TUM Records continues its recorded celebration of Wadada Leo Smith in his 80th year on this plane of existence with two new albums. Earlier this year, the Finnish label issued the solo three-disk set "Trumpet" plus a duo-trio three disk set "Sacred Ceremonies" that featured the trumpeter in musical conversations with maser percussionist Milford Graves and bassist Bill Laswell. Both albums are filled with captivating performances, sonic poems, a multiplicity of ideas, and a musical language that leads to new possibilities in an ever-changing world.
One can say the same about the two recordings TUM is releasing a month before Wadada's birthday (which is December 18). The first, "The Chicago Symphonies", consists of four separate works, "Gold - No. 1", "Diamond – No. 2", "Pearl - No. 3", and "Sapphire - No. 4: The Presidents and Their Visions for America" performed by the Great Lakes Quartet. "Nos. 1 -3" features Wadada with Jack DeJohnette (drums), Henry Threadgill (alto saxophone, flute), and John Lindberg (bass) while "No. 4" has Jonathon Haffner (alto and soprano saxophones) instead of Mr. Threadgill. The first three symphonies are dedicated to particular musicians that the composer met when he moved to Chicago in 1967 after five years in the Army. Wadada joined the AACM where he met Muhal Richard Abrams, Anthony Braxton, Amina Claudine Meyers, Leroy Jenkins, Joseph Jarman, and Mr. Threadgill plus many others –– all these were expanding the possibilities of Black Music; many of them still do.
Photo: Dominick Huber
Of all the myriad albums Wadada has issued in the past decade+, "Chicago Symphonies" bears witness to the influence of the people he came in contact with. It's nearly impossible to hit the highlights as every track stands out but know this –– these are master musicians at play. Mr. Threadgill's tart alto saxophone or the rounds tones of his flutes stand out while Mr. DeJohnette deftly drops into musical conversations with his three compatriots, playing with a freedom that not only displays his creativity but how intelligently he shapes each piece. Mr. Lindberg's thick, often cello-like, bass tones and creative lines not only offer a sense of structure but he also shows he can step forward with his sparkling arco (bowed) bass work. Wadada's trumpet pierces through the pieces while his muted work bears witness to the influences of Lester Bowie and Miles Davis.
Photo: Dominick Huber
"Symphony No. 4: The Presidents..." is dedicated to Presidents Abraham Lincoln and Barack Obama. The text from "The Gettysburg Address" and President Obama's "Speech at the 50th Anniversary of the Selma to Montgomery Marches" are included with the physical albums and can also be found on the TUM website (address below). The six-part piece was recorded in 2018, over three years after the other Symphonies. As with the works dedicated to the many Chicago musicians, there are moments of urgency, joy, darkness, and unity that touch the mind and soul of the listener. The emotion that one feels just reading the texts and the titles of the movements help to prepare the listener for the depth and breadth and, yes, the emotional strength of these musical performances.
The music and stories of "Chicago Symphonies" will keep you captivated throughout the four albums and all 165 minutes of music. Wadada Leo Smith's Great Lakes Quartet is in splendid form with the "Fourth Symphony" serving as this listener's introduction to saxophonist Jonathon Haffner (hope to hear much more) whose first gig with the GLQ was in 2017. Listen closely!
Album # two, "A Love Sonnet for Billie Holiday", has Wadada in a trio setting with Mr. DeJohnette and Vijay Iyer (piano, Fender Rhodes, Hammond B-3, electronics). Mr. Iyer first played with the trumpeter over 20 years ago; the pianist understands how Wadada's music moves, his role in shaping the pieces, and how to "converse" in the composer's unique musical language. An interesting aspect to this program is that all three of the participants contributed compositions: there is even one totally improvised piece. The music is lively, dramatic, at times stunning, and always on the move.
The title track opens the album (do listen below): it's a fascinating journey, from the four minute drum solo that develops over the first four minutes to the rousing three-way conversation in the middle of the nearly 12-minute piece to the emotional "blues" of the final 90 seconds. An atmospheric Rhodes piano is heard at the onset of Mr. Iyer's "Deep Time No. 1". If you listen closely, the voice of Malcolm X's speech "By All Means Necessary" can be heard (at times, electronically altered) while the trio moves around led by Wadada's muted trumpet, the soft piano chords and Mr. DeJohnette's rapid-fire trips around his cymbals. There are moments when the track suggests the influence of Miles Davis circa "Filles de Kilimanjaro" and "In a Silent Way".
Photo: Maurice Robertson
The other three tracks include "The A.D. Opera: A Long Vision with Imagination, Creativity, and Fire, a Dance Opera" (dedicated to pianist, composer, and Wadada collaborator Anthony Davis), Mr. DeJohnette's affecting "Song for World Forgiveness" (wonderful musical interaction), and the trio improvisation "Rocket" that closes the album. That final cut hearkens back to "Yo Miles!", Wadada's electric project with guitarist Henry Kaiser. Here's the Hammond organ leading the raucous trumpet and the frisky beat of the drums. It's quite a finish to quite an album.
The cooperative trio of Wadada Leo Smith, Jack DeJohnette, and Vijay Iyer recorded "A Love Sonnet for Billie Holiday" on November 22, 2016 just three days short of its release date of 11/19/21. Yet, the music sounds contemporary, fresh, and brimming with intelligence, wit, and an animated sense of adventure. One could not ask for more (other than a second recording and a tour from this trio)!
On our recent trip to Chicago, I had the opportunities to interview saxophonists/ composers Sam Pilnick (posted here) and Shawn Maxwell (pictured left). Up until the days before we had lunch and chatted over a leisurely two hours, I did not know much about Mr. Maxwell or his music. I have a friend who has played his music on the radio but I had not listened to an entire album. Before we left home, "Expectation & Experience" (CoraStreet Records/ Jazzline) arrived in my in-box. Our conversation began with a discussion of creating an album during lockdown, especially an album that spoke to the health of a nation and of the artists whose music chronicles everyday life.
17 songs, none longer than 4:18 with five below two minutes and four under three, each with a different lineup –– "Breathe" pairs Maxwell (alto sax) with pianist Brenda Earle Stokes and was inspired by the footage of George Floyd's murder while the following track, "A Change of Climate", finds the leader on soprano sax with Paul Abella on cajon and tambourine. The lockdown gave the saxophonist ample time to reflect on the world and help amplify the belief that a musician's role in society is not just to entertain but to inform, to help illuminate the road to change. "No Peace Without Justice" blends the wordless vocals of Keri Johnsrud and John Stafford with soprano sax and the acoustic guitar of Craig Elliot; the tune and the spirit of the music was inspired by the Black Lives Matter protests of 2020.
There are several songs relating to the loss of work for musicians. "The Show Can't Go On" features Maxwell conversing on alto sax (left and right channels) propelled forward by the drums of Ernie Adams while the following track "Empty Stage" is a short but powerful alto sax solo sans accompaniment.
The composer also wrote a pair of tributes to friends: "J.C.Jones" celebrates the life of a person who meant a lot to Maxwell over the years while "Quiet House" is a ballad honoring the memory of Evon House Thompson, a gospel-singing friend of the saxophonist. The latter tune has a "virtual strings" arrangement by guitarist Zvonmir Tot.
Every musician on "Expectation & Experience" (the album takes its name from the first and last tracks) was recorded alone at home or in a studio. Yet, the music does not sound disjointed –– instead, this group of musical haikus allows Shawn Maxwell to air his political and personal views while entertaining the listeners. Many of the albums released in the past few months were recorded either before or during the pandemic: pay attention to the ones in the latter category (like this one) and you'll hear musicians working and playing through the issues of the day.
While you are on Mr. Maxwell's Bandcamp page, you'll see "Millstream", an album with his band recorded before the pandemic and scheduled to be his debut release for Jazzline. Maxwell plays alto and soprano saxophones with Collin Clauson (Rhodes, acoustic piano, Wurlitzer), Jeremiah Hunt (bass), and Phil Beale (drums) plus, on two cuts, Chad McCullough (trumpet, flugelhorn). While the pandemic album was often an acoustic project, Clauson's keys and the dancing drums gives this music more of a "fusion" feel. Several tunes are quite funky such as the hard-hitting "Squared Circle" and "Sold Separately". McCullough's trumpet blends nicely with Maxwell's soprano sax on the smartly played "Front Walk Over"" note how the two musicians come together and then go int a call-and-response before soloing simultaneously.
Go to Shawn Maxwell's Bandcamp page, give a listen, and make up your own mind. What stands out for this listener is the witty melodies and fine musicianship.
I'd also like to thank Shawn Maxwell for taking the time to sit and talk to me –– we had never met but he was generous with his time and information and I look forward to catching up with his again the next time we're visiting.
Here's the Quartet in action on "Ravage Eject" with the album's bassist Hunt replaced by Michael Barton –– the performance was recorded just a few days before the world went into lockdown:
Trumpeter, composer, arranger, and educator Paul Dietrich splits his time between Chicago, IL, and Madison, Wisconsin, where he has been playing as well as directing the Madison East High School Jazz Orchestra. As a leader, he has issued two Quintet disks: if you have access to that music, you can hear the roots of his third album "Forward" (self-released). Credited to the 19-piece Paul Dietrich Jazz Orchestra featuring Clarence Penn, the music is a splendid band of strong melodies, lovely harmonies, excellent solos, and intelligent arrangements. The Orchestra (see personnel below) is composed of musicians from both Chicago and Madison (the leader has groups in both cities), some of whom are among the most in-demand players in the Midwest. Dietrich reached out to New York City-based Clarence Penn to round out the rhythm section for several reasons, not the least of which is the drummer's work with the Maria Schneider Orchestra.
You can hear Ms. Schneider's influence on the compositions and in the way the arranger paints the arrangements around the solos. Only three of the eight tunes have more than one soloist - each of those cuts has two. And there are several stunning spotlights. Trumpeter Russ Johnson is featured on the album opener "Rush" and on "Forward: I. Perennial" : it's such a treat to hear him rise above the sections and Megan Moran's wordless vocals. Alto saxophonist Greg Ward, who seems to be on every album out of Chicago, is featured on two stunning ballads. He leads the orchestra inon "Settle" before stepping out for a beautiful and richly emotional solo. Ward's other spot is on "Forward: II. Snow", a piece that is so evocative of standing at a window on a cold winter night watching the snow settle on the neighborhood. The alto saxophonist plays gently in the alto's higher ranges. Pay attention to the incredible percussion and Carl Kennedy's gentle piano backing.
Tenor saxophonist Dustin Laurenzi (Twin Talk) stands out on the lovely "Chorale" whose opening saxophone chorale is reminiscent of Ms. Schneider's "Sky Blue." Different voices within the ensemble play the song's main theme through the opening two and-a-half minutes. Laurenzi begins with just Penn, guitarist Matt Gold, Kennedy, and bassist John Christensen in support. As he tells his "story", the brass and reeds begin to filter in the background playing long chords which leads back to the opening theme. The other feature for the tenor saxophonist is the up-tempo "Forward: III. Roads" - the piece opens on a Burt Bacharach-style rhythm and Laurenzi does not step out until halfway through the piece. Again, it's a spare piano-guitar-bass-drums backing underneath Laurenzi's spiraling lines. It's just those five musicians for the first two minutes but soon the brass, reeds, and voice begin to make their presence felt.
If you are an aficionado of modern big band/large ensemble music, go find "Forward." Chances are good that you do not know the name or the music of Paul Dietrich but this album will make you smile, perhaps remember days of walking through fields or through the wooded areas with the sun ship through colorful leaves. The leader/composer plays on only one track - the beautiful "Forward: IV. Green Fields", playing a solo that is filled with heart and emotion. His brilliant use of Megan Moran's voice as part of the ensemble adds an ethereal feel throughout the program (she appears on all but one song) is an inspired touch. Find a comfortable chair put this music on your player, relax in the glorious sounds, and allow your emotions to range free. This album has been become a constant in my large rotation of weekly CDs and I have no reason to replace it as I hear something different each time through.
Andy Baker - trombone Jamie Kember - trombone Kurt Dietrich - trombone Tom Matta - bass trombone
Chuck Parrish - trumpet Russ Johnson - trumpet Jessica Jensen - trumpet David Cooper - trumpet
Megan Moran - voice Matt Gold - guitar Carl Kennedy - piano John Christensen - bass Clarence Penn - drums
Here's a track from the four-part "Suite" that closes the album (soloist is tenor saxophonist Dustin Laurenzi):
It's rare you find a Canadian jazz musician who is based in Calgary, Alberta, Canada - actually, it's rare that I receive a recording from one. Saxophonist, composer, and arranger Jim Brenan was born and raised in Edmonton, Alberta, studied jazz as an undergraduate at St. Francis Xavier University in Nova Scoti, then on to Rutgers (the State University of New Jersey) where he studied with Ralph Bowen and earned a Masters in Jazz Studies. During his time of study, he played with Kenny Barron, Kenny Wheeler,and Randy Brecker. After graduation, Brenan played lead tenor in Maynard Ferguson's Big Bop Nouveau Band. Before returning to his native Canada, he taught at the University of Aukland in New Zealand. Since 2004, he's been the Chair of the Theater, Speech, and Music Performance at Mount Royal University in Calgary.
His third album as a leader, "50/50" (Death Defying Records), is credited to the Jim Brenan 11 featuring Chris Andrews (Fender Rhodes, clavinet). The undectet for this album is actually a duodectet (see Personnel below) and is composed of four reeds, two trombones (including the leader's brother Craig), two trumpets, and four person rhythm section. Much of the program is quite funky and soulful thanks to the powerful drumming of Jamie Cooper, the electric bass of Rubim De Toledo, and Andrews's electric keyboards. Songs such as the title track and the closer, "Ozark Mountain Cougar Fightin'" absolutely kick butt, the former featuring Andrews on a lengthy solo and the latter a saxophone dialogue between the leader's tenor sax and the alto of Sean Craig or Mike Gardner.
In many ways, Brenan's music and arrangements take the cues from the fusion music of the 1970s and 80s. There's more than a hint of Weather Reprt's "Sweetnighter" in the beats that permeate "Empress." "Hiding Place", a ballad that may remind some of Earth, Wind, and Fire, has quite the r'nb feel - dig the way the baritone sax joins the bassist as the two musicians hold down the bottom. "Fant-O-Max" also has the feel of a Joe Zawinul. After the tension of the opening interaction of the reeds and brass against the drums, Brenan's soprano solo rises up and over the Cooper's driving beat. The Rhodes solo dances between the stereo channels and atop the powerful rhythms.
"Colossal Suite" is an episodic adventure as well as the longest track on the program (11:14). After the trombone leads the piece in, the song has a thudding rhythmic drive a la heavy metal rock (De Toledo's bass creates the thud while Cooper's drums dance excitedly). The next chapter of the "...Suite" is introduced by rollicking riff played by the ensemble before an uncredited alto sax solo. The rhythm section takes the piece with Andrews's "space" Rhodes joining the powerful bass-and-drums towards the finish line.
Jim Brenan learned several lessons from his mentors. His time with Maynard Ferguson taught him how to rev up and audience and playing alongside Randy Brecker showed his that jazz can be funky and funk can be jazzy. "50/50" is an album to be played loud so that the power generated from musicians can get you moving. Solid solos, smart arrangements, and an excellent drummer (Jamie Cooper's tenure with the 35-member Royal Canadian Artillery Band certainly taught him how to be heard in a large ensemble) all coalesce to make the Jim Brenan 11 an enjoyable listening experience.
Pianist, composer, and interpreter Russ Lossing has had a fascinating career, one that now spans three + decades. He has worked with so many contemporary musicians, ranging from drummer Billy Hart to saxophonist Dave Liebman to guitarist John Abercrombie to vocalist Kendra Shank to cornetist Kirk Knuffke and beyond. There are really good reasons for his seemingly steady employment but the most notable is that Lossing is a thoughtful and creative pianist who truly immerses himself in every musical situation and gives his all. As a leader, he's recorded albums for Hat Art, Fresh Sounds New Talent, Clean Feed, SteepleChase Records, and Sunnyside, many in a trio setting as well as several solo recordings.
What you might not know is that, as a young man, he studied with the avant-garde composer John Cage and what I did not remember until reading the liner notes of his new recording, "Motian Music" (Sunnyside), was his long and close relationship with drummer and composer Paul Motian. The drummer would invite him up to his New York City apartment to help work on his compositions plus recorded several excellent albums as a sideman with the pianist. This tribute is a follow-up to Lossing's 2012 solo exploration of the late Motian's music "Drum Music" (also on Sunnyside). For the new album, Lossing works alongside his rhythm section of the past two decades, bassist Masa Kamaguchi and drummer Billy Mintz.
If you paid any attention to the music of Paul Motian since his ECM days (his debut as a leader, "Conception Vessel", came out in 1973) is that many of his pieces embraced melody and not always rhythm as one might expect of a drummer. "Motian Music" opens with "Asia", a lovely ballad first recorded by the drummer in 1978. One can hear the influences of American folk music as well as the melodic explorations of Keith Jarrett who the drummer first started working with in 1966. This tune stretches out easily, opening and closing with quiet solo piano.
The intimacy of the music is underscored by the fact that the trio recorded in the same room and that each piece was recorded in one take. That can only happen if there is great trust among the participants as well as an intimate knowledge of the material. Listen as the trio wends its way through "Jack of Clubs", swings heartily on "Fiasco" and "Dance", and gently moves through "Introduction" (a piece from 1985's "It Should Have Happened Here", the first trio effort by Motian, guitarist Bill Frisell, and saxophonist Joe Lovano). Kamaguchi has a deep bass sound and a great melodic sense while Mintz plays in the tradition of Motian, never overdoing anything, at times quiet as can be, and with excellent work on the cymbals.
"Motian Music" closes with the whisper-soft "Psalm" a piece so quiet at the outset one has to lean into the speakers. Soon, you can make out a melody from the piano as the bass plays a slow counter-point. The drums and cymbals color the piece as the music floats forward. The sounds seem to hang in the air, like early morning clouds on a Spring morning awaiting the sunrise. A glorious ending to a splendid album of music. Russ Lossing's love and respect for Paul Motian the man and composer shines through every track - the listener is the beneficiary and, honestly, in these days of uncertainty and daily unkindness, one needs this music.
For more information, go to www.russlossing.com. (The album will be released on February 22).
Here's an uptempo track to whet your appetite
Photo: Harvey Tillis
Over the course of four albums, the Joe Policastro Trio - Policastro (bass), Dave Miller (electric guitar), and Mikel Patrick Avery (drums, percussion) - has proven itsefs as adept translators of many different styles of music, from their 2013 debut where the Trio (albeit with a different guitarist and drummer) danced its way through Leonard Bernstein's "West Side Story" to its delightful interpretations of popular music that one can hear on its more recent efforts.
Album #4 (and the third release by the current trio since June of 2016) is "Nothing Here Belongs" (JeruJazz) - the nine-song program features six Policastro originals and three unique covers including a fascinating remake of "The Wandering Sea", first recorded in 1963 by Santo & Johnny (who are best known for 1959's "Sleep Walk"). Miller, who is also currently working with saxophonist Greg Ward's Rogue Parade, blends a country music feel into his guitar sound while Avery (whose creative music credentials include working alongside cornetist Rob Mazurek and bassist Joshua Abrams) keeps a steady, uncomplicated, yet urgent beat.
I grew up musically in the 1960s when trios such as Cream and the Jimi Hendrix Experience defined the "power trio" (in those days, that meant three musicians and a wall of Marshall amplifiers). Over the years, I found the trios led by John Abercrombie, Jim Hall, Bill Frisell, Jeff Parker, and several others very appealing. The rhythm section is so integral to the success of the music and the lead guitarist needs to balance melodic, harmonic, and rhythmic duties. That is also what is so appealing with the JPTrio. Yes, the leader stands out as the chief composer here yet, without the interaction and intelligence of Miller and Avery, the music would not shine. What the listeners get on "Nothing Here Belongs" is a band that likes to take chances without blowing your ears off. As they have done on previous recordings, the music moves from "swing" rhythms to blues to folk-influenced pieces to rock to jazz (even a touch of "surf" guitar.) The trio has no fear - they tackle Talking Heads "This Must Be The Place (Naive Melody)" and really capture the emotion inherent in the piece. They also get "down & dirty" on the bassist's "Bloodshot" yet listen to Miller's guitar moving through various styles. Policastro's "Plain Song" is a fascinating and handsome melody that suggests Frisell's country side with a funky touch. Yet, there is an intensity that pushes the piece forward, especially when Miller goes into his solo. The leader solos on most tracks - that's good because he's quite a melodic player. He also enjoys playing counterpoint to Miller on many of the tracks. Avery is so supportive; he rarely steps out but the drums are a force throughout.
The Joe Policastro Trio is blessed with a 3-day-a-week (Sunday through Tuesday) steady gig at Pops for Champagne, North State Street in Chicago. That regular schedule (3 sets a night) allows the band to continually work on material, tighten it up, revisit older pieces, play with arrangements. "Nothing Here Belongs" is enjoyable from start-to-finish and I recommend you listen several times to understand just how good this music and the JPTrio is.
Here's a modern take on the brass band concept. Trumpet, trombone, and tuba plus piano, electric guitar, and drums is the makeup of Rebecca Hennessy's FOG Brass Band. "Two Calls" (self-released) is the Canadian ensemble second release and first full-length album. Based in Toronto, Ms. Hennessy (trumpet, peck horn, baritone horn) is very busy musician leading several groups and playing in several others. FBB plays music that may remind you, at times, of Charles Ives, the Henry Threadgill Sextett, and Guillermo Klein's Los Gauchos but, really, has quickly developed a sound of its own. This is not a "marching band" but a group that utilized all of its parts to the utmost. Kudos to drummer Nico Dann and tuba player Jay Burr as they are the "engineers" that stoke the figures this music creates. Pianist Tania Gill also help keep the music flowing as does guitarist Don Scott. Rounding out the front line is trombonist Tom Richards.
There are touches of New Orleans brass band music that show up on pieces such as the bluesy "Lagoon" and "Snag", a peppy dance tune that sound inspired by The Meters. But there are also pieces such as the opener "Red Herring" that has such a drive and is the piece most like Mr. Threadgill's music. That's followed by the prayer-like "Horn Lake", an impressionistic work that might have been inspired by walking along the shore in the early morning looking out at the still waters. Listen to the pictures the band creates with just the trumpet, quiet guitar, tape loops and triangle. 3/4s of the way in, the music suddenly falls into a samba-like rhythm and the piece literally dances out.
photo by Michael Fisher
Highlights abound. Guitarist Scott gets to romp his way through the first half of "Kings County Sheriff", soloing over the dancing drums and tuba. There's a touch of Klezmer in the horn melody and at the beginning of Ms. Hennessy's far-ranging solo. Bird songs introduce the title track (and continue for a little bit under the musical introduction); it's a funky, jazzy, dance piece that features strong solos from Richards and Ms. Gill. There's a playful feel to "Birds For Free", a piece that starts in a Latin style before changing tempo. Listen to how Dann drives this piece, especially under the trumpet and trombone solos.
"Two Calls" closes with the lovely "Why Are You So Sad Booker Little". Not only is that a great title but the piece is a handsome ballad in which all the members of the sextet make fine contributions. The music is quiet, somber, not a celebration of the great trumpeter (1938-1961) as much as an elegy for him, for the promise as well as the maturity one could hear in his recordings.
The contemporary music scene, while not financially breaking new ground, certainly has produced a number for fine young bands and composers. Rebecca Hennessy's FOG Brass Band covers a wide swath of musical territory over the 48 minutes of "Two Calls" and the journey is very rewarding. This album is not only "fun" to listen to, as brass band music often, but also melodically rewarding and adventurous.
If you find yourself in Toronto on June 29, FOG is playing the Toronto Jazz Festival - to find out more, go to torontojazz.com. To find out more about Ms. Hennessy and her myriad projects (including the delightful Way North), go to rebeccahennessy.com.
Take a look and a listen to "Lagoon":
I've been reading about trumpeter and composer Jaimie Branch for the past few years and was excited to see her debut album hit the streets last month. "Fly or Die" (International Anthem) lives up to its name as Ms. Branch takes many chance on the 10-song program that features three other transplanted Chicagoans (cellist Tomeka Reid, drummer Chad Taylor, and bassist Jason Ajemian - like the trumpeter, all now live in the New York City area). Ms. Branch has worked in ensembles led by bassist William Parker and saxophonist Matana Roberts as well as with TV On The Radio. Her work exemplifies the AACM tradition, meaning nothing is sacred save for experimentation as well as cliches are forbidden.
photo by Mark Pallman
The program opens with the aptly titled "Jump Off", 16 second of squalling trumpet that leads into Taylor's countdown into "theme 001." One can hear traces of Wadada Leo Smith in Ms. Branch's clarion call and tone. The drummer lays down as irresistible rhythm as Ms. Reid and Ajemian play off each other, plucking, bowing, and creating a storm underneath. Matt Schneider's acoustic guitar shows up at the end, leading into the trancelike "...meanwhile." He plucks, the bassist and cellist play arco, the drummer offers light percussion, and the leader is nowhere to be heard. She returns on "theme 002", playing muted trumpet over the infectious, dancing drums of Taylor. The West Indian feel continues as the mute is removed and the trumpeter rises above the rhythmic excitement.
That's just the first four tracks. "Leaves of Glass" features fellow brass players Josh Berman (cornet) and Ben Lamar Gay (cornet) and they create a sonic blueprint that opens up to the arco cello and bass, a flurry of percussion, fiery trumpet, and scary overdubbed denoting "the storm."
Prepare to be surprised by the breadth and vitality of the music on "Fly or Die." Although the album is barely 36 minutes long, there is so much going on, so many possibilities. One can only imagine how this music roars and whispers in live settings. Jaimie Branch took her time to deliver her debut album and it is well worth the wait.
Trumpeter and composer Farnell Newton (born 1997, Miami, FL) s a graduate of Oberlin Conservatory of Music who moved to Portland, OR, and is now a full-time member of that community's music scene. He has worked with singer-songwriter Jill Sobule, funk bassist Bootsy Collins, Darrell Grant, Gladys Knight and many others. "Back To Earth" is his sixth album as a leader and his debut on Posi-Tone Records. While his 2015 recording "Ready To Roll" was more of a contemporary soul album, his new effort is straight-ahead displaying his formidable "chops". Joining him are Greg Goebel (piano), Dylan Sundstrom (bass), Christopher Brown (drums), and, on most of the tracks, trombonist Kyle Molitor, all members of the Portland scene.
Eight of the 11 tracks are Newton originals with one tune each by drummer Brown, Freddie Hubbard, and Wayne Shorter. Brown's piece, "Back To Earth" is a funky ballad introduced by a sweet piano melody plus Goebel gets the first solo, an expansive melodic adventure. The leader doesn't come in until halfway through the 6-minute piece but he rides the groove with an easy solo that even has a bit of fire to it. "Fire" is what hears on the Hubbard tune, "Arietas", a piece off the trumpeter's 1961 "Ready For Freddie" Lp (where the title was spelled "Arietis"). The "burning" piece features splendid work from the rhythm section and fine solos from Geobel and Newton. Shorter's "El Gaucho" (off his "Adam's Apple" recording) changes tempos, has an attractive feel, and, here, a pleasing Latin rhythm.
The original pieces have their charms as well. "Road To The South" swings atop an insistent rhythmic drive, giving the leader the impetus to rise above the fray. There's also a sweet solo from Molitor and a powerful turn from Goebel (who is quite impressive throughout.) The pianist works around the melody created by the brass on "Redefining The Norm", not so much a counterpoint but a creating a lovely frame around tune. And, again, his solo stands. His introduction to "Crossing The Tracks" leads the listeners to a soulful tune with several smart twists-and-turns.
Throughout "Back To Earth", Farnell Newton and his compatriots create an enjoyable sound that's not challenging as much as it is soothing, soulful, and melodic. This music sounds good as you sit on the back porch or in the park in the late afternoon as the sun paints the world golden.
Off we go to the Windy City to visit family, to welcome our new granddaughter, to play with our 4-year old grandson, to hug our daughter and son-in-law, and, hopefully, to catch some live music. I'll post a review or 2 along the way but regular verbal outbursts will be at a minimum.
Just returned from 5 days and nights in Chicagoland and music played an integral part of the first few nights.
The Heath Brothers Band was performing at Joe Segal's Jazz Showcase and we caught the first set on Friday night. Before the band hit the stage, Albert "Tootie" Heath (left) was in rare form, joking with customers and picking on the "babies" in the band (pianist Jeb Patton is 35 while bassist David Wong is but 28.) We mentioned we had seeing the band 32 or 33 years ago (when brother/bassist Percy was still alive and Connecticut-based guitarist Tony Purrone was in the group) and "Tootie" (aged 75) shook his head saying "who can remember that far back?" and pointing to bassist Wong, "Not this guy!"
Jimmy (84 years old) came over and we mentioned that we were from Connecticut and he reminded us that the group was scheduled to play at "Jackie McLean's place" (The Artist's Collective in Hartford) on Saturday May 15 and he'd be signing copies of his newly published autobiography "I Walked with Giants" the day before at the Hartford Public Library (to find out more about both events, call 860-527-3205.)
Then, the band played - if you've never experienced "Tootie" Heath, you are missing a treat. Yes, he's a master drummer and showman but he's really the heart and soul of the quartet. Always in motion, working the cymbal and the snare drum, really pushing the beat. Always in eye contact with either the bassist or pianist, making sure he's with them. Both Patton and Wong are excellent players with the pianist displaying serious blues roots and the bassist incredible facility and great melodic sensibility. Jimmy played tenor sax most of the set and switched to soprano for one fine ballad. Despite a small audience, they had fun playing together and for us.
On the way out, Jimmy Heath shouted back to our goodbyes, "Thanks for coming, Connecticut!"
The following morning, I was strolling through the area where we were staying and discovered, quite by accident, that Anat Cohen was performing a free concert at 12noon in the music department of Border's Books. We returned in time to watch the Israeli-born clarinetist play a short and sweet duo set with Chicago-based guitarist Andy Brown. Cohen was promoting her new ANZIC recording, "Clarinetworks" - shew had just finished a short tour with one group and was getting ready for a short tour with pianist Benny Green, bassist Peter Washington and drummer Lewis Nash (the rhythm section on the new disk playing music inspired by Bennie Goodman.)
For the Borders' hit, the duo played 4 standards including a sweet version of "Fats" Waller's "Jitterbug Waltz." Ms. Cohen is quite the fluid player, with a sound that is "sweeter" than Goodman's but filled with smears, lightning-quick runs and gutsy blues phrases. She chatted up the crowd, signed copies of the new CD and then headed off into misty Chicago afternoon.
We ate well (love that Eleven City Diner), visited family, drove to Milwaukee for a Brewers-Cubs game (with side trips to the Milwaukee Art Museum and Kopps' Custard Stand) and walked through Millennium Park (twice.) Good to get away.
More music to follow, including a preview of Tomas Fujiwara at Firehouse 12 Friday and Bennie Maupin Trio (with Buster Williams and Billy Hart) on Saturday.
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