George, By Denny!

 

Dr. Dennis Zeitlin, Clinical Professor of Psychiatry at the University of California/San Francisco and practicing Psychiatrist, is also Denny Zeitlin, pianist, composer, arranger, and improvisor––the latter has been playing and recording since the early 1960s when he was a Graduate Student at Johns Hopkins in Baltimore, MD.  He continued his career and began teaching after moving to the West Coast.  The pianist recorded four LPs for Columbia from 1963-67, the first in a trio with bassist Cecil McBee and drummer Freddie Waits; other ensembles featured bassist Charlie Haden and drummer Jerry Granelli. In 1969, he met percussionist George Marsh (who, like Dr. Zeitlin, was born in Chicago) forming a trio with bassist Mel Graves. Together, they recorded two albums, one ("The Name of This Terrain") recorded in 1969 that was issued in 2022, and the other ("Expansion") issued in 1973––Dr. Zeitlin had added electronic keyboards and synthesizers to his repertoire and the musical results still sound fascinating.  In 1978, he composed the soundtrack to the first remake of "Invasion of the Body-Snatchers"; that immersive electronic experiment sent him back to the acoustic piano.

In the late-2000s, after issuing on labels such as Windham Hill, Palo Alto Jazz, Concord, and one smashing Trio session on the Japanese Venus label, Dr. Zeitlin began his association with Sunnyside Records. Since that time, he has released four Trio albums (featuring bassist Buster Williams and drummer Matt Wilson), three totally-improvised electronics-laden albums with George Marsh, and six solo piano albums (one of which, 2013's "Both/And", features electronics as well).  Album #14 for Sunnyside is "Crazy Rhythms: Exploring George Gershwin" (the Doctor's seventh solo album and third recorded at the Piedmont Piano Company in Oakland, CA).  The package includes 11 Gershwin works that range from "standards" to show tunes to one fascinating find (the lovely waltz "By Strauss").  Dr. Zeitlin chose these pieces several months before the December 2018 concert, playing through and with them. He then sat in the concert space in front of the audience and proceeded to play through the program following no set format and improvising, in his estimation, 95% of the concert.

What a treat this album is.  From the opening zither-like sound of "Summertime" to the playful "I Was Doing All Right" that closes the album, the music goes in many directions. In conversation with Dr. Zeitlin, I compared the improvisor to a person diving into the water, going deep down and coming back up to touch on the melody.  Right from the start, the music does not move the way one might expect; instead, these performances are an open door into the musician's creativity. While you sing along to "How Long Has This Been Going On?", the pianist changes the tempo now and then, creating a joyful solo. "Fascinating Rhythm" bounces forward yet there are moments when the two-handed approach sounds like a JS Bach exercise before swinging away on the power of right-hand single note runs.  Listen below to "The Man I Love"–is the opening a bow to fellow pianist McCoy Tyner's use of modal chords before the music dances away?

The three pieces from "Porgy and Bess"––"Bess You Is My Woman Now", "It Ain't Necessarily So", and "My Man's Gone Now"––could be an album on its own.  The pianistic explorations on each piece not only honor the melody but the "heart and soul" in each tune.  "Bess" is just gorgeous, emotionally rich and rewarding in numerous ways.  "It Ain't...." moves far from its melodic home for a powerful journey inside the questions at the heart of faith and beliefs, not settling for a laugh.  At nearly 13 minutes, "My Man's Gone Now" is, at times, an elegy, a celebration, and a angry fist waving at the heavens, a journey inward and out again with a renewed resilience. 

That's my take. "Crazy Rhythms: Exploring George Gershwin", if you are willing to give the music the time it deserves, is quite an album. Denny Zeitlin makes George Gershwin come alive, illuminating the universality of the composer's music as well as the joy (try and sit still listening to "S'Wonderful"). Pay attention and get lost; let this music take you away from the mundane, from the troubles, for the rewards are many!

For more information and to purchase the album, go to https://dennyzeitlin.bandcamp.com/album/crazy-rhythm-exploring-george-gershwin.  To learn more about Dr. Denny Zeitlin, go to www.dennyzeitlin.com. 

Listen to "The Man I Love":

A Duo & A Trio

Photo: Josephine Zeitlin

Pianist Denny Zeitlin first became interested in synthesizers in the early 1970s and used them extensively in 1978 when created the soundtrack for the first remake of "Invasion of the Body-Snatchers".  He has used them now and again over the decades, upgrading his equipment along – in 2013, the good Doctor (he's a practicing psychiatrist) reunited with drummer George Marsh who he has known since joining Zeitlin's Trio in the late 1960s. The percussionist, who moved from the East Coast to the West in 1968, may be best known for his work with mandolinist David Grisman, the Jerry Hahn Brotherhood, Mose Allison, and so many more.  He set his drums up in Zeitlin's studio and the duo began to play electric-acoustic acoustic improvisations. In 2015, Sunnyside Records released the duo's first album, "Riding the Moment" followed in 2017 by "Expedition." 

"Telepathy" (Sunnyside) is an apt title for their third album.  Taken from sessions over a five-year period (pre-Pandemic), the 14-track, 76+ minute, program is an aural funhouse. Zeitlin, who continually upgrades his keyboard setup, blends his grand piano with numerous synths, hardware, and electronic keyboards –– meanwhile, Marsh plays his acoustic drum, adding percussion every now and then.  There is no script, no sheet music, and, believe it or not, the vast majority of these tracks are first takes.  For those of us who grew up in the 1960s and 70s, you can imagine Zeitlin sitting in the middle of the studio surrounded by his numerous "toys". He easily moves from one to another; listen to the joyful "Highlands", the track that opens the proceedings. It's a funky jig complete with acoustic piano, keyboard bass, various synths and dancing drums. Several minutes in, all but the drums drop out and Zeitlin begins what sounds like a guitar solo (no, it's a keyboard patch).  

In the space of one song, one might think he/ she is listening to Chick Corea or Keith Emerson or Joe Zawinul.  Zeitlin has his own sound and is always searching. Listen to the duo romp on "Quicksilver" (dig the pianist's left hand in the first minute as well Marsh's delightful brushes work in the next minute. Thunderous drums and rumbling piano chords open "Black Hole" before the music goes in different directions. In the middle of "Moonflower", a "virtual choir" rises out of the rhythm section and it seems so right.  "If Only" is an atmospheric ballad-cum-conversation played by synths and drums while "The Ascent" has, at times, a frenzied feel that is alleviated by the hypnotic piano melody in the middle. As the music rolls forward, the pianist moves freely between keyboards that hints at a full breakout but the listener hears a gentle finish. The program closes with a bow to the halcyon days and nights of San Francisco in the 1960s with the hard rocking "Fillmore Dreams" with wailing synth "guitar" and thundering drums as well as a taste of the blues.  

It's easy to get totally wrapped up in the many and varied keyboard sounds but do pay attention to Marsh's inventive drum work.  Even though the two musicians cannot see each other due to the way the studio is set up, the music never gets "lost" or bogged down in repetition.  Because these pieces are improvised, there are many moments the listener feels like he is in the middle of the telepathic action.  Yes, "Telepathy" is the correct title for this album but it could easily be called "Great Fun" or "The Sandbox Sessions".  Denny Zeitlin and George Marsh keep your attention throughout the album by letting their the minds free to wander the sonic universe.  Feeling stress?  Put this music on good and loud; your housemate and/or neighbors might complain but you can't help but feel good as the music dances around you.

For more information, go to www.dennyzeitlin.com/. To hear more and purchase the album, go to https://dennyzeitlin.bandcamp.com/album/telepathy. 

Hear the delight-filled opening track:

 

I have known bassist Joe Fonda for over four decades.  He lived in my hometown for a number of years, often played at local venues, produces a yearly show (an Improvisors Forum) with The Buttonwood Tree (Middletown, CT), and has toured the nationally and internationally with so many different artists ranging from Barry Altschul to Anthony Braxton to Billy Bang to Jaimoe (of The Allman Brothers Band) to Michael Musillami to Satoko Fujii.  He leads or co-leads a number of ensembles and, before the pandemic, was one of the busiest musicians in the Creative Music world.

Fonda has performed and recorded with pianist Carlo Morena for over three decades producing four albums with either Jeff Hirschfield or George Schuller on drums. under the name Step In Trio (from a 2000 album of the same name). In March of 2019, Fonda and Morena came to Firehouse 12 in New Haven, CT, with drummer Felix Lecaros Herrera as the third member of the trio.  The dChilean native also works with saxophonist Eden Bareket and has recorded with guitarist Nicolás Vera. The result of the New Haven gig is "Voila la Tendresse" (Not Two Records). The seven song, 70+ minute, program is filled with intuitive playing and intelligent interplay, emotional depth, and really fine compositions (all but one by the pianist).  Because Morena and Fonda have such a long and rich history plus they entrust Herrera with being the foundation each song, this Trio sounds anything but "typical". 

The title track opens the album on a lyrical note, the piano melody pushed forward by the dynamic drumming and bass counterpoint.  The bassist gets the first solo, a delightful statement that is both lyrical and percussive supported by the driving drums and piano.  There is a touch of dissonance at the onset of Morena's long solo – there is such power and excitement as the Trio ramps up the intensity (at times like Keith Jarrett's work with Gary Peacock and Paul Motian).  About 10 minutes in, Morena's left hand drops into a modified "boogie-woogie"; Fonda and Herrera follow happily and the groove is irrepressible right to the final seconds (Morena tosses in a few choice Thelonious Monk quotes in the final moments).

Photo: Guido Nardi

Fonda opens "Japan" with a long solo that gain blends lyrical and percussive with a hypnotic feel at times. Four+ minutes in, the pianist and drummer enter pushing the music into a Bill Evans-style atmosphere with a gentle stop & start in the rhythm; yet, notice how the music moves into a different area more related to the rhythmic pulses of the piece than an Evans improvisation.  Rumbling piano and bluesy bass licks introduce "Dog With No Name",  tune that moves from Gershwin-style flourishes to raucous blues to bass solos short and long. a swinging piano romp  that gets a bit off-center by the powerful drumming. The one non-original is "I Love Music" composed in 1974 by Emil Boyd – it's a sweet solo piano piece that carrie a lot of emotion.

The program comes to its close with "Chorale", a piece that builds slowly from the piano-bass-brushes opening into a powerful piano solo that pushes the rhythm, especially Lecaros Herrera (pictured) to lock in with Morena for a thunderous climax. Still, it's the pianist who puts the song and the album to bed with a short series of light-fingered descending lines.

Step In – Carlo Morena, Joe Fonda, and Felix Lecaros Herrera – have produced an excellent alum in "Voila la Tendresse".  The music engages the Trio which, in turn, captivates the audience.  Powerful, lyrical, rhythmic, emotional music that deserves your close attention – highly recommended!

To purchase the album, go to https://joefonda.bandcamp.com/releases.  For more information about the bassist and his many projects, go to http://joefonda.com/. 

Give a listen to "Japan":

Many Stories of the Past & Present

Pianist and composer Denny Zeitlin has been playing music all his life and professionally for the better part of six decades.  The 82-year old native of Chicago, IL, has lived on the West Coast since 1964 when he moved to study at University of California/ San Francisco and do his internship – yes, Dr. Zeitlin is also a clinical Professor of Psychiatry and also has a private practice. He's scored movies (the 1978 remake of "Invasion of the Body Snatchers"), developed an interest in synthesizers and electronic music, and, while he does not tour much these days, he's maintained his current trio of Buster Williams (bass) and Matt Wilson (drums) since 2001. When you listen to them play, it's easy to hear why the association has lasted over the years – Dr. Zeitlin is a pianist with great facility, loves melody, and creates long, flowing, solos that are poetic and powerful whereas the rhythm section is just as musical and exploratory as its leader. One just knows they never play a song the same way twice.

"Denny Zeitlin: Live at Mezzrow" (Sunnyside Records) was recorded in May 2019 when the good Doctor was back East, a rare occurrence these days.  The nine-song program stretches out over 72 minutes, a collection of seven standards and two originals, and there's not a dull moment throughout. By this time of his career, one knows what to expect from a Denny Zeitlin performance and album; impeccable musicianship, intelligent choice of repertoire, and the delight of interacting with his fellow musicians.  Even his "electronic" duos with drummer/ percussionist George Marsh have those same qualities.  Mr. Williams and Mr. Wilson both come to these performances armed with their love of melody, joy of improvising, and in creating musical conversations with Dr. Zeitlin that are emotionally rich and musically powerful.

As I wrote above, one knows what to expect from this Trio yet we always listen because these albums are creative music at its best. Denny Zeitlin never cheats the listener, never relies on cliches or drastic rearrangements or deconstructions. His career-long adherence to playing the melody then taking those notes and chords so the audience can hear them grow as he (and, in many cases, his cohorts) explores all facets of the song is what the true fan revels in.  The finest pianists do that. People such as Fred Hersch, Geri Allen, Vijay Iyer, Keith Jarrett on back to Thelonious Monk, Bud Powell, Art Tatum, Fats Waller, and Earl Hines always keep or kept digging throughout each song and each performance.  Sit back, listen, and luxuriate in the splendid "Live at Mezzrow".

For more information, go to www.dennyzeitlin.com. To purchase the album, go to https://dennyzeitlin.bandcamp.com/album/live-at-mezzrow.

Here's a piece from the pen of Billy Strayhorn:

Photo: Heather Sten

Vocalist and composer Sara Serpa creates music that is intimate, personal, and exploratory, reaching into the listener's heart and mind to create a connection.  Her partnership with pianist Ran Blake has been an ongoing investigation of standards (with a mix of improvisatory magic) while her work with husband André Matos (guitar) has been a splendid mix of folk material and often gentle sonic explorations.  Ms. Serpa often uses her voice as another instrument in the mix, her wordless vocals evoking emotions that words cannot explain.  One of her more intriguing collaborations is her work with the vocalist quartet Mycale who perform music created by John Zora. She's part of the four-person a capella ensemble (along with Ayelet Rose Gottlieb, Sofia Rei, and Malika Zarra) for its second Tzadik release "Gomory: The Book of Angels Vol. 25" (2015).

For her debut on Biophilia Records, "Recognition", Ms. Serpa created a multi-media presentation based around the family movies her father took when he worked in the Portuguese territory of Angola. The music not only serves as her soundtrack to the silent films – when you purchase the album (see below) you receive a link to the presentation – but also tells the story of European colonialism  in its dying days. Images of planes dropping bombs (open practice runs, one believes), armies marching down the Main thoroughfare with the jarring juxtaposition of Caucasian Generals and Majors leading their troops (nearly all dark-skinned Africans and their cartoon-like white gloves) are manipulated by Ms. Serpa to create a dream-like atmosphere.

Photo: Carlos Ramos

Performing the music is a formidable trio; Zeena Parkins (harp, tuning forks), Mark Turner (tenor saxophone), and David Virelles (piano).  With Ms. Serpa's often over-dubbed wordless vocals, the music holds a mystery all its own. The composition are not in the head-solo-head mode; instead, the quartet creates a mood for each piece. For instance, insistent repeated melodic fragments roil beneath and besides the voices on "Free Labour" giving the piece the feel of a Steve Reich piece. "Beautiful Gardens" uses the words of José Luandino Vieira, an Angolan novelist, from his 1961 novel "A Vida Verdadeira de Domingos Xavier (The Real Life of Domingos Xavier)", with a story line that speaks to the cruelty of the police towards the Black Angolans.  The section that one hears tells about the difference between conditions of the native laborers, the White workers, and the management.  It's not a pretty and the music does not pretend to make it sound better.

"Queen Nzinga" tells quite another story.  The piece, adapted from an excerpt of "Njinga of Angola – Africa's Warrior Queen" (2017), a book by Linda Heywood, celebrates the life of the 17th Century Queen, leader of the Mbundu people, who defied Portuguese rule by opposing slavery throughout her 37-year reign, even leading her people into battle.  After you listen to the story, go back and listen to the brilliant music the trio creates (it's a group improvisation as the other track discussed above), an important role in helping to tell the story.

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The mixture of the voices on "Absolute Confidence" blends with the crashing piano chords and plucked harp notes while Turner serves as a counterpoint to the singer. There's a classical feel to the intertwine lines from piano, sax, and voice on "Propaganda" and, as the piece moved forward, Virelles steps away and into a solo filled with rippling phrases. The album closes with "Unity and Struggle" with words from from Amílcar Cabral, an agricultural engineer, poet, essayist, and an anti-colonial leader who was assassinated in 1973.  The accompanying music is fascinating as Ms.Serpa creates the melody from reciting Cabral's forceful words. Turner shadows the voice here as well while Ms. Parkins has her own melody line and a short solo.  Turner and Virelles then trade with harpist as the piece and album fade don.

If you are someone who enjoys the voice and music of Sara Serpa, "Recognition" might seem a bit stark and shocking first time through.  Go back, listen to how the voice, the words, the music, all these elements together tell a story of slavery, subjugation, tradition, transition, and more.  Disturbing story and music? Yes. Do artists still need to tell these stories?  Yes.  Do you need to listen? Now more than ever.

For more information, go to www.saraserpa.com.  To purchase the album, go to https://saraserpa.bandcamp.com/album/recognition-2.

Here's one of the fascinating tracks:

Photo: David Crow

Rudresh Mahanthappa, alto saxophonist, composer, and educator, not only possesses great technique but also quite a curious mind. Over the course of his career (now spanning nearly a quarter of a century), he has worked with artists such as Vijay Iyer, Jack DeJohnette, Bunky Green, Steve Lehman, Danilo Pérez,and many others. He's led or co-led numerous sized-ensembles with forays in Carnatic Music, fusion, and through-composed music. He also has a sweet tone, can easily and rapidly move through into his instrument's higher ranges; there are times on his recordings when his saxophone sounds straddle the worlds of jazz and South Indian music.

His latest musical adventure, "Hero Trio" (Whirlwind Recordings), is a loving and often hard-driving tribute to his musical inspirations. With the high-energy rhythm section of bassist François Moutin (bass) and Rudy Royston (drums), Mahanthappa dances, dips, dives, roars, and purrs through a program that differs from anything he's done before – he did not compose any of the music.  Nevertheless, the trio tackle music by Charlie Parker, John Coltrane, Ornette Coleman, Stevie Wonder, Keith Jarrett, Ira Gershwin-Vernon Duke ("I Can't Get Started"), Gene de Paul ("I'll Remember April"), and Johnny Cash.  Yes, Johnny Cash! The Trio dances through "Ring of Fire" (a tune that June Carter Cash and Merle Kilgore and was first recorded by June's sister Anita in 1962 and was a big hit for June's husband Johnny the following year), paying tribute to the original tempo in the beginning and continually toy with it throughout.  Moutin never loses the groove and Mahanthappa dances atop it with glee.

Photo: David Crow

There is plenty of joy in this music. From the rumbling volcano of Parker's "Red Cross" (listen below) to the trio's dancing take of Bird's "Barbados" which is paired with Coltrane's "26-2" to Jarrett's romping "The Windup" (notice that Moutin takes the role of the composer's left hand), one can just imagine the energy in the stdio as the band played. "...April" is initially deconstructed then the alto and bass dive into the melody as Royston creates a percussive storm beneath them. They move back-and-forth to the melody until Mahanthappa uncorks a dazzling solo building off the energy of the drummer.

Photo: David Crow

The music slows down for a pair of tracks,  the down-tempo version of "I Can't Get Started" and Coleman's "Sadness."  Moutin's excellent bow work is displayed on the latter as he and the leader share the melody and improvisation. The piece is performed rubato therefore Royston's role is to dramatically "color" around his colleagues.  On the former, the saxophonist introduces the handsome Vernon Duke melody but note how the tempo is parsed, a martial beat that evokes a darker quality to the piece.  The album closes with a rousing take of Parker's "Dewey Square" with Mahanthappa playing around, through, and in and out of the melody. The rhythm section feeds off of the leader's energy, pulling the music forward in a spirited rush of sound.

2015's "Bird Calls" (ACT Music) was Rudresh Mahanthappa's tribute to one of his musical mentors, using the same rhythm section and adding the musical voices of Matt Mitchell (piano) and Adam O'Farrill (trumpet). "Hero Trio", in its way, "flips the script", taking the original music the saxophonist exposed in his younger days and making it feel new, fresh, invigorated by the sheer joy of playing.  The avid listener will marvel at the delightful sounds created by Messrs. Mahanthappa, Moutin, and Royston – play this music loud and often!

For more information, go to www.rudreshm.com. Go to https://rudreshmahanthappa1.bandcamp.com/album/hero-trio to hear more and purchase the album.

Here's the opening track (one of the three tunes composed by Charlie Parker):

New Music: Solo, Duo, & Trio

I have had the pleasure to write about Dr. Denny Zeitlin and his music numerous times over the past decade. We have spoken several times and I remain amazedly by his energy, his devotion to his music, his practice, and his students (he teaches Clinical Psychology at the University of California/ San Francisco and sees patients in the "City by the Bay" as well as in his current hometown of Kentfield, CA). His professional music career started in the early 1960s, playing acoustic before getting deeply involved with synthesizers (still is, to this day). He may be best-known for his absolutely scary soundtrack to the 1978 movie "Invasion of the Body Snatchers."  Several generations of "Sesame Street" viewers learned to count to 10 with the music he created for the then-Public Television program.

Over the past five years, Zeitlin has played yearly solo piano concerts at the Piedmont Piano Company in Oakland CA. He has the pick of the pianos in the showroom. In 2016, Sunnyside released his December 2014 presentation "Early Wayne", the compositions Wayne Shorter - now the label presents "Remembering Miles".  Recorded in December 2016, the concert features an overview of Mies Davis's amazing career, from early songs such as "Milestones (1947 Version" to "Tomaas" from the trumpeter's 1986 "Tutu" collaboration with bassist Marcus Miller.  Left to his own devices, the pianist makes each song sparkle with inventiveness and spirit, melody and emotion.  You may not recognize "Flamenco Sketches" on first listen but it's easy to hear how the piece takes shape. Zeitlin has great fun deconstructing Cyndi Lauper's "Time After Time" (check out the rhythmical and playful left hand).

Photo: Josephine Zeitlin

Hard to pick out a favorite track but one of the more interesting ones is the afore-mentioned "Tomaas."  The 1986 recording is quite funky (a la Chic) whereas here, Zeitlin plays inside the piano and has also prepared strings - it's as if he's duetting with slide guitarist. But, when the slinky bass line comes in, the music changes direction, starting to roll forward and the melody line emerges.  Now the right and left hands are in a call-and-response and the listener hears the original funky nature.

The album closes with two songs that have their origins in the 1950s.  "The Theme" comes from a 1955 Art Blakey & The Jazz Messengers session - you may have it played on several of Davis's live albums (he used the tune int the 60s). Put simply, the music swings. The rolling bass lines and the percussive attack of the left hand is a delight.  "Weirdo", from a 1954 Blue Note quartet session (bassist Percy Heath, pianist Horace Silver, and Mr. Blakey on drums) gives the pianist a lot to play with; it's bluesy quality, the rolling gait, and flowing solo lines.

Denny Zeitlin is a master.  His love for this music comes shining through the notes he plays and how he rearranges the songs so you hear them anew. "Remembering Miles" is not only a tribute to the game-changing Mr. Davis but also to the elasticity and longevity of jazz.  Splendid recording, sweet sound, and great music - can't be that combination.

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

Take a stroll through this Benny Golson tune:



The duo of Alex Harding (baritone saxophone, bass clarinet) and Lucian Ban (piano) has been together two decades.  They first recorded on the CIMP label in 2002, releasing one album as a duo and two as a Quintet (including 2006's delightful "Tuba Project").   They have recorded with the electronic musician Silent Strike and with soprano saxophonist Sam Newsome on "The Romanian-American Jazz Suite."  Harding has worked with Julius Hemphill's Saxophone Sextet, with the Sun Ra Arkestra, and with fellow baritone saxophonist Hamiet Bluiett's Baritone Group. He has appeared on recordings by David Lee Roth (!) and Greg Osby.   Ban has led groups with violist Mat Manieri, saxophonists Evan Parker and Abraham Burton plus earlier this year, released a duo album with clarinetist Alex Simu.  The pianist has also issued several recordings that reframe the music of Romanian composer George Enescu.

"Dark Blue" (Sunnyside Records) is their first duo album since 2002's "Somethin' Holy". The music ranges from exploratory  ballads such as the title song and Harding's solo tribute to the late Bluiett ("H.B.") to the meditative, Erik Satie style "Chakra" and the more "open" "Tough Love."  On baritone, Harding likes to mine the lower tones as well as use the "keys" to play percussion. His bass clarinet work has a lilt ("Esto") as well as a bite to it ("The Invisible Man").  Ban is never intrusive, providing excellent support plus rhythmic excitement (a touch of Chick Corea on "Black Sea") and a sense of melodic wonder as he does on his solo piece "Low Country Blue".

Photo: Cornel Brad

The duo's use of silence and interaction on "Monkey See", how Harding uses the piano as a springboard as well as to speak to, and how Ban keeps the music flowing with his phrases and spare bass lines, all combine to keep one's attention.  Listen to them "testifying" on the gospel-influenced "Not That Kind of Blues" - the melody suggests Herbie Hancock's "Watermelon Man". Ban puts a lot of boogie-woogie into the piano backing as Harding roars, struts, and dances on top of the rollicking keys.

Photo: Ziua de Cluj

"Hymn" closes the 11-song program on a hopeful yet solemn note.  Ban's lovely introduction opens to let Harding's melodic and breathy baritone melody. The pianist composed the song and you can hear his hope and love for a better world come out in the performance.

Alex Harding and Lucian Ban bring there friendship, musicianship, and intelligence to the forefront on "Dark Blue".  The music surrounds the listener, invites him or her in, and keeps their attention throughout. Take a chance on this album - there are many rich moments in the music.

For more information, go to www.lucianban.com or jazzbarisax.com/harding.php.

Here's the title track:

Trombonist JC Sanford may be more recognizable these days as a conductor than as a composer/performer.  He is a protégé of Bob Brookmeyer, creating two big band albums (one with composer David Schumacher): the last several years, he has been busy conducting the large ensembles of John Hollenbeck, guitarist Joel Harrison, trombonist Alan Ferber, pianist Frank Carlberg, and the late Alice Coltrane.  He also leads several smaller groups including a quartet (the JC 4) and the three-piece band known as Triocracy. That latter group, which features Andy Laster (alto sax, baritone sax, clarinet) and Chris Bacas (tenor sax, soprano sax, clarinet), came together in the mid-200os, recorded its debut album in November of 2014.  Sanford, who won two grants in the past year, used a portion of the money to finally release  the recording.

Photo: Ryo Sasaki

"Pyramid Scheme" is finally available thanks to the Minneapolis, Minnesota-based Shifting Paradigm Records.  The 13 tracks include seven pieces from Sanford, three short improvised pieces, and one song each from Billy Joel, Stevie Wonder, and George Frederic Handel. Though the program is just a shade over 44 minutes long, there's a lot to take in.  The title track opens with the three musicians playing the theme, goes into another short section, back to the theme, and then, the separate voices begin to go there own way away from and back to the theme.  There's a hint of Julius Hemphill in the bluesy "Everything We've Always Wanted" starting with the bouncy baritone sax line, the trombone counterpoint, and Bacas's tenor sax solo. There's a different  kind of bounce to "Bagheera's Dance", a piece based on the trombonist's love of the Disney classic cartoon based on "The Jungle Book." Sanford created a melody out of the baritone saxophonist's last name to create "Outlaster" which breaks into a funky dance for the soprano sax, trombone, and the baritone sax.

"And So It Goes", the oft-recorded Billy Joel (at least this year it is), gives the trio the opportunity to each play the lovely melody as well as create counterpoint for the lead player.  The harmonies Sanford orchestrated for his horn, the tenor and alto saxes, sound lush and gentle.  Handel's "Sarabande" (from the third movement of his "Concerto for Oboe in G minor") also contains lovely three-part harmony as well as a fine soprano line. The Wonder song, "You and I" (from 1972's "Talking Book" album), has an expansive melody line that the trio plays in harmony.  Laster's tenor solo is played alone, a finely etched interpolation of the melody.

As for the improvisations, they range from the bumble-bee freneticism of "Quick Change (#5)" to the odd call-and-response of "Time Parameters (#3)" and it's nervous trombone, fluttery soprano sax, and noisy alto sax.  "Something Chordal (#4)" is exactly what it purports to be, the three musicians creating long tones and the occasional group chord.  That track is quite handsome and even more striking for the fact it's totally improvised.

"Pyramid Scheme" may have taken four-and-a-half years from the studio sessions to the final product but the music sounds contemporary.  JC Sanford's Triocracy debut is an often exhilarating blend of sounds and styles of composition with and without improvisations.  And it's fascinating to sit and listen to.

For more information, go to www.jcsanford.com and/or www.shiftingparadigmrecords.com.

Here's a track to tickle your fancy:

Listening to Trios (Part 3)

I have had the opportunity to interview Dr. Denny Zeitlin several times over the past decade. He's had a long career - his first recording was issued in 1963 - not just in acoustic music but also as an experimenter in electronic pieces. The pianist, composer, clinical professor of psychiatry, turned 80 in April of this year and just this past week (5/02-5/05), he, bassist Buster Williams, and drummer Matt Wilson performed at Mezzrow in New York City.  That trio has been together since the early 2000s, recording three albums and doing the occasional tour.  Like the best trios, it's a group of equals: yes, the rhythm section takes its cues from the leader/pianist but their familiarity allows to give as good as they get.  Because of that trust, musicality, and willingness to go were inspiration takes them, the music they create is such a joy to listen to.

The trio's latest sonic adventure, "Wishing On The Moon: Live at Dizzy's Club Coca Cola in New York City" (Sunnyside Records), was recorded in March of 2009 yet sounds fresh and is quite delicious.  The 11-song program is a mix of standards and originals plus a fascinating take on "Put Your Little Foot Right Out", a child's nursery rhyme/traditional folk dance tune that inspired "The Hokey Pokey."  This performance is neither hokey or pokey but a wonderful adventure in melody and improvisation.  Even when the music is up-tempo, the trio makes sure to introduce melody, listening to each other, and pushing (sometimes gently, other times with forcefully) each other to move the music forward.  On pieces such as the title track (a Zeitlin original), listening to Williams's fine counterpoint and Wilson's sparkling brush work under the articulate piano solo is a real treat.

The centerpiece of the recording is the four-part "Slickrock" (the title of this trio's first album on the MaxJazz label) - inspired by composer Zeitlin's mountain-biking trips to Moab, Utah, the music opens with "Dawn; Gathering", a rubato piece features noisy percussion, bowed bass, and "serious" piano chords before the pianist introduces a shimmering melody (even strumming the piano strings) before exploding into "On The Trial" (not the Ferde Grofe piece), an exciting romp powered by the flying bass lines and snappy drumming.  "Recovery" sounds as if the bicyclist has slid off the path, with fiery drumming, throbbing bass, and skittish piano lines. Wilson's martial snare drum gives Zeitlin the opportunity to create a wide-ranging piano solo. The music calms down before before the final section, "On The Trail Again", when the trio moves back into high gear, powered by a thunderous drum solo that leads to a rousing climax.

If you are a fan of these musicians, you will devour this music.  Classy, melodic, rhythmical, often stunning, and great fun, "Wishing On The Moon" will make you wish you were in the audience as well as go back ands listen to the other albums by Denny Zeitlin, Buster Williams, and Matt Wilson - I know I did!

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

(I'll post a track as soon as one is available).

Speaking of great fun, you should take a listen to "Live From San Pedro", the newest CD from the Jeff Hamilton Trio and their first live recording for Capri Records.  The Trio - Hamilton (drums), Christoph Luty (bass), and Tamir Hendleman (piano) - has been together since the turn of the 21st Century, recording a slew of albums by themselves and backing artists such as saxophonists Cory Weeds and Scott Hamilton plus vocalist Wilford Brimley (!) For this album, recorded in January of 2017, the program includes two pieces by one of the drummer's long-time musical partners, bassist John Clayton, one original each from the drummer and the pianist, two from Broadway musicals, Thelonious Monk's "In Walked Bud", a splendid version of "Poinciana", and a  piece each from Hamilton's friends, the late pianist George Robert (1960-2016) and drummer Joe LaBarbera

Again, familiarity breeds excellent results. Hamilton's "Sybille's Day" opens the album on quite the swinging note. It's a bluesy shuffle powered by the thick bass lines and dancing drums. That cushion allows the pianist to really dig in and produce quite the exciting solo.  There are no surprises in the Trio's take of Ahmad Jamal's classic "Poinciana" - yet the loping beat, the circular bass line, and the recognizable piano melody is pleasantly comforting. Luty's elastic bass lines and Hamilton's drums do conjure up Jamal's classy rhythm section of Israel Crosby (b) and Vernel Fournier (d).  It's so easy to get lost in the rhythm section that you miss the splendid playing of Hendelman.  The temptation to press "repeat" is hard to resist.

Photo: Bill King

Several pieces emphasize Hamilton's fine work with brushes.  Robert's "Hammer Tones" and Clayton's "Brush This", with the former being a jaunty showcase for how the ensemble can play a joyful blues and the latter a a sweet re-arrangement of a classy tune from the Clayton-Hamilton Jazz Orchestra repertoire.  The other Clayton contribution is also an uptempo blues shuffle.  Hendelman really digs in for a funky solo while his partners really provide the propulsion (dig the great cymbal work).
Hamilton's dancing brushes lead the trio into a samba-soaked performance of "Gary, Indiana" (from "The Music Man") while the brushes create a softer environment on the lovely "I Have Dreamed" (from "The King and I"), the one ballad on the program.  Pay close attention on the slow song to the melodic counterpoint Luty creates as well as the soulful musings of the pianist.

"Live From San Pedro" is a flat-out treat from beginning to end.  Three talented musicians who absolutely do not rest on their laurels create a program that is filled with swinging rhythms, splendid solos, and a joie de vivre that is impossible to resist. The Jeff Hamilton Trio shines brightly: like the Denny Zeitlin album above, one imagines it would have been great to have a front-row seat for this playful and play-filled set.

For more information, go to hamiltonjazz.com/artist-category/jeff-hamilton-trio/.

Here's that joyous opening track:



Acoustic guitarist and composer Adam Tully first studied tango music in 1995 Buenos Aires, Argentina, with tango guitarist master Anibal Arias.  Since then, he performed as a soloist on stages throughout the United States.  He has also worked alongside \numerous artists and groups in the U. S. and Latin America, playing with The Zvi Midgal (a group that takes its name from famous Polish prostitution ring that also sent women to Argentina) and Importango (a piano, guitar, and violin trio that was based in Brooklyn). Tully can play Baroque guitar, Latin American music,  and flamenco but has found a home playing and composing tangos.

His debut album as a leader, "La Llegda" ("The Arrival") has just been issued by the Argentinean label Epsa Music: The 11-song program features Tully's guitar alongside the articulate bass work of Pedro Giraudo and the emotionally rich piano of Emilio Teubal. There are several moments when this music is reminiscent of the work of Astor Piazzolla as well as Ralph Towner.  Tully's "Vals Mio" opens the album. The lovely melody is complemented by the subtle bass work (note Giraudo's counterpoint) and stately piano lines. The delicate piano and guitar interactions on Teubal's "Cumbio de Rumbo" are dramatic to be sure but also quite melodic. The grandeur of "Don Andrés" also has a playful side. Again, the brilliant bass counterpoint stands out alongside both the guitar and piano. When the guitarist leads the bass ands piano into the delightful "Andanzas", it's hard not to get up and dance. Yet, the piece can be as delicate as a spring breeze and powerful as a clap of thunder.

Tully goes it alone on "Doce", a lovely tune from contemporary Argentinean composer Fernando Otero.  The blend of various melody and chords move like lines of poetry and Tully's use of silence gives such gravitas to the music. For the final track, "Lluvosia", Felipe Traine adds the voice of his guitarrón (an deep-bodied six-string acoustic bass) to Tully's guitar.  They create quite a mysterious sound; it is fascinating to hear how they wrap their guitar lines around each other and how the lower guitar creates such a fine counterpoint to the higher sound.  

"La Llegada" is quite an attractive album with music that reaches into your mind and soul.  At times joyous, other times melancholy, Adam Tully has created music that reflects and respects the past while illustrating how a trio can also be forward-looking.  The interplay of Tully with Emilio Teubal and Pedro Giraudo (his bowed bass throughout is quite attractive) is so impressive.  Sit down with this album and enjoy the journey.

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

Here's the delightful opening track:

This & That, Late July '17 Edition

Pianist Denny Zeitlin first played with drummer and percussionist George Marsh in the late 1960s.  When Dr. Zeitlin (he's also a Clinical Professor of Psychiatry, a practicing psychiatrist, and an oenophile) was commissioned to write the film score for the 1978 remake of "Invasion of the Body Snatchers", not only was Marsh involved but the composer was able to employ synthesizers to help create mood. Dr. Zeitlin went back to acoustic music for several decades while Marsh made his name as a session player and played with numerous groups.  But the pianist never lost his curiosity for the myriad that electronic instruments could generate and, by the turn of the 21st Century, was beginning to explore their use once more. Sunnyside released "Both/And" in 2013, a solo excursion on which synthesizers played a major role.  He reunited with the drummer that same year and they soon began experimenting together in Dr. Zeitlin's home studio.

In the studio, they would set up back-to-back and just begin playing.  Every session was recorded and when the keyboardist went back to listen, he had a lot of fine interactions.  So much so, that Sunnyside released "Riding The Moment" in 2015.  Now, the label has issued "Expedition" and it's even more fascinating and exploratory than the duo's debut.  My initial reaction, especially when the duo falls into a slinky groove, is to compare this music to the work of the late Joe Zawinul, especially from Weather Report's third album (1973's "Sweetnighter") forward.  Both keyboard masters have the ability to play such slinky grooves but, if anything, the good Doctor has a more melodic approach.  The way he mixes the acoustic piano with the synths on "Thorns of Life" is so attractive, the sonic colors so vivid.  Listen to how the duo pulls away from the abstract opening of "Traffic" and falls into a delightful groove (courtesy of the drums and the deep bass notes from the pianist's left hand).

The ethereal voices that move in and out of "Spiral Nebula" give the piece (also with thanks to the title) the feel of soundtrack music from "Star Trek" or some other "space" movie.  Yet, there is a lovely vulnerable moment when it's just acoustic piano and drums; the interaction is emotionally rich, the music compelling.  "Shooting the Rapids" is an high-energy romp powered by Marsh's deep groove. Do they ever play!  "Not Lost In The Shuffle" does have a hint of blues in the drums and low keyboard notes yet notice how the trance-like keyboards support Marsh's powerful solo.

By the time you reach the last track, the title cut, you've been on quite an "Expedition."  Denny Zeitlin sees his role as not only the writing the melodies but also orchestrating them.  He has quite an orchestra at his fingertips, managing to veer away from the desire to fill every second with sound. George Marsh is not just the "rhythm section"; he, too, has a melodic side yet he often keeps the music "grounded", allowing the pianist to explore so many different paths. Listen to how the duo enters into "One Song", with the acoustic piano supported by the drums and keyboard bass.  It's a pretty piece, smart brush work, quiet background "strings", slowly adding different keyboards but never losing touch with the ballad heart of the music.  What makes this album and its pastiche of sounds, noises, and melodies so impressive is that the music is always accessible, always intelligent.  You should go on this trip; it's not "novelty" music but the adventures of two musicians who have always pushed beyond the mundane, the tried and true, into the heart of creative music.

For more information, go to www.dennyzeitlin.com and georgemarsh.com.

Here's a track to explore:




On Saturday July 29, the Music Mountain Twilight Series, held at the historic concert hall in Lakeville, CT, presents the Alan Ferber Nonet in concert at 6:30 p.m. Trombonist and composer Ferber organized the Nonet in the early 2000s and the ensemble's first recording came out on Fresh Sounds New Talent in 2005. They have since released three albums, the latest being 2016's "Roots and Transitions" (Sunnyside).  Ferber, one of the busiest musicians on the planet, also has issued one big band CD and has another coming later this year.

For this weekend's show, the Nonet will consist of Ferber, Scott Wendholt (trumpet), Jon Gordon (alto sax), Jason Rigby (tenor sax), Charles Pillow (bass clarinet), Kris Davis (piano), Nate Radley (guitar), Matt Pavolka (bass), and Jared Shonig (drums).  The music they make defies categorization (most people would call it jazz) and Ferber's melodies are so impressive, his arrangements so intelligent, and one can hear so many possible influences, from Sondheim to Brookmeyer to Gil Evans and beyond.  

For ticket information, go to musicmountain.org or call 860-824-7126 or 860-824-7626. 

Here's a track from the Nonet's latest CD:

Also this Saturday, Real Art Ways, 45 Arbor Street in Hartford presents the Tyshawn Sorey Septet in a free concert at 7:30 p.m. The drummer, composer, trombonist, pianist, and soon-to-be Professor of Music at Wesleyan University keeps a busy international schedule. He's got a new Trio album coming out August 4 on Pi Recordings - "Verisimilitude" features the fine pianist Corey Smythe and bassist Chris Tordini working their way through Sorey's fascinating, minimalist compositions.  For the Hartford concert, the Sextet will be composed of Stephen Haynes (trumpet), Ben Gerstein (trombone), Todd Neufield (guitar) plus three acoustic bassists, Mark Helias, Joe Morris, and Carl Testa.  The music is based on Zen Buddhist practices and the composer's fascination with low and slow sounds.  For more information, go to www.realartways.org  or call 860-232-1006.