Masters at Play + A Pleasing Surprise

Over the past seven years, saxophonist and NEA Jazz Master Dave Liebman has been touring and recording with his Expansions quintet. The group –– Matt Vashlishan (alto sax, flute, clarinet, EWI), Bobby Avey (piano, electric piano, synth), Tony Marino (acoustic bass), and Alex Ritz (drums, frame drum) –– is extremely versatile with each musicians having impressive credentials. I had the joy of seeing the group live at The Side Door Jazz Club in CT and their interactions along with Mr. Liebman's compositions (this was around the time of the release of the band's fourth album for Whaling City Records, "Earth" in late 2019) made for compelling listening.  

Mr. Liebman & Expansions fifth album is "Selflessness: The Music of John Coltrane" –– it's their first for Dot Time Records and continues the saxophonist's decades-long quest to investigate and to reinvigorate the music produced in the last eight years of Coltrane's life (1959-1967).  The nine-song program opens with with "Mr. Day" (from "Coltrane Plays the Blues"): here, the quintet ups the tempo and the front line dances away. Vashlishan goes first with a fiery alto solo which leads to a really funky piano romp over the rampaging drums. Mr. Liebman enters, his soprano sax solo (he only plays soprano on this album plus one track with wooden flute) starting in a cool vein before Ritz's fiery drums push him to dig in. A lively frame drum intro sets an Andulausian atmosphere to "Ole" before the wooden flute, clarinet, and electric piano push the music into a trance-like feel.  Marino's foundational bass line moves the reeds and piano to address the theme. Avey's synth solo sounds more like a guitar until his phrases remind one of the work Chick Corea produced with the electric Return to Forever.  Both Mr. Liebman and Vashlishan's solos have a Middle-Eastern tinge. 

As you move through the program, you stop making comparisons and bask in the excellent music.  "Peace On Earth" is a stunning reminder that John Coltrane could produce the loveliest of musical prayers while "Compassion" echoed the composer's embrace of meditation practices. On the Expansions version, the soprano sax weaves its way through fields of electronic sounds (EWI and synths) while the rhythm section keeps a steady rhythm for all to ride atop.  The album's title track opens with an Eastern feel before the rhythm section create a start-stop that gives the bottom a Hip Hop feel with the soprano and alto saxes move in and around each other which becomes a call-and-response. Avey's acoustic piano solo has touches of classical, Bud Powell, thundering chords, and more.

Photo: Ray Cho/studio MYEL

One of the bigger surprises is the quintet's take on "My Favorite Things".  After a lovely solo piano intro, the band enters in a rapid-paced 4/4 beat with the piano, alto, and soprano addressing the theme.  Vashlishan takes the first solo over the driving rhythm section (no piano) –– Mr. Liebman is next over the responsive bass and drums, Avey churning out solid chords as the intensity builds.  The energy emanating from the speakers is exhilarating.  

"Selflessness" closes with a reverential take of "Dear Lord".  After a powerful prayer-like bowed bass introduction, flute (Vashlishan) and soprano sax present the theme over a soft synth wash, bass, and the "pitter-patter" of the drums. It's the perfect finishing touch to an album that grows stronger upon each listen and leaves one wanting more. Dave Liebman Expansions does more than pay tribute to John Coltrane; they illustrate how alive with possibility his music continues to be and do it all without resorting to imitation. They give this music new wings.  You'll also notice that while Dave Liebman is the leader, this quintet is truly a cooperative, allowing all voices to be heard.  

Dot Times Records released "Selflessness" on September 3 and Mr. Liebman celebrated his 75th birthday on the following day.  May he live long and play on!

For more information, go to https://davidliebman.com/home/groups/expansions-dave-liebman-group/.  To hear more and to purchase the album, go to  https://dottimerecords.bandcamp.com/album/selflessness. 

Here's the ensemble's fascinating take on "My Favorite Things":

It's been two decades since Kate McGarry released her first album.  Much has happened in that time, some sad, a lot good.  Ms. McGarry has worked with Fred Hersch, in John Hollenbeck's Big Band alongside Theo Bleckmann, in the vocal quartet known as MOSS, left New York City for North Carolina with her partner (life and musical) guitarist/ arranger Keith Ganz. Besides her debut album (reissued in 2003 by Palmetto Records), she's recorded six more albums as a leader or co-leader (with Ganz).  Each one covers a lot of musical territory, has an atmosphere all its own, and illustrates just how splendid a vocalist Ms. McGarry is.  It's been three years since she, Ganz, and keyboardist Gary Versace crowd-funded and issued "The Subject Tonight is Love".  At the time, I spoke with her and she said that they recorded a lot of material and it might show up as another album.

Now there is a new album. "What To Wear in the Dark" (Resilience Music) is credited to the "Kate McGarry  + Keith Ganz Ensemble (featuring cornetist Ron Miles & Gary Versace)".  Five of the 10 tracks were recorded in May of 2017, the same sessions that produced the previous album. The group becomes a quintet with the addition of drummer Obed Calvaire. Four tracks were recorded in March of 2020 without Miles and, this time, the rhythm section is Sean Smith (bass) and Clarence Penn (drums). One other track, "On the Road To Find Out", composed by Cat Stevens (Yusuf Islam) for his 1970 Lp "Tea For The Tillerman", was  recorded in March 2021 at the individual musician's home; besides Ms. McGarry and Ganz, that ensemble features Erin Bentlage (vocals, vocal arrangement), Becca Stevens (vocal, charango), Michelle Willis (vocals, Wurlitzer), Christian Euman (drums), and James Shipp (brushes, pandiero). 

Photo: David Goddard

Ms. McGarry arranged the opening track, the Howard Dietz/ Arthur Schwartz classic "Dancing In The Dark". Versace's accordion creates a waltz tempo while the vocalist digs into the lyrics. Miles' cornet accompanies her vocal improvisation while Calvaire's brushes dance over the drums.  The song sets the stage for a surprising program, one that includes Donald Fagen & Walter Becker's "Barrytown", a lovely, emotional, expansive, take of Joni Mitchell's oft-recorded "Both Sides Now", and a playful stroll through Paul Simon's "The 59th Street Bridge Song (Feelin' Groovy)", complete with bubbly Wurlitzer electric piano and a low-key cornet solo that is the essence of "groovy" and "gritty".  The opening of that last track features an except from pianist-author Hal Galper's "A Touring Musician" –– Ms. McGarry rushes her way through the description of how tough it is for working musicians on all levels of popularity to find and make their way. After a breathless climax, she and the quintet break into "Slow down, you move too fast".  And don't we all feel that's the way is.  The "groove" is irresistible as is Ron Miles' delightful solo.

There's plenty to love on this album.  The lovely trio (vocal, guitar, and organ) take on "Desperado" which has the feel of a James Taylor piece as well as that stunning version of "Both Sides Now". That latter track is one of Joni Mitchell's most-recorded pieces yet just listen to how Ms McGarry weaves her way through the words. The whisper-soft brush work of Clarence Penn and wonderfully melodic bass work of Sean Smith build a soft foundation for Versace's impressionistic piano and Ganz's quiet acoustic guitar lines.  Ganz's smart re-arrangement of George Harrison's "Here Comes The Sun" revolves around the the galaxies of melody, acoustic and electric guitar, the throbbing rhythm section, and Versace's burbling organ (listen below –– does the organ sound like Rod Argent's iHammond B-3 in The Zombies "Time of the Season" to you?)

The team of Kate McGarry and Keith Ganz is proving to be a formidable one; "What To Wear in the Dark" has so much to offer a listener in search of songs that touch the heart, the mind, and the feet (several of these tunes will make you want to dance, in the dark and in the light!) Add to that the fine musicianship of Gary Versace and Ron Miles as well as the other musicians and voices that are on the recording and you have an unforgettable musical experience.

For more information, go to https://katemcgarry.com/.  

Hear "Here Comes The Sun":

Photo: Jean Levac/Ottawa Citizen

Vocalist and educator Sheila Jordan is, to quote many aficionados, a "jazz singer's Jazz Singer."  After growing up in the coal-mining country of Pennsylvania, she discovered Charlie Parker, found her way back to her birthplace, Detroit MI, where Ms. Jordan worked with numerous Black musicians. After performing with a jazz vocal trio, she moved to New York City where she married Parker's pianist Duke Jordan.  It was believed that she made her recording debut with George Russell as well as a brilliant 1963 Blue Note Lp, "Portrait of Sheila", a session that featured guitarist Barry Galbraith, bassist Steve Swallow, and drummer Denzil Best.  There was no immediate follow-up; in fact it was 15 years until her SteepleChase recording "Sheila" with bassist Arild Andersen. She's gone on the record numerous albums including a series of dates with pianist Steve Kuhn as well as duos with bassist Harvey S.

Imagine everyone's surprise when Capri Records issued "Comes Love: Lost Session 1960".  Recorded in June of 1960 on tje long defunct with an unnamed piano trio (at the time, Ms. Jordan had been working with pianist Johnny Knapp but no information from this session exists), the 11 standards find the vocalist in full voice, her great control, phrasing, and ability to make a song hers right in place.  None of the songs appear on the Blue Note album but you can hear all the elements that would be the mature Sheila Jordan. She and the trio dance their way through the 98 seconds of "It Don't Mean a Thing (If It Don't Got The Swing), her scatting and vocal style hinting at Ella Fitzgerald. "I'll Take Romance" also swings delightfully; the vocalist doesn't take many liberties with the melody but her voice is so youthful and the song satisfies.

Ms. Jordan 1953

The ballads are worth the price of admission. Whether it's the opening track, "I'm The Track", the dark-tinged "Ballad of the Sad Young Men", Billie Holiday's bittersweet "Don't Explain" (you can hear the composer's influence on Ms. Jordan's performance), the wistful "These Foolish Things", or the impressionistic "Glad to Be Unhappy", her enunciation, the sympathetic rhythm section, and the vocalist's conviction draw the listener and you realize this album is a true treat.  

The final track, the swinging "They Can't Take That Away From Me", illustrates many of Ms. Jordan's performance style that remains 61 years later. She can be sassy, she can break your heart, but Sheila Jordan always make the listener feel she's singing just to him or her.  Great find and kudos to Capri Records for buying the rights to release "Come Love". 

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

Give a listen to the opening track:

Braithwaite & Katz · I'm The Girl - Sheila Jordan

The Pianist Also Rises

The Side Door Jazz Club in Old Lyme CT maintains an amazing schedule of top quality concerts, basically, 50-51weeks a year.  Manager Rich Martin and owner Ken Kitchings make the musicians feels at home and the intimate club setting means there is not a bad seat in the house. The sound system is excellent plus the piano is always in tune.  It's a wee bit off the "beaten path" but, once you have been there, you'll beat a path back. Along with Firehouse 12 in New Haven (open six months a year), The Side Door can satisfy even the fussiest of listeners.

On Saturday January 25, The Side Door welcomes pianist Larry Fuller and his Trio (bassist Vincent Dupont and drummer Jason Tiemann) for two sets that will undoubtedly swing – that's what Mr. Fuller does so well (although his ballads have plenty of heart).  Thanks to a suggestion from drummer Jeff Hamilton, he got a gig with vocalist Ernestine Anderson who liked him so much she made Fuller her musical director.  He then joined Hamilton's Trio and, in 2000, went on to play with legendary bassist Ray Brown; in fact, he was the final pianist to tour with him.  Several years after Brown's passing, Fuller joined guitarist John Pizzarelli's band where he was a mainstay from 2005-13.  Since then, he signed a contract with Capri Records who issued his Trio album in 2014.

In May of 2019, Capri issued "Overjoyed" featuring Fuller alongside drummer Lewis Nash and bassist Hassun Shakur. Listening to pieces such as the opener "Fried Pies" (from the pen of Wes Montgomery) and Fuller's own "The Mooch", one can tell that the pianist has absorbed the styles of Mulgrew Miller, Harold Mabern, and Phineas Newborn.  Check out Stevie Wonder's "Overjoyed" – Fuller caresses the lovely melody, finding the happiness that comes playing such a handsome song.  Make sure to check out Shakur's fine counterpoint and Nash's delightful cymbal work.  In keeping with the eclectic nature of the program, there is also a lovely reading of Ray Evans and Jay Livingston's "Mona Lisa" which was such a big tune for Nat "King" Cole.  Here as well, the pianist and the bassist mine the melody for rich interactions.

The program also includes a sparkling rendition of Ray Bryant's "Cubano Chant"; the trio hits the ground running and break into quite a fast pace. Another delightful track is the New Orleans-flavored take on "Got My Mojo Workin'" that closes the album.  The piece seems short at 4:37.  They could have played it twice and one would still want to dance along.  Joy indeed!

Photo: Parker Miles Blohm

"Overjoyed" also contains two solo pieces, both ballads.  First up is a lovely "stride piano" reading of George Gershwin's "How Long Has This Been Going On"; one hears a touch of Art Tatum and  Earl "Fatha" Hines in the sparkling runs Fuller creates to accentuate the melody.  "Never Let Me Go", the second cut composed by the team of Ray Evans and Jay Livingston (who remembers that the song was composed for the soundtrack of the 1956 movie "The Scarlet Hour" in which it was performed by Nat "King" Cole) – the music has heart and soul, an oasis of quiet in the midst of the uptempo music.

The album is a delight and well worth your time.  Find it at Amazon, iTunes, and other digital outlets as well as by going to www.caprirecords.com/.

To buy tickets for the January 25 appearance of the Larry Fuller Trio at The Side Door, go to www.eventbrite.com/e/larry-fuller-trio-tickets-87566944087.

To find out more about the pianist, go to larryfuller.com.

Here's the track from "Overjoyed" dedicated to the pianist's wife:

Trumpets Take Charge

Trumpeter Lee Morgan (1938 - 1972) came out of the creative Philadelphia PA jazz scene like a firecracker. Joining Art Blakey's Jazz Messengers at the age of 18 drew the attention of Dizzy Gillespie who invited the young man to join his Big Band within 2 weeks of his gig with Blakey.  By the late 1950s, Morgan was leading his own groups, had signed to Blue Note Records and was battling the addictions that would follow the rest of his life. But, when he was "right", his inspired playing caught the ears of many people.

Trumpeter Terell Stafford, while not born in the City of Brotherly Love, came of "musical age" in that city under the tutelage of Shirley Scott and Mickey Roker.  Stafford settled in the city, is on the faculty of Temple University and recently established the Jazz Orchestra of Philadelphia. He pays tribute to the music of Lee Morgan on his new CD, "BrotherLee Love" (Capri Records).  Fronting a quintet that features Tim Warfield (tenor saxophone), Bruce Barth (piano), Peter Washington (bass) and Dana Hall (drums), Stafford plays a program that features 7 tunes by Morgan, a sweet piano - bass - trumpet version of Alex Kramer's "Candy" (the title track of Morgan's first release on Blue Note in 1958, and one original from the leader. Morgan's music was usually quite rhythmical much of the time (hard-bop and bluesy ballads), and he played many great solos. That can be said about this project as well.  Right from the opening track. "Hocus Pocus", the listener gets pulled into the music.  The excitement of Hall's drive, Washington's swift walking lines and Barth's active chording creates a fine bed for Stafford's splendid solo and Warfield's rich tenor sounds.  There's no letup on "Mr. Kenyatta" with Barth's strong opening statement setting the table for the melody. Stafford is quite the articulate player, his sound and attack reminding this listener of another Philly native, Clifford Brown. The bluesy swagger of "Petty Larceny" (do I hear a much of "The Pink Panther Theme" in there?) is the perfect vehicle for Warfield's tenor, Barth's two-handed attack, the leader's sly, yet classy, strut. Check out Stafford's fine mute work on the afore-mentioned "Candy" and how he and Warfield caress the melody on the other ballad, "Carolyn." "Favor" is Stafford's contribution to the program and is a "deep blues" that allows everyone but Hall to stretch out.  Pay attention to Barth's brilliant solo, especially how he interacts with Hall to raise the intensity level.

By the time you finish grooving to the final track, Morgan's "Speedball", you'll probably be thinking a couple of different thoughts. First, why don't more people cover Lee Morgan material and second, this is one "hot" quintet. Terell Stafford is a generous leader, making sure every one gets the spotlight. He also makes quite sure that the listener gets his-or-her money's worth.  Honestly, 77 minutes of music seems to go by so quickly.  "BrotherLee Love" is aptly titled and well worth your time.

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

Here's that final track for your listening pleasure:

For his new PosiTone release "Three On Two" (his second for the label), trumpeter Joe Magnarelli and producer Marc Free assembled a splendid quintet, put together a program of originals and standards, then let them loose.  The rhythm section includes Brian Charette (organ) and Rudy Royston (drums) while the front line includes "Mags", Mike DiRubbo (alto saxophone), and the only holdover from 2014's "Lookin' Up", trombonist Steve Davis.  The first 4 tracks are originals with 2 by the leader and one each from Davis and DiRubbo. With the organ burbling underneath and Royston's razor-sharp drumming pushing the beat, the title track "burns" from the get-go.  Davis's "Easy" follows, a sweet shuffle, that's as smooth as barrel-aged bourbon; that tracks leads into DiRubbo's energetic "The Step-Up."  Later in the program, the trumpeter's "Outlet Pass" creates quite a fast break for the quintet, driven by Royston at his best.

Other highlights include John Coltrane's "26-2" and "Central Park West" with the former displaying a real be-bop feel and the latter delivered as a sweet ballad.  On the second cut, Magnarelli blends his mellow flugelhorn with Davis's trombone and the alto sax to not only play the melody but also supply a fine cushion for the organ solo.

The program closes with a very bluesy take of "My Reverie", a piece from French composer Claude DeBussy that's been a favorite of jazz musicians since it was recorded in 1938 by Larry Clinton.  It's a gentle but swinging way to end the show.

"Three On Two" doesn't break new ground but it sure sounds fresh and lively. Everyone plays well, the solos are short but always right on the money, and - really - the rhythm section of Messrs. Charette and Royston can't be beat.   Joe Magnarelli is in good form and even better company.

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