2015, Sweet Success (Part 3)

So much of American music is influenced by rhythms of the African diaspora, especially those developed in the Caribbean and South America. At this point in time, no one is more adept at capturing the attention of audiences around the US and world than arranger, composer, and pianist Arturo O'Farrill. In 2014, his brilliant CD "The Offense of the Drum" (Motema Music) was a musical history lesson filled with stories, rap, rhythm and great interplay.  Later that year, O'Farrill and his Afro Latin Jazz Orchestra were in Cuba preparing to record his latest project "Cuba: The Conversation Continues" (Motema Music) when President Obama announced the normalization of relationships between the island nation and the United States.  The recording was made less than 48 hours later; the result is both a celebration of the musical heritage and a showcase for how the music has developed from the days when Xavier Cugat's Orchestra danced its way into the movies and nightclubs and Chano Pozo electrified audiences with Dizzy Gillespie.

For more information, go to motema.com/releases/cuba-the-conversation-continues/.

Trumpeter and composer Dave Douglas had yet another busy musical year, culminating in a 4-day run at The Jazz Standard with his most recent Quintet. He had initially convened the group - Jon Irabagon (tenor sax), Matt Mitchell (piano), Linda Oh (bass) and Rudy Royston (drums) - to record "Be Still" (Greenleaf Music), an album dedicated to the trumpeter's mother with ballads and hymns she requested be play at her funeral (the album also included the vocals of Aoife O'Donovan).  At the same time, the Quintet recorded "Time Travel", an impressive set of instrumental pieces.  This year, the Quintet released "Brazen Heart", a collection of songs that not only point to the influence of Mies Davis's mid-1960s classic Quintet but incorporates rhythms and melodies that sound contemporary.  The energy and musicality of this group is undeniable.

For more information, go to www.greenleafmusic.com/brazen-heart/.

Speaking of busy people, guitarist, composer, engineer and mix Master Liberty Ellman issued his first recording in 9 years.  "Radiate" features the talents of Stephan Crump (bass), Jose Davila (tuba, trombone), Damion Reid (drums), Steve Lehman (alto saxophone) and Jonathan Finlayson (trumpet). One hears a harder edge in the guitarist's playing than usually displayed on his work with Mr. Threadgill's Zooid and Mr. Crump's Rosetta Trio yet there is such an impressive soulfulness to his playing as well. The rhythm section of Davila, Crump and Reid is brilliant throughout plus the combination of Lehman and Finlayson adds spice to the overall sound.

For more information, go to pirecordings.com/album/pi60.

Whereas Arturo O'Farrill has mined the traditions of the African diaspora and Dave Douglas has delved into the folk traditions of Appalachia, trumpeter, vocalist, composer and santur player Amir ElSaffar has explored his family's roots in Iraq.  This year, Pi Recordings issued "Crisis", a stunning exploration of Middle Eastern music (no doubt influenced by the time the composer spent in Egypt and Lebanon in 2013 during the months of political and social upheaval. Composed for and performed by ElSaffar's Two Rivers Ensemble - Nasheet Waits (drums), Carlos DeRosa (bass), Tareq Abboushi (buzuq, a Persian string instrument related to the Greek bouzouki and Turkish saz), Zafer Tawil (oud, violin, qanun - a Persian zither - and Arab percussion), and Ole Mathisen (tenor saxophone), "Crisis" is filled with dazzling rhythms (Mr. Waits at his finest), splendid solos and emotionally rich vocals.

For more information, go to pirecordings.com/album/pi59.

Over the course of 3 CDs, pianist and composer Jeremy Siskind has shown he is enamored of emotionally rich melodies, lyrical poetry, and connecting with audiences on a personal level. His latest album, "Housewarming" (BJU Records) features the trio of Siskind, Nancy Harms (vocals) and Lucas Pino (reeds) plus contributions from vocalists Kendra Shank, Kurt Elling and Peter Eldridge. The results are not only charming but also intelligent, mature, and intimate.

For more information, go to www.jeremysiskind.com/music/housewarming/.

Guitarist Mary Halvorson seems to be as busy as Dave Douglas with her work as a bandleader plus her regular gigs with drummer Tomas Fujiwara, reed master Anthony Braxton, trombonist Jacob Garchik, bassist Michael Formanek and saxophonist Ingrid Laubrock (I'm sure I missed a few).  2015 saw the release of Ms. Halvorson's first solo CD "Meltframe" (Firehouse 12 Records), a fascinating collection of songs and sounds that illuminates the guitarist's myriad influences and just how original her work is. There is intensity as well as gentleness on this program of standards  (such as Duke Ellington's "Solitude" and McCoy Tyner's "Aisha") and works by her contemporaries (bassist Chris Lightcap and Noël Akchoté).  

For more information, go to firehouse12records.com/album/meltframe. 

Since the days of Louis Armstrong 's youthful (and lifelong) infatuation with opera, contemporary musicians have turned to classical music for inspiration. Enter trumpeter Thomas Bergeron: his 2nd CD as a leader, "Sacred Feast" (self-released) blends the fertile imagination of Olivier Messiaen (1908-1992) with Bergeron's own take on modern music. His ideas and sketches are interpreted by the fine ensemble of Satoshi Takeishi (drums, percussion), Michael Bates (acoustic bass).  Hannah Collins (cello), Jason Ennis (guitar), vocalist Becca Stevens and the atmospheric accordion/piano of Vitor Gonçalves.  The music is both intimate and expansive, leading the listener down unexpected yet entertaining paths.

For more information, go to thomasbergeron.bandcamp.com/album/sacred-feast.

My students often point to artists such as Nas, Tupac Shakur, J. Cole and Kendrick Lamar and tell me (rightfully) that these artists are contemporary social commentators. The link between the modern rappers and artists such as Curtis Mayfield and Marvin Gaye (in his "What's Goin' On" days) was Gil Scott-Heron (1949-2011) who sang about issues in the 1970s and 80s that still plague the United States to this minute.  Vocalist Charenee Wade joined forces with producer Mark Ruffin plus the musical talents of  Brandon McCune (piano), Dave Stryker (guitar), Lonnie Plaxico (bass) and Alvester Garnett (drums), plus guests vibraphonist Stefan Harris, Malcom-Jamal Warner (spoken word), Marcus Miller (bass clarinet) and especially Ms. Lakecia Benjamin (alto saxophone) to create "Offering: The Music of Gil Scott-Heron and Brian Jackson" (Motema Music).  This potent combination of musicality and poetry, honesty and lyricism breathes new life into the original versions plus illuminates the power of social commentary. The entire package is pulled together by Ms. Wade's dramatic, emotional and lyrical voice.  

For more information, go to chareneewade.bandcamp.com/releases.

I've been a fan of pianist David Berkman since I first heard him play on bassist Cecil McBee's 1997 Palmetto CD "Unspoken" - he's a lyrical, thoughtful, player who's not afraid to create emotional music as well as swing mightily (note his work with the New York Standards Quartet). His latest CD - a return to Palmetto - is "Old Friends and New Friends" features the fine ensemble of bassist Linda Oh, saxophonist (soprano, tenor) Dayna Stephens, Brian Blade (drums) saxophonists Adam Kolker (soprano, alto,and tenor plus clarinets) and Billy Drewes (alto, soprano).  What I like as much as the melodic riches throughout program is how one hear that this band is having fun playing together. It's infectious and so enjoyable.

For more information, go to davidberkman.com/music/old-friends-and-new-friends/.

It's a known fact that I love large ensembles and remain amazed how composers and arrangers can think and cat on such a large scale.  Trombonist, composer and arranger Marshall Gilkes, who is a long-time member of the Maria Schneider Orchestra, spent a productive 4 years (2010-13) working with the WDR Big Band. In a wonderful parting gesture, the German organization invited him back in January of 2014 for a farewell concert.  The resulting studio  album,  "Köln" (Alternate Side Records), shows both the talent of Mr. Gilkes  and the versatility of the big band.  While the music does have, at times, great power and swings with abandon, there are also many delicate passages and intelligent section voicings.  

For more information, go to marshallgilkes.bandcamp.com.

"The Silver Lining: The Songs of Jerome Kern" (Columbia Records) is one of those 2015 releases I did not review yet this collaboration between Tony Bennett and pianist Bill Charlap has become an obsession.  The ageless vocalist sounds like he's having a ball, complimented by Mr. Charlap (40 years his junior) whose elegant lyricism is combined with a wonderful penchant for swinging with abandon.  6 of the 14 tracks features musical "brothers" Kenny and Peter Washington (drums and bass) plus several cuts with Mr. Charlap's wife Renee Rosnes joining on piano. The pianos-only cuts are lovely in their intricate simplicity.  Mr. Bennett rarely, if ever, wastes a note while the framework created by the pianists is always on point.  In this time political intrigue and social unrest, Tony Bennett and Bill Charlap, with the words and music of Jerome Kern, remind us of the hope and longing that the great American songwriters of the early-to-mid-1900s brought to the public.

Yes, I missed some great releases but these 3 posts include ones that I keep returning to, finding much to enjoy each time the music flows through the speakers or headphones.  One can argue that music business is in disarray but musicians seem to find a way to get their voices, instruments, and ideas heard.

Merry Christmas, Happy 2016, and let us continue to work towards peace. Thanks for reading.

2015, A Year (Part 2)

No personal reflections this time, just continuing my survey of the music that moved me the most over the past 12 months. This part of the list included recordings I did not post reviews for.

Technically speaking, this album came out in late 2014 and technically speaking, it's quite brilliant.  Over the past decade, Sam Newsome has concentrated his efforts on the soprano saxophone, releasing a series of solo albums that stand out for their brilliance, audacity, and sheer musicality.  So it is with "The Straight Horn of Africa: A Path to Liberation" (Some New Music), 21 tracks, many of them overdubbed, where the saxophonist creates percussion by clicking the keys in ways that suggest drum choirs. It was such fun to return to listen to this music again, fun to have one' breath taken away track after track.

For more information, go to www.samnewsome.com.

Violinist, composer and arranger Tomoko Omura released "Roots" (Inner Circle Music) early in 2015 and the music resonates with me still. Employing a great ensemble including Glenn Zaleski (piano, keyboards), Colin Stranahan (drums), and Noah Garabedian (bass) plus guitarist Will Graefe on 8 tracks. Ms. Omura reimagines pieces from her native Japan in ways that honor their original intent while giving the new life.  And, there is such of a sense of "serious play" on these cuts.  

For more information, go to www.tomokoomura.com. 

The new recording from vocalist and multi-instrumentalist Jen Shyu is a dazzling display of creativity and musicality that also defies categorization.  Let's just say you'll not hear a more dynamic and dramatic album than "Sounds and Cries of the World" (Pi Recordings) - you may hear some that are its musical equal (Mycale, Bjork) but not as powerful. She makes brilliant use of her band - Ambrose Akinmusire (trumpet), Mat Maneri (viola), Thomas Morgan(bass) and Dan Weiss (drums) - while making you return time and again to hear how she uses her voice nd instruments. 

For more information, go to pirecordings.com/album/pi61.

Saxophonist and composer Ochion Volk and his Quartet -  pianist Amino Belyamani (Dawn of Midi), bassist Sam Minaie (Tigran Hamasyan), and drummer Qasim Naqvi - released his 2nd CD this year and it's a jewel. The interplay of the musicians (guitarist Lionel Loueke appears on several cuts), the creativity of the compositions and fact that the musicians serve the music and not just show how well they can play, all that and more makes this a standout CD.  I would love to hear this band live just to get lost in this creative experience.

For more information, go to www.ochion.com. 

The latest hit from alto saxophonist Rudresh Mahanthappa has its roots in 2 musical areas, those being the intricate rhythms of South Indian music and the saxophone language developed by Charlie Parker. Performed by a band that boasts the fiery rhythm section of François Moutin (bass) and Rudy Royston (drums - he shows up again below), the agile piano work of Matt Mitchell and the brilliant trumpet playing of Adam O'Farrill, this music is an often joyous blend of dexterity, rhythmic complexity and melodic playfulness.

For more information, go to rudreshm.com.

Speaking of Mr. Royston, his work with tenor saxophonist JD Allen is how listeners first heard his dynamic drumming.  After a pair of Quartet recordings, Mr. Allen returned to his Trio (bassist Gregg August is the important third member) he formed in 2007 to create "Graffiti", perhaps the bluesiest and most melodic recording  he has released in his career.  Yes, there's a bow to the classic Sonny Rollins Trio recordings of the 1950s but this recording serves to remind us of how revolutionary the elder tenor player was in his youth and this style is far from being tired and old.

For more information, go to www.jdallentenorsaxophonist.com.

Going back to listen to "Synovial Joints", the 2015 Pi Recordings album from Steve Coleman and the Council of Balance, I am reminded of how many different styles of music the alto saxophonist, composer and arranger dips into to create his music and just how seamlessly he does it. Utilizing the great rhythm section of Anthony Tidd (electric bass) and Marcus Gilmore (drums) plus the splendid voice of Jen Shyu (see above), trumpeter Jonathan Finlayson, guitarist Miles Okazaki, a string quartet, 3 additional brass players, 3 additional reeds, and 3 percussionists, t is stunning how clean, clear, and insistent this music is.

For more information, go to pirecordings.com/album/pi57.

In a world filled with masterful pianists, Fred Hersch is certainly one of the finest.  Whether in front of his Trio or a larger ensemble, his lyricism and creativity is, at many turns, quite amazing.  This year, he gave us "Solo" (Palmetto Records) and, once again, the listener is whisked away from the mundane and everyday to bask in the glow of a consummate performer. Whether it's his original music or one of his joyous forays into the land of Thelonious Monk, Mr. Hersch always gives the listener much to chew on.

For more information, go to www.fredhersch.com.

Speaking of masterful pianists, Myra Melford dropped "Snowy Egret" (both the name of the group and its recording from ENJA) during the year. With a band that includes such great players as Ron Miles (trumpet), Liberty Ellman (guitar),  Stomu Takeishi (bass guitar) and Tyshawn Sorey  (drums), the composer gave us music that, like Mr. Coleman's and Ms Shyu's, is multi-directional, challenging and quite satisfying. 

For more information, go to www.myramelford.com.

No one was busier this year than pianist Matthew Shipp, showing up as a sideman on several CDs, co-leading others and releasing, arguably, his most impressive Trio recording in his career.  "The Conduct of Jazz" (Thirsty Ear) is contemplative, feisty and filled with, at a number of turns, impressive interplay between the pianist, long-time associate Michael Bisio (bass) and the Trio's new member, drummer Newman Taylor Baker.

For more information, go to www.matthewshipp.com.

The final group of favorites will be posted next week - in the meantime, live life to the fullest by going out to support live music in your community and state!

2015, a Year of Struggle & Success (Part 1)

So much has happened on a public and personal level that there were stretches over the past 12 months when music took a back seat to life. Anyone who knows me realizes how hard it is for me to write those words because, for the vast majority of my 66+ years on this planet, music has always been front-and-center.  Can't walk through our house without a CD on a table or desk, can't ride in my car without a pile of CDs to play (love those 6-disk changers!), and there is always a song running through my head.

But, 2015 was different. My teaching load was heavier but not so bad (plus I met some very smart and curious young people) and I actually stepped down from a part-time job.  There were numerous health issues in the family, good friends moved and, invariably (as it happens when one ages), friends passed away.

After a particularly tough few weeks (in October), several new recordings wormed their way into my ears and the excitement returned.  You'll see them listed below in this first set of "Best of 2015."Also, on the night of the Paris terrorist attacks, I saw and heard the Dave Douglas Brazen Heart quintet at The Side Door Jazz Club in Old Lyme; the power of the music, whether it was the gospel songs that were woven n and out of the 2 sets or the splendid interactions of the 5 musicians, gave me back a piece of my heart that is continuously torn away at by the horrendous stupidity and callous yet calculated disregard for human life and basic rights at home and around the world. Every semester, I ask my students "Can music change the world?", a question that begs to answered in the affirmative. I think many of them humor me by saying "Of course it does" but, in the long run, I fall back on telling them that music certainly changes the way I see the world, thereby avoiding the possibility of having them say "not really."

Well, these recordings brought me joy, often challenged my world views, made me sit down and take notice, and even gave a sense of peace (if only for a few hours at a time).

There is no one overall favorite but this group are the ones I returned to time and again.

Truth be told, I heard Henry Threadgill Zooid live at Wesleyan  University several years ago playing a few pieces off of "In For a Penny, In for a Pound" (Pi Recordings) and was not blown away. Then the 2-CD set arrived this year and blew me away each time I listened.  One really needs to sit and listen, to listen to the interactions, to the various melodies and counter-melodies that move through these 6 tracks to really take in the majesty of this project.  This is just one of several recordings in this list that point to the ongoing work of the AACM, the Chicago-based organization that has been celebrating its 50th anniversary in 2015.
Go to pirecordings.com/album/pi58.

Near the close of 2014, we got to hear David Bowie's collaboration with the Maria Schenider Orchestra, a dark-hued, sinister, piece titled "Sue (or In a Season of Crime").  Then in May of this year came "The Thompson Fields" (ArtistShare), a splendid collection of new pieces that feature her amazing ensemble and fine soloists (ArtistShare supporter also received 2 other tracks, making the entire album run nearly 90 minutes.)  Cinematic in scope and poetic at heart, one is continually impressed by how much emotion and narrative the composer/arranger puts into her music.

For more information, go to www.mariaschneider.com.

In its 20th year, PosiTone Records released a slew of recordings, most, if not all, worth your time and money.  The one that stood out most to me was "The Whisperer" from bassist/composer Ben Wolfe. With pianist Orrin Evans, drummer Donald Edwards and the very impressive Stacy Dillard (his soprano sax work stands out throughout the program), the program goes from strength to strength with nary a wasted moment.  The quartet (or variations of the 4 participants) appeared twice in Connecticut around the time of the release and, not hard to believe, the music sounded even more impressive.

For more information, go to posi-tone.com/whisperer/whisperer.html.

Vibraphonist Chris Dingman appeared on a number of mighty impressive CDs this year (see directly below and in further installments) but his own release "The Subliminal and the Sublime"(Inner Arts Initiative) is a splendid work of art. The original music features the contributions of an amazing group of young musicians including Fabian Almazan (piano), Loren Stillman (alto saxophone), Ryan Ferreira (guitar), Linda Oh (bass) and Justin Brown (drums). In my review, I called this "music for healing" and this music resonates even more as I return.

For more information, go to www.chrisdingman.com/the-subliminal-and-the-sublime/.

This is a fairly new release but, like the Mike Holober release below, has been very hard for me to ignore.  "Follow The Stick" (BJU Records) is the first recording from reed artist Sam Sadigursky to exclusively feature his clarinet work and not to have poetry. Nevertheless, the music shines on the strength of the material (mostly original) and the great work of Bobby Avey (piano), Jordan Perlson (drums), the afore-mentioned Chris Dingman and the leader. I love the interactions, the variety of material and sounds and would love to see the band in person.

For more information, go to samsadigursky.com.

Ryan Truesdell has dedicated a good part of his life to keeping the legacy of Gil Evans' music alive and most certainly well. He has done this through his research and access to arrangements that had never seen the light of day.  In the process of 2 recordings (with personnel that often overlaps with Ms. Schneider's Orchestra), Truesdell has reminded modern audiences of the incredible scope of this music, how modern it sounded 5 -6 decades and his modern it still sounds. "Lines of Color: The Gil Evans Project" (ArtistShare) may not be as immediately dazzling as its predecessor (2013's "Centennial") but the CD is chock-full of impressive pieces that gives an even fuller picture of a most amazing composer/arranger.
For more information, go to www.ryantruesdell.com/gilevansproject/.

During my time of musical abstinence, the recording that broke the spell (so to speak) was the sprawling 2-CD release from pianist and composer Matt Mitchell. "Vista Accumulation" (Pi Recordings) features all-original compositions played by Mitchell (who also appears on several albums below), bassist Chris Tordini, drummer Dan Weiss and saxophonist/clarinetist Chris Speed.  Even today as it plays in the background, I am pulled into the group's performances by the audacity of the melodies and performances.

For more information, go to pirecordings.com/album/pi62.

This was the other CD to snap the spell. Pianist, composer, and arranger Mike Holober may be best known for his big band work but "Balancing Act" (Palmetto) stands out of his discography for any number of good reasons. First is the 8-member ensemble including Brian Blade(drums) and John Hébert(bass) plus a front line of Jason Rigby (tenor saxophone, clarinet, bass clarinet). Dick Oatts (alto & soprano saxes, flute), Marvin Stamm (trumpet, flugelhorn), Mark Patterson (trombone), and Kate McGarry (voice). Second is the great choice of material, mostly originals but with 2 prominent covers.  I love the intimacy of this music, the splendid musicianship, the intelligent writing, and just how great Kate McGarry sounds in the midst of the arrangements. 

For more information, go to mikeholober.com/discography/.

"Flight" by Ross Hammond (Prescott Records) is a collection of solo guitar pieces created by an artist best known for electric guitar playing. Recorded in various locations around California (including on his front porch), this is music that pulls in the listener from the first note and does not let go until the 15th song has ended (and beyond).  In my review, I mentioned John Fahey and Leo Kottke but should have included Jorma Kaukonen as well. That written, Hammond doesn't imitate any of those players but creates his own world.  This is great music for sitting by yourself and contemplating the world.

For more information, go to rosshammond.bandcamp.com/album/flight. While you're on his Bandcamp page, check out "Reindeer Songs", his album of Christmas songs - it certainly makes the season lighter and brighter!

In my initial review, I called "Flirting With Disaster" (Jazzed Media) "adult music", serious and playful, contemplative, so well-played and sung.  That's what we expect from Lorraine Feather.  From her sanctuary in the islands of Washington state, she connects with the hearts and minds of listeners around the world.  Her collaborations with composers Dave Grusin, Russ Ferrante, Shelly Berg, and Eddie Arkin keep getting deeper and, if possible, more personal and even more musical.  I find it impossible not to listen to all 11 songs when I play this CD (no shuffle for me.  Violinist Charles Bisharat, who appears on a number of tracks, is an absolute standout!

For more information, go to www.lorrainefeather.com/albums/flirting-with-disaster/.

Needless to say, there's more and it'll show up in the next few weeks.  Thanks for reading!