Warm Sounds Abound (Part 1) + Pray for CT

The Northern tier of the United States (in particular the Northern 1/3rd) has had a colder and snowier beginning to 2015, meaning schools are closed once or twice a week, concerts and club dates are often postponed or cancelled, and one spends a great amount of time indoors.  Luckily for music lovers, the beginning to the New Year also a blizzard of new releases.  Over the next several posts, you will read and hear about a number of them,

Amy Cervini, Hilary Gardner, and Melissa Stylianou have a lot of common. They all hail from the northern climes (Ms. C. and Ms. S. from Toronto, Canada, while Ms. G. grew up in Wasilia, Alaska), they all moved to New York City (specifically, the borough of Brooklyn), they have lovely voices, and all record for Anzic Records (in fact, all 3 released excellent CDs in 2014). Somewhere along the line, someone or ones had the brilliant idea the 3 should blend their voices and Duchess was born.  Amy's husband Oded Lev-Ari, who has produced CDs for his wife and Melissa, brought them into the studio, added the talents of Matt Wilson (drums), Paul Sikivie (bass), Michael Cabe (piano), Jeff Lederer (tenor saxophone on 5 tracks) and Jesse Lewis (guitar in 4 tracks), and the result is 13 songs that will make you smile and/or tap your feet.

The 3 chanteuses acknowledge that the major influence for their repertoire is The Boswell Sisters, a vocal trio been and raised in New Orleans who came to fame in the 1930s.  Duchess pays tribute with a rousing rendition of "Heebie Jeebies", a Boyd Atkins the Boswells recorded in 1932. That's the final track - before that, they regale us with songs associated with Peggy Lee, Blossom Dearie, Doris Day, Billie Holiday, and others plus a New Orleans-inspired rendition of "Lollipop", a 1958 "smash for The Chordettes (this version includes splendid drumming from Mr. Wilson and a raucous sax solo.)

The program opens with 2 songs associated with Peggy Lee.  In fact, Ms. Lee wrote the lyrics to "Love Being Here With You", a  crowd-pleaser built off the swinging beat and the friendly banter of the vocalists. That's followed by Fred Fisher's "There Ain't No Sweet Man Worth The Salt of My Tears" (originally recorded in 1928 by Annette Henshaw with the Willard Robison Deep River  Orchestra and then the following year by Bix Beiderbecke with Bing Crosby on the vocal, no less) - Ms. Lee's version was recorded in 1963 and has a blues-rock feel.)  Duchess lean more towards a looser reading of the original. You'll enjoy the sweet love song penned by Ira and George Gershwin; titled "Blah, Blah, Blah" (no, not the Iggy Pop or Ke$ha songs), the lyrics show that sometimes it's easier to show love than to say "I love you." There are sweet ballads in the form of "Que Sera Sera" and "I'll Be Seeing You" plus an emotional take on "P.S. I Love You", the Johnny Mercer-Gordon Jenkins composition from 1934 with features close harmonies and a fine guitar solo from Lewis (an integral part of Ms. Cervini's Jazz Country group). A raucous tenor solo enlivens the playful "It's A Man", a Cy Coben composition recorded by his orchestra supporting the vocal of actress/singer Betty Hutton.

The singer each take the spotlight for one track.  Ms. Gardner swings her way through "My Brooklyn Love Song", a tune composed by George Tibbles and Ramey Idriss.  Ms. Cervini reprises "A Doodlin' Song" from her 2012 tribute to Blossom Dearie "Digging Me, Digging You", replacing the male voices with her sisters and Josh Sinton's baritone sax solo with a playful tenor sax hit from Mr. Lederer (otherwise, the arrangement is the same.)  Ms. Styling revisits "Hummin' to Myself" from 2014's "No Regrets" release and also does not change the earlier (right down to the bass solo) but spices it up with the addition of her friends' lovely harmonies.

Sassy, sweet, fun, playful, melodic, carefree and happy, all those positive adjectives (and more) should tell you that the trio known as Duchess have made a debut recording that should bring a smile to your face. Is it a bit "retro"?  Yes, but it's never "snarky", never patronizing.  Amy Cervini, Hilary Gardner and Melissa Stylianou plus their merry band sound like they are having a swell time - you will as well.  For more information, go to www.duchesstrio.com.

Here's the opening track:

For his 2013 MaxJazz CD, "From Here I See", bassist and composer Ben Wolfe worked with a core quartet of Orrin Evans (piano), Donald Edwards (drums) and JD Allen (saxophone) plus guest artists and a string quartet. Messrs. Evans and Edwards return on his new release, "The Whisperer" (Posi-Tone Records) while Stacy Dillard (soprano and tenor saxophones) replaces Allen.  Trumpeter Josh Evans (no relation to the pianist) is the only guest and appears on 1 track. The unique painting on the cover is the work of Colorado-based Ron Fundingsland and is titled "Sanctuary."

Wolfe, who has worked with a slew of well-known artists ranging from Diana Krall to Wynton Marsalis to James Moody to Harry Connick Jr., clearly loves melody and writes pieces that have solid tunes yet leave space for solos. Only 2 of the 12 tracks are over 6 minutes and 5 are under 5 minutes.  The program opens with "Heroist", an up-tempo romp that starts with a McCoy Tyner-groove before galloping into the piano. Dillard flies over the opening groove on his soprano with Edwards urging him on.  The soprano takes the lead on "Hat In Hand", the first of several heartfelt ballads that are musically and emotionally satisfying.  "Love Is Near" is another, this time with Dillard on tenor saxophone, his breathy tone reminiscent of Ben Webster and Coleman Hawkins. Listen to how Wolfe makes each note count and Edwards barely brushing the snare and his cymbals as well as Evans's soft touch on the piano. Dillard returns to soprano for Jerome Kern's "All The Things You Are", the only piece not composed by the bassist.  The piano lines are so well-placed, with a blend of straight-forward phrases and "impressionistic" chords.  Josh Evans takes the place of Orrin Evans on the bopping "S.T.F.U", his exuberant playing pushing Dillard to a frisky soprano solo.

Edwards opens the longest track, "Chronos" (7:15) with a high-stepping drum solo before the band enters on a funky groove.  The piece is spiced by the various interactions, especially between Evans and Dillard (tenor) and then Dillard with Edwards.  The angular piano solo over Wolfe's rapid walking lines and Edwards' hop-scotch drums fills is a treat.  The drummer's cymbal work throughout the CD is perfectly captured by engineer Nick O'Toole, filling the sound spectrum with clicking sticks, the gentle touch on the ride and splash cymbals plus the occasional storms Edwards produces in support of the soloists.  He can sound so "free" at times; Wolfe's rock-solid foundation allows Edwards the opportunity to play (you can really hear him listening and reacting to the pianist and saxophonist.)

Ben Wolfe doesn't feel the need to solo on every track but he sets the table for bandmates to pay their best.  His mature compositions give "The Whisperer" a timeless quality; this is music that builds upon the sounds that Herbie Hancock, McCoy Tyner, Andrew Hill, Charles Mingus and Wayne Shorter discovered in the 1960s.  Mr. Wolfe and his cadre of excellent musicians do not copy any of those mentioned above, making his pieces sound fresh and alive.  For more information, go to www.posi-tone.com/whisperer/whisperer.html.

Here's the opening track of the album:


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The news has been making the rounds the past 24-36 hours that Clark Terry has entered hospice care. Having just viewed "Keep On Keepin' On" and now in the midst of his autobiography (check it out here), one is amazed but not surprised at Mr. Terry's resilience through his many trials and tribulations.  Say a prayer for him, for his wonderful wife Gwen and his family.  Then, go to patrickwilliamsmusic.com/leaves-evergreen-clark-terry/ and over a listen to this music from composer Patrick Williams that features a short but sweet solo from CT.

The Teacher, the Student, The Music

Had the opportunity to watch "Keep On Keepin' On", the documentary created by filmmaker Alan Hicks about the relationship between nonagenarian Clark Terry and, at the opening of the film, 23-year old pianist Justin Kauflin.  Mr. Terry should need no introduction as he has been a part of the American music scene since the mid-1940s, playing his trumpet and flugelhorn with so many influential bands and small groups as well as appearing on over 900 albums, 114 as a leader or co-leader.  The Clark Terry we see in the movie is mostly bed-ridden (due to the crippling effects of diabetes) yet is still teaching, even after his legs are amputated.

But, don't think view this documentary as an obituary or even a tragedy. While Mr. Terry shown practicing early in the film, what you really see is how he remains a vital teacher and mentor for young musicians, in this case a young pianist from Virginia, Justin Kauflin.  The 2 men share a love, a passion, for music, for the uplifting intersection of rhythm and melody and the joy of well-executed turn-of-a-phrase. At the beginning of the film, the elder man is losing his sight; blindness has been a fact of Kauflin's life since he was a young boy.  It seems as if many of the lessons that Mr. Terry gives his student make place late at night, as if out of the darkness both musicians share, the light created by their discussions and the music continues to move them forward.  Hicks uses close-ups to make sure we understand the relationship is more than just teacher/student but that there is great love that develops over the course of the lessons.

No matter how you feel about creative music/jazz, you will understand how it informs the lives of Clark Terry and Justin Kauflin.  There is no talk about "commercial viability", about how hard it is in the 2010s to make a living; instead, you will see how "alive" this music is in the hands of people young and old.  "Keep On Keepin' On" comes to a close with Clark Terry lying in his bed yet still teaching, his body failing him but his spirit so alive that you cannot take your eyes off of him even as the camera pulls away.

There's much more to this movie, including a great overview of Mr. Terry's career as well as the challenges of Justin Kauflin starting his life as a professional musician. See this documentary and you'll never forget it.  For more information, go to keeponkeepinon.com.

One of the pivotal scenes in the movie is when Justin Kauflin meets Quincy Jones.  Like the young pianist, the great producer/composer and arranger had been mentored by Clark Terry and they have been friends for over 6 decades.  Jones hears and sees what Mr. Terry hears and sees in Justin Kauflin, ultimately taking the young man on his world tour in 2013-14 and signing him to his QWest company.  Their collaboration, recorded in July of 2014 and titled "Dedication", has just been released on Jazz Village/ Harmonia Mundi.  The 12 tracks, all original compositions, include 8 with his Quartet of Billy Williams (drums), Christopher Smith (bass) and Matt Stevens (guitar, replaced by acoustic guitarist Etan Haziza on 1 track) - there are also 3 Trio tracks and 1 lovely solo piece, "Mother's Song", a piece stunning in its simplicity and emotional richness.  Williams and Haziza both appeared on Kauflin's 2010 self-produced debut CD, the guitarist again on only 1 track.

As you listen to the music, you will hear a strong rhythm section, an agile and creative pianist plus a fine second voice in guitarist Stevens. Several of the Quartet tracks, in particular the opening "Elusive" and "Epiphany", may remind the listener of the music Pat Metheny and Lyle Mays created in the late 1970s and early 80s.  Guitarist Stevens, who has worked with trumpeter Christian Scott and the Next Collective, has a clear tone and a melodic bent which bends well with the more forceful piano work of Kauflin.  There's a touch of funk on "B Dub", especially in the rolling piano chords; Smith and Williams push the music forward and the soloists pick up on their shifts in intensity. Kauflin's solos throughout the album, especially on the uptempo pieces, also display impressive forward motion, an excitement that is infectious for the listener. Hazes replaces Stevens on the closing track, "Thank You Lord", a gospel-tinged ballad that also has a "country" feel and a melody line just ripe for a vocal. Listen to the notes as they ring out in an articulate fashion on the piano solo.

The Trio tracks include the handsome ballad "For Clark", all the more poignant if you have seen the movie.   The impressive melody, the wide-ranging solo, and the soulful chords, all supported by an active and involved rhythm section really make this piece stand out. "Tempest" opens in a classical vein before moving out into another excellent Kauflin solo over a solid foundation from the bassist and active snare work. There's a hint of Keith Jarrett in the flowing piano solo that leaps from speedy single-not runs to hearty chordal work.  The final Trio cut is the hard-swinging "Up and Up", a good description of the energy level of the 3 musicians.

There have been a number of articles and blog posts over the past year about the "death" or, worse, the insignificance of jazz on the contemporary music scene. One could argue at length about the significance of any musical form but when you listen to "Dedication" (or the works of younger musicians such as bassist Noah Garabedian , guitarist Julian Lage, saxophonist Noah Preminger), you hear music that is still vital, moving forward and fighting complacency. Justin Kauflin understands the sacrifices a musician makes for his craft, learning from his mentors (including the late Mulgrew Miller) that "playing" is work until it is subsumed into your person and then it really is play, the pure joy of sitting at your instrument and just putting your whole being into the songs.  Go find this recording and let this joyous music wash over your ears and into your soul.  For more information, go to www.justinkauflin.com.

Give a listen:

Playing For a Cause + Clark Terry Benefit

One supposes a name like Rick Drumm is a "stage name";  after all, he is a musician who plays the drums.  Mr. Drumm's day job is President of D'Addario & Company, manufacturer of D’Addario guitar, bass and violin strings, Evans Drumheads, Pro-Mark Drumsticks, Rico Reeds, Puresound percussion products and Planet Waves accessories.  He had been a member of a fusion band in the mid-70s (along with guitarist Fred Hamilton and trombonist Mike Brumbaugh - more on them later) and continued to play, even as he worked.  In 2009, Drumm was diagnosed with cancer and, thankfully, after undergoing chemotherapy, the disease is in remission.  In August of 2010, Drumm went into the studio and the results can be heard on "Rick Drumm and Fatty Necrosis: Return from the Unknown" (self-released.)  Besides Hamilton and Brumbaugh, the ensemble features Corey Christianson (electric guitar), John Benitez (electric bass), Axel Tosca Laugart (keyboards), Frank Catalano (tenor saxophone) and Pete Grimaldi (trumpet). Right from the opening notes of "Fatty Necrosis Sings the Blues" (great title, although the term "fatty necrosis" refers to dead tissue left behind in the body after cancer treatment), one can hear that the ensemble is still playing "fusion", but there is as music jazz as funk;  the music as sections that really swing and others that burn.  Drumm's kit is "up in the mix" but he's a sensitive player, not heavy on the bass drum.  Benitez's bass is the real bottom in this music with his rumbling, full-toned, notes supporting the ensemble.  The program moves easily from the impressionistic, softer, tones of "Gentle Spirit" (fine trombone from Brumbaugh) to the rollicking attack of "Indi Funk" (love the way the group spreads the solo interjections around.) The interplay of the guitar and keys on the opening of "Just A Drop" is a sly lead-in to a hard-edged tune that features a sparkling acoustic piano and an impressive, melodic, turn from Benitez.  "Detours" is the longest track (10:09), a rambling ride that opens slowly but soon drops into a rhythmic pace not unlike the early Allman Brothers Band.  Everyone but Grimaldi, Benitez and Drumm gets to solo as the piece rumbles with the guitarists really wailing. The CD closes on "Return", a ballad that opens quietly with guitar and saxophone sharing the melodic work; soon, the intensity builds up in the percussion while Catalano responds with an emotional solo.  The piece "returns" to its more serene beginnings to fade out.

With the release of "Detours", Rick Drumm celebrates creativity, music and life.  25% of all the proceeds from the sale of this CD goes to Strike A Chord, "a registered charity in Australia and the USA that supports seriously ill and disadvantaged children who need inspiration and a distraction from their illness."  To find out more, go to www.strikeachordforchildren.org.  To find out more about how to purchase this CD, go to rickdrumm.com. 

As many of know, the great trumpeter and educator Clark Terry has had several surgeries to deal with complications from diabetes, the latest the amputation of his left leg on February 23 of this year.  His wife Gwen has kept the Clark in touch with the world via her blog on clarkterry.com and it's good to read he is home and in good spirits.


On April 23, there will be a "Fundraising Concert for Clark Terry" at 7 p.m. in Saint Peter’s Church, 619 Lexington Avenue in New York City. Suggested donation is $25 at the door or, if you cannot be there, you can send a donation. Checks should be written to Jazz Foundation of America with “Clark Terry account” in the memo line and mailed to the JFA at 322 W. 48th Street, New York, NY.  Mr. Terry, who turned 91 in December, has been a great ambassador for the music, appeared on over 900 Lps or CDs, and mentored numerous young musicians.  Let's do something for this great human being who has given so many music lovers so much good music to enjoy.