of musical choreography throughout "The Moon is Waiting." Hagans has created music for this ensemble that moves with joy, energy, and intelligence, with quieter sections that are also rich with musical ideas. Go to www.palmetto-records.com and search for Tim Hagans - give a listen and chances are good you'll want to hear this fine recording many times.

Live Music + CD Picks

2011-10-18T21:44:00.001-04:00

I have been waiting for this week since I received the Firehouse 12 Fall Concert schedule in early September. This Friday (October 21), the Rob Garcia 4 comes to the intimate performance space/ recording studio to play 2 sets of original music. Drummer-composer Garcia, a native of Pelham, New York, grew up surrounded by music and soon fell in love with the drumming of Keith Moon (from The Who). In his college years, he renewed his interest in jazz and studied with Charli Persip and Adam Nussbaum (and others.) Over the past decade-and-a-half, Garcia has worked with Wynton Marsalis, Anat Cohen, Woody Allen (!), and David Binney (to name but 4.) His debut CD as a leader was issued in 2001 followed in 2007 by a larger group CD "Heart's Fire" (under the monicker Rob Garcia's Sangha.)

In 2009, he convened the group that will join him in New Haven (well, most of them.) Saxophonist Noah Preminger (a Connecticut native), pianist Dan Tepfer and bassist Chris Lightcap recorded "Perennial" for Brooklyn Jazz Underground Records - the CD made many year-end "Top 10" lists (including mine) for its inventive mix of melody and rhythms as well as the impressive musicianship. For the 4's new recording, "The Drop and the Ocean" (BJU Records - reviewed here), John Hebert replaced Lightcap, adding his distinctive voice to the ensemble. What impresses me most is that Garcia's music is more concerned with melody than with flashy solos. Tepfer is such an inventive player and Preminger never overplays, often displaying a softer tone (a la Charles Lloyd) on solos that float rather than fly. There are many moments when the quartet lets loose but rarely in a frenetic manner. The Firehouse 12 website lists Joe Martin joining the band for this date and he's no slouch when it comes to bass playing.

For more information, go to firehouse.com or call 203-785-0468.

Here's a cut from "The Drop and the Ocean", courtesy of BJU Records and IODA Promonet:
Boundaries (mp3)

Yes, another piano trio CD and, yes again, it's pretty darned good. The cooperative trio of (Colin) Stranahan (drums), (Glenn) Zaleski (piano) and (Rick) Rosato (bass) spent February 20, 2011, in NFA Studios in Colorado and created "Anticipation" (Capri Records). The music moves easily from track to track, a smart blend of originals and standards, with nothing rushed or overdone. Stranahan, whose previous CD was quite attractive (reviewed here), is a young player with very mature ears. His brush work on his piece "First Rain" sizzles and sighs while his "bop chops" on Zaleski's "On The Road" should make your feet tap in happiness. The pianist took part in the 2011 Thelonious Monk Piano Competition (ultimately won by Kris Bowers) and has been receiving great reviews for his fine melodic style. One can hear the influence of Bill Evans on Rosato's "Clark" yet, most of the time, he's his own person. He swings sweetly on the Miles Davis/Gil Evans classic "Boplicity" and really shines on his own composition, the lovely ballad "Deep Blue." Rosato, who's only 22 years old, not only locks in the bottom but also is a very melodic bassist whose phrases are fluid and well-placed. The urgency in his forceful lines on "All The Things You Are" helps to make the piece sound new.

"Anticipation" is good music and these 3 young musicians are yet another hopeful sign that jazz will continue to excite listeners for many more years. For more information, go to www.glennzaleski.com or www.colinstranahan.com.

The alto saxophone sound of Rudresh Mahanthappa, with its tart yet appealing tones, sometimes brings to mind the sound of the North Indian shenai (a double-reed oboe-like horn.) On his new CD, "Samdhi" (ACT Music), one can hear that sound and so much more. This is the saxophonist's "electric" music, with a quintet that features the fluid electric bass lines of Rich Brown, the high-energy drumming of Damion Reid (whose snare work is, at times, incredible), the inventive and fiery electric guitar work of David Gilmore and the active Indian percussion of "Anand" Anantha Krishnan (mridangnam and kanjira). On top of this, you add the Mahanthappa's rapid-fire alto phrases and this music has the power to pin the listener to the wall. Smartly, the leader adds a "spotlight" piece for himself and his cohorts with Reid and Krishnan performing a percussion dialogue. And this is not all "strum und clang" - several pieces rely on the intricate interplay of the percussionists with Brown's thick bass tones. "Playing With Stones" opens with an Indian melody played by the front line while the bassist creates a swirling pattern on the bottom. "Ahhh" has a mournful melody line played by guitar and alto in unison but when Mahanthappa puts his alto through the laptop, thickening the sound, the piece catches fire. There is a bluesy Bo Diddley-style rhythm in the theme section of "Breakfastlunchanddinner", a bit of Southside Chicago mixed with downtown Mumbai. The alto solo reaches a fine climax then Mahanthappa gets "soulful" leading into Gilmore's dizzying solo. There's more "soul music" on "For All The Ladies", the ballad that closes the CD. Reid and Krishnan are magical here as well, with a blend of both sensitivity and force but never overkill.

"Samdhi" has much to offer the adventurous listener, from Mahavishnu-like "burnout" to introspective solo pieces. The band, minus Krishnan, is currently on a European tour and will be appearing at The Jazz Standard in New York City (11/01 & 02), the Regatta Bar in Boston (11/03) and Firehouse 12 in New Haven (11/04). One can just imagine how this music will have grown by then. In the meantime, latch on to the recording and play it loud. For more information, go to rudreshm.com.

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"Crosby Street" (14th Street Records) is the debut CD from tenor saxophonist Jake Saslow. All but one of the 7 tracks are original works (Horace Silver's "Lonely Woman" is the one exception) and the recording, like its cover, mixes brightness with shadows. There's lightness in the sound of the tenor (a nod towards Charles Lloyd, perhaps), chiming guitar chords from Mike Moreno (he appears on 5 cuts), excellent piano explorations and backgrounds from Fabian Almazan (he plays on 4 tracks), and the pleasingly fluid rhythms supplied by bassist Joe Martin and drummer Marcus Gilmore. The music does not have many "highs" or "lows" yet there is an intensity in "Taiga Forest" that pulls one into its melodic variations and smart solos. Moreno catches fire on "Early Riser", with a strong push from Gilmore while the leader's interactions with the piano accompaniment are vibrant.

The CD closes with 2 ballads; "How Things Were" has a melancholy melody, an emotional solo from Almazan followed by an introspective solo from Saslow while "Until Next Time" has a hopeful melody and the leader's most impressive solo (fine work from Moreno in weaving in and out below the solo.)

"Crosby Street" may not stir your emotions on first listen but go back with open ears and let the sounds wash over you. Pay attention to the stellar rhythm section, the "behind the scenes" work of Moreno and Almazan and the sweet emotionally vulnerable sounds of Jake Saslow. For more information, go to jakesaslow.com.

Autumn Colors (Part 2)

2011-10-12T23:00:00.002-04:00

Musicians like guitarist Nat Janoff play all kinds of gigs, from r'n'b to funk to electric fusion to straight-ahead jazz, and do so because they love to play. Music is in their blood. Janoff graduated from William Paterson University in 1996 and has been gigging ever since. "Come Together Move Apart" (self-released) is his 4th release as a leader or co-leader and it's a winner for a number of reasons. Janoff has assembled a fine band, including pianist John Escreet, bassist François Moutin and drummer Chris Carroll. He composed all the pieces and then let the band loose. The rhythm section is so fluid, they make the music move with fire and grace - the interaction of the guitar and piano with the bass and drums on pieces such as "Mood" and "Shorter Times" makes it sound as if they had played together for years. When a musician moves within the poly-rhythmic world, they can either be conservative and fall back on cliches to get through or take bold chances knowing the support is there. It's a treat to hear how Carroll gets into conversations with Janoff and Escreet during their solos on "Sunday Morning" and the way Moutin dances beneath the pianist on "Partly Cloudy." Those interactive moments happen throughout the program and are a big part of what makes this music so enjoyable. Escreet's work behind and alongside the guitarist is also pleasing. The young British-born keyboard artist is one of those players who never goes for the "tried-and-true" and his accompaniment of as well as his interactions with Janoff shine ("Sketch 1" and "Sketch 2" show how well they work on ballads.) His solo on "Hope Fills My Heart" is the musical explanation of the song's title. Moutin, whose work with both his brother Louis and pianist Jean-Michel Pilc's Trio, has shown to him to be such an inventive player, is no slouch on these tracks, with his thick tone and revelatory solos.

While Nat Janoff can really play guitar (his lines are often swift, blurs of runs that move up and down the fret board), you should listen to "Come Together Move Apart" to hear how strong the melodies are and how much fun the 4 players have on their journey through the pieces. This is why I listen to jazz, to creative music. Recordings this good give me hope in troubled times. For more information, go to www.natjanoff.com.

Guitarist-composer Mike Baggetta is coming to New Haven and Firehouse 12 on October 28 to play 2 sets of music, 8:30 and 10 p.m., with the Quartet that has just issued its 2nd CD on the Fresh Sounds New Talent label. "Source Material" features his "working" group of Jason Rigby (saxophones), Eivind Opsvik (bass) and George Schuller (drums) - on the CD, one can hear that these musicians really pay attention to each other and to the material, all of which are Baggetta originals.

It's a program that commences on the low-key side with 2 longer pieces, "Tonic" (12:10) and "Nathan" (8:55) both starting slowly and quietly. The former opens with a short, even-keeled, drum solo before the band tip-toes in, Baggetta's softer chords driving the piece forward. Rigby adds a livelier feel in his tenor solo that also spotlights the fine guitar accompaniment. "Nathan" is even softer, a ballad all the way through, Rigby's soft tenor lines wrapping around the guitar, not unlike the work John Abercrombie did with Charles Lloyd on the saxophonist's "Water is Wide" and "Lift Every Voice" CDs. The band moves a several steps "out" on "Liberty", a work with a rubato feel (fine drum accompaniment) and the next track, "Momentum", has the feel of an Ornette Coleman piece from his Atlantic days. There's more Coleman influence on "Projections", a romp that shows Rigby (on tenor) at his most playful Baggetta switches to acoustic guitar for the lovely and still adventurous "The Sky and the Sea." The blend of the soprano saxophone and acoustic guitar is gentle and emotionally satisfying. The guitarist goes it alone (still on acoustic) for "The Winter Moon", a piece where the melody revolves around a lovely descending line.

Opsvik and Schuller are magnificent throughout, both knowing when to build intensity or to lay back. The bassist offers counterpoint to the soloists' melodies while the drummer is often coloring the background with his pleasing cymbal work.

"Source Material" is modern music as it should be played, not only about cogent solos and sonic experimentation but also melodically strong and filled with striking interplay. Much of the music is played at lower volumes so pay close attention and reap the musical rewards. For more information, go to www.mikebaggetta.com. For tickets to the Firehouse 12 date, go to firehouse12.com.

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It would not be a lie to say that alto saxophonist Miguel Zenon is on a serious upwards roll. The 8 seasons he has spent with the SF Jazz Collective have sharpened his ensemble playing and ability to create intricate arrangements and cogent solos. The MacArthur Genius Grant (2008) has eased any financial issues and his recordings on Marsalis Music just keep getting better. "Alma Adentro: The Puerto Rican Songbook" is his 2nd consecutive release to specifically deal with music from his homeland; while "Esta Plena" dug deep into the folkloric side of his heritage, the new CD uses "popular" music for its jumping off point (believe me, the jacket cover gives one a hint to Zenon's intention in recording these pieces - this is very sophisticated "dance" music.)

The program has much to recommend itself to the listener. First, Zenon's Quartet, composed of Luis Perdomo (pianist), Hans Glawischnig (bass) and Henry Cole (drums), has been a working unit since early in the 2000s (Cole replaced Antonio Sanchez after 2005's "Jibaro" recording). Secondly, he employs Guillermo Klein to write arrangements for 8 reeds and 2 brass) and he does a magnificent job of supplying subtle colors and shadings (never getting in the way.) Third, the material Zenon chose comes from the pens of Bobby Capo, Rafael Hernandez, Pedro Flores, Sylvia Rexach and Tite Curet Alonso, names that may be unknown to the average North American listener but whose works sparkle with melodic charm and, at times, rhythmic intensity. Finally, Zenon's saxophone work is so impressive. He plays fluid lines that leap out of the speakers and his ballad work is passionate, warm, and soulful. Several years ago, a criticism of his playing was that (and I am paraphrasing here) it was technically fine but lacked "soul." Can't say that about his recent work - Miguel Zenon has developed into one of the more eloquent alto saxophonists, a player who has found his heart (and voice) in mining the music of his homeland and putting his own distinct sound (and soul) into creating it anew. There is not a weak track on "Alma Adentro" (Depths of My Soul"). Kudos also go to Perdomo who makes the most out of each and every solo. And, Cole's drum work will make you get out of your seat - his dancing rhythms can be subtle or forceful but never dull.

For more information, go to miguelzenon.com. If he's playing anywhere nearby, do your best to be in attendance.

the four bags has just released its 4th CD, "forth" (NCM East) and the ensemble - Mike McGinnis (woodwinds), Brian Drye (trombone), Sean Moran (guitar) and Jacob Garchik (accordion) - has delivered its most consistent and enjoyable program. One continues to marvel at how a drummer-less ensemble can swing so smartly (when they want to) and how they continue to take unconventional material and make it "bags' music." Garchik's fingers on his accordion keys provide the "click track" for the group's re-imagining of "Run", a song originally recorded by the French band Air. The moaning trombone, the rippling and pinging guitar, and the keening accordion cast the piece in a very different light. The foursome has a lively time with its high-stepping "Girias Do Norte" (originally recorded by Brazilian singer-songwriter Jacinto Silva) - Moran's guitar sounds South African, at times, and the rest of the band creates quite a ruckus. Garchik contributes a fascinating arrangement of Iranian musician Parviz Meshkatian's "The Burning", a dramatic piece with a distinctive melody and impressive shifts in intensity.

Of the original material, there's an Eastern European feel to Moran's "Terpischore", more Viennese than Romanian while Drye's "Imaginary Soda" blends Steve Reich and Frank Zappa into a more melodic sonic drink. Garchik's funky "Wayne Shorter Tune With All Different Notes" takes of atop a rhythm that seems like a permutation of Chick Corea's "Spain." McGinnis's "Sweet Home California" utilizes the rhythm from the Lynryd Skynrd tune of a similar title (different state) and Moran gets to display his "guitar slinger" chops. Garchik's solo has a fiery and atonal edge while the blend of clarinet and trombone creates fascinating colors.

the four bags (all small letters, if you please) could be dubbed a chamber ensemble with roots in Weill, Nino Rota, 20th Century serial music, "pop" music and modern jazz. They impress with their blend of instrumental sounds, their fearless approach to repertoire, and their fine musicianship. Go "forth" with open ears and these bags will hold your attention each time you listen.

Here's what "forth" sounds like (courtesy of the band) - make up your own mind.
&amp;amp;lt;p&amp;amp;gt;&amp;amp;lt;p&amp;amp;gt;&amp;amp;lt;a href="http://thefourbags.bandcamp.com/album/forth"&amp;amp;gt;Forth by the four bags&amp;amp;lt;/a&amp;amp;gt;&amp;amp;lt;/p&amp;amp;gt;&amp;amp;lt;/p&amp;amp;gt;

Live Music: Streaming and In Person

2011-10-10T20:37:00.003-04:00

National Public Radio presents pianist-composer-arranger Fabian Almazan in concert on "Live at the Village Vanguard" Wednesday October 12 at 9 p.m. Joining the young Cuban-American will be bassist Linda Oh and drummer Henry Cole, the 2 musicians who appear on Almazan's debut CD, "Personalities" that has just been released - in addition, augmenting the Trio will be a string quartet (there are a pair of pieces on the CD with string arrangements.)

Not only will there be streaming audio but video as well. At 7 p.m., Almazan will sit with Lara Pellegrinelli for an interview and viewers/listeners are encouraged to send questions via a "live chat box." Judging by the show Almazan and Trio put on at Firehouse 12 in September (with Kendrick Scott sitting in for Cole), you won't want to miss this (here's what I thought) - best of all, the show is archived and you can listen as often as you would like. For more, go to www.npr.org/villagevanguard.

The Firehouse 12 Fall 2011 Concert Series is going to get a jolt of major proportions on Friday night when the Harriet Tubman Double Trio hits the Elm City. Originally formed in 1998 by guitarist Brandon Ross, bassist Melvin Gibbs and drummer J.T. Lewis, the HTT doubled its size in 2000 to record "Ascension", the 1965 work by John Coltrane that the jazz giant recorded with an 11-piece band. The Tubman Double Trio recording (which featured trumpeter Ron Miles and both DJ Logic and DJ Singe on turntables) languished in record label limbo until earlier this year. Sunnyside Records finally brought the music to light and the band has been touring to promote the CD. In New Haven, the band will add Graham Haynes (cornet, electronics) and the turntables of DJ Logic and Val Inc. There are 2 shows, 8:30 and 10 p.m., and reservations are recommended. You can call 203-785-0468 or buy online at firehouse12.com.

The trio of Amanda Baker (flute, voice, percussion), Beth Meyers (viola, voice) and Nuiko Wadden (harp, percussion, voice) performs under the name Janus and they are appearing Sunday October 16 at First Church of Christ, Congregational, 499 Town Street in East Haddam. The concert is part of the Church's "Music at the Meetinghouse" series and is part of the Daniel Pearl World Music Days (to read more about that, go to www.danielpearlmusicdays.org.)

The indie-classical chamber ensemble, formed in 2002 by Ms. Baker and Ms. Meyers, plays a heady and attractive repertoire of (mostly) 21st Century composers, folks such as Jason Treuting (from So Percussion), Caleb Burhans and Sofia Gubaidulina), with many of the works commissioned by Janus. It's important that the repertoire for flute, harp and viola began in the early 20th Century with a work by Claude Debussy. Their debut CD, "I Am Not (blank)", took 3 years to come together and was released late last year on New Amsterdam Records. For more information about the ensemble, go to www.janustrio.org. To purchase tickets, call the Church at 860-537-2052.

Composers and Improvisers Back in Middletown

2011-10-09T17:43:00.001-04:00

My long-time friend and former Middletown resident Joe Fonda called the other day to remind me of the 7th Annual Composers & Improvisers Festival taking place Saturday October 15 in the friendly confines of The Buttonwood Tree, 605 Main Street in Middletown. As usual, Mr. Fonda has organized an impressive lineup.

Opening the evening at 7:30 p.m. will be guitarist/composer Michael Musillami in a duo setting with bassist Rich Syracuse. Musillami (pictured left) is a California native but has been plying his musical wares on the East Coast for nearly 3 decades. He has worked with the late saxophonist Dewey Redman and organist Richard "Groove" Holmes but is best known for his musical relationships with Connecticut-born musicians Thomas Chapin (saxophones) and Mario Pavone (bass). He started Playscape Records in 1999 not only to release his own music but also artists such as Pavone, pianists Ted Rosenthal and Peter Madsen and drummer George Schuller. Schuller and Fonda have been the basis of the Musillami Trio for the past 8 years. Bassist Rich Syracuse is best known for his long relationship with pianist Lee Shaw and is a strong as well as musical player.

Speaking of strong musical bass players, Avery Sharpe (pictured left) certainly fits that description. After studying as UMASS/Amherst with bassist Reggie Workman, Sharpe "hit the road" with saxophonist Archie Shepp and then spent 2 decades with pianist McCoy Tyner. He's released several CDs on his own JKNM Records and also composed the music for the one-person show "Raisin Cane", featuring Jasmine Guy. Sharpe also teaches at the Litchfield (CT) Jazz Camp in the summertime. There is a good possibility he'll be playing solo but don't let that deter you - he's a bassist who loves melody. Avery Sharpe's set begins at 8:30 p.m.

The evening closes with a quartet of impressive brass players featuring Stephen Haynes (trumpet, cornet - pictured left)), Bill Lowe (bass trombone), Peter McEachern (tenor trombone) and Ben Stapp (tuba). Haynes spent many years working with the legendary trumpeter and conceptualist Bill Dixon (1925 - 2010) but also has created music with pianist Cecil Taylor, violinist Leroy Jenkins and modern classical experimentalist La Monte Young. His Trio recording, "Parrhesia" (Engine Records), with Joe Morris (guitar) and Warren Smith (percussion) was issued just last year. Over the 4+ decades of his career, Bill Lowe has played with James Brown, Eartha Kitt, Dizzy Gillespie, James "Jabbo" Ware, and hed co-led bands with guitarist Andy Jaffe as well as the Boston Repertory Orchestra. He has taught at Wesleyan, University of Pennsylvania, the New England Conservatory of Music and elsewhere. Peter McEachern also played alongside Thomas Chapin and Mario Pavone as well as the legendary Clarence "Gatemouth" Brown. He currently teaches at the University of Connecticut and the Litchfield Jazz Camp. Like his cohorts, Ben Stapp plays all kinds of music, from brass band to classical ensembles to improvised jazz.

This unit performs at 9:30 p.m. For more information and reservations (recommended), call 860-347-4957 or go to www.buttonwood.org.

Autumn Colors (Part 1)

2011-10-05T22:02:00.002-04:00

Drummer/composer Rob Garcia leads a splendid quartet, each player bringing unique talents to the leader's music. The band's debut for BJU Records, "Perennial" (2009) showed up on many "Best-of" lists and I would be surprised if "The Drop and the Ocean" doesn't make many of this year's lists. The blend of Noah Preminger (tenor saxophone), Dan Tepfer (piano) and John Hebert (bass) with Garcia's ambitious compositions is exemplary. If you are familiar with Preminger's work, you know he usually thinks melody first and he does that here as well but there are pieces that make him stretch. "Will", the opening cut, starts off with a saxophone Morse Code that anticipates the circular melody. Despite the urgency of the theme and rhythm below it, the 4 do not rush pell-mell into the work. Tepfer, who is yet another one the young pianists with a definitive style creates a solo that builds off the energy of the rhythm section and sets the stage for Preminger to create a solo that reshapes the urgent opening notes, twisting and curling around the active drumming. Hebert also helps to shape the pieces - his insistent bass lines beneath the declamatory melody line on "Boundaries" push against the tumultuous drums and cascading piano lines. His solo, coming after Preminger's husky tenor spotlight, is rich with melodic lines, allowing Garcia to create serious color beneath him.

Other highlights include the driving and insistent "River" featuring a solo from Tepfer that, at times, echoes Andrew Hill without aping his style as well as Preminger's far-ranging and emotionally charged solo. "Humility" opens with a handsome piano spotlight (sans rhythm section) and, after Preminger voices the sweet first melody line, drops into a tempo that starts and stops with Garcia's active drumming alongside Hebert's driving bass lines. Tepfer's two-handed attack at the piano is a sharp counterpoint to Preminger's subtle tenor solo. There's a New Orleans feel in the shifting rhythms on "String and Poise" and admirable work from the bass and drums as they push/pull the piece along.

3 of the 12 tracks are short drum solos - titled "Flash"and numbered 1, 2 and 3, the pieces allow Garcia to be rhythmic and melodic and do not distract from the 9 Quartet pieces. I cannot wait to hear the 4 play this exciting music live - they'll be at Firehouse 12 in New Haven, CT, on Friday October 21. In the meantime, "The Drop and The Ocean" is music that moves the body, engages the mind and satisfies the soul. One cannot ask for more than that! For more information, go to www.robgarcia.com.
Here's a taste of "The Return", a track that shows the influence of Ornette Coleman, courtesy of BJU Records and IODA Promonet.
The Return (mp3)

Paul Motian's style on the drums may have "calmed down" over the last few decades but he remains one of the more musical drummers on the planet. "The Windmills of Your Mind" (Winter & Winter) features long-time compatriot Bill Frisell (guitar), the fine young bassist Thomas Morgan and the vocals of Petra Haden (daughter of Motian's section mate Charlie Haden.) 11 of the 16 tracks are standards, songs framed by Frisell's spare guitar chords and Morgan's melodic bass lines. Underneath is Motian, not driving (most of) this music but subtly steering the pieces with his minimalist style (lots of brush work and cymbal shadings.) Ms. Haden stays true to the melody lines, with few if any vocal embellishments. Her work on "I Loves You Porgy" and "Tennessee Waltz" are emotionally rich while her lovely, soft, take on the title track gives the oft-recorded song new life. Frisell's rhythm work is absorbing while Morgan serves as a second melodic voice. Motian's brush work is so quiet and spare that he is more of a sonic "painter" than pulse maker.

The 5 Motian originals are all instrumentals but keep the mood of the other tracks. Morgan's solo on "Wednesday's Gone" is short yet sublime while Frisell's guitar on "Backup" is evocative of moonlit nights in the fall. Motian's drumming on "Trieste" (one of his older tunes) swings in his unhurried yet tuneful manner.

Because of the uncluttered style of this music (and the superb sound quality of the CD), "The Windmills of Your Mind" is so satisfying. One expects that Bill Frisell's work will be pleasing but, here, Thomas Morgan's bass work absolutely stands out. Petra Haden is out front but fits herself sweetly into the flow of the music. Meanwhile, the 80-year old Paul Motian is the soul, the percussive painter, of this quartet, allowing the melody to carry the day throughout. For more information, go to www.winterandwinter.com.

Also recommended:

"History of Jazz in Reverse"(TUM Records) is a sweet release from FAB Trio, the hardworking ensemble of Joe Fonda (bass), Barry Altshcul (drums) and Billy Bang (violin). Recorded late in 2005 (after a successful European tour), this music is driven by strong melody lines, hearty rhythms and the excellent interactions of three men who enjoy each others company.

When you listen closely, one cannot tell if it's Bang's insistent and energetic violin, Fonda's lusty bass lines or Altschul's hard-edged drum work that drives the music. Tunes such as "Homeward Bound", "Implications" and "From the Waters of New Orleans" build up such a head of steam, it can push the listener up out of his chair. When Bang (who passed in April of this year) gets going, the music seems to levitate. Yet he can be subtle and oh-so-bluesy - the sweet plucked violin opening of "One for Don Cherry" feels like a blend of Appalachian folk songs with an Indian mantra. The interplay of Fonda's bass and Bang's violin in the middle of the piece is mesmerizing. The program closes with "From the Waters of New Orleans", replete with second-line "parade" drumming, a fiery bass solo and very funky violin.

Do not overlook this excellent recording from FAB Trio. The sound mix allows each instrument to stand out so you can really dig into Barry Altschul's creative drum work, ride along with Joe Fonda's moving bass lines, and luxuriate in Billy Bang's delightful violin playing. To find out more, go to joefonda.com.

Tenor saxophonist Ernie Krivda has issued a slew of Lps and CDs since he first came to critical notice in the 1970s and one aspect has remained constant throughout the years - his big, round, tone and penchant for melody. "Blues for Pekar" (Capri Records) finds him in the company of "The Detroit Connection" - pianist Claude Black, bassist Marion Hayden and the steadily swinging drums of Renell Gonsalves - plus guest appearances on 2 tracks each by Dominick Farinacci (trumpet, flugelhorn) and Sean Jones (trumpet). If you're a fan of hard-bop, there is much to like in this program. The rhythm section thunders through Dexter Gordon's "Fried Bananas" while Krivda and Farinacci trade lines and pianist Black drops "quotes" like mad. Jones joins the fun on Sonny Rollins' "Valse Hot" displaying his rich tone and finely articulated lines while Krivda swings with glee. Dig Ms. Hayden's thick bass lines and Gonsalves' strong drive. The saxophonist evokes Coleman Hawkins and Ben Webster on "More Than You Know" and his interplay with Black throughout his long solo is impressive. The title track is dedicated to comic writer and music critic Harvey Pekar (1939-2010), like Krivda, a native of Cleveland, Ohio. While the music does not really capture the cartoonist's prickly style, it truly celebrates his love of music. Farinacci shines, pushing Krivda to dig deep and create a fine, not flashy, solo. It's true - Krivda playing is substantial, melodically and emotionally rich and he rarely plays to "show off."

Ernie Krivda does have an impressive catalog with a good portion of his best work on Cadence Jazz Records or its subsidiary, CIMP. "Blues for Pekar", his debut on Capri Records, is very good and lots of fun. Dig in! For more information, go to www.erniekrivda.com.

Live Music for this Week (October 5-8)

2011-10-04T10:30:00.000-04:00

I wrote a few weeks back about the Braxton Festival to take place at Roulette in Brooklyn (click here to read the particulars) and this is the big week.

Here's the lineup again:
Wednesday Oct 5
Pine Top Aerial Music – Anthony Braxton (reeds), Taylor Ho Bynum (brass), Matt Bauder (reeds), Anne Rhodes (voice), Rachel Bernsen, Melanie Maar (movement)
Composition 30 – Cory Smythe (piano)

Falling River Music – Anthony Braxton (reeds), Sara Schoenbeck (bassoon), Shelley Burgon (harp), Renee Baker (violin/viola)

Thursday Oct 6

Diamond Curtain Wall Trio – Anthony Braxton (reeds, electronics), Taylor Ho Bynum (brass), Mary Halvorson (guitar)

Tri-Centric Orchestra – Jason Hwang, Mazz Swift (violins), Renee Baker (viola), Tomas Ulrich (cello); Nate Wooley, Chris DiMeglio (trumpets), Mark Taylor (French horn), Dan Blacksburg, Chris McIntyre (trombones), Anthony Braxton, Daniel Blake, Dan Voss, Matt Bauder, Salim Washington, Josh Sinton (reeds), Angelica Sanchez (piano), Mary Halvorson (guitar), Ken Filiano (bass), Tyshawn Sorey (percussion), Taylor Ho Bynum, Jessica Pavone, Aaron Siegel (conductors.)

Friday Oct 7

Syntactical Ghost Trance Music Choir – Anne Rhodes, Kyoko Kitamura, Amy Crawford, Jean Carla Rodea, Fay Victor, Kamala Sankaram, Elizabeth Saunders, Nick Hallett, Vince Vincent, Wesley Chinn, Chris DiMeglio, Michael Douglas Jones, Adam Matlock (voices)

12+3tet Echo Echo Mirror House – Anthony Braxton, Andrew Raffo Dewar, James Fei, Steve Lehman, Chris Jonas, Sara Schoenbeck (reeds), Taylor Ho Bynum, Reut Regev, Jay Rozen (brass), Renee Baker, Erica Dicker, Jessica Pavone (strings), Mary Halvorson (guitar), Carl Testa (bass), Aaron Siegel (percussion)

Friday Oct 8

A world premiere concert reading of two acts of Braxton’s opera Trillium J, featuring a cast of twelve singers and 35-piece orchestra, with Braxton conducting.

Trillium J (Acts I and III) - Amy Crawford, Anne Rhodes, Kyoko Kitamura, Fay Victor, Kamala Sankaram, Elizabeth Saunders, Nick Hallett, Vince Vincent, Wesley Chinn, Chris DiMeglio, Michael Douglas Jones, Jeremiah Lockwood (voices)Erica Dicker, Jason Hwang, Sarah Bernstein, Olivia DePrato, Renee Baker, Skye Steele (violins), Jessica Pavone, Amy Cimini, Lilian Belknap (violas), Tomas Ulrich, Nathan Bontrager, Daniel Levin (cellos), Ken Filiano, Carl Testa (bass), Cory Smythe (piano), Chris Dingman (percussion), Michel Gentile, Yukari (flutes), Christa Robinson (oboe), Katie Scheele (english horn), Sara Schoenbeck, Brad Balliett (bassoons), Mike McGinnis, Oscar Noriega, Jason Mears, Josh Sinton (clarinets), Nate Wooley, Gareth Flowers (trumpets) Mark Taylor (French horn), Reut Regev, Sam Kulick (trombones), Jay Rozen (tuba), Anthony Braxton (conductor)

You will notice that Professor Braxton is playing every night except Saturday when he is conducting. He continues to amaze with his energy, output and vision. To find out more, go to www.roulette.org/events/upcoming.php.

Firehouse 12, 45 Crown Street in New Haven, welcomes cellist/composer Erik Friedlander & his Bonebridge group on Friday October 7. Joining Freidlander is the dynamite rhythm section of Michael Sarin (drums) and Trevor Dunn (bass) plus the fine slide-guitarist Doug Wamble. The quartet's self-titled CD is a funky and creative slice of "Amercana" music, a smart blend of folk, blues, country, pop and jazz influences. And the interplay of the cello with Wamble's bluesy guitar is exciting and captivating throughout.

The band will play 2 sets, 8:30 and 10 p.m. - go to firehouse12.com or call 203-785-0468 to reserve a seat in the handsome performance space.

In the meantime, check out the CD:

&amp;lt;a href="http://music.erikfriedlander.com/album/bonebridge"&amp;gt;Bonebridge by Erik Friedlander&amp;lt;/a&amp;gt;

On Saturday October 8. the Uncertainty Music Series continues with an 8 p.m. concert featuring the Generous Ensemble (oboist Stuart Breczinski is pictured on the left) and the duo of Ben Klein (tuba) & Marc Burns (assorted instruments). Generous is an octet featuring (beside Breczinski)

Erin Camp (flutes), Peter Scuderi (clarinets), Mallory Kokus (saxophones), Elias Mullane (guitars), Bryan Hayslett (cello), Marshall Greenberg (basses) and Sayun Chang (percussion.) The ensemble's repertoire ranges from JS Bach to John Cage to contemporary composers who are pushing the boundaries of what we call classical music. The event takes place at Neverending Books, 810 State Street in New Haven. For more information, go to uncertaintymusic.com.

I've got a backlog of CD reviews threatening to take down my desk and will start chipping away at them later this week. In the meantime, go out and be audience.

Rare Concert + Reviews of Music by 1 Duo, 2 Trios and a Quartet

2011-09-26T21:40:00.000-04:00

If you are a person who appreciates musicians that can create works informed by gospel music, by classical music, by blues, by jazz and free improvisation, then do not miss the pianist/organist/vocalist/composer Amina Claudine Myers Trio Friday September 30 at Firehouse 12, 45 Crown Street in New Haven. Ms. Myers first came to critical notice in the early 1960s when she moved to Chicago and played in the bands of hard-bop greats Sonny Stitt and Gene Aamons. After meeting pianist/composer Muhal Richard Abrams, she joined the AACM (Association for the Advancement of Creative Musicians) and began developing her own music. Her 1980 recording, "Amina Claudine Myers Salutes Bessie Smith" (Leo Records), remains one of her finest works. She's performed and recorded with Lester Bowie (his "The 5TH Power" release on Black Saint is also a stunner), Charlie Haden, the Art Ensemble of Chicago, David Murray and many others.

Joining her in the recording studio/performance space will be acoustic bass guitarist Jerome Harris and drummer Reggie Nicholson, both impressive musicians. They'll play 2 sets, 8:30 and 10 p.m. For more information, go to firehouse12.com or call 203-785-0468.

We reviewers are supposed to be a hearty crowd and low-key appreciators of the jazz world but my wife came running when I shouted "O my! What a treat!" No, not food nor a paycheck but this splendid duo CD from pianist Joel Forrester and soprano saxophonist Phillip Johnston. "Live at the Hillside Club" (Asynchronous Records" features 12 delightful tracks recorded in the Berkeley, California, arts venue. Messrs Forrester and Johnson were on tour promoting a new CD by their long-running Microscopic Septet. They have been friends and collaborators since 1974 - even though the Micros broke up for 15 or so years and Johnston moved to Australia, the band's music never went out of favor (some critics always "keep the faith.")

They first met when Johnston heard Forrester playing a Thelonious Monk and it was musical love at first hearing. The CD contains 4 Monk tunes, 7 by Forrester and "Splat", a solo piece by Johnston. There are many "sweet" moments including the lovely and blues-drenched "Pannonica" and "Your Little Dog", a heart-felt tribute to a family pet. Johnston's soprano playing is often sublime (never moreso than on "Did You Ever Want to Cry?") yet he "swings" congenially on "Well You Needn't." Forrester's piano work is informed by Monk but he's no imitator plus he's got a "huge" left hand - when he hits the "stride" on "Evidence", the room vibrates.

Even if you've never sprung for a Microscopic Septet recording (infidel!!), "Live at the Hillside Club" is...well.. it's a treat (and low in calories as well.) To find out more, go to www.joelforrester.com and/or www.phillipjohnston.com.

The trio of Jean Michel Pilc (piano), Francois Moutin (bass) and Ari Hoenig (drums) have been a working unit for 15 years and, in modern jazz terms, that's a lifetime. When they got together in March of 2011 to record "Threedom" (Motéma Music), they literally walked into Peter Karl Studios, sat down and played. No set list and no original pieces by band members - of the 18 tracks, 9 are group improvisations and the other half are either "popular" standards or jazz standards.

As a listener, I approached the CD in a similar fashion. I did not look at the tracks listing (until I got surprised by funky take of "Giant Steps" followed by the sweetly abstract take of "Afro Blue"), just popped the CD into the player and let it flow. You should do the same. While there is much here to like, the average listener probably won't sit still to take in the entirety of this exceptional program. In his own way, Hoenig puts on a clinic - his work is splendid, from the intermittent rubbing brushes on both "Birth" and "Lily" to the snapping snare work on "I'm Beginning to See the Light" to the conversational high-hat on "Slow." In many trio settings, the bass and drums alternate being the bottom - that happens here at times but Moutin is ever-so-musical throughout the program. Pilc shines as well with his post-bop flourishes on "Confirmation" or his mysterious abstractions on "You and the Night and the Music." His playing on "Birth" shows the influence of Erik Satie; no wasted notes, no added single-note dashes, just a piece filled with wonder (the mood actually carries over to the next track, "Slow."

"Threedom", the freedom to be themselves, this music that is the sounds of joy of creation. As you already know, there are a truckloads of piano trio CDs but only a handful as pleasing and creative as this one. For more information, go to motema.com. Even better, see Pilc Moutin Hoenig in concert. (The CD comes with an embedded video of the threesome playing a spirited version of "Mr. P.C.")

A similar spirit inhabits "Hearts Wide Open" (Le Chant du Monde Records), the new CD from Israeli-born guitarist Gilad Hekselman. While the guitarist penned all the tunes, one can hear that the music is played by a band that knows each other well and plays to each other's strengths. With a rhythm section of Joe Martin (bass) and Marcus Gilmore (drums), Hekselman has the freedom to move in any direction he chooses. Add the tenor saxophone of Mark Turner (on 4 tracks) and the music soars even higher. I like what the soloists do but it's the work of Martin and Gilmore that shines. The movement that Gilmore creates really pushes the guitarist on the uptempo pieces. Listen to their musical conversation on "One More Song", how Hekselman continues to rise up over the insistent drums. And pay attention to Martin; he not only supports the other players but adds his own counterpoint to the piece. The quartet eases into "Brooze", a "modern blues piece with a strong melody, sparse but fitting guitar chords and forceful drumming. Turner's tenor is often in the higher registers and he ambles through his solo yet provides enough fire to incite the guitarist's solo. Martin and Gilmore lock down the slippery beat on "The Bucket Kicker", giving Hekselman the freedom to follow his melodic whims through a solo that displays fire and wit. The quiet elegance of "Will You Let It?", with its folk-like melody, is a showcase for Gilmore's explosive drum work - he does not overwhelm the piece but gives the piece an appealing edginess.

When you return to "Hearts Wide Open" a second and third time, concentrate on the melodic richness. Just about every track has a strong theme and the fine rhythm section helps to make each piece stand out. Yes, the group can (and does) improvise impressively but the brilliance and ultimate success of the CD lies in the fine musical architecture Gilad Hekselman creates. To find out more, go to www.giladhekselman.com. To hear the group (sans Mark Turner) in action, go to www.npr.org/2011/09/19/140607358/gilad-hekselman-wide-open-reaction. The CD is scheduled to be released in October of this year.

Speaking of fun, Sō Percussion has just the most delightful time creating the various sounds on "It Is Time" (Canteloupe Music). The quartet - Eric Beach, Josh Quillen, Adam Sliwinski, and Jason Treuting - came out of the Yale School of Music 12 years ago with a sound like no other. Yes, the group's sound can be traced to the pioneer work of Steve Reich but they have also the mined the fertile musical veins of John Cage, Paul Lansky and David Lang. They write their own pieces as well.

Here, Steve Mackey gives Sō quite a sonic palette to play with; everything from wine bottles to metronomes to pump organs to steel drums to alarm clocks is thrown into the mix. Amazingly with all the toys and drums, the work never sounds cluttered. In fact, it's quite playful which is not surprising seeing as the composition was inspired by the composer's young son. There are plenty of melodic lines to entice the most skeptical listener. The rhythms often have an African feel but that does not permeate the music. There is an ebb and flow to the work as well as an appealing lightness of "being." Overall, it's a very hopeful program. There's a DVD that comes with the CD release - it, too, is fun, a bit serious but still fun.

To find out more, go to www.sopercussion.com.

California Streaming

2011-09-23T08:31:00.000-04:00

The past few days, I've been enjoying the sets that NPR recorded at the 2011 Monterey Jazz Festival. You can do the same by going to www.npr.org/.montereyjazz. There, you will find music from saxophonist Donny McCaslin and his "Electric" group, the Latin jazz of the John Santos Sextet, Cuban singer/songwriter Juan-Carlos Formell & Johnny's Dream Club, trumpeter Sarah Wilson & Quintet featuring the electric violin work (in more ways than than just plugging in) of Charles Burnham and drummer Matt Wilson, and the Bill Carrothers Trio. That's the pianist in the picture above and his live set features long-time associates Drew Gress (bass) and Bill Stewart (drums.) So, if you couldn't make the trek to the Festival, these highlights will brighten your days and nights.

It's always worth clicking on www.npr.org/ablogsupreme to find out what Patrick Jarenwattananon and his associates have posted for jazz and music fans.

Live Music (recent past + upcoming) and Selected New Favorites

2011-09-19T22:25:00.000-04:00

The Fabian Almazan Trio - pianist Almazan, bassist Linda Oh and drummer Kendrick Scott - opened the Fall 2011 Concert Series last Friday night at Firehouse 12 with grace, style and fire. From the opening piano notes to the "danzon" that closed both sets, the night was alive with melody and percussive intensity. Scott, who has worked with the pianist in Terence Blanchard's band, is not on Almazan's scintillating new release, "Personalities" (Henry Cole is on the trap set), really dug into the music, pushing, prodding, driving and shining throughout the evening. Ms. Oh is a bassist who not only underpins the music but also is a fine melodic soloist. Her work in the second set was quite impressive, with solos that emphasized rhythmic as well as thematic possibilities. As for Almazan, he is another one of the fine young pianists who already has his own style (Dan Tepfer, Jeremy Siskind, Gerald Clayton and Gwilym Simcock also come to mind) - there is a foundation of classical music in his approach to melody and his solos eschewed cliches. After the second set, the pianist praised the piano and the room for helping to make his music shine. If you get the opportunity to hear Fabian Almazan in person, do not pass it up - he makes wondrous music.

"Leapfrog" is the name of the sweet new Sunnyside CD from pianist/composer Armen Donelian and he's bringing the ensemble from the recording to play this Friday evening at Firehouse 12. It's the same group that appeared with Donelian in April of 2010 at the Firehouse - they returned in July and October of the same year to to record the 8 tracks on the CD. Driving the group is recent Wesleyan graduate Tyshawn Sorey (drums) ably abetted by the rock-solid bass work of Dean Johnson. On the front line with the pianist is saxophonist Marc Mommaas and guitarist Mike Moreno. Donelian provides the band with a number of adventurous as well as melodically rich pieces, ranging from the bluesy "Smoke" to the hard-edged "Rage" to the seductive "Mexico." Sorey, who has powered the trio Fieldwork and Steve Coleman's group, shines throughout the program - Donelian, in his 4th decade as a professional musician, creates music that has myriad influences yet sounds fresh and refreshing.
The Group will play 2 sets, 8:30 and 10 p.m. For more information, call 203-785-0468 or online at firehouse12.com. To find out more about the impressive career and music of the pianist, go to www.armenjazz.com.

Saxophonist/composer Jeremy Udden, whose new CD "If the Past Seems So Bright" (Sunnyside) is a lovely and understated blend of Americana, "pop" music and jazz will be on a short tour this week (9/20 - 9/25) that will take him back home. Udden is a native of Plainville, Massachusetts, who now lives in Brooklyn, NY but his music resonates with the feeling of small-town life. Many of the tunes on the new CD and his 2009 Fresh Sounds New Talent release that bears the name of his hometown, have rock-influenced beats yet also feature banjo and acoustic guitar. The tour, with a band featuring guitarist Mike Baggetta, Randy Ingraham (Fender Rhodes), bassist Eivind Opsvik and RJ Miller (drums), starts at NUBLU (24 1st Avenue in New York City) then moves north to UMASS/Dartmouth (9/22), the Lilypad in Cambridge, MA, Dirty Truth in Northampton, MA, and ends in his hometown for a benefit concert on 9/25 for the Plainville Lion’s Club in the Plainville Town Park at noon. During the Massachusetts part of the short tour (funded by the Doris Duke Charitable Foundation and the Chamber Music America Endowment Fund), Udden will give workshops at his former elementary and high schools. Sounds like fun for all involved - to find out more, go to www.jeremyudden.com.

The Uncertainty Music Series, curated by multi-instrumentalist/composer Carl Testa, steps out of its home base of New Haven, CT, and heads up either Rte 91 or 17 to Middletown and Wesleyan University to use the lovely pipe organ (pictured left) housed in the school's Memorial Chapel (High Street) on Thursday September 22. "The Musical Singularity: Music for Computer-controlled Pipe Organ" will feature new works by Forbes Graham, Ben Klein, Dean Rosenthal, Brian Parks, Michael Winter and Testa. Each composer has created a new piece programmed so that he can sit in the audience (except for trumpeter Forbes Graham who will be on stage and programming the computer while playing his horn.) The event, which begins at 8 p.m., is free and open to the public. For more information, go to uncertaintymusic.com.

RECOMMENDED NEW RELEASES:

Recently, there have been (and will be) a slew of releases featuring or inspired by poetry - "Mobile" (Inner Circle Music), the new release by vocalist Sara Serpa, has songs that take their inspiration from the poetry, fiction or essays of writers such as Herman Melville, Homer, V.S. Naipaul, John Steinbeck, e.e. cummings and Herodotus. Ms. Serpa, who composed all but one of the melodies, realized that her fascination with the stories she read was the fact they were based on the journeys of solitary travelers. Ms. Serpa does not enter her musical sojourns alone - aiding her is Andre Matos (guitars), Kris Davis (piano, Fender Rhodes), Ben Street (bass) and Ted Poor (drums). What the listener realizes after several times through the program is how much of a group effort this program. Whether it's the stunning acoustic guitar opening on "Pilgrimage to Armanath" or Ms. Davis's dizzying piano solo on "Ahab's Lament", this music draws one in. Poor can kick hard when called for ("Gold Digging Ants") or be percussively "conversational" ("Ulysses's Costume") and his cymbal work is quite impressive. Street is the "glue" on this music, working alongside Poor through all the changes while offering musical counterpoint now and then - "Sequoia Gigantis" is a good example of his fine playing. Matos' shimmering electric guitar work on that track stands out as well.

Still, it is Sara Serpa's voice that haunts the listener long after the last notes fade. Her "instrumental" work moves from scatting on several tracks to singing along with Matos' guitar ("Traveling with Kapuszinsky") to the multi-tracked chorus on cinematic "City of Light, City of Darkness" that closes the program. Her Portuguese is flawless on "Sem Razão" while "If" (a poem from cumming's first edition of poetry "Tulips & Chimneys") is dark and foreboding music leavened by Serpa's soft vocal.

"Mobile" moves the listener in many directions, whether it's the fine keyboard work of Kris Davis, Andre Matos strong guitar playing, or the active and reactive rhythm section of Ted Poor and Ben Street. Sara Serpa's vision for the project is impressive - the creativity of her vocal work is yet another reason for one to explore this music time and again. For more information, go to www.saraserpa.com.

Saxophonist Tineke Postma (alto and soprano) grows more mature and impressive with each recording. "The Dawn of Light" (Challenge Records) is her 5th release in 8 years and features her working band. Composed of Martijn Vink (drums, he appeared on her debut CD), Marc Van Roon (keyboards, synthesizer) and Frans Van Der Hoeven (acoustic bass), the bands wends its way through 10 tunes (6 by Ms. Postma, 2 by Van Roon, and 1 each by Thelonious Monk and Heitor Villa Lobos.) Much of the music and some of Ms. Postma's saxophone work bears the influence of Wayne Shorter ("Falling Scales" with its various shifts in tempo and the evocative alto sax is an early example.) Her soprano is earthy and seductive on "The Observer" then turns introspective for Van Roon's "Newland." Esperanza Spaulding gets a vocal showcase on "Leave Me A Place Underground" (music by Ms. Postma, lyrics by Pablo Neruda) and her energetic scat singing sets the stage for a fine soprano solo. Van Roon's acoustic work is lively and engaging while the rhythm section shines throughout. Her alto work on the Villa Lobos piece that opens the CD, "Canção do Amor", shines with inventiveness, especially in the breathy and sprightly solo section.

"The Dawn of Light" is filled with sweet moments, songs with inventive solos and rhythmic excitement as well as melodies played with real emotion (not just someone going through the motions.) Tineke Postma's music is well worth investigating. For more information, go to www.tinekepostma.com.

Drummer/composer Jerry Granelli has released a slew of recordings in his long career but few as engaging as "Let Go" (Plunge Records). Featuring saxophonist Danny Oore and bassist/cellist Simon Fisk, the 9 tracks have an intimacy that belies the fact this is the first time the 3 men have recorded together. There is a nakedness to the sound - the music rarely shouts - and Granelli is not the sort of player who feels the urge to be showy. In some ways, he's like Paul Motian, not as spare perhaps but rarely intrusive. Vocalist Mary Jane Lamond adds her voice to several tracks but it's Oore who is the main voice whose tenor, soprano and baritone saxophone work is quite impressive. On "Leaving", his tenor rises over the funky drums and melodic bass lines while his breathy soprano swoops and swirls around the Bertolt Brecht-like "Dango." Fisk's lively overdubbed cello lines create quite the rhythmic inspiration for Granelli on "Letter to Bjork."

The interplay throughout the CD is mighty impressive and one is attracted to the lack of clutter in this music. Jerry Granelli and company enjoy their interactions and, if you like music that is intimate and entertaining, "Let Go" will please you.

To find out more, go to jerrygranelli.com.

Listen for yourself:
&amp;lt;a href="http://thejerrygranellitrio.bandcamp.com/album/let-go-2"&amp;gt;Let Go by The Jerry Granelli Trio&amp;lt;/a&amp;gt;

Recommended Live Music (a reminder) + CD Pick

2011-09-13T10:02:00.000-04:00

Last week, I wrote about the duo of vocalist Jen Shyu (pictured left) and bassist Mark Dresser appearing Tuesday September 13 (tonight!) at The Big Room, 319 Peck Street in New Haven. Seats are still available for this show and I heartily recommend attending. The duo explores many facets of creative music but especially the interactions of voice and bass, how artists use their different styles to create music that is organic, not forced. Go to http://thebigroomnewhaven.com or http://uncertaintymusic.com for directions and more information.

This coming Friday, the many (musical) personalities of pianist Fabian Almazan will be on display as opening program in the Fall 2011 Concert Series at Firehouse 12, 45 Crown Street in New Haven. His debut CD, "Personalities", is released on October 4 (I imagine there will be copies on sale at the shows) - my review is forthcoming. Almazan, who has worked with trumpeter Terence Blanchard and co-produced (and performed on) the 2011 CD release of Bryan & the Aardvar ks (click here to find out more about the group), writes and plays music that blends influences from his native Cuba with jazz, classical, pop and much more. Joining him will be the excellent young bassist Linda Oh and drummer Kendrick Scott. They'll play 2 sets - 8:30 and 10 p.m. - and you can find out more by going to www.firehouse12.com.

Alto saxophonist Kenny Shanker has been involved with jazz since his early teens - he even toured Japan twice with the Monterey Jazz Festival High School All-Star Big Band. He makes his Posi-Tone Records debut with "Steppin' Up" and, like the Patrick Cornelius release I reviewed a few weeks back (read here), Shanker builds the majority of his songs off of strong melodic lines. He gets great support from the sparkling rhythm section of bassist Yoshi Waki and drummer Brian Fishler. Add to them the hard-edged piano of Art Hirahara plus energetic contributions from guitarist Lage Lund and the listener is rewarded time and again. Listen to the short but lovely "Rhapsody" or the rollicking "E,J.", 2 very different pieces yet both have excellent melodies - the latter piece is enlivened by the interplay of Fishler with the soloists. Pianist Mike Eckroth replaces Hirahara on 3 cuts, including the hearty "Quirk", the sweet ballad "Sarah", and the lovely take on Leonard Bernstein's "Somewhere" that closes the CD (and is the only non-original in the program.)

Through it all, Shanker's alto saxophone playing is impressive for the way he builds his solos, his warm tone and lively engagement with the band. Lund matches warm tone as well as creating solos off the energy of his band mates. Hirahara continues to impress as a sideman and soloist; in the former role, he does not just lay back but engages the soloist with fine chords and counterpoint while his own solos have an energy that reflects the influence of Bud Powell (my opinion) without being derivative of anyone in particular.

Thanks to the fact that my new job has me in the car 5 days a week, I have been listening to most of my music "on the road." "Steppin' Up" sounds like great with the windows down driving the back roads, the music washing over me like a friendly rain storm. Wherever you decide to listen to Kenny Shanker's debut CD, you'll enjoy the sonic ride. For more information, go to www.posi-tone.com.

Live Music in Middletown, New Haven & Beyond + Marcus Hits All the Marks

2011-09-07T22:17:00.000-04:00

It's amazing when the calendar turns to September just how crazy/busy life becomes, especially when it comes to concerts.

My hometown is hopping this weekend, especially down at The Buttonwood Tree, 605 Main Street, Middletown. Pianist/composer and tall person John Funkhouser returns to the Tree with his trusty rhythm section, bassist Greg Loughman and drummer Mike Connors. If you've seen and heard the Funkhouser Trio, you know that they have such a great time playing with time (lots of interesting and often odd meters - the results are quite infectious. Opening the show at 8 p.m. is Boston-based singer-songwriter Britt Sawdon. Looks to be a good night of music. To reserve a seat or 2, call 860-347-4957 or go online to www.buttonwood.org.

Saturday night, The Buttonwood presents the duo of Laszlo Gardony (piano, on left) and Stan Strickland (reeds, flute, kalimba, voice, on right) at 8 p.m. The Hungarian-born pianist has lived in the United States, settling in the Boston area and teaching at the Berklee School of Music. Over the years, he performed with the likes of saxophonist David "Fathead" Newman, bassist Dave Holland, bluegrass musician Kenny Glaser and the Boston Pops. For the past decade, he's toured the world with his Trio of Yoron Israel (drums) and John Lockwood (bass) and pursued duo gigs with Strickland. Perhaps best know his work with saxophonist Marty Ehrlich, Stan Strickland is an impressive musician as well as a member of the Berklee faculty. They're celebrating Gardony's new Sunnyside CD, "Signature Time", a Trio date that features a number of fine original tunes plus a pair of fascinating interpretations of Beatles' songs (Strickland appears on several tracks.) Both men are fine, intuitive musicians.

Also on Saturday night, the Uncertainty Music Series (concerts curated by bassist/conceptualist Carl Testa) presents a solo performance by trumpeter and cornetist Taylor Ho Bynum (pictured here with Professor Anthony Braxton). Also on the bill is Colorguard, aka electronics musician Kryssi Battleene. The event takes place at 8 p.m. in Never Ending Books, 810 State Street in New Haven. For more information, go to http://uncertaintymusic.com.

On Tuesday night September 13, the Series presents the duo of Jen Shyu (vocal, erhu, dance) and Mark Dresser (bass) at 8 p.m. in The Big Room, 319 Peck Street in New Haven. They'll play music from their brand new CD, "Synastry" (Pi Recordings), a fascinating recording that is intimate, challenging, mysterious and wonderfully musical. Shyu, who has worked extensively with saxophonist Steve Coleman, has studied music from many different cultures. Dresser has been at the forefront of the creative music scene for over 3 decades, working by himself, with his own groups and alongside Anthony Braxton, pianist Myra Melford, soprano Dawn Upshaw and many others. This should be a very special night. For more information about the CD, go to www.pirecordings.com. Go to the Uncertainty Music website (listed above) for directions.

That's pianist Fabian Almazan pictured at the piano on the left and he will be in a similar pose on September 16 when he opens the Fall 2011 Concert Series at Firehouse 12, 45 Crown Street in New Haven. Almazan, born in Cuba and raised in Miami, Florida, is celebrating the release of his often stunning debut CD, "Personalities" (Biophilia Records). The recording features his working group of Linda Oh (bassist) and Henry Cole (drums, guiro) plus a string quartet on several tracks. You can various sides of Almazan's musical personality through his use of electronics, his arrangements, his choice of material (7 originals, a song each from Cuban composers Antonio Maria Romeo and Carlos Varela, plus an arrangement of the "Adagio" from Shostakovich's "String Quartet No. 10) and splendid musicianship on piano. For the Firehouse gig, Ms. Oh will be on bass but Kendrick Scott replaces Cole on drums. There will be 2 sets, 8:30 and 10 p.m. - for ticket information, go to www.firehouse12.com or call 203-785-0468. To find out more about the pianist, go to www.fabianalmazan.com.

Just received information about the 9th Annual Festival of New Trumpet Music (FONT), set to take place October 20-23, 2011, at the Jazz Standard, 116 East 27th Street, New York, NY. This year, FONT is holding a "Kenny Wheeler Celebration", honoring the 81-year old Canadian native (pictured left) who has lived in Great Britain for many decades. Look at this lineup: On Thursday 10/20, Ingrid Jensen + Brass, an ensemble with 3 trumpeters (plus Mr. Wheeler), french horn, trombone, tuba plus piano, bass and drums; on Friday and Saturday (10/21-22), the John Hollenbeck Large Ensemble (featuring Mr. Wheeler) play 3 sets (7:30, 9:30 and 11:30 p.m.); On Sunday 10/23, the Kenny Wheeler Quintet featuring Jon Irabagon (saxophone), Craig Taborn (piano), Matt Brewer (bass) and Rudy Royston (drums) close the fabulous weekend (sure hope someone records this group.) For more information about this impressive live event, go to fontmusic.org.

Saxophonist-composer Marcus Strickland's previous recording, "Idiosyncracies" (2009, Strick Muzik), remains one of my favorite CDs. Rarely a month goes by without listening that most impressive trio hit. Saw the group - brother E.J. on drums with bassist Ben Williams - play live at Firehouse 12 in May of 2010 and was bowled over by their interplay, musicianship and insistence on making sure each song had a strong melody before they ventured off into extended solos.

"Triumph of the Heavy; Volume 1 & 2" (Strick Muzik, to be released 9/27/11) is a 2-CD set, the second of which features music culled from the evening at the New Haven performance space/recording studio. "Volume 1" adds the piano of David Bryant to the mix (he also appears on Strickland's 2009 CrissCross "ballads" CD, "Of Song", also highly recommended.) The pianist gives the music added depth and he gets a lot of solo space; he's a solid player with solos that display a bluesy feel ("A Temptress' Gait") or stromg forward motion ("Bolt Bus Jitter"). Marcus continues to develop as a composer and musician (he adds alto sax to his arsenal of tenor and soprano, with one track featuring overdubs of clarinet and bass clarinet). His soprano work is quite impressive, with a tone that feels clear and warm (finely displayed on "A World Found") while his tenor playing, especially in the higher range, has a softer but no less forceful quality. His solo on "Shapes", especially atop the forceful drumming of his brother, is multi-directional yet true to the "shapes" he lays out at the onset of the tune. His rollicking alto solo on "Set Free" builds off Bryant's romp and Williams' short yet finely honed melodic bass solo. The bassist, who can be a very effective second "voice" (as he was on "Idiosyncracies" and proves to be on "Volume 2") has a more supportive role in the Quartet setting yet he along with E.J. provide such excitement and color.

As I wrote above, I was in the audience on the evening that produced "Volume 2" and the live recording, despite the somewhat muddy drum sound (certainly not heard or felt in person), brings back happy memories. Listen to E.J. plays with the accents and beats on the uptempo cuts including the "hip-hop" feel underneath the tenor solo on "Mudbone", his whisper-soft cymbal work on "A Memory's Mourn" and the playful poly-rhythmic approach on Jaco Pastorious's "Portrait of Tracy". Marcus's soprano sax on the last track mentioned ranges from a clarion call to a stomping, near-revivalist feel to a sweetness as the piece comes to a close. Williams' strong walking bass lines drive the "free-swing" feel of "Surreal", anchoring the bottom while E.J. matches the energy of his brother's fiery soprano lines. The 3 musicians open "Gaudi" each moving in a slightly independent direction but then Williams moves into a long, rhythmically exciting, solo. When Marcus enters for his tenor solo, his brother drops into such a funky beat that it is (and certainly was that night) impossible not to move your feet. The next time someone tells you jazz is such serious music, play him or her"Gaudi."

"Triumph of the Heavy" really is a triumph for Marcus Strickland and his excellent band. This music is so alive, so much fun, serious when the tune calls for a different approach and well worth the investment. If you like music that can not only thrill you but has the power to move you emotionally, latch on to this fine 2 Volume set. For more information, go to www.marcusstrickland.com.

CD Picks (in the wake of Irene)

2011-09-01T21:59:00.000-04:00

To paraphrase the poet Robert Burns, "the best laid schemes of reviewers and home owners can be washed away by the eye of a storm." I was hoping to get a slew of reviews posted before Hurricane Irene arrived but, alas, that did not occur. So, in the interest of time (yes, school is back in session and papers are waiting to be read), here's a brief look at several excellent new recordings.

I have received a slew of new releases that have impressed me with their emphasis on melody. As opposed to pure "blowing sessions", the recordings in this review start with well-thought out melodic ideas and build from there.

Let me begin with the splendid new release by alto saxophonist and composer Patrick Cornelius. Hot on the heels of 2010's trio date "Fierce", "Maybe Steps" (Posi-Tone Records) expands the basic instrumentation of sax-bass-drums to include piano (the guitar work of Miles Okazaki is heard on several cuts) for a program of 9 originals and 2 standards (K Weill's "My Ship" and G Shearing's "Conception".) Check out the rhythm section which consists of drummer Kendrick Scott, pianist Gerald Clayton (on all tracks but one, a handsome duo take of the Weill tune features pianist Assen Doykin) and bassist Peter Slavov. Much of the music is the direct result of the birth of Cornelius's daughter "Isabella" and his fatherly fascination in her. The music has a searching quality, a sense of adventure and wonder that is often the purview of very young children. No bumps and bruises along the way, just a sweet collections of tunes. The title track moves easily atop the fine walking bass line and sparse yet effective cymbal work. Clayton's generous chords push Cornelius into a strong, singing, solo. That is followed by the Satie-esque "Bella's Dreaming", with the leader playing these sweet, bluesy, smears that pushes the piece into George Gershwin. It's a wee bit short at just over 2 and 1/2 minutes but none of the tracks are really long. Scott dances "Shiver Song" in, laying down an irresistible beat that gives all involved just the right push (and a great drum-alto exchange near the close of the piece.)

Nary a sour note on the disc, "Maybe Steps" is delightful music from start to finish. Give it a lot of listens. Release date is 9/20/11. For more information, go to www.patrickcornelius.com.

I had heard bits and pieces of guitarist/composer Oscar Peñas releases on the Spanish Fresh Sounds New Talent label but his US debut, "From Now On" (Brooklyn Jazz Underground Records) is a major step forward. With his regular quartet of Dan Blake (tenor saxophone, soprano saxophone), the lively 6-string electric bass of Moto Fukushima, and the sensitive young drummer/percussionist Richie Barshay plus guests Gil Goldstein (accordion, piano) and Franco Pinna (bombo leguero), Peñas creates a fascinating paean to his native Spain. His earlier efforts trended towards trying to sound like electric fusion - here, the composer fills the majority with flourishes of sounds and rhythms of his native Spain and, thanks to his talented band, creates a wonderful sound. Blake is the main soloist; his sweet tones on soprano livens "Encuentro" while his tenor work is rich with ideas on "Continuum" and "Samuel Smith". Goldstein, on accordion, shares the spotlight with the leader on both the title track and the lovely ballad "Julia" while his piano lines create a classical feel on the afore-mentioned "...Smith." Fukushima is an inventive bassist, whether dancing along below the soloists or during his spotlights (his short solo on "Choro No. 2" is pleasingly melodic.) Barshay, who has spent time with Herbie Hancock and The Klezmatics, never overplays and has a wonderful knack for offering just the right accompaniment. Listen to his lively pandiero work on "Choro No. 1" and his simple yet arresting cymbal play underneath the guitar solo on "Julia." While Peñas is a solid electric guitarist, his acoustic work is, at turns, hypnotic, melodic and inventive.

"From Now On" rarely gets loud but draws in the listener with its charming Hispanic melodies and rhythms as well as the numerous fine solos. A fine companion to bassist Alexis Cuadrado's excellent BJU recording from early 2011, "Noneto Iberico", Oscar Peñas should be proud of his accomplishment.
Here's one of the more delightful pieces, courtesy of BJU and IODA Promonet:
Choro, No. 1 (Guainga) (mp3)

Although "There" (Anzic Records), the 3rd Cd from the Ernesto Cervini Quartet is not scheduled to be released until late October, be on the lookout for it. It is one of the more joyful releases of this or any year in recent history. The drummer/composer has such a fine group including the melodic and muscular Joel Frahm (tenor saxophone, soprano saxophone), the splendid pianist Adrean Farrugia and bassist Dan Loomis. Frahm and Farrugia are playful throughout, dropping quotes from all sorts of tunes into the midst of their solos. Cervini is a very melodic drummer who truly knows how to drive a tune and Loomis is solid while also a strong soloist. Several of the uptempo pieces have the sound of the Keith Jarrett "Nordic" Quartet with Jan Garbarek, the group that recorded "Belonging." Soulful, swinging and joyous, "There" is a winner! To find out more, go to www.ernestocervini.com.