Pianist and composer Matthew Shipp turns 60 years old in early December and remains one of the busiest, most creative musicians on the Black Music scene. His current Trio––bassist Michael Bisio and Newman Taylor Baker––is, arguably, his finest ensemble while his music continues to expand. The band's new album, "The Unidentifiable" (ESP Disk), captures one's ears and mind from the opening seconds of "Blue Transport System" and refuses to let go until the 10:31 "New Heaven and New Earth" fades to silence. Even then, moments return in snatches of melody, sounds, and beats. Upon first listening, you might think Newman Taylor Baker's splendid drumming is the reason to return. Perhaps it's Michael Bisio's powerful and often melodic bass work or the muscular piano, long flowing phrases, or thoughtful compositions that the leader supplies that turn your head. In fact, it's all three and more.
Photo Mark Lazarski
I've learned to listen to a new Matthew Shipp Trio all the way through each time. This is not music you "cherry-pick" your favorites and ignore the rest. Listen to how the rhythm section goes its own way on "Phantom Journey" or provides a gentle cushion of colors for the exploring piano lines on "Dark Sea Negative Charge". Baker's trance-like drums go alone on the short "Virgin Psych Space 1" serving as an intro to the trio's reading of "...Space 2". Note how each music builds on those drums, Bisio's bass weaving in and around while Shipp's piano travels above.
There is a quiet passion pulsing on the above-mentioned "Dark Sea...."; check out the fascinating hard drumming on "Trance Frame" (another short solo piece) and the powerful piano on "Phantom Journey." The sound of the album, engineered by Jim Clouse in Park West Studios in Brooklyn, NY, is clean and loud. Te lengthy final track will glue you to the chair, the thick bass tine, dancing snare work, and the ever-exploratory piano lines slowly build to a powerful climax–Bisio's bowed bass and overtones atop Shipp's gently piano melody become a contrast in light and darkness dropping out so the music can close on Baker's subtle brushwork.
"The Unidentifiable" is one more high point in the creative career of Matthew Shipp, not just for the music he composed for the Trio but also for his continued dialogue with Michael Bisio and Newman Taylor Baker. There is no compromise, no cliches, just a powerful message of creativity in uncertain times.
Pianist and composer Lafayette Gilchrist has created an amazing amount of music, relevant music, over the past three decades. A resident of Baltimore, MD, since 1987, his music covers a wide swath of territory, from House to Jazz to Hip Hop to Funk to Blues and beyond. His music has been featured on the HBO series "The Wire" "Treme", and "The Deuce", he's played with the David Murray Quartet as well as drummer Louis Moholo-Moholo, and bassist William Parker. The pianist gets compared to many keyboard masters, from McCoy Tyner to Willie :The Lion" Smith––his ability to play so any styles reminds this listener of the late Jaki Byard.
It's been 13 years and myriad experiences since his last Trio album ("3") was issued. "Now" (self-released) has arrived and it's an collection of amazing adventures. Two CDs, 16 songs (all originals), 150 minutes, and the great rhythm section of Herman Burnie (bass) and Eric Kennedy (drums), the music is an incredible journey. Opening with "Assume The Position" (first heard on David Simon's "The Wire"), the listener is bowled over by the thundering chords, the rapid-fire drums, and the pounding bass. Latter on Disk one, "BMore Careful" is a New Orleans-inspired blues that serves a warning and a spotlight for Burnie's handsome arco work. Kennedy's drums and Gilchrist's piano are mixed high and loud making the music jump from the speakers.
Dig into "On Your Belly Like a Snake", another hard-edged romp. Most of the longer pieces (seven of the 16 tracks are 10 minutes or longer) usually have stretches where the band eases off the intensity but here it's a short break before the drums push the leader to play harder. Disk one closes with "The Midnight Step Rag", a delightful dance with a touch of the Crescent City in Kennedy's drumming and a bouncy piano solo. You can just about pick out the deep notes of the bass but also listen to the pianist's active left hand.
Photo: Theresa Keil
Disk two opens with the 13:33 "Tomorrow Is Waiting Now (Sharon's Song)", a handsome medium tempo ballad that builds in intensity on the strength of Gilchrist's splendid piano playing. Burnie creates a fine solo as well and even though Kennedy does not solo, he plays an integral role throughout the piece. The following piece, "The Wonder of Being Here", is a true ballad, a handsome one at that. The bassist shows his melodic side, especially beneath the lovely piano solo. Later on the disk, "Can You Speak My Language" is a poignant ballad, the two-handed piano playing and Gilchrist's melodic runs seem to nod towards Keith Jarrett.
Disk two and the album closes with "Specials Revealed", a rich melody wrapped in a soulful rhythm. Gilchrist's solo is built off the repeating chords in his left hand and he gracefully moves up the keyboard while Burnie hugs the bass line and Kennedy pushes the rhythm forward. I understand the title of the song is also the name the leader has given the Trio–that make sense as this is special music. Yes, "Now" is a lot of music to take in all at once, really three good sets of music on two CDs. But, take your time and do take it all in. One can hear so much in the music that Lafayette Gilchrist, Herman Burnie, and Eric Kennedy have created for this album. Gilchrist's collection of songs plumb his own experiences as well as those of his community, reminding us that music not only tells stories but moves us emotionally. "Now" moves, oh yes it moves!
The trio of Geof Bradfield (tenor and soprano saxophones), Ben Goldberg (clarinet and contra-alto clarinet), and Dana Hall (drums, percussion) first met in 2017 at The Hyde Park Jazz Festival in Chicago, IL. That chance encounter led to "General Semantics" (Delmark Records), recorded a year later. All three musicians have years of experiences behind them as leaders, co-leaders, or group members (Bradfield and Hall have worked together over two decades)––one can tell from the music that recorded how comfortable they are with each other, willing to push and be pushed into many different musical areas.
What a splendid sonic journey this is. Opening with the quiet rush of "Air" (Bradfield on tenor, Goldberg on contra alto, and Hall using brushes), the music dances forward delightfully as the two reed players carry on quite a conversation. Composed by the late pianist Cecil Taylor and recorded in 1961 by Steve Lacy, the "swinging" track has a timeless feel. "Tioga Street Zenith" is a three-way conversation, a bit more frenzied yet Hall sticks with brushes as the reeds spar and parry. "Last Important Heartbreak of the Year" may sound like the title of a Country ballad but is really a rollicking tune with New Orleans drumming goosing the reeds right along. A bit later in the program, "Hit Flip Switch" (from Goldberg's prolific pen) also is a delightful romp, hearkening back to the raucous music of Louis Armstrong and Johnny Dodds. Bradfield's laughing soprano and Goldberg's playful clarinet should tickle one's fancy!
The soprano sax and clarinet combo returns to dance together yet again on Hermeto Pascoal's happy "8 de Agosto"––again, the two reeds weave around each other as Hall kicks and sticks away with glee. Bradfield's tenor sax introduces the title song which soon drops into a funky beat, Goldberg's contra alto clarinet producing the bass line. The tenor solo is built off that bass line while Hall keeps the tune close to the ground. "Half The Fun" opens with a "deep" solo from Goldberg over quiet hand-held percussion. Several minutes later, Hall drops into a modified "jungle" rhythm a la 1920's Duke Ellington, Goldberg plays a slinky bass line, and Bradfield creates a sweet soprano sax melody.
The album comes to a close with "Under and Over" which has a "freer" feel as the tenor sax and drums open the piece in a fiery conversation. After they stop, Hall drops into a slow, bluesy, beat, Goldberg's clarinet gets the melody while Bradfield acts as the bass line. There's a feel of Julius Hemphill's "Hard Blues" in the sound of the music, in the way the sax and clarinet move together. The piece closes with a classically-inspired clarinet and tenor saxophone duet.
The trio of Geof Bradfield, Ben Goldberg, and Dana Hall reminds us that when like-minded musicians get together, magic can happen. Magic does happen on "General Semantics"––this delightful and musical recording is well worth your attention!
Some readers may remember that organist Chris Foreman and drummer Greg Rockingham were two-thirds of Deep Blue Trio – along with guitarist Bobby Broom, the Chicago-based ensemble recorded four albums, two on Delmark and two on Origin Records, from 2004 until 2011. Though the Trio in various iterations had been playing since 1992, they waited to record after a decade+ of gigs in the Midwest and beyond. After the trio split, Foreman and Rockingham formed Soul Message Band with guitarist Lee Rothenberg and alto saxophonist Greg Ward.
"Soulful Days" marks the organist and drummer's return to Delmark Records as leaders. SMB's debut recording takes its name from Cal Massey's "These Are Soulful Days" – recorded in 1961 on the trumpeter-composer's one and only album as a leader, "Blues to Coltrane" but not released by Candid Records until 1987 (15 years after Massey's passing), this updated version slows the piece down to a bluesy shuffle featuring guest tenor saxophonist Geoff Bradfield (he's on three tracks), Rothenberg, and Foreman stepping out over the groove. And, it's quite soulful. Ward contributes one of the two original pieces, the sprightly "Uncertainty". Not at all like it's title, the piece dances forward on Rockingham's active (but not intrusive) drums and Foreman's delightful bass lines. The guitarist composed "Sir Charles", the tune that opens the album; it's a tribute to both NBA star Charles Barkley and the great organist Charles Earland. The shuffle beat and easy interactions, delightful solos and the lack of ego, sets the tone for the album. The band is telling the listener these "Soulful Days" are made for swinging, relaxing, and getting into the groove.
Every song is worth spending time with but here are two particular high spots. Ward's singing alto and Foreman's gospel-infused organ lines open up the sweet Rodgers & Hart ballad "Little Girl Blue."
There are bluesy solos from Rothenberg, Foreman (it's the longest and most exciting one), and Ward (who plays such lilting phrases). The quartet absolutely soars on Louis Bellson's "Easy Time" –it's another shuffle but, thanks to the interactions and fine solos from the guitarist, alto saxophonist, and organist plus the drummer's power rising from below, you will want to dance.
"These Soulful Days" lives up to its name. This music will wash away your troubles and sounds so good as it cleaned the soul! Dance along with Soul Message Band as they put their spin on the organ-led band that has been a staple of soul-jazz for many, many decades.
Upon first listen, "Point Less" (Rugged Ram Records) struck me as an excellent debut by vocalist and composer Ola Onabulé. A little bit of research took me to his website whereupon I discovered the Nigerian-born, Great Britain resident, had released eight albums since his debut in 1995. Therefore, this 2019 album is his ninth for the singer with the wonderful range; naturally a tenor, he can really sing quite high and surprisingly low (he has a three-and-ahalf octave range!). But, as appealingly the rhythms are in the majority of the 14-song, 77-minute program, listen to what he's singing about. Themes of equality and inequality, promises made and broken, of violence perpetrated on people of all colors, and how the lower class is held physically and fiscally move through all songs. While the rhythms of "The Old Story" will remind many listeners of Santana's "Smooth", the theme of dominating the "other" reverberates in verses such as "I don't victim but why/Must I exist, just to tell a man/I must prepare him to die...."
"And Yet" opens with a splendid funky beat while Onabulé sings "Staring down a barrel again" then going on to "Don't blow Mister, Big Controller, do the rags bother/Maybe I could loose the hoodie for ya/...We all know you hold the rod of power." All this to a rhythm that would not feel out of place on a Steely Dan album, especially "Aja" and beyond. On "Exit Wound", the singer exclaims "Don't send me all your thoughts and prayers/If they make it, they'll be no use here." All this to a lively Latin-flavored beat provided by drummer Chris Nickolls, bassist Phil Mulford, percussionist Will Fry, pianist John Crawford, and guitarist Al Cherry. Nickolls plays on three on the tracks while Jack Pollitt pushes the band on the other 11.
The messages in the lyrics may seem relentless; it's best to put yourself into the composer's life. Even the lovely ballad "Tender Heart" (kudos to Cherry for his soulful accompaniment and the powerful piano work of John Crawford) is not a respite from the issues people face in a soul-less world. But Onabulé's vocals are soothing and give hope. The harmonica of Berthold Matschat is handed to the final two tracks. He dances along with the leader's wordless vocal on "Pas Famille", interacting behind as the song turns to tell the story about a person who has no issues selling out his brethren (the title translates to "not family"). The excellent harmonica solo, with its blend of long, flowing, phrases with short melodic passages, stands out. The final track, "You Can't Depend On Love", opens with the harmonica introducing the melody while the lyrics speak of moving carefully through your life. But, "Until you find a soul to some to/You'll find/You can't rely on hope" until the the singer changes the final chorus to "You can't depend on love." You can't help miss the lilt of Horace Silver in the melody and rhythm and the subtle honesty of Cole Porter in the lyrics.
Yes, "Point Less" is a long album yet it is worth taking your time to explore. Ola Onabulé writes all the music and lyrics, produced these sessions, and released it on his own label. He has stories to tell with a voice that does just honestly, melodically, soulfully, and without pity but filled with empathy. There's power in the rhythms and the beats as well. All his albums are on Bandcamp and there's much to discover.
Here's a video of Onabulé in studio (note the excellent guitar solo):
The language of hard bop was created in the 1950s nurtured by the likes of Clifford Brown, Theolonious Monk, Kenny Clarke, Sonny Rollins, Horace Silver, Art Blakey, Max Roach, and many others. In the 1960s, Ornette Coleman, Miles Davis, John Coltrane, and Albert Tyler (to name but four), began searching in multiple directions opening up the music while, often, scaring away older listeners. Even 60 years later, hard bop may sound obsolete to young listeners but, in the hands of musicians who understand the blues and "freedom" at the roots of the musical style, the music still can excite and electrify audiences.
Trumpeter Jimmy Smith and saxophonist James Hughes, both natives of the Detroit, MI, area, have been working together since 2012, recording three albums as a quintet. For "The Gates" (Shifting Paradigm Records), Smith and Hughes added trombonist John Yao (from Chicago IL) to the front line (making him a co-leader to boot) as well as putting a new rhythm section (pianist Corey Kendrick, bassist Jeff Pedraz, and drummer Nick Collins – all three live and work in Detroit). The front line first came together several years ago when they were all studying in New York City. The nine-song program, with four sings by Hughes, three by Yao, and two by Smith, features intelligent music, great interaction, and excellent solos. The rhythm section is delightful, with Kendrick's Horace Silver-inspired piano work, Pedraz's melodic and foundational bass, and Collins' delightful drumming.
While the first two tracks (Smith's "I-75 @ 5" and Yao's "Hell Gate" – the former moves faster than any highway I've been on at 5, p.m. that is) – swing with joyous abandon, Hughes's "Subterranean Miner" is a mysterious twisty blues line with fine bass work, a languid melody, and fine solos. Bassist Pedraz, who introduces the piece, also gets the first solo; his impressive melodic lines leads to a three-way conversation between Hughes (soprano), Smith (flugelhorn, perhaps), and Yao. The proceedings get a bit noisy before the band calms down to take the piece out. Hughes also composed the handsome ballad "Sophia's Song" – he plays the emotionally rich melody and takes the first solo (with Yao and Smith adding color in the background) the turns the spotlight over to Kendrick for a wide-ranging solo sans horns. His playing truly sings even as he hands the song back to the front line.
The title track (composed by Smith) adds a Brazilian feel while giving the feel of a Lee Morgan piece. Smith's crisp trumpet sound leads the way; the bounce in the rhythm section inspires his solo spot. Yao, too, is inspired, his solo dancing along with Collins sweet cymbal work. The drummer alters his attack a bit for Hughes's tenor spot, a playful romp from the co-leader. The album closer, Yao's "Dog Days", is one of several that bring to mind Mr. Blakey's Jazz Messengers. While the rhythm section is not as relentless as the master drummer's could be, the relaxed but powerful bop they create is highly appealing. Kendrick, the composer, and Smith get the solos and they have a great riding the waves from the bass and drums.
"The Gates" opens wide and the avid listener gets to enjoy the delightful interactions of the Yao/Smith/Hughes Sextet. The music brings to mind the hard-bop sounds that filled urban clubs in the 1950s and early 1960s, sounds that have never really gone out of style. Dg in to this feast – the music satisfies!
The past month has included the usual "stuff of life", from convalescing partners to losing a favorite animal to sad deaths in the community to the long East Coast heat wave. While I still have been listening to the piles of CDs and mp3s that clutter my desk/desktop, writing time has diminished sharply. As for the listing part, there was a week where Miles Davis's "In a Silent Way" and music from the John Coltrane Quartet (concentrating on his Atlantic releases and the new Impulse "Lost Tapes.") That concentrated listening took place in mid-June but, since then, my ears have enjoyed a number of new albums including the two recordings below.
For his seventh album as a leader or co-leader, saxophonist and composer Geof Bradfield moves on to the Delmark Records label from successful stops at Cellar Live and Origin Records. "Yes, and...Music for Nine Improvisers" is a "concept" program with four pieces for nonet and four for four different trios. Utilizing his high-energy rhythm section of bassist Clark Sommers and drummer Dana Hall, Bradfield creates a number of different scenarios for the ensemble. "In Flux" shines the spotlight on guitarist Scott Hesse even as it builds color options for the brass work of trumpeters Marquis Hill and Russ Johnson plus trombonist Joel Adams as well as his fellow reed players, Anna Webber (flute, bass flute, tenor saxophone) and Greg Ward (alto saxophone. Note how the arranger weaves his bass clarinet into the ensemble lines as well as Ms. Webber's expressive flute.
What the composer/arranger accomplishes on the nonet pieces allows the music to breathe even as the ensemble move in and out of written material into improvisations. The long opening theme section to "Impossible Charms" gives Bradfield the opportunity to utilize all the voices, setting up a series of solos from himself, Adams, and Hill (especially on fire here) that are occasionally punctuated by the reeds and brass to play pieces of the opening theme. "Anamneses" (defined as recollections - the word is plural - from a supposed previous existence) opens with statements from Webber's bass flute, Adams's expressive trombone and the handsome section writing (led by Johnson's clear trumpet tones). Webber's flute solo over the expressive percussion and rippling guitar chords opens the piece even further. Johnson's solo is a fascinating tour-de-force, expressive, exploratory, thoughtful, and powerful. Listening to the final track without looking at the title of the piece, I immediately thought "Brazil." "Forro Hermeto" (inspired by and dedicated to Brazilian genius Hermeto Pascoal is imbued with a lightness of spirit - one hears it in the delightful rhythm section work, the fun give-and-take between guitar and trumpet that culminates with both soloing at the same time. Webber and Bradfield step out from the short full-band interjection to present their own call-and-response. The piece has a lightness yet still retains the adventurous spirit of the other nonet works.
The four shorter pieces for trio combinations include the opening "Prelude" that is a hard-driving sax-bass-drums romp that lights the fire for the proceedings. "Chorale" combines the two trumpets with the trombone for a darkly beautiful classically inspired piece. "Ostinato" is a work for guitar with bass and drums with all three overdubbed to great effect. "Chaconne" is the last of the trio pieces. Composed for soprano sax (Bradfield), Ward's alto, and tenor (Ms. Webber), it's also classically oriented and attractive.
"Yes, and..." is inspired by the improvisational techniques created by Chicago's Compass Players in the mid-1950s whose comedy skits inspired the work of Second City and other experimental troupes. Geof Bradfield also cites his studies of French composer Olivier Messiaen's variety of ideas about rhythm, melody, and harmony on his preparation of this material. Over the course of the saxophonist's career, he's paid tribute to Melba Liston, to Leadbelly, to bebop and mainstream jazz, and the inspiration of African rhythms. One can see that this new album is a continuation of all of his studies, his maturity as a composer and arranger, and his desire to continue searching. We who listen closely reap the rewards of his adventurous musical mind.
Here's a different edition of the nonet playing Herbie Hancock's "The Prisoner" (from late March 2017 - it will give you a good idea of the ensemble's sound and Bradfield's arranging talent):
For his fifth release on Posi-Tone Records, "Wheelhouse", tenor saxophonist and composer Tom Tallitsch has gathered a strong assortment of musicians - Jon Davis (piano), Josh Lawrence (trumpet), Peter Brendler (bass), and Vinnie Sperrazza (drums), all leaders in their various groups - and let them loose on a nine-pack of originals that tempt the listener's ears and mind with fine melodies and excellent improvisation. It helps that the rhythm section is quite strong, from Davis's sparkling accompaniment and fine solos to Brendler's "foundational" bass work (not to forget what a melodic player he is), and Sperrazza's adventurous work at the drum set. The leader enjoys sparring with his rhythm section: those interactions on such songs as "Schlep City" and "Red Eye" makes the listener feel as if he or she are in the middle of the band watching as the musicians push, prod, and dance with each other.
Photo: Bryan Murray
One cannot miss the sound of the blues that permeates certain tracks. "Paulus Hook" (named for the waterfront area of Jersey City, New Jersey across the Hudson River from Manhattan) has a sweet, slowly swinging, feel with a handsome melody (note pianist Davis's lovely elaboration around the tenor and trumpet at the close of the tune). The one real ballad on the album, "One for Jonny", opens with a long, lovely, piano solo before Tallitsch enters with the sweet, wistful, melody. Lawrence shines on his part, so lyrical and clean, his articulated notes creating a fine musical portrait. The piece, written with Davis in mind, opens up for allow him to dance atop the gentle brush work and spare bass lines.
There are really no weak tracks on "Wheelhouse." The program closes with the aptly-titled "The Crusher" and "Gas Station Hot Dog" (the two tracks that surround "One for Jonny"). On the former, the quintet explodes from note one on a journey that roils and rollicks thanks to the propulsive drum work and the exciting bass figures. Davis absolutely rocks (he always plays as if he is having the "best time ever"), Lawrence's trumpet dances with glee (goosed on by the rhythm section), and Tallitsch flat-out swings! On the album's final tune, one hears a funky beat and melody reminiscent of Herbie Hancock's "Watermelon Man" - the listener may not be able to contain a laugh or two as the quintet hits the groove, as the soloists ride the "boogaloo", and the cares of the day wash away.
Need a sonic break from the endless waves of negativity that seem to batter one from all sides. Dig in to "Wheelhouse", enjoy what Tom Tallitsch and his creative companions have created, and have a good time.
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