Saxophonist and composer Tineke Postma (alto and soprano saxes) has returned to recording after a six year sabbatical. Not that she wasn't active: Ms. Postma became a mother while continuing to play and write, emerging in late 2018 to perform at The Kennedy Center Honors during its tribute to Wayne Shorter. In December of that year, she gathered the musicians she had been rehearsing with –– Dan Weiss (drums), Ralph Alessi (trumpet), Kris Davis (piano), and Matt Brewer (acoustic and electric bass) –– and recorded "Freya", her debut album for Edition Records.
In Frisian and Norse mythology, Freya is the goddess of creation, love, and fertility. The title track has a lively melody pushed forward by the lively work of Weiss and Brewer (electric bass). One fo the hallmarks of the entire program is how "open" the rhythms are; the drummer is free to move around while the bassist often the foundation. Yet there are times, especially on "Aspasia and Pericles", the two respond to the soloists and the music floats. Aspasia was Pericles's partner in all things but marriage as she was not born in Athens. Listen to the interactions on this piece as all five musicians are having a conversation through the second half of the song. "Geri's Print" is dedicated to the late pianist Geri Allen whom Ms. Postma and recorded and performed with. Again the interactions of soprano sax and trumpet are exhilarating while Ms. Davis's piano displays her originality, in fact her biggest tribute to Ms. Allen is just being herself as the late pianist was throughout her career.
Photo: Dave Stapleton
"Juno Lucina" celebrates a Roman Goddess of Childbirth who was also a ruler of the heavens. After a bit of stop and start from the bass and drums, the alto sax and trumpet read the tricky theme. Ms. Davis comes in at the opening of the trumpet solo (Alessi plays splendidly throughout) with angular chords pushing against the rhythm section while responding to the soloists. There's a sense of urgency throughout, none more so than during the powerful piano solo.
"Freya" also includes two short "Interludes", a pair of gives-and-takes of trumpet and soprano saxes.The first is comprised of short phrases that lead to longer tones by the end of its 84-second run. "#2" is 10 seconds shorter, a bit more introspective but still a conversation. The piece closes there album on an up note leaving the listener expecting and wanting more.
Tineke Postma makes us pay attention, makes us hear those mysterious spaces where composition and improvisation are blurred as well as what occurs when musicians are allowed to interact freely and respectfully. "Freya" is an album one can listen to two, three, four, times back-to-back and discover something new with each listen.
Listen to the musical story of "Aspasia and Pericles":
Bassist, composer, and arranger Anne Mette Iversen, now a resident of Berlin, Germany, first organized her "American" Quartet in 2002 when she was a resident of Brooklyn, NY. Tee original members –– John Ellis (tenor and soprano saxophone), Danny Grissett (piano), and Otis Brown III (drums and cymbals) –– are still there. The "+1" that now is appended to the group's monicker is Swedish trombonist Peter Dahlgren who first recorded with the bassist on her 2014 "So Many Roads", an album that featured the Quartet +1 plus a string quartet.
"Racing The Butterfly" (BJU Records) is the ensemble's first album in three years. The album takes its name from an encounter Ms. Iversen had with a curious butterfly as she was running through a field of lavender on a dirt road in the French region of Provence. The butterfly flew alongside for a while then dipped and swirled around her head, racing forward, dropping back. As the composer describes the experience "It was the fun, the enjoyment, the playfulness and lightness that was so beautiful and which nature displayed so naturally, that made me feel that I really ought to celebrate those sides of life more than I have previously done in my music." And, you can hear the effects of her experience throughout the 49-minute program. Listen to the title track below to hear her playful musical take on that run through the fields. As an added experience, Ms. Iversen later discovered a poem from Günter Grass from his 1967 collection "Augesfraght" (Questioned Out) titled "Tour de France" that reads: "When the leading bunch/ were overtaken/ by a brimstone butterfly/ many cyclists gave up the race."
Among the many highlights is the two-part "Parallel Flying" that runs over 11 minutes altogether. "Part 1" is a lovely, introspective, ballad rumination while "Part 2" hits the ground running after the melodic piano opening. Brown III and Ms. Iversen lock into the high-flying groove giving the front line a strong foundation to create three dancing solos. Later in the program is the short (69 seconds) "Butterfly Interlude" that displays the drummer's delightful cymbal and snare work and leads in to the delightful "Dancing Butterflies" – Ellis's soprano sax dips and swirls around the piano lines as the drums acts as the breeze pushing him forward. Grissett's solo is also quite joyous, floating along, flirting with the rhythm section, having the time of his life. The bluesy, hard-driving, "Cluster", kicks hard featuring strong solos from Ellis (tenor sax), Dahlgren, and muscular romp from Brown III.
Photo: Dieter Duvelmeyer
"Racing a Butterfly" closes with another fine ballad. this one titled "Butterflies Too." The blend of the handsome melody, the tenor sax with Dahlgren's smooth trombone sound, Grissett's intelligent piano work, and the supportive background, all come together for a splendid close to a fine, creative, program. Since her first albums in the first decade of the new millennium, Anne Mette Iversen has continually shown herself to be a creative composer and arranger. Her Quartet +1 makes this music come alive; their long-time association as a band makes this new album of Ms. Iversen her most passionate and delightful small group recording.
There is not a lot of biographical information available about pianist and composer Hayoung Lyou, a native of Seoul, Korea, but her musical pedigree is impressive. She attended Berklee College of Music and graduated from the New England Conservatory of Music. Ms. Lyou, who now lives in New York City, has studied with Ran Blake, Hal Crook, Helen Sung, Joanne Brackeen, Jason Moran, and Ethan Iverson. For her debut album, she organized a quintet featuring her piano, bassist Simón Willson, drummer Dayeon Seok, and two reed players, Jasper Dutz (alto saxophone, clarinets) and Jacob Shulman (tenor saxophone). Her original music is not only influenced by the artists she has studied with but also the writing of Hermann Hesse (1877-1962), whose 1919 book "Demian" is extremely popular in her native land, and psychologist Carl Jung (1875-1961), especially hs theory of "animus" (the personification of male tendencies in a woman).
All that and more serves as the foundation of "Metamorphosis" (Endectomorph Music), Ms. Lyou's debut album. The program consists of 11 original pieces by the pianist including four pairs of songs, the first three of which are followed by short works all titled "Animus". These pieces, numbered "I", "II", and "III", do have a harder edge and, in the instance of the longest one, "II", which clocks in at 1:30, and is a roiling alto sax solo over the churning rhythm section. The title track opens with dark and sparse piano chords (reminiscent of Ran Blake) but the alto and tenor saxophones bring a different light to the ballad. Seok's drums are quite dramatic in the opening two minutes before he moves in to keeping the rhythm flowing. The unaccompanied piano solo also is quite dramatic as it rolls forward
"Night Person" opens up with a quick allusion to "Giant Steps" before dropping into a groove that may remind some of Wayne Shorter. There's an airiness in the saxophones' interaction that soon gives way to an intensity as the rhythm section pushes them forward. The majestic piano chords and powerful drumming of "Busan" pay tribute to the arrival of 14,000 North Korean children in South Korea's second-largest city in the midst of the Korean and how they use their wits to survive. The singing quality of the saxophones imbues the music with youthful voices. The song inspired by Hesse's book "Demian" has a gentle melody played by the tenor sax and clarinet over a rhythm that sounds influenced by the music of Burt Bacharach. The piano solo near the close of the piece, featuring fine bass counterpart from Willson, is quite melodic and impressionistic.
The two closing tracks include the lovely and classically inspired solo piano work "Solitude" plus the lilting, joyous, "A Sunny Day at Yankee Stadium". The latter piece, played sans reeds, is a delightful jaunt through the ballpark, the dancing piano phrases interspersed with full chords while the bass and drums keep the music light and delightful. "Metamorphosis" introduces most of the listening world to the music of Hayoung Lyou. Her playing is impressive, the band serves her intentions well, and compositions are filled with delightful turns of phrases and changes in direction. A formidable debut for an artist who looks to have a great future.
Bassist, composer, and arranger Anne Mette Iversen now lives with her family in Berlin, Germany. She moved there in 2012 after 15 years in New York City where she studied at the New School, formed several groups, and helped to create the Brooklyn Jazz Underground collective and record label. Ms. Iversen continues to lead her eponymous Quartet +1 plus the Berlin-based Ternion Quartet. She also still has connection to classical music as well as writing soundtracks.
"Invisible Nimbus" (BJU Records) is the second album from the Ternion Quartet. Featuring the nimble alto saxophone of Silke Eberhard and buoyant trombone of Geoffroy De Masure as well as the rhythm section of drummer Roland Schneider and Ms. Iversen, the album was recorded in Lubrza, Poland, a small village two hours to the east of Berlin. The music covers a lot of territory, from the joyous bounce of "Within a Diapason" (French for "bursts of sounds" or "tuning fork") to the insistent drive of "Dig Your Heels In" to the intense ballad "The Rose Window". In her brief but cogent liner notes, Ms. Iversen writes "Music only lives when a dialog is present" - every song on the album is a conversation between the band members. Yes, there are solos throughout but, initially, the listener can't help but hear these four musicians really listen to each other plus the material the bassist provides for them plays to their strengths.
Photo: Dieter Düvelmeyer
There are moments when the music takes delightful detours. "Ionian Steps" ride out on a brisk bass line and Schneider's conversational drums. Ms. Eberhard's alto lines flutter and dart around, leading the rhythms section into a "free" section then into a slow blues chorus. De Masure picks up the slow vibe moving into a rubato before the band reenters to take the song out on its opening theme. The title track, expanded to"The Invincible Nimbus of Mystery", opens as a ballad with the bowed bass, alto sax, and trombone playing a classically-inspired melody before subtly slipping into a blues. One can hear traces of Charles Mingus on this track. The solos are quite exploratory yet the piece is most appealing when Ms. Eberhard and De Masure spar and parry.
Photo: Dieter Düvelmeyer
There are so many albums released every month in all genres. Every serious listener has his or her favorites. The critic/writer Whitney Balliett write that jazz is "the sound of surprise." Over a century after the music rose out of the bars and brothels of New Orleans, for those of us who are avid listeners, jazz is often "the sound of delight." You can hear delight throughout "Invincible Nimbus", from the intelligently-formed compositions to the often-witty interplay, in the cleanly-recorded sounds of the Ternion Quartet and the adventurous manner in which each musician adds her or his voice to the ensemble.
For more information, go to www.annemetteiverson.com. (The album will be released on May 10, 2019).
In the video introduction to the album, one sees starlings in flight it's called a murmuration. Linking the sight of the birds changing direction to the music of the band serves as an excellent introduction to and description of the music of Anne Mette Iversen's Ternion Quartet:
Producer, bassist, and composer Billy Mohler is best known for his collaborations with drummer Jimmy Chamberlain (from Smashing Pumpkins) and Macy Gray plus studio work with Kelly Clarkson, Pom Poms, and the music he created with and for skateboarding legend Tony Hawk. Mohler studied at the Berklee College of Music in Boston, MA, and was accepted into the Thelonious Monk Institute of Jazz. There, he studied and performed alongside Wayne Shorter, Herbie Hancock, Terri Lynn Carrington, Brian Blade, Joshua Redman, and Barry Harris (and a slew of other great musicians.
"Focus!" (MAKE Records) is Mohler's debut as a leader and features an excellent lineup; Shane Endlsley (trumpet), Chris Speed (tenor sax, clarinet), and Nate Woods (drums) keep their focus on creating lively, interactive, music that jumps out of the speakers. Mohler and Woods are combustible on first two tracks, "Deconstruction" and "Distant Star". They both play the rhythms hard and fast, creating a foundation that both Endsley and Speed dance over. The trumpeter's crisp tone (with echo and delay) and attack blends smartly with the warmer yet no less exciting playing of Speed. Listen to how the bass and drums introduce "Prairie Flower", setting up the melody with explosive drums and an entrancing bass line. Speed, on clarinet here, plays bird-like riffs while Endsley weaves in his own powerful lines. In the meantime, Woods powerful drumming really moves the music forward.
Mohler also wrote several handsome ballads for the album. "Wolf Moon" has such a handsome melody with hints of The Band's Robbie Robertson's style in the harmonies and chords. "Even Tide" opens with a fine bass solo that leads the listener into a melody line that moves up and cascades down, not unlike a ballad Ornette Coleman might write. The piece built slowly yet never boils over, the plaintive melodies creating a calm. The album comes to a close with one more ballad. Titled "Coin", the melody line hearkens back to "The Snake Charmer's Song" but resolves like a traditional Klezmer tune. Moving slowly over a droning bowed bass and quiet yet active drumming, neither Speed's breathy tenor sax nor Endsley's muted trumpet pushes the pace. Both "lead" voices play soulful phrases on to the end of this meditative piece (note the whirling dervish loop that comes as the final notes fade).
"Focus" is powerful, interactive, intelligent, and disruptive. Some of the music seems on the brink of going over the edge (thanks to Nate Woods incredible drumming) but the bass work of leader Billy Mohler keeps the focus of the music on the melodies and the rhythms. Find the album, play it loud - very loud - and enjoy the joy of creative music!
For more information, go to www.billymohler.com.
Here's a track to whet your appetite:
Photo: Steve Sussman
Even if you do not recognize the name Jay Anderson, chances are good you've heard his melodious playing. The bassist has appeared on a slew of albums, working and recording with the Maria Schneider Orchestra, pianists Frank Kimbrough, the late Paul Bley, and George Cables as well as a host of artists through his long association with SteepleChase Records: one can hear him on disks by pianist Stanley Cowell, Peter Zak, Freddie Redd, and Burak Bedyikan as well as saxophonists Rich Perry (his friend from the MSO), Andrew Rathbun, and Ronnie Cuber (over 100 sessions in 20 years!). I saw him in concert a dozen years ago with pianist Lynn Arriale and his smooth style, full tone, and counterpoint was quite arresting and a perfect for the leader.
"Deepscape" (SteepleChase) is his third album as a leader but the first since 1994's "Local Color" (DMP). The 11-song program is a blend of solo and ensemble tracks, standards, pieces by jazz artists such as Keith Jarrett, Branford Marsalis, and Jim Pepper. There's a duo with Kimbrough (on harmonium) on "Tennessee Waltz" that is charming and beguiling. The bassist also plays several solo pieces including a lovely reading of Billy Joel's "And So It Goes." Anderson caresses the melody and then creates a solo plays off various lines of the song without losing sight of the heart in the song. The title track, which opens the album, is a short yet lovely solo piece. Listen closely as you will hear the layers of sounds all created in overdubs by Anderson - it's as effective as it is beautiful
Anderson teams up with Matt Wilson (drums on eight cuts), Kirk Knuffke (cornet on six tunes), and Billy Drewes (alto and soprano saxes, bass clarinet, on seven tracks) for a series of pieces that alternately shake the house or take on a meditative tone. Jim Pepper's "Witchi-Tai-To" is a spotlight for Drewes' delightful soprano sax - the tracks also features Kimbrough's harmonium and percussion from Wilson and Rogerio Boccato. That same quintet of musicians create an audio painting of Morton Feldman's "Rothko Chapel (5th Movement)" with a delightful blend of soprano sax and harmonium move the meditative melody along. Pay attention to the playing of both Wilson and Boccato. Wilson creates a delight dance rhythm to lead in the classic "Sweet and Lovely" - there's a sweet touch of "second line" in both the rhythm and Anderson's sweet take on the melody. Knuffke's cornet takes over the melody and the band drops into a blend of swing and funk. The quartet of Wilson, Anderson, Knuffke, and Drewes (alto sax) take a joyful romp through Branford Marsalis's "The Mighty Sword" (from his 2012 "4 MFs Playin' Tunes" album). This is music that brings a smile as the ground navigates the tricky rhythms and tempos the bring to mind both Ornette Coleman and Keith Jarrett. Note how Anderson and Wilson lock in to the "groove" yet sound so free and swinging throughout the piece. The same configuration digs into Anderson's "Momentum", a fascinating ballad. The handsome, emotionally rich, melody is supported by harmonies from the bass and Wilson's melodic drumming and strong cymbal work. Both Drewes soprano solo and Knuffke's cornet are rich with ideas and finely-sketched lines.
"Deepscape" is a treat from start-to-finish. Jay Anderson shines as a leader, arranger, soloist, and member of the rhythm section. All the musicians on the album are long-time friends and collaborators, the album was recorded in the bassist's home studio, and the results are exciting, musical, and comforting.
The Norrbotten Big Band, based in Luleå, Sweden, has the distinction of being the northernmost large jazz ensemble in the world. The city of 75,000, over 450 miles away from from Stockholm, is located up in the northern corner of Sweden close to the Arctic Circle. Thanks to the Gulf Stream winds, it has a milder climate than one might expect for a city that far north. A busy port city, there's plenty to do all year long, especially rich with arts and cultural offerings. The NBB has been in existence since the late 1980s but first made critics sit up and take notice when American trumpeter and composer Tim Hagans became artistic director in 1996. Currently, the 16-member ensemble's AD is saxophonist and composer Joakim Milder.
Photo: Antonio Porcar Cano
Bassist and composer Anne Mette Iversen moved to the United States from her native Denmark in 1998. During her 15 years living and working in the New York City area, she was one of the 10 co-founders of the Brooklyn Jazz Underground, helping to establish a cooperative where musicians and artists could present their work. The group founded BJU Records in 2008, a label that has released nearly 70 recordings including eight by Ms. Iversen and featuring several of her different ensembles. In 2012, she and her family moved to Berlin, Germany where she maintains a busy schedule, still working with her American Quartet + 1 (featuring saxophonist John Ellis, pianist Danny Grissett, drummer Otis Brown III, and trombonist Peter Dahlgren) plus her Ternion Quartet (with saxophonist Silke Eberhard, trombonist Geoffroy De Masure, and drummer Roland Schneider, all Berlin-based musicians).
In 2016, Ms. Iversen was invited to be the composer-in-residence for the Norrbotten Big Band's 2016-17 season. In her various trips to Luleå, she experienced all four seasons. The different climatic conditions reminded her of the many places she has visited during her career and she began to create music that reflected her responses to those fascinating seasons. The results can be heard on "Everything In Between" (Prophone Records). The 10-song, 98 minute program, is spread over two CDs. The music begins in Spring (two songs), moves to Summer (four songs), on to Fall (two songs), and concludes with Winter (two songs). What stands out throughout the album is the fine musicianship - all but one member of the NBB here is European; the lone exception is drummer E.J. Strickland. He and trombonist Dahlgen are the only two who have worked or still work with Ms Iversen.
The album, while very much a suite, was recorded live in three separate venues (one on11/12/2016 in Luleå and two in Denmark on 7/22-23/17). One of the most delightful aspects of this music is that the songs cover so much territory. Yes, you hear traces of Duke Ellington/ Billy Strayhorn, Bob Brookmeyer, Kenny Wheeler, Thad Jones, and others but nothing overt (to my ears). And, the music is so melodic. Listen throughout to hear how Ms. Iversen orchestrates each song, often using the brass or the reeds to state the thematic material, how often there are two or three instruments soloing over the ensemble.
Photo: Solving Hockings
From the opening notes of "The Big (Band) Bang I", the music glides, flows, jumps, and dances on the power of the rhythm section (pianist Adam Forkelid, bassist Petter Olofsson, and drummer Strickland). There are certainly a number of strong solos on every track (the credits lists the personnel but not who solos on each song) but, again it's the section writing and execution that really make this music so impressive. The Ellingtonian opening of "A Lighthouse Blinks In The Northern Sky" uses a blend of muted trumpets and reeds over an African drum rhythm to paint a lovely and lively picture but Janne Thelin's unaccompanied contrabass clarinet spot moves the piece into a more contemplative direction. He's soon joined by the flutes and rhythm section for a quiet ballad section. A few moments later, after the muted trumpets have had a short interlude, the piece moves forward on a fine alto sax solo.Forkelid also has a lovely spotlight, his piano lines rippling over the sympathetic bass and drums; only at the end do the earlier voices (trumpets, reeds, and the drums rhythms) return for a short reprise.
If you enjoy adventurous large ensemble music, then "Everything In Between" should really grab your attention. Like many suites it's best listened to all the way through but one can also jump in on any track and be pleased. Anne Mette Iversen sets aside her bass for the conductor's baton to lead the Norrbotten Big Band through this delightful aural journey; there are moments throughout when one can sense the waves crashing or the countless stars in the cool, clear, night sky.
Personnel:
Anne Mette Iversen - composer and conductor
Reeds:
Hakan Brostrom - alto and soprano sax, alto flute (only for the 11/12/16 concert)
Johan Christoffersson - alto and soprano sax, alto flute
Janne Thelin - alto sax, Bb clarinet, bass clarinet, contrabass clarinet
Mats Garberg - tenor sax, flute
Robert Nordmann - tenor sax, Bb clarinet, flute
Per Morberg - baritone saxophone, flute
Trumpets and flugelhorns:
Magnus Ekholm (only for the 11/12/16 concert)
Bo Strandberg
Frank Brohdahl
Dan Johansson
Jacek Onuszkiewicz
Trombones:
Peter Dahlgren
Arvid Ingberg (also euphonium)
Christine Carlsson
Urban Widborg (only for the 11/12/16 concert)
Bjorn Hangsel - bass trombone, flute
Rhythm section:
Adam Forkelid - piano
Petter Olofsson - acoustic bass
E.J. Strickland - drums
Trombonist and composer Marshall Gilkes came to love jazz and his instrument through his father who was a trombonist and conductor of the Air Force Band. The Gilkes family traveled the world going to Air Force bases and concert halls while the budding trombonist began to absorb all types of music. After studying at The Juilliard School in New York City, Gilkes settled there and played in dozens of ensembles as well as recording several small group albums between 2004-2012. He's also a prominent member of the trombone section in the Maria Schneider Orchestra and tours with the Edmar Castañeda Trio.
In 2019, he played with the WDR Big Band based inKöln (Cologne) Germany for a concert with vocalist Patty Austin. The following year, he came back to play in the band behind guitarist Mike Stern and was invited to be a full-time member. Duringhistenure that lasted until 2013, Gilkes played numerous concerts throughout Europe. He was invited back one month later to play a "farewell concert" of his original music and the resulting album, "Köln", was issued in 2015 "Always Forward" (Alternate Sides Records/WDR) reunites Gilkes with the WDR Big Band and was recorded over three days in early September 2017. As with the previous album, the program features mostly originals compositions and all arrangements by the trombonist (he also conducts the band) plus two standards. In one instance, the 19-member ensemble dances its way through Cole Porter's "Easy To Love." The melody is introduced by the brass sections (note how drummer Hans Dekker accentuates the melody). The song then is handed over to the reeds before alto saxophonist Johan Hörlen steps out for a delightful solo. The other is the oft-recorded "Portrait of Jennie", the title song of a 1948 movie that has been covered by Nat "King" Cole, Clifford Brown, Freddie Hubbard, Wes Montgomery, and many, many others. Here it serves as a showcase for a classically inspired opening plus an impressive flugelhorn solo from Andy Haderer.
I imagine just how much fun it must have been for Gilkes to stand in front of the band but even more fun to solo on four of the 10 tracks. The album opens with the powerful and playful "Puddle Jumping"; Gilkes' solo is a tour-de-force, blending the sweeter sounds of the 'bone with long flowing lines and octave leaps, "blats" and deep low notes. He returns for the beautiful "Morning Smiles." This piece, composed for his infant son, would not be out of place on a Maria Schneider album. The lovely flute-dominated opening and the handsome trombone melody lead the listener into a wonderland of sounds. The elegant use of reeds and brass in the background before the rhythm section enters is simply stunning while the solo will make you sit forward and follow the musician all the way through.
The centerpiece of the album is the three-part "Denali Suite." Not surprisingly, the song is inspired by a trip Gilkes and his wife took to Alaska for a wedding followed by a vacation. The composer states in the liner notes that the "melody in the middle section is one came up with while on the trip.." On his return home, he fleshed out the melody and orchestration, adding the opening and closing sections. "Part II", in particular, is a thoughtful ballad played mostly by the brass yet, when the rhythm section comes in, the flutes are utilized to introduce the piano solo.
Photo: All About Jazz
The Maria Schneider influence is loud and clear on the title song which is also the album closer. Again, Gilkes is the only soloist but he gives the different sections various parts of the melody. On many of the songs, the brass takes the lead but here it is a subtle blend that moves the song forward. Gilkes begins his solo with only bassist John Goldsby offering support in the form of counterpoint. The drums and piano enter next then the reeds and the brass. All the while, the leader builds a dynamic, emotionally rich solo, one that dances even as it sings. The brass and reeds reintroduce the opening melody before the trombonist reenters for a quick recapitulation of his opening theme. The song closes as the trombone fades yet the piece does not resolve; it is left "open to remind all of us to think and act "always forward!"
Marshall Gilkes has matured before our very ears. He has long proven to be a dynamic and thoughtful soloist. Yet, these two albums with the WDR Big Band has shown us that he is a splendid orchestrator, arranger, and composer. "Always Forward" may be his credo In this time of global indecision and a turn away from democratic principles, this music makes a great case for art informing people, teaching people, even while entertaining people.
Marshall Gilkes composer, arranger, conductor, trombone WDR Big Band Personnel Johan Hörlén-alto saxophone/flute/clarinet Karolina Strassmayer-alto saxophone/flute/clarinet Olivier Peters-tenor saxophone/clarinet Paul Heller-tenor saxophone/clarinet/bass clarinet Jens Neufang-baritone saxophone/bass clarinet
Ludwig Nuss-trombone Shannon Barnett-trombone Andy Hunter-trombone Mattis Cederberg-bass trombone
Andy Haderer-trumpet/flugelhorn Rob Bruynen-trumpet/flugelhorn Lorenzo Ludemann trumpet/flugelhorn Ruud Breuls- trumpet/flugelhorn John Marshall-trumpet/flugelhorn
Simon Seidl-piano Paul Shigihara-guitar John Goldsby-bass Hans Dekker-drums
Bassist and composer Anne Mette Iversen has graced us with two new albums featuring new music for two separate ensembles. Since the Danish-born Ms. Iversen now splits her time between New York City and Berlin, Germany, she also now leads two groups. "Round Trip" (BJU Records) features her NYC Quartet + 1, an ensemble that features John Ellis (tenor saxophone), Danny Grissett (piano), and Otis Brown III (drums and cymbals), all of whom have worked with the bassist since 2006. The "+ 1" is Swedish trombonist Peter Dahlgren who joined the band before its 2014 recording "So Many Roads" but who also appeared on Ms. Iversen's 2004 debut recording, "On The Other Side."
mueller 2016
While the majority of Ms. Iversen's albums have an underlying or unifying theme, "Round Trip" strikes this listener a set of songs she write for these musicians to have fun with, to play with, and give their all. She certainly knows their strengths and gives them wings. The overall sound has the feel and drive of Dave Holland's Quintet, the group with Robin Eubanks, Chris Potter, Billy Kilson, and vibraphonist Steve Nelson. The ensemble play, the manner in which Ellis and Dahlgren play the "heads", the drive of the drums, and Ms. Iversen unwavering guidance from the bass chair - the only difference is piano instead of vibes. Also, Ms. Iversen prefers to be part of the ensemble rather than a soloist; that certainly frees up Brown III to play spark plug underneath the soloists, egging them on and reacting to what they are doing.
If one really listens, the construction of these songs is very impressive. They are logical, linear, with plenty of dynamic variation and also all have well-defined melodies. Listen how "Lines and Circles" builds from the circular piano melody that opens the piece and the counterpoint the bassist adds a few seconds in. The main melody, played now by saxophone and trombone with piano and cymbals as counterpoint, begins to lift the piece. The solos push away from the theme, the rhythm section expands its vocabulary, and the song takes flight. The composer's preference is that the saxophone and trombone carry the lead. There's a smart call-and-response at the onset of "Scala" that leads to a bass solo (one of the few on the disk). The playful forward motion of the title track with the bass and trombone laying down the initial rhythm (with saxophone counterpoint) opens to a short piano section and back again to the intro before Grissett dances ahead with Brown III in hot pursuit.
Bass Musician Magazine
The album has two impressive ballads. The quiet, so slow, "Wiinstedt's View" opens with a lovely introduction from Ellis sans accompaniment before the ensemble enters with the handsome, blues-soaked melody (played by saxophone and trombone). "The Ballad That Would Not Be" has a classical feel, from the opening melody to the bass counterpoint. Two minutes in, the sax, trombone, and bass change the melody but not the melodic and harmonic counterpoint. When the drums and piano enter, the piece changes yet again, now with more urgency and emotion in the melody.
"Round Trip" is a joyous journey performed by a band that enjoys each other's company shepherded by a composer who loves what these musicians sound like as they travel the byways of her compositions. Anne Mette Iversen is a fine player and an even better composer. Her songs are intelligent without being stuffy, playful, and give the listener much to chew on.
Here's the high-energy "Segue":
CD #2 comes from the Ternion Quartet, an ensemble Ms. Iversen in Berlin and features Silke Eberhard (alto saxophone), Geoffrey De Masure (tenor and bass trombone), and Roland Schneider (drums, percussion), all three veterans of the European jazz scene (the drummer did spend nearly two decades in New York before moving back to Berlin in 2008). Ms. Eberhard may be the most "famous" having issued numerous albums with her Trio, Quartett, and duos with pianists Dave Burrell and Aki Takase. The group also takes its cue from Dave Holland, thanks to the open-ended feel of certain tracks as well as the powerful forward motion. One can also hear the influence of Charles Mingus plus Ornette Coleman. Without a chordal instrument, Ms. Iversen has more of a "starring" role. Yes, she is the foundation of the majority of tracks but steps out as a soloist more with this ensemble.
Dieter Düvelmeyer photo
These songs stretch out more than those on "Round Trip." Ms. Iversen does not skimp on the melodic content and, if anything, the compositions are even more linear than on the Quartet +1 album. Pieces such as "A Cygnet's Eunoia", "Ataxaria On My Mind", and "Eburnine" have main themes on which both the sax and trombone share the melody lines (you might also want to look up the meanings of certain words). Ms. Eberhard's solos throughout are rich with ideas, her clean tones evoking the sounds of Steve Wilson and Steve Coleman. She smoothly navigates the head of "Escapade #7" and is a good foil for the deep tones of De Masure's bass trombone. The trombonist, when he employs multiphonics, will remind some of the late Albert Mangelsdorff, but he too has a smoothness. His phrases are quirkier than his front line partner but he also adds depth to the sound. Listen how he blends with the bowed bass at the beginning of "Solus", the prettiest ballad on the album and, then, really digs deep for his solo. His intro to "Debacled Debate" is gritty and takes its direction from both New Orleans "gutbucket" and the afore-mentioned Mr. Mangelsdorff.
Dieter Düvelmeyer photo
Schneider, who is a member of pianist Anat Fort's Trio, plays delightfully throughout. His work underneath soloists is often fiery and interactive. His brush work is exemplary - check out "Postludium #2" and listen to how sparely both he and Ms. Iversen play in support of the soloists. Schneider drives a mean tempo on "Trio One" showing the influences of both Elvin Jones and Ed Blackwell.
"Ternion Quartet" is both the name of the ensemble and the album. It's actually a joke as well; the definition of "ternion" is a "group of three". Honestly, Anne Mette Iversen gives the description of the music in her short liner notes. "There is an element of total freedom and there is an element of chance and risk-taking. Anything and everything goes." The result is good listening from beginning to end.
Isamu McGregor is a young (27) pianist and keyboard artist who, like many of his contemporaries, moves easily fro jazz to world music to pop music. His "high-profile gigs with bassist Richard Bona, saxophonist Sadao Watanabe, and vocalist Colbie Caillat have taken him around the world. He has maintained his trio with electric bassist Evan Marien and drummer Gene Coye for over six years; their closeness is quite evident on McGregor's new and second album "Resonance" (Ghost Note Records). Seven cuts, clocking in at 57 minutes, cover a lot of musical territory. On the opening track, "The Dreamer", McGregor plays acoustic and electric piano plus synthesizers, moving around his arsenal with ease and creativity.
While all three musicians are technically impressive, this music is not all about prowess. The episodic nature of most of the pieces emphasizes that McGregor wants to connect with his audience on an emotional. Tenor saxophonist Seamus Blake joins the trio for "Relentless" and, while the title is an apt description for how the four musicians play, there are also moments of grace and beauty. Come plays with great fire but pay close attention to the deep bass notes and the leader's powerful chordal work. "The Drifter" opens with the buzzing sound of Bennie Maupin's bass clarinet but he soon moves on to play the melody with just the electric piano on support. The rhythm section enters quietly. After the handsome bass clarinet solo, McGregor moves in on acoustic piano playing a delightfully meandering solo. The piece begins to pick up in intensity during the solo and, soon, Mr. Maupin reenters and the trio steps aside, save for the pianist, for his quiet solo. The bass clarinet dominates the final four minutes of the piece that has now taken on an impressionistic tone.
Friend and former bandmate Deen Anbar joins the trio for the funky, Weather Report-inspired, "Thor vs James Brown" (great title) - the first half of the track lopes along but then Coye lays down a frantic pace, McGregor plays a hypnotic Fender Rhodes rhythm and the guitarist begins a furious and raucous solo. When the bass enters, it's "pedal to the metal" and the music "burns" all the way to the finish line.
In the middle of the program, there is a lovely solo feature for the leader. "Because" is the shortest cut on the album (5:18) and it may take a moment before you realize it's the John Lennon ballad from "Abbey Road" - McGregor cuts right to the emotional heart of the song, embellishing the melody with classical chords with, at times, dramatic flourishes that do not overwhelm but underscore the story in the unheard lyrics.
"Resonance" is a mature work from a young artist who looks to be on his way to a long and productive career. Some listeners may have issues with the electronics but the colors the various keyboards bring to the music helps to create a larger bouquet. Isamu McGregor is a hard name to forget; his powerful music for trio and guests will resonate in your ears and mind for a good long time as well.
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