Live This, the First Week of Summer (Part 2)

The more I dig, the more I find going on in the state of Connecticut this week.  Saxophonist/composer Jimmy Greene and his Quartet will perform this Thursday (6/21) as part of the 2013 UMOJA Music Series, held in the Pump House Gallery in Bushnell Park in Hartford. UMOJA is the brainchild of saxophonist Yunie Mojica and trombonist Raynel Frazier, 2 young musicians from the Hartford area who began collaborating in 2007 at the Jackie McLean Institute/ Artists Collective.  This series, now in its second year, brings in musicians from throughout the area and the country.  TFor now, the UMOJA website (www.umojamusic.com) is listing 4 shows between June 20 and July 18. This Thursday's show opens at 8 p.m. with the Yunie Mojica Quintet featuring tenor saxophonist Camille Thurman.  Click on website link above for more information.

One of the better events that Connecticut hosts is the Hot Steamed Jazz Festival. The 2013 edition takes place this weekend Friday night through Sunday evening) on the grounds of the Essex Steam Train station (hence the name), 1 Railroad Avenue in Essex. The lineup is a pleasing blend of Traditional jazz, Dixieland, blues, boogie-woogie with perennial favorites such as the Dan Levinson
New Millennium All-Stars, CT's own Galvanized Jazz Band, the Riverboat Ramblers and the great pianist Jeff Barnhart.  There is also a youth jazz ensemble that is a knock-out and lots more.  The website - www.hotsteamedjazz.com - lists the lineup but not the times.  Nevertheless, it'a a fun way to spend a day or weekend. Even better, the money raised from these shows goes to benefit the Hole in the Wall Gang Camp, a no-fee summer camp experience for seriously ill children and their families.  Founded 25 years ago by Paul Newman, the Camp is truly a wondrous thing.

The Afro-Semitic Experience, who spent many an evening in The Buttonwood Tree in its early days (early in the New Millennium) working out its material, returns to the Middletown venue at 605 Main Street this Friday to help raise money for The Buttonwood's piano fund.  A new (new-ish) keyboard has been purchased but needs to be refurbished so the proceeds from the ticket sales will go to help defray the costs.  Co-founded by pianist Warren Byrd and bassist David Chevan, the Afro-Semitic Experience plays a heady blend of African American and Jewish liturgical music as well as a number of original works that mine the Black Music continuum.  The gig will feature music from the band's new project, "Jazz Souls on Fire." For more information, go to www.buttonwood.org - to find out more about the band, go to afrosemiticexperience.net.

Real Art Ways, 56 Arbor Street in Hartford, presents Wicked Knee in special outdoor concert at 7 p.m. this Saturday evening (6/22). Wicked Knee is a funky band featuring drummer Billy Martin (yes, he of Martin, Medeski & Wood) with Stephen Bernstein (trumpet), Curtis Fowlkes (trombone) and Marcus Rojas (tuba); the drummer/ leader describes the quartet as a "juke joint band" that plays "ragtime funk."  Got your attention? This is a free concert so be prepared to dance the evening away. You best call RAW at 860-232-1006 to find out how and where you can get in on this musical treat.  To find out more about the ensemble and its origins, go to www.wickedknee.com.

Live This, The First Week of Summer (Part 1)

Summer arrives this Friday (June 21) but the heat will be on in New Haven the night before.  With the International Festival of Arts & Ideas well into its first (of 2) weeks (artidea.org is a good place to check out the myriad events), here's a show jazz fans are sure to enjoy.  Bassist/composer Christian McBride comes to the Festival with his Inside Straight band.  The Quintet - McBride, Peter Martin (piano), Steve Wilson (alto and soprano saxophones), Warren Wolf (vibraphone) and Ulysses Owens, Jr. (drums) plus special guest Christian Sands (piano) - are in the midst of a tour celebrating its new Mack Avenue CD, "People Music" and they'll perform at 8 p.m. in Morse Recital Hall, 470 College Street.  Owens, Jr. is subbing for the group's regular drummer, the great Carl Allen, but it's no issue.  He and Sands play in McBride's Trio and they'll be releasing a CD in late summer.  For the 24-old Sands, it's a homecoming as he is a native of the Elm City. He studied with the late Dr. Billy Taylor and has worked with vibraphonist Stefon Harris, saxophonist Lou Donaldson and has traveled around the world.

For ticket information and more, click on the link above or call 1-888-ART-IDEA (278-4332.)  To learn more about the career and music of Mr. McBride, go to www.christianmcbride.com.

I had the happy occasion to chat with multi-reed player/composer Daniel Bennett - you can hear that conservation (for the time being by going to wliswmrd.net, going to the "On Demand" section and looking for "RK with Daniel Bennett."  We talked about the Daniel Bennett Group's new CD, "Clockhead Goes to Camp" (Manhattan Daylight Media Group), about his "roots", education (another NEC graduate) and his career. The DBG is playing a "CD Release Party" on Friday June 22 at the Funky Monkey Cafe, 130 Elm Street in Cheshire, CT (right off Route 10 in the center of town.) It's the ensemble's second CT gig this year as they played the Hartford Public Library's "Baby Grand" series on April 14.

For the Cheshire hit, the DBG includes Bennett, the group's New York City drummer Tyson Stubelek and Bennett's good friend, Assaf Kehati (guitar).  The music will be a giddy blend of folk, jazz, classical and pop with through-composed pieces as well as plenty of room for improvisation.  Bennett plays alto saxophone, flute, oboe and piccolo, with a pleasing, clean, tone on each and his long melody lines and the strong rhythmic of many of the songs is very appealing. To find out more about the Friday show, go to www.thefunkymonkeyycafe.com (check out their calendar - lots of stuff going on).  To get a taste of the DBG, go to www.danielbennettgroup.com.

A Lorca Soundscape In NYC

Bassist/composer Alexis Cuadrado (pictured left) has a new piece that actually has its debut in October of last year - "A Lorca Soundscape" - and now, the recording will be issued in September of this year on Sunnyside Records.  Based on the poetry of Federico Garcia Lorca (1898-1936) wrote during the year he spent in New York City (1929-1930); during his stay, the Stock Market crashed and the poet observed people flinging themselves from buildings, others starving in the street, and his reactions were captured in poems that tend towards the surrealistic. Published posthumously in 1940 (4 years after the Franco government assassinated the poet/playwright/author) as "Poeta en Nueva York", the book did not become popular world-wide until years after its publication.

Cuadrado, a native of Barcelona, Spain, had read Lorca as a student but it was not until the Stock Market/banking crisis of 2008 that he was reminded of the book.  The music he created for the 8 poems he chose draws heavily on the composer's study of the folk musics of his native country yet, like his brilliant 2011 BJU release "Noneto Iberico", also displays the mesh of modern classical and jazz music Cuadrado has played and studied since moving to New York City at the turn of the 21st Century. The album features the stunning vocal work of Claudia Acuna (pictured above), alto saxophonist Miguel Zenon, pianist Dan Tepfer and drummer Mark Ferber plus a guest appearance from percussionist Gilmar Gomes (2 tracks).

On Friday June 21, Alexis Cuadrado brings the Quintet to the 92Y Tribeca, 200 Hudson Street in New York City to present "A Lorca Soundscape" at 8 p.m.  All the participants save for Zenon (replaced by "Noneto Iberico" group member, Loren Stillman) and Gomes will perform. For ticket information, go to www.92y.org/Tribeca/Event/Alexis-Cuadrado-Lorca-Soundscape.aspx and you'll find what you need to know.  If you go to www.alexiscuadrado.com/#/shows/, you'll find out more about the September CD release event.  And finally, I had the opportunity to talk with Alexis Cuadrado - you can find that by going to www.wliswmrd.net and clicking the "On-Demand" button (we are the second show in the lineup titled "Alexis Cuadrado and RK.")

Large Ensemble, Big Band (Part 1)

Those of us who live on one of the coasts of the US like to think that where you'll find the most exciting music.  Places such as Boston, New York City, Los Angeles, San Francisco, and Seattle are considered hot-beds for "new music" of all stripes when, in actuality there is great music being made in Chicago, St. Louis, New Orleans and Provo, Utah.  Provo? you ask.  That's the home of Brigham Young University where composer Steve Lindeman teaches and where "The Day After Yesterday" (Jazz Hang Records) was recorded.  The CD is made up of 10 original pieces, many of which were developed over the period of 3 years in which Lindeman participated  in the BMI Jazz Composers' Workshop.  The Workshop is held monthly (sometimes more) 9 months of the year and Lindeman managed to attend most of the meetings.  There he worked with Jim McNeely (who contributes one set of liner notes) and Mike Holober yet this CD does not feature session players from either coast but the 18-member BYU Synthesis, the school's premier jazz ensemble under the direction of Dr. Ray Smith.  Special guests include Kelly Eisenhour (vocals) and Steve Call (tuba) plus appearances by the BYU Faculty Ensemble Q'd Up, composed of Dr. Smith (flutes, saxophone), Jay Lawrence (percussion), Ron Brough (vibraphone, marimba, percussion) and the composer on Hammond B-3 organ.

As for the music, one hears the influence of large ensemble composers such as McNeely an Holober as well as Bob Brookmeyer and Maria Schneider but I also hear a touch of Steely Dan in pieces such as "Llevame ya Al Mundo de las Maravillas" and "Meet Me When the Stars Come Out." The former features Ms. Eisenhour, who contributed the lyrics and the overdubbed vocals (the arrangement also reminds me of the recent work of Lorraine Feather.  The myriad percussion instruments plus the fine guitar work of Brady Bills also makes a strong impression. The processed electric bass of Aaron McMurray leads the piece in, creating a groove that is hard to resist.  The longest piece on the disk, "Verloren (for Murray Boren)", opens with the plaintive solo tenor sax work of Ben Nichols before the band starts to enter, one section at a time.  The episodic tune has a 2 distinct Latin sections, the first dripping with sensuous rhythms and scratchy percussion and the second shorter but much more explosive, fueled by the dizzying percussion of Lawrence (guiro, timbales, etc) and Brough (congas) and the strong playing of Austie Robinson (trumpet) and Jory Woodis (soprano sax).

"October, Last" is an impressive piece of writing and arranging. The blend of high and low sounds (trumpets meshing with flute, vibraphone and bass clarinet), the colors they evoke, the unhurried manner in which the melody is laid out brings to mind the work of Ms. Schneider.  When the piano solo (Jordan Kamalu) emerges out of the theme and is followed by the spell-binding flute solo (Dr. Smith), neither the pace nor the emotional weight of the music wavers.  There's a similar feeling in the handsome ballad "I Remember", a loving tribute to the composer's father that features the expressive soprano saxophone of Jory Woodis.

While there are number of attractive ballads on the CD, the program closes with the sprightly "Take a Jake Break." While the solos (piano, trombone, trumpet and tenor sax) are short yet sweet, the section writing (and the execution thereof) is utterly charming.

You find a way to make "The Day After Yesterday" part of your life.  Large ensemble music is rarely as emotionally satisfying as the music that Steve Lindeman and the BYU Synthesis create on this recording.  This music invites you in, makes you smile, may help you relax and unwind and should stimulate your senses - can't ask for more than that. For more information, go to www.stevelindemanmusic.com.

To the lay-person, blues is often labelled "sad" or "old-fashioned" music.  Fans of the big band music of Due Ellington, Count Basie, Woody Herman, and others know that the blues encompasses many moods. Listen to "Pop-Culture Blues" (Bell Production Company), the new recording by the Michael Treni Big Band and you'll know that blues (as interpreted by the trombonist/composer/arranger Treni) is alive and quite well.  Subtitled "A Suite in 10 Parts", Treni and his 18-piece ensemble take a musical journey inspired by the afore-mentioned Ellington and Basis as well as Oliver Nelson, Kenny Dorham, The Brecker Brothers, Gil Evans and more.  Powered, pushed and caressed by the fine rhythm section of Takashi Otsuka (bass), Ron Vincent (drums) and the piano work of Charles Blenzig (6 tracks) or Jim Ridl (4 tracks), the program is filled with good melodies and strong solos.

Ridl and Jerry Bergonzi (tenor sax) are the featured soloists on the hard-driving "Smokin' Blues" - the composer writes that the music was "inspired by McCoy Tyner" and one can hear that in the powerful work of Ridl (no imitation, though) and the explosive sax solo.  Vincent and Otsuka move like the Amtrak Acela (at full speed), imbuing the music with such spirit.  Bergonzi also stands out on the Oliver Nelson/John Coltrane inspired "Summer Blues", a tune that evokes warm, humid, nights and also features a splendid flugelhorn solo from Freddie Hendrix.  "Minor Blues" truly captures the spirit of Charles Mingus who inspired Treni to dig into the aspect of the blues that connects love, sex and longing.  The section writing behind the excellent trumpet solo of Chris Persad sways, struts and hits hard. The "suite" closes with the title track which, in the spirit of the big bands of the 1930s and 40s, features short, pithy. solos atop an urgent rhythm section.

More celebratory than somber, more soulful than technically correct, "Pop-Culture Blues" begs to played loud and often.  Michael Treni embraces and salutes his influences while writing to the strengths of his ensemble - by the time the last notes fade, the active listener will be more than satisfied.  For more information, go to www.bellproductionco.com/.

Firehouse Season Goes Out on a High Note + Fascinating Piano Trios

In New Haven, CT, there are a number of reasons one knows that summer is around the corner, e.g., Yale graduation, the International Festival of Arts & Ideas sends out its annual catalogue and the Firehouse 12 Spring Series comes to a close.  All of which is exciting but the last one is certainly bittersweet. 14 concerts on 14 consecutive Fridays is a wondrous occurrence for those of us who do not live in or get to New York City or Boston on a regular basis.  Kudos to Nick Lloyd, Carl Testa and the wonderful staff for the creative programming!

Ultimate concert of this season belongs to Ches Smith and These Arches. Drummer/composer Smith, a native of California, is the backbone of several fine creative music ensembles including those of guitarist Mary Halvorson and alto saxophonist Tim Berne, both of whom are members of These Arches.  Rounding out the quintet is accordionist/electronics specialist Andrea Parkins and tenor saxophonist Tony Malaby - Malaby is unavailable for this gig so Smith has rearranged the band's material for his long-time friend and associate, bassist Devon Hoff.  The group's most recent CD (its second), "Hammered", was issued earlier this year on Clean Feed Records.  The music Smith writes for this band blends melody, noise, exciting solos, tantalizing juxtapositions of interactions within the group and more.  The performance space will most certainly be "jumping" this week.

Ches Smith & company play 2 shows - 8:30 and 10 p.m. - for more information, go to firehouse12.com or call 203-785-0468.


********************************************************

To quote from the mission statement of Connection Works - "Connection Works is an artist-run non-profit organization that engages the Brooklyn community with world-class jazz performances and educational events. Our programs promote and facilitate new work by established and up-and-coming artists alike. We provide a forum that supports the astonishing number of brilliant artists in our borough. We at Connection Works believe in and encourage the practice of creativity as a means to nourish the mind, body, and spirit."

The organization is the brainchild of drummer/composer Rob Garcia, flutist/composer Michel Gentile and pianist/composer Daniel Kelly. Since its inception, the organization has sponsored and continues to sponsor numerous concerts of new music, hosts a "Composers Workshop, and works in schools to promote music education.  Now, the principals have issued their first CD.  Titled "Works", the album appears on Connection Works Records. Each member has contributed 4 pieces including one short "Soliloquy".  The music ranges from Garcia's commanding "Island" that opens the program on martial rhythms to Kelly's classically-inspired "Chorale" to Gentile's rollicking, nearly out-of-control "Voir Dire."  Kelly's "Hundertwasser" (perhaps named for the Austrian artist/painter 1928-2000) explodes in on Brazilian rhythms and moves rapidly through its verses and choruses as Gentile's flute rides the waves created by the piano and drums.  The pianist also composed "Emanglons" which displays the influence of McCoy Tyner in the rhythmic piano introduction.  Kelly's subsequent solo (over Garcia's fiery drumming) builds off a thunderous left hand in the lower range of his instrument.

Gentile, who graduated from and has taught at The New England Conservatory of Music (graduates of that institution have been cropping up a lot in recent reviews), studied composition with George Russell and Muhal Richard Abrams.  He's played with Joe Lovano, Anthony Braxton and co-leads a duo with guitarist Tony Romano.  He contributes the CD's prettiest tune, "C'est Bien Ca", his full-toned flute leading the way through the winsome melody.  His "Commodius Vicus" closes the program with a sly twist in the rhythms, as they speed up, slow down, drop out and dance along besides the piano and drum.  The 3-way conversation is playful, right down to Garcia's tip-tapping on the high-hat and Kelly's modified tango lines.

Rob Garcia has issued 2 excellent CDs with his Rob Garcia 4 on Brooklyn Jazz Underground. His compositions smartly blend long melody lines with a forceful rhythmic approach.  His "Spring Comes Round" meshes a jazzy swing feel in the opening section with a classical break before moving to a rubato section and then back to the "jazzy" section for the flute solo.  Lots going on but always moving forward. The same can be said for the driving rhythms of "Will", with a wonderful stride feel in the piano and a bluesy Rahsaan Roland Kirk-influenced flute solo that leads right back to a statement of the opening theme into the high-energy drum solo.

"Works" is play, serious play, adult music that eschews borders in favor of cross-pollination. Many people might look at that statement and feel the music is too highbrow or forced. No way - this music is alive, filled with excitement that comes from 3 musician/composers who do not hold back or concede to  fad.  To find out more, go to www.connectionworks.org.  The CD Release Party is July 11, 2013 at the Cornelia Street Cafe, 29 Cornelia Street in New York City -  to find out more, go to www.corneliastreetcafe.com.  While there, check the Cafe's amazing list of performances - it's enough to make one want take up residence in their performance space.

To call pianist/composer Satoko Fujii prolific is not giving the Japanese native and graduate of The New England Conservatory of Music the proper credit.  Since 1992, she has issued dozens of CDs, many on her on her own label Libra Records, with numerous ensembles, ranging from duos to the 4 different big bands she leads, composes and arranges for.  "Amazing" is a much more accurate word, because the quality of her output is downright stunning.

"Spring Storm" is one of her latest CDs and is credited to the Satoko Fujii New Trio.  Ms. Fujii organized the group in July 2012, calling upon bassist Todd Nicholson and drummer/percussionist Takashi Itani to perform a new book of her pieces.  They played several gigs and recorded this CD in March 2013.  In many ways, this music reminds me of the early recordings by the Myra Melford Trio (on Enemy Records and Hat Hut) i that the music ranges far afield and each musician contributes to the success of the music.  Nicholson, who worked with the late Billy Bang, Peter Brotzmann and William Parker before relocating to Tokyo, has a strong hand in the rhythmic direction of many of the pieces.  Itani has the ability to go "from a whisper to a scream" within the context of this music.  His whirling cymbals and gentle touch are perfect for the quiet ballad "Tremble" while his thunderous solo matches the pianist's intensity on "Whirlwind"  Ms. Fujii rumbles inside the keyboard while the bassist does some furious bowing during the drum spotlight.

The title track opens with a gentle shower of notes from the piano, an introspective melody which the bassist and drummer slowly enter.  Nicholson offers counterpoint while Itani emphasizes the quite power in Ms. Fujii's melody and solo.  A bass and hand percussion dialogue introduces "Convection" but the piece begins to heat up when the pianist joins the discussion with an active left hand.  Yet, the piece does not boil over, preferring to move in and out of quiet and loud sections.  "Maebure", the longest track on the CD at 14:01, displays more of Nicholson's excellent arco work and Itani's ever-shifting percussive landscapes.  A little past the halfway point, Nicholson moves to a pedal point, Itani into a steady, almost funky, rhythm and Ms, Fujii erupts with a solo that starts on fire and moves up and down in intensity.  The drum solo near the close of the piece is immense before the slow and quiet denouement, led by the arco bass.

Despite the fact that the Satoko Fujii New Trio has only been a unit a short time, "Spring Storm" is vibrant music and the group interactions fearless.   Ms. Fujii continues to find new avenues for her art and continues to mature as both a composer and musician.  For more information, go to satokofujii.com.  

Young Man at the Piano + New "Old" Material

O ho, yet another piano trio CD in a season filled with them.  "Nameless Neighbors" (Sunnyside Records) is the debut recording from the Nick Sanders Trio.  New Orleans-native Sanders is a graduate of the New England Conservatory of Music (NEC) where he studied with Danilo Perez, George Garzone, Cecll McBee, Jason Moran, Jerry Bergonzi and John McNeil (not a shabby crew of people to learn from and work alongside.)   Fred Hersch produced the sessions that resulted in these 13 tracks (including 2 solo piano cuts) - Sanders composed 10 of the pieces and chose 3 smart covers, including "'Orse at Safari" (Herbie Nichols), "Manganese" (Thelonious Monk, also titled "Wee See" or "We See") and "I Don't Want To Set the World On Fire" (a 1941 hit by The Inkspots).  One can hear the influence of the Crescent City in Sanders's composing, especially on "New Town" (in the fiery opening section) and "Dome Zone" (one of the solo piano pieces.)  It's not overt but can be detected in the rhythmic movement of the piano lines.

There are numerous reasons why this recording stands out, not the least of which is the rhythm section. Bassist Henry Fraser and drummer Connor Baker (both currently NEC students) play with great fire and sensitivity that belies their relative youth.  They certainly can swing ("Row 18, Seat C" is the best example of the "driving" quality of the 2) but the composer is always throwing them curves, "stop-on-a-dime" tempo shifts and changes in dynamics.  Their work on the title track illustrates how the musicians are listening to each other as they navigate the changes. After a soft, introspective solo piano intro, "Motor World" races forward on "motor rhythm" in Sanders' left hand and Baker's propulsive snare drum. In the middle, there is a "free" section held in check by Fraser's stout bass work. Nothing feels sloppy or out of place.

There's a sense of playfulness in "Hymn" and "Flip" that builds from the pianist's desire to move away from the tried-and-true.  The former literally leaps away from its solemn opening section while the latter starts at a sprightly pace only to slow down within 45 seconds for a quiet bass solo.  Fraser's pleasing bass is also featured on "Simple" - he goes it alone for the first 3 minutes of the track (which is the longest on the program at 6:43) drawing he listener in on the strength of his melodic sense and rich tones. Sanders' melody and solo draw on the song's title, with the falling notes like a spring shower.

"Nameless Neighbors" joins the parade of excellent piano trio CDs issued in 2013 (other examples being the new Joey Calderazzo "Live" also on Sunnyside, "Pascal's Triangle" by Pascal Le Boeuf, the debut CD by Myriad3 and the new Noah Haidu on PosiTone).   These CDs may have the same figuration but are all quite different and all enjoyable.  The Nick Sanders Trio is young but, judging by the original works on this debut, the leader is already a formidable composer and arranger as well as an impressive pianist.  And, the rhythm section is also mighty impressive.  Be sure to pay attention to the cover photograph by Alejandro Cartagena - it, too, has great power. For more information, go to nicksandersmusic.com.

For the most part, German-born pianist Jutta Hipp has been forgotten over the 5+ decades since she left the music world to become a seamstress and painter (she passed in 2003.)  She came to America in 1955 at the age of 30 at the urging of composer/journalist Leonard Feather.  Her 1956 Blue Note recording with Zoot Sims is, perhaps, her most famous as well as the one that sold the most.  The music revealed a pianist steeped in the styles of Teddy Wilson and Horace Silver, a facile soloist who held her own playing alongside the more famous Sims.

The German-based SWR Music/Jazzhaus label is in the midst of a project that will release hundreds of CDs over the next several decades that document Sudwestrundfunk studio and live recordings, programs and shows that started in late 1940s and went on for over 3 decades.  "Jutta Hipp: The German Recordings 1952-55" captures 4 different session over a 30-month period.  The most recognizable names here are trombonist Albert Mangelsdorff (who appears on 6 tracks recorded in 1953), guitarist Attila Zoller (2 tracks from 1955) and tenor saxophonist Hans Koller (who appears on 11 tracks spread over 3 dates.) The vast majority of the material is comprised of recognizable jazz standards with the exception of 1 track each composed by Mangelsdorff tenor saxophonist Joki Freund (who appears on 2 pieces from the 1955 session.)

Ms. Hipp's playing is solid throughout, steeped in the blues and swing of the 1930s and 40s.  On the 1952 sessions, Koller is shaky on several tracks but bassist Franz "Shorty" Roeder is a strong accompanist and drummer Karl Sanner reliable if unremarkable. Koller is stronger on the 1953 sessions, sharing the front line with Mangelsdorff.  The trombonist is more than a decade away from his best work but certainly displays his "swing" chops.

If you don't know Jutta Hipp, the best place to start is the Blue Note recording but "The German Recordings" have their charms, especially the leader's finely drawn solos.  Not essential, but worth hearing - to find out more about Ms. Hipp, go to https://www.facebook.com/pages/Jutta-Hipp/148942215117356.

Bassist/cellist Oscar Pettiford (1922-1960) moved to Germany in 1958 and immediately became one of the busiest musicians on the European continent.  He remained busy throughout the rest of his short life, dying at the age of 37 from complications of a Polio-live virus.

Pettiford, a native of Oklahoma whose mother was a Native American and Father half-Black, half-Native American, turned professional in his teens playing in his father's touring band.  In 1943, he moved to New York City joining, in succession, the bands of Charlie Barnet and Roy Eldridge. The bassist was involved in the birth of the "Be-Bop" movement co-leading a group with Dizzy Gillespie.  Pettiford went on to work in the 40s with the Duke Ellington Orchestra and Woody Herman Thundering Herd. He led his own bands small and large in the 1950s, although he worked on many sessions with artists such as Thelonious Monk, Art Blakey, Miles Davis, Milt Jackson and with Sonny Rollins on "The Freedom Suite" Lp.

SWR/Jazzhaus Records has collected 4 session from a 7 month period from before and after an automobile accident that laid him up for several months and issued them as "Oscar Pettiford Lost Tapes: Germany 1958-59." The 16 tracks range from a pair of duets with trumpeter Dusko Goykovich that open the program to one quartet track featuring soprano saxophonist Lucky Thompson (Ellington's "Sophisticated Lady" to 4 cuts that feature the clarinet of Rolf Kuhn (including a slow reading of fellow Oklahoman Charlie Christian's "A Smooth One.") The December 2, 1958, studio session feature drum master Kenny Clarke, guitarist Attila Zoller and 2 tracks with  saxophone section featuring tenor saxophonist Hans Koller and 3 baritone saxophonists (but no guitar).  Clarke, Zoller, and Koller are featured on the final 2 cuts, recorded live in concert the following night.

Pettiford is an excellent bassist and cellist, not only as a "supporting" musician but also as a soloist.  His bass sound is so "full" on the duet tracks that one can hear the influence he had on Ray Brown, Ron Carter and others who followed.  Even his cello work sounds "big' as is demonstrated on the live recording of "All The Things You Are."  Koller's chops have vastly improved in the 6 years after the Jutta Hipp sessions (see above); he blends the smoother tones of Lester Young with the tenor presence of Coleman Hawkins on pieces such as the leader's "Blues In the Closet" and "O.P."

Overall, "Oscar Pettiford Lost Tapes" are definitely a good find.  The sessions serve as a reminder of what a strong musician he was, even in the last year of his short but fruitful, life. For more information on the SWR releases, go to www.jazzhaus-label.com.  To lear more about the bassist and his career, click here.

The Pianist from Azerbajian, The Saxophonist from Iran + CD Picks

Pianist/composer/arranger Amina Figarova was born in Baku, Azerbaijan, met her husband Bart Platteau (flute) 2 decades ago and they settled in the Netherlands. They formed the Amina Figarova Quintet, now a Sextet, and have released 12 CDs since 1994.  They have now settled in New York, an event that spurred her latest recording, 2011's "Twelve" (In and Out Records).  Her music reflects the influence of composer/musicians such as Herbie Hancock  and Chick Corea with arrangements that have the airiness of the work of Maria Schneider. Her "European" Sextet has featured the elegant tenor and soprano saxophone work of Mark Mommaas.

The Amina Figarova Sextet comes to Firehouse 12, 45 Crown Street in New Haven on Friday June 7, the penultimate presentation of the venue's Spring 2013 Concert Series.  The ensemble features the pianist, her husband, Mommaas plus 3 Americans; the rhythm section consists of bassist Joe Sanders (Ravi Coltrane, Gerald Clayton) and drummer Justin Brown (Rudresh Manathappa, Pascal Le Boeuf Trio - see below) plus the fine young trumpeter Josh Evans, a native of Hartford, CT.   When I interviewed Dave Douglas prior to his Firehouse 12 gig, he was effusive in his praise of Evans's playing and demeanor.

The Sextet will play 2 shows - 8:30 and 10 p.m. - for ticket information, go to firehouse12.org or call 203-785-0468.  To find out more about Ms. Figarova and her music, go to www.aminafigarova.com.

The Uncertainty Music Series welcomes Jonathan Moritz's Secret Tempo Trio to Never Ending Books, 810 State Street, in New Haven Saturday June 8.  Moritz, a native of Teheran, Iran, moved to Southern California as a young boy.  He studied at the Royal Conservatory of Brussels, Belgium (where his Father was living) and returned to the US to get his BFA at the California Institute of the Arts.  He, then, moved with his wife and family and has worked with a slew of creative musicians.

The Secret Tempo Trio finds the tenor saxophonist in the company of bassist Shayna Dulberger and drummer Mike Pride (all pictured above left).  Moritz has worked with both musicians in the past but this is their first endeavor as a trio. They have a new recording scheduled to be released soon on Hot Cup Records.  The music they create is steeped in the tradition of classic Tenor Trio (see Sonny Rollins) but also has a modernist bent.  The Secret Tempo Trio hits the stage at 8 p.m.  For more information, go to uncertaintymusic.com.  To hear Jonathan Moritz and his various groups, go to www.jonathanmoritz.com.

******************************************************

Pianist/composer/educator David Ake has released an impressive sextet date, "Bridges" (PosiTone Records);  having listened to the music, at least, 6 times over the past month, Ake's songs and arrangements bring Andrew Hill and Charles Mingus to mind.  Not that he imitates them in any way other than to blend and blur the lines between genres as well as composition and improvisation.

What a band!  The rhythm section consists of Scott Colley (bass) and Mark Ferber (drums) while the "front line" boasts Ralph Alessi (trumpet), Ravi Coltrane (tenor saxophone) and Peter Epstein (alto saxophone).  Epstein and Ake are on the faculty of the University of Nevada/Reno and have recorded with the fellow faculty member Chris Clark on his recent "Cedar Wisely" recording on Songlines as well as being 2/3rds of the chamber-jazz trio EEA whose CD "The Dark" was issued in 2011 on Origin Records.

The title track opens the recording and, by the time the musicians have worked through the piece, the listener knows this will be one of the more special albums of this year (or any year.)  The melody and harmony lines move like a flock of geese across the sky (sans the "honking).  Throughout the program, traditional roles are overthrown.  On "Sonomads", it's Colley's bass that moves the piece forward and whose phrases everyone else builds off of.  Ake's piano holds the "bottom" while Ferber's drums join the conversation with the bass and Alessi's trumpet. The trumpet leads in "Story Table", then the band joins, the melody split among the reeds and trumpet. Ferber, Colley and Ake execute the "stop-start" rhythm with aplomb, nudging the piece forward.

The sly, slippery, rhythms on the opening of "Dodge" give way to a accelerated bass line then back for Coltrane's forceful solo.  In the middle of the tune, the piece stops for a muted trumpet-piano-drums conversation that is a sparring session for Alessi and Ferber while Ake plays a rhythmical solo. The program closes with a short lyrical trumpet-piano duo titled "Light Bright" that lives up to its name. Gospel and blues informs "Year in Review" - listen to the piano solo as Ake strides, pounds, trills, plays "in" then "out", in the fashion of the late Jaki Byard.

If you like creative music that takes chances, where the musicians play with both wit and fire, and where the compositions are so much more than mere heads to string solos upon, "Bridges" will more than scratch your itch.  David Ake is leaving Reno for Cleveland, Ohio, where he will be the head of the Music Department at Case Western Reserve University.  One hopes he finds enough time to create more music as stunning as this.  For more information, go to www.davidakemusic.com.

Pianist Pascal Le Boeuf who, with his identical twin brother Remy (saxophones), has led a quartet for the past decade playing jazz all over the world.  He has also formed a piano trio with bassist Linda Oh and drummer Justin Brown;  their debut CD, "Pascal's Triangle" (Nineteen Eight Records), has just been issued.  If you like Jason Moran's Bandwagon or Gerald Clayton's Trio, this is a recording for you.  8 tracks in under 33 minutes, none longer than 5:13 but you will walk away from this experience wanting more.  Le Boeuf is a melodic player, facile but able to convey emotions, he allows these songs to breathe.  Plus, he's got a monster left hand.  When he lays down a bass line, like the one on "What Your Teacher...",  Ms. Oh is free to create counterpoint or accentuate the slippery rhythms.  His chordal work on ballads, such as "Song For Ben Van Gelder" and "Jesse Holds Louise", creates space for the bass lines that float around the piano.  Brown is a drummer who truly knows his role; he instigates the soloists, his cymbals frame several of the melodies.  He's an inventive player as he displays on "The Key" where he supports the opening melody lines with some funky hand-drumming.  His "dancing" drum work on "What Your Teacher.." is irresistible, so buoyant and quite danceable.

"Pascal's Triangle" is a delight from start to finish, so contemporary yet with subtle bows towards Keith Jarrett and Bill Evans.  Judging by his sparkling present-day accomplishments, Pascal Le Boeuf has such a bright future. He'd be wise to keep Ms. Oh and Justin Brown in the mix - they are his equals and make him work harder to create an individual sound for their ensemble. Hear for yourself by going to pascalleboeuf.bandcamp.com/album/pascals-triangle.  Happiness should ensue.