Potpourri

Much has befallen (emphasis on "fall') since the previous post. Now I have two fractures to heal! Still listening to plenty of music but writing is slow and cumbersome. Here's a sampling of what I was working on between the two accidents.

Unless you have paid no attention to Black American Music over the past decade-plus, the name Luke Stewart should be quite familiar. The bassist has worked with David Murray, Wadada Leo Smith, Nicole Mitchell, the late Jaimie Branch, Marshall Allen, and so many more.  He leads several different ensembles including the Exposure Quartet, Heart of the Ghost, and the Remembrance Quintet as well as co-leading Irreversible Entanglements.  He also leads Silt Trio, an ensemble featuring tenor saxophonist Brian Settles, and drummers Trae Crudup or Chad Taylor. The Trio's 2020 debut, the self-released "No Trespassing" did not carry the Silt Trio monicker, has Crudup on drums, and sounds like a totally improvised set. 2022's Cuneiform release,  "The Bottom", features Taylor and showsw three voices working as one, not beholden to any one style and also displaying Stewart's ear for melody – the songs are not "blowing tunes" but composition and free improvisation often reside in the same pieces.

Silt Trio's new recording "Unknown River" (Pi Recordings) is made up of four tracks recorded in Tempo House studios in Baltimore, MD, and three recorded live in Trinosophes, a cafe/ performance space in Detroit, MI. The studio tracks open the album with Crudup in the drum chair (he's also worked with saxophonist James Brandon Lewis). Listen below to "Seek Whence", the opening track – the bass and drums lay down a "tight" groove and the underappreciated Settles delivers the melody then creates a solo that is his response to both that melody and the rhythmic drive.  "Baba Doo Way" follows and it's easy to see where the tune got its title.  Doesn't take long for the Trio to move up and away from the melody into a frenetic, at times, improvisation that shows how deeply they listen to each other plus the strength of the bass lines to allow Crudup to explore poly-rhythmic pathways.

Photo: Luciano Rossetti

The three live tracks open with "Amilcar" and Taylor announces his presence from the get-go with the powerful solo that introduces the track. Two minutes in, Stewart joins in, his powerful bass work introducing Settles and a thunderous solo, arguably his most exciting and impressive of the album. Stewart taes the peace to its finish with a throbbing solo which leads into the nearly 13-minute opus "Dudu".  The bowed bass, the steady beat, and Settles playing slow melody lines creates a drone. Three minutes in and there's a shift in dynamics, the tempo picks up, the tenor and bass lines flutter and skitter around each other as the drums sit out.  As Settles and Stewart continue their improvisatory dance, Taylor returns and the intensity begins to climb. Soon, the three musicians are firing on all cylinders withg Settles riding the rhythmic headwinds created by the bass and drums.

"Unknown Rivers" may refer to the numerous underground water sources that fill our lakes, bays, reservoirs, and oceans or, more to the point, to the rivers of music that course through the musicians bodies as they are creating in real time.  Luke Stewart Silt Trio creates fascinating music on this, their third album, and one imagines they must thrive in the concert/ club setting. If you're a fan of saxophone trio music, this album ranks up there with Sonny Rollins' "Freedom Suite", with Air's "Air Time", and Matana Roberts, Josh Abrams, & Chad Taylor's "Sticks and Stones", arguably my favorites. 

For more information and to purchase the album, go to https://lukestewart.bandcamp.com/album/unknown-rivers. 

Here's the opening track:

There's a delightful new recording from percussionist-composer Samuel Torres. Titled "A Dance for Birds",  Torres has created a nine-movement suite of music for the Latin Chamber Ensemble that features the members of his Sextet plus the Bergamot String Quartet.  

Here's the video for "The Song" with graphics created by Colombian visual artist Diego Pombo:

Ernesto Cervini is one busy person, leading several ensembles, playing as a sideman, running his publicity company, touring, and helping to raise a young family.  One of his ensembles is the sextet Turboprop and their new recording is, arguably, its best.  "A Canadian Songbook" (TPR Records) is a seven-song program featuring two interpretations of two Canadian "pop" songs, two Cervini originals, one from Turboprop trombonist William Carn, and one each from friends Allison Au and James Hill. 

Here's the group's take on The Barenaked Ladies "When I Fall":

Turboprop is:

Tara Davidson - Alto Saxophone
Joel Frahm - Tenor Saxophone
William Carn - Trombone
Adrean Farrugia - Piano
Dan Loomis - Bass
Ernesto Cervini - Drums

Hard & Heart to Know Where

Photo: Matt Griffiths

It's been over a decade since I saw and heard vocalist, composer, broadcaster, and journalist Nicky Schrire in a duo concert with pianist Gerald Clayton. She has just released "Space and Time", a album of duos with Clayton, Gil Goldstein, and Fabian Almazan.  The intimacy of the duo performances worked well in concert.  But soon, Ms. Schrire moved from New York City to London, England, then to Capetown, South Africa, finally settling several years ago in Toronto, Ontario, Canada.  Along the way, she composed a project for cello, guitar, and voice as well as a yet-unrecorded String Quartet. Upon moving to Canada, she began a weekly program for Toronto's JAZZ-FM.91 ("The Bright North"). When Jason Crane took a sabbatical from his excellent podcast 'The Jazz Session", Ms. Schrire took over for the 14th season. Now, she curates the "Mothers-in-Jazz" series for "The London Jazz News", an online Jazz zine that she has contributed for over a decade. 

But no jazz-based music on record for Ms. Schrire until now.  Anzic Records has just issued "Nowhere Girl", a collection of 11 songs, mostly all original. To help her translate these songs, she and producer Oded Lev-Ari gathered an excellent rhythm section composed of pianist Chris Donnelly, bassist Dan Fortin, and drummer Ernesto Cervini (who record and tour together as Myriad3) plus guest appearances from Tara Davidson (alto and soprano saxophone on four tracks), Laila Biali (vocal on one track), and Julio Siguaque (electric guitar on one track).  What stands out for this listener is how comfortable Ms. Schrire sounds, even as her songs talk of wandering the world (the title track), missing a songwriting partner ("Traveler"), or a lovely ode to her parent ("Father"). Donnelly's accompaniment is splendid throughout while Fortin and Cervini not only create finely-wrought backgrounds but they also can dance, sway, and even whisper when the song calls for it.

Many of these song defy genre. The lovely "A Morning" is a finely etched poem set to a handsome melody (listen for the swirling piano "raindrops" behind the wordless vocal in the middle....sounds Elizabethan). "In Paris" is both a lovely walk through the City of Lights in the morning and also a tribute to Joni Mitchell's "Free Man in Paris"––Ms. Davidson's lovely soprano channels Wayne Shorter, her lovely tone surrounding Ms. Schrire's vocal in the next-to-the-last verse. On "Closer to the Source", the singer adds her own lyrics to the lilting melody by the South African composer Bheki Mseleku (1955-2008)–Ms. Schrire slows the tempo a bit but one still feels that bright bounce associated with South African music. Donnelly shines here as does Ms. Davidson on soprano.  The song serves as a tribute to the composer and to the comfort the singer when she returns (such an interesting juxtaposition Mseleku wrote the tune as he lived in exile in London).  

"Nowhere Girl" ends with the delightful, whirling, rhythmical treat "My Love"...no, not the Paul McCartney song but a "party tune" dedicated to Capetown.  The trio plus Ms. Davidson play with great joy but it's the clicking, overdubbed, guitar (played by Julio Sigauque, a musician from Mozambique who Ms. Schrire met when both studied at the University of Capetown) that sets the pace.  It's an upbeat close to a really fine recording. When you sit down to listen, you'll hear how Lev-Ari deftly overdubs the vocalist on numerous occasions during the album.  Also, Laila Biali joins her voice to Ms. Schrire's on the lovely and heartbreaking take of Kate & Anna McGarrigle's  "Heart Like a Wheel". 

Many hurrahs to Nicky Schrire for taking her time to create this album and for putting together such an excellent cast of supporting friends/musicians.  Such good music deserves to be heard––then this  "Nowhere Girl" will have a place...in your heart and soul!

For more information, go to www.nickyschrire.com.  To hear more and to purchase the album, go to https://nickyschrire.bandcamp.com/album/nowhere-girl. 
 

Hear "Traveler":

Of These I Sing (Part 2)

You should think of "OTIS Pt 2" as the other albums that could have been in "Part 1" save for the space and attention span (mine).  I love this music and the genuine creativity of the musicians makes me hope for a future that is bright and welcoming for our successors.

Fergus McCreadie – "Forest Floor" (Edition Records) – This is the third album from Scottish pianist McCreadie, the third to feature his trio of bassist David Bowden and drummer Stephen Henderson. All are busy on the growing Jazz scene in Scotland (and beyond) but when they come together to play McCreadie's music, magic happens! The pianist has become even more melodic in the past several years; though he can still play with exquisite technique, the pianist and the rhythm section are concentrating on telling stories and delivering messages in their music. One can still hear the influence of Highland reels, at times, and that is a welcome delight!

Listen to "The Unfurrowed Field":

Vadim Neselovskyi – "Odesa: a Musical Walk Through a Legendary City" – (Sunnyside Records) – Speaking of stories, four months after Russia invaded Ukraine (February 2022), pianist, composer, and educator Neselovskyi released this tribute to the city where he was born and raised (moving to Germany at the age of 17).  One can not help but write that emotional pull of the terrible war (and the horrific stories we have heard and seen) gives this music heft––still, this is a tribute to the vibrant country where the pianist spent his formative years, to the family and friends he left behind, and to his desire that the country remain free. Since the album's release, Neselovskyi has toured extensively raising money to help refugees and the displaced within the country.  

Walk down the "Potemkin Stairs":

Andrew Cyrille, William Parker, & Enrico Rava – "2 Blues for Cecil" (TUM Records) – This release was a delightful surprise when it was issued in late January.  These three masters play tribute to pianist and composer Cecil Taylor, not be imitating him or covering his music but by demonstrating how the rhythmic innovations and startling melodic explorations can be interpreted so magically.  Messrs. Cyrille and Rava (both born in 1939) sound great together and Mr. Parker (13 years their junior) keeps them on their musical toes.   All three contribute compositions and there are four improvised plus a sweet version of "My Funny Valentine".

Here's "Ballerina":

Clark Sommers Lens – "Intertwine" (Outside In Music) – Bassist Sommers is often the glue in the various sideman projects he takes part––on his own, he shows a fine ear for melody, for allowing his music to breathe, and for giving his bandmates the room to create.  There is a lot of music on "Intertwine" so let it roll through your brain and soon it will find its way to your heart. While I find the ballads most rewarding, there are several hard-edged pieces that sound great turned up loud! Great playing from the leader and from Chris Madsen (tenor sax), Geof Bradfield (bass clarinet, soprano and tenor saxes), Matt Gold (guitar), and Dana Hall (drums). 

Here's "Second Guess":

Ernesto Cervini – "Joy" (TPR) – Drummer, composer, arranger, and publicist Cervini is a fan of the mysteries of Canadian author Louise Penny. And, for good reason. She writes mysteries where the lead character, Chief Inspector Armand Gamache, spend many days and nights in the fictional town of Three Pines, Quebec, solving complicated murders and discovering just how magical a place it can be.  The drummer has created a fascinating suite of music featuring members of Turboprop, Tune Town, and Tetrahedron, groups that he leads or co-leads. Also, there are a number of guests, all who work to describe the characters who inhabit the town as well as the Chief Inspector and two of his closest associates. It's a smart idea that covers a lot of musical and literary territory!

Blues inspired by duck?  Listen here to "Ruth's Rosa":

David Murray Brave New World Trio – "Seriana Promethia" (Intakt Records) – Murray, who excels on bass clarinet and tenor, remains vital well into his seventh decade. This "power trio" date on Intakt features bassist Brad Jones and drummer Hamid Drake playing music that swings, rock, whispers, squalls, and, at times, that you can dance to.  The music on this album, all originals from Murray, is neither dated nor imitative but vital, exciting, and impressive. There's not a wasted note in this program only music that will challenge, soothe, and ultimately remind you of the power and grace of Black American Music.

Dance to the funky title track:

James Brandon Lewis Quartet – "Live: Molecular Systematic Music" (Intakt Records) – Bassist Jones (see directly above) is also a member of saxophonist and composer Lewis's "Molecular Music" Quartet.  Along with Lewis and Jones are pianist Aruan Ortiz and drummer Chad Taylor.  This double CD set was recorded on the opening night (May 15) of the ensemble's 2021 European tour, the first time the group had played together since they recorded the second album, "Codes of Being" (released in October of 2021).  The excitement and enthusiasm of the musicians is palpable; the fiery playing may remind some of John Coltrane's classic Quartet but these songs display Lewis's growing maturity as a songwriter and a leader.  He is quickly becoming a major voice as a musician, composer, and storyteller.

Hear "Of First Importance":

Art Hirahara – "Verdant Valley" (Posi-Tone Records) - Pianist and composer Hirahara is an impressive pianist (also plays organ on occasion) and has developed into a top-notch composer.  His work for producer Marc Free and Posi-Tone Records (now eight albums as a leader and more as a sideman) sparkles with creativity and swings lustily with a softer side that is often lyrical and poetic. Joined here by bassist Boris Kozlov and drummer Rudy Royston with saxophonist/ flutist Donny McCaslin showing up on over half the tracks, the album jumps out of the speakers with a joy and intensity second to none. This is another recording that will make you glad to be alive in this day and age!

Hear "Zero Hour":

Dave Douglas Quintet – "Songs of Ascent: Book 1 – Degrees" (Greenleaf Music) – Mr. Douglas and his "Be Still" Quintet––Jon Irabagon (saxophones), Matt Mitchell (piano), Linda May Han Oh (bass), and Rudy Royston (drums)––created these musical interpretations of Old Testament Psalms in a unique. The leader played all his parts, sent those of to Mr. Irabagon who played his parts and passed them on to Mr. Mitchell and so on.  To these ears, this music is alive, feeling like the Quintet is playing together in a studio. That's a tribute to the composer's vision and the great talents of the ensemble.  

There's a "Book 2" that is only available to subscribers of Greenleaf Music.  Believe me, it's worth the investment! Go to https://greenleafmusic.com/ and find out more.

Listen to "Lift Up My Eyes":

Pablo Ablanedo – "Chistreza" (Newvelle Records Digital) – The folks at Newvelle Records have begun this year to release digital versions of the high quality vinyl albums that have captured listeners attention over the past six years.  "Chistreza" is a gem from pianist-composer Ablanedo featuring the band he recorded his debut album with over 20 years before. What a band––violinist Jenny Scheinman, saxophonists Chris Cheek, Jerome Sabbagh, and Anat Cohen (clarinet only), trumpeter Diego Urcola, guitarist Ben Monder, bassist Fernando Huergo, and drummer Franco Pinna (with saxophonist Daniel Ian Smith on two tracks. Best of all, the original compositions are well-drawn, the arrangements sharp, and the soloists impressive.

Listen here to "La Señal":

 

Yes, Virginia, there is a "Part 3" coming soon!

Two Drummers Who Lead, Think, Tell Stories, and Play

Photo: Jim Levitt

Ernesto Cervini is a multi-faceted person; not only does he play drums, piano, and clarinet but he also arranges, composes, is a publicist for numerous Canadian artists plus he teaches.  And, apparently is an avid reader. His sister Amy (she of Duchess trio and solo albums) recommended he read the books of Louise Penny, the Canadian author best known for her series of mystery novels featuring the detective inspector Armand Gamache where much of the action is set in the fictional village of Three Pines, Quebec.  Each one of the characters is finely drawn, their stories are often riveting, and the hero, while somewhat flawed, is wise and quite intelligent.

Cervini, the composer, was much taken by the series (up to 18 books now with the November 2022 publication of "A World of Curiosities") and decided to put his impressions into music. The result, "Joy" (TPR Music), is a fascinating melting pot of styles as the drummer creates portraits of the major characters utilizing 16  musician and vocalists (see the list below), some of who only appear on one tracks, others as many as seven.  The programs ranges from the impressionistic opening track, "Three Pines", a work that features three vocalists and atmospheric guitar over acoustic bass and drums to the slow blues of "Myrna" that features the smoky tenor saxophone of Kelly Jefferson and the fine acoustic bass of Artie Roth.  Pianist Adrian Farrugia, bassist Dan Fortin, and Cervini shine on "Sandalwood and Rosewater" (if one gets close to Gamache, that's what they smell). Then there's the quirky blues of "Ruth's Rosa" (Ruth is a poet, Rosa is her profane duck), a tune on which clarinetist Virginia Macdonald plays the former and trumpeter Jim Lewis the latter while Cervini creates clatter underneath their call-and-response.  Even more fun is the "hot" swing of "Surprised by Joy" (listen below) with its thematic bow to Keith Jarrett's "The Windup" and smashing solos by Farrugia and Jefferson!

Photo: Justin Van Leeuwen

There are two solo performances in the program. First is "Clara", a villager who is an artist and she is aurally "painted" by alto saxophonist Tara Davidson and the second is Farrugia's solo piano portrait of the artist's husband "Peter Morrow". These characters  have a troubled relationship and one can hear a touch of dissonance in their musical portraits.  In another portrait, Cervini's lively brush work supports Ms. Davidson and her husband, trombonist William Carn, as they create a genial portrait of "Oliver & Gabri", the owners of the village's Bistro and Bed & Breakfast.  

If you haven't read the books, you should still seek out "Joy"; the music is lively, heartwarming, tender, swinging, mysterious, and filled with fine melodies and great performances.  Ernesto Cervini, who is a fine drummer, shows off his "composerly" side and it works like a charm.  As a fan of Ms. Penny's book series, I'm delighted with this excellent collection of portraits of characters I've come to admire and look forward to reading about!

For more information, go to https://ernestocervini.com/. To purchase the album, go to  https://ernestocervini.bandcamp.com/album/joy. 

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Here's the opening track "Three Pines":
 

Felicity Williams , Emilie-Claire Barlow, Amy Cervini, Alex Samaras  - Vocals, 

Virginia MacDonald – Clarinet, Tara Davidson – Alto Saxophone, Luis Deniz – Alto Saxophone, Kelly Jefferson - Tenor, Soprano Saxophones, 

Jim Lewis – Trumpet, William Carn – Trombone, 

Adrean Farrugia – Piano,

Don Scott – Guitar, 

Dan Fortin - Acoustic Bass, Artie Roth - Acoustic Bass, Rich Brown - Electric Bass,

EC – Drums, compositions, arrangements

Drummer-composer Mark Guiliana wears many hats as a musician including leader, sideman, composer, arranger, and collaborator.  He's worked with David Bowie, Brad Mehldau, Dave Douglas, Donny McCaslin, Lionel Loueke, and Gretchen Parlato among others.  Over the course of nine albums as a leader, he's integrated electronics with acoustic music, created dance music , and played straight-ahead jazz.  His 10th album, and first for Edition Records, is "The Sound of Listening" and features his "jazz" quartet composed of Shai Maestro (piano, mellotron, ampli-celeste, Fender Rhodes), Jason Rigby (tenor saxophone, clarinet, bass clarinet, flute), and Chris Morrissey (acoustic bass) while the leader not only plays drums and composed all the pieces but also contributes synths, percussion, and drum programming.

Guiliana the composer asks the listener to look inside him-or-herself and to really think and feel how music can move you, can make you a better person, and even heal you. The program opens with "A Path To Bliss", a lovely ballad introduced by Maestro's acoustic piano and electronics; slowly but surely, the bass and tenor sax enter and the melody continues to rise until Rigby plays a short solo on bass clarinet.  The layers of reeds and keys soon are underpinned by Guiliana dancing over the drums and cymbals. That powerful piece leads to "The Most Important Question" which opens on a tenor and a bass pedal point. The piano joins the melody before the bassist steps out for a short statement. The music speeds up but keeps fluctuating to different voices in the lead. The intensity draws the listener in as do the insistent rhythms. 

Photo: John Watson

Interspersed amidst the 10 songs are four shorter  compositions, two of which are fully "electronic" pieces, the longest (2:37) being the title track. One of the other short works, "A Way of Looking", blends acoustic and electronic sounds yet it's the handsome melody that catches your ears. One of the other "shorties", "Practicing Silence", has a loping bass line played on piano while Maestro and Morrissey play the gentle yet compelling melody. 

The program closes with "Continuation", an African-inspired work that builds off of shaken percussion and prepared piano (that sounds like kalimba).   All the members of the group get to play the melody, the sensuous phrases snaking over the galloping rhythms.  All of a sudden, Maestro's piano steps out front (the solo sounds overdubbed)––Rigby comes back to state the melody before everyone drops out and the percussion takes the piece and the album to its conclusion. What remains in your mind is just how joyful a piece of music you just heard.  

"The Sound of Listening" draws you in on its blend of rhythm, melody, and emotions.  Mark Guiliana and company mix it up and keeps one's interest throughout.   Dig in and really listen!

For more information, go to www.markguiliana.com/.  To hear more and to purchase the album, go to  https://markguiliana.bandcamp.com/album/the-sound-of-listening.

Hear "Under The Influence":

Canadian Wonderlands

 

Carn Davidson 9, the brainchild of trombonist/ composer William Carn and multi-reed player/ composer Tara Davidson (they are also husband and wife), has been in existence for a decade.  Composed of nine of the busiest musicians and educators in the Toronto, Canada, area, the nonet (see personnel below) features three reeds, four brass, and bass and drums, but no chordal instruments.  The intelligent compositions and arrangements spread the warm sounds of the brass and reeds across the sound spectrum with rich melodies and harmonies that pull in the listener.  Kudos also go to the splendid rhythm section –– bassist Andrew Downing and drummer Ernesto Cervini –– for their great support, enthusiastic as well as musical playing, and sensitivity in propelling the "little big band". 

The nonet's third album, "The History of Us" (Three Pines Records), consists of two three-song suites plus one composition by Carn dedicated to the late Murphy the Cat who is positioned in the middle of the album cover.  The trombonist's "Finding Home Suite" (Pt. 1 – "A New Life") opens the recording in a ballad tempo led in by the flutes and clarinets with the brass and supportive reeds on either side of the sound spectrum.  Kevin Turcotte creates a fine trumpet solo in the middle, reminiscent of the sound and style of the late Kenny Wheeler. The opening brass and reeds fanfare of "A Mother's Song" has the richness of a Bob Brookmeyer arrangement–– as the song progresses, the trumpets open the melody then share it with the reeds and trombones.  The suite closes with "Home" with the baritone saxophone and low tines leading the way to the melody. The emotion of the melody pushes the piece forward to a bluesy and powerful baritone sax solo from Shirantha Beddage that fills the mid-section of the nearly nine-minute piece.  The reeds follow with a repetition of the melody that builds in intensity until a solo trombone line slows the piece down, producing a lovely coda.

As the album title suggests, this is a very "family-centric" program with songs by both co-leaders dedicated to parents (and, yes, the late family cat).  The music is impressionistic but nearly always with a calm center.  On ""Swept Out to Sea (For Dad)", the sweep of the brass and reeds as well as how Kelly Jefferson's tenor sax solo steps out is reminiscent of Maria Schneider's "open sounds" –– the sharp but not harsh brass sounds and the warm reeds blend fill in the musical portrait.

"The History of Us" is a powerful yet mentally soothing program from Carn Davidson 9.  Powerful because the songs and the performances are so heart-felt and soothing because in these uncertain often frightening times, we need "us" more than ever.  To find out more, go to www.threepinesrecords.ca/home/carndavidson9.  To hear, watch, and purchase the album, go to https://carndavidson9.bandcamp.com/album/the-history-of-us. 

Listen to "A Mother's Song", the second Movement from the "Finding Home Suite":

Personnel:

Tara Davidson – alto & soprano saxophones, clarinet (track 4), flute, piccolo
Kelly Jefferson – tenor & soprano saxophones, clarinet (track 1)
Shirantha Beddage – baritone saxophone & bass clarinet
Jason Logue – trumpet & flugelhorn
Kevin Turcotte - trumpet & flugelhorn
William Carn – trombone & bass trombone (track 4)
Christian Overton – bass trombone
Andrew Downing – acoustic bass
Ernesto Cervini – drums & percussion

Multi-instrumentalist, composer, arranger, and bandleader Don Macdonald lives in Nelson, British Columbia, Canada (located 410 miles to the east of Vancouver, BC and 387 miles southwest of Calgary, Alberta, Canada) where he teaches in the Contemporary Music and Technology Program of Selkirk College Contemporary Music and Technology Program. His musical life is delightfully eclectic having composed operas, choral works, movie soundtracks, played in jazz and rock bands plus has worked in World Music settings.  

His latest album, "Shifting Sands" (self-released) is a collection of nine original instrumentals with a group of musicians from or based in Canada plus mandolinist Jason Anick from Boston, MA.  Macdonald plays violin throughout (he's also a saxophonist); besides his fine musicianship and that of his colleagues, it's the musical settings he creates that catch the ear. Yes, this is "fusion" music but with a twist in that the melodies and rhythms get in your ears and stay there. Whether it's the jazzy drive of the title tune or the flamenco-inspired drive of "La Tormenta" (great solo from guitarist Mike Rud) or the flowing melody of "Atacama" or the joyous bounce of "Bayou" (a Crescent City hoedown at its best), the music wraps the listener in its creative embrace (leaving your feet free to dance!).

"Shifting Sands" is an apropos title in that every song stands out from the other yet the program never feels forced or slick.  There are moments that remind this listener of the fusion music violinist Jean-Luc Ponty created through his career (also hear Ponty in Macdonald's tone). Need a musical pick-me-up?  Play this new recording Don Macdonald and your mood is sure to turn brighter!

For more information, go to https://donmacdonaldmusic.com/.  To hear more and purchase the album, go to https://donmacdonald.bandcamp.com/album/shifting-sands. 

Put on those dancing shoes – here's a taste of "Bayou": 

Personnel:

Don Macdonald - violin/composer/producer
Dave Restivo - piano
Mike Rud - guitar
Steven Parish - drums
Rob Fahie and Jill McKenna - upright bass
Jason Anick and Dylan Ferris - mandolin

Israeli-born pianist, composer, and educator Noam Lemish has issued his second solo piano album, "Erlebnisse" (self-released) but his first with all-original music.  Lemish, who is Assistant Professor of Jazz Instruction and Pedagogy in the Music Department of York University in Toronto, came to the United States, specifically to the San Francisco Bay area, to study music with and perform with W.A. Mathieu and percussionist George Marsh. He co-leads a quartet with Israeli oud player Amos Hoffman and they play original tunes as well as songs from their native land.  Lemish is also the co-director of the Israeli-Iranian Musical Initiative, an ensemble based in Toronto that plays music from both countries with musicians that come from that area of the world.   

"Erlebnisse" can mean "deeply felt experiences" (in conversation, the pianist hinted that translation does not totally the convey the power in the word) – in that spirit, the 16 improvisations that make up the program reflect the various life experiences that Lemish has encountered. Dedicated to Mathieu, the pieces range from dramatic to quiet to nearly without form to quiet rumination and more.  There are myriad musical references but mostly, this is the pianist connecting his inner world to the piano keys. What one hears in  this music is Lemish's sense of wonder, his love of exploration, and who he was at the time of and on the day of the recording.  Shed your own expectations, step into the pianist's world, and listen. Be open. Be vulnerable.
Noam Lemish can't hope for more than that.

To find out more about the artist, go to www.noamlemish.com.  To hear more and to purchase the album, go to  https://noamlemish.bandcamp.com/album/erlebnisse.  

Here is "Erelbnis 2":

 

Mario Pavone Legacy Stories (Pt 2) + Joel Frahm Digs In

In late February of 2021, bassist and composer Mario Pavone enters a studio in Tampa, FL, to record an album with his son Michael (guitar), Mike DiRubbo (alto saxophone), and long-time associate Michael Sarin (drums).  The bassist knew he was losing his long battle with cancer plus he had been deeply saddened by the 2020 loss of his granddaughter Isabella. Pavone organized a book of new compositions, sent them to trumpeter/ arranger Dave Ballou to prepare for a recording session. The bassist and arranger agreed that the pieces would be recorded by two different quartets, the first with the three Michaels and the second (recorded four weeks later)with Pavone's Dialect Trio (pianist Matt Mitchell and drummer Tyshawn Sorey with Ballou as guest performer), an album titled "Blue Vertical" and released by Out of Our Heads Records (my review is here).  

"Isabella" (Clean Feed Records), like "Blue Vertical", is a powerful collection of original pieces filled with strong melodies and excellent musicianship.  Most Pavone fans will buy both albums and compare them yet each stands on its own merits.  Michael Pavone has had a busy sideman career playing with the likes of saxophonist Dewey Redman and and vocalist Bobby McFerrin; the only album that I can find where he is the leader is a 2001 Trio date with his father and drummer Marcello Pellitteri that appeared on Playscape Recordings.  His sound is clean, not unlike, at times, John Abercrombie and his father's close friend Michael Musillami–– check him out on "2/3rds Radial", you'll hear the former while on the hard-rocking "Philosophy Series", there is the influence of the latter. Saxophonist DiRubbo has also worked and recorded with the bassist in numerous occasion; his bright sound and rapid-fire lines enlighten pieces such as "Good Treble" and "Twardzik". 

As for Michael Sarin, he and bassist Pavone have a relationship that stretches back three decades to the drummer's debut with the Thomas Chapin Trio.  He really shines on all these pieces, driving hard when needs be or supporting with his whisper-soft brushes work (check him out on the title track).  You can hear how he leaves room for the bass –– if you have listened to any of Pavone's recordings, you know what a powerful and creative player he is. There is no diminution in his bass work on either album but he is more present in the mix on "Isabella" and that could be due to the fact the guitar is quieter than the piano on "Blue Vertical".  

"Isabella" is a delightful collection with great playing and subtle, witty, interplay from Mario Pavone and the three Michaels.  If you already own "Blue Vertical" which has a similar program, it's educational as well as entertaining to listen to both recordings.  Since his passing, I have been listening to the many and varied recordings from Mario Pavone's career and these two final albums are right up there with his best efforts.

For more information, go to www.mariopavone.com.  To hear more tracks and to purchase the recording, go to https://cleanfeedrecords.bandcamp.com/album/isabella. 

Hear "Philosophy Series":

Saxophonist Joel Frahm, a graduate of the prestigious Hall High School Jazz Program in West Hartford, has a delightful career playing alongside bassist Ben Allison, fellow Hall High grad Brad Mehldau, Andrew Hill, Betty Carter, Matt Wilson, Dafnis Prieto (in his Big Band), and so many more.  He joined drummer Ernesto Cervini's Quartet in 2008 and is also a member of Cervini's sextet Turboprop.  Frahm has not released an album as a leader since 2011's "Live at Small's", a quartet date with guitarist Kurt Rosenwinkel. His new album, "The Bright Side" (Anzic Records), came about after a Turboprop workshop in Toronto, Canada, when Cervini and bassist Dan Loomis decided to book gigs with the saxophonist as a trio

The new recording, recorded in 2019, consists of original works,  seven from the leader, two from Loomis, and one from Cervini. The 10-song program opens with Frahm's "Blow Poppa Joe" which jumps right out of the gate with powerful tenor sax work (a la Sonny Rollins), thunderous drums, and splendid counterpoint from the bass. The first two notes of the next track, "Waiting for Benny", sound like we're in for an old television theme song ("The Andy Griffith Show") but quickly moves into a medium-paced romp over which Frahm's tenor soars, dances, his phrases twisting and turning with glee.  There's also a delightful bass solo (Loomis can be quite melodic in the spotlight) over Cervini's whispering brush work. The drummer then "trades 4s" with his mates. The leader brings out his soprano sax for Loomis's "Silk Road", an emotionally rich ballad with a mysterious feel, gentle playing, and, again, intelligent interplay. There's a moment in the final 90 seconds when it sounds as if the music is turning in a "free" direction before the soprano tamps down the intensity.  The bassist's other contribution is the hard-bopping "X Friends", a smoker with delightful solos from Frahm and the drummer. 

Cervini contributes "The Beautiful Mystery" which is truly a beautiful ballad, moves ever-so-slowly but never drags. Opening with Loomis's rich bass overtones, the saxophonist enter with the somber melody while the composer moves around the cymbals and floor tom.  Again, listen for the bass counterpoint as it is quite impressive.

If you have ever seen Joel Frahm live in person, you know he's got quite the sense of humor. The title track closes the album, its rhythm patterns based on Lou Reed's delightful groove on his "Walk on the Wild Side".  The rhythm section dances right along with the soulful sax riffs.

"The Bright Side" has many "bright moments" throughout as the program displays the saxophonist's joyful sound.  Over the years, he's developed into a fine composer and soloist. And he's quite "in the groove" with Dan Loomis and Ernesto Cervini who he has played with for over a decade.  Sit down, pour a cool glass of your favorite libation, and allow this fine album 

to lift your soul!

For more information, go to joelfrahm.com.  

Dig the title track:

The Joys of Spring (Part 1)

Lots and lots of new music to absorb and enjoy. This is the beginning of a series of short reviews of new release.

Photo: Volha Talatynik

Organist, composer, pianist, and arranger Brian Charette has kept himself busy during the pandemic making videos of his songs surrounded by keyboards in his apartment. When I spoke to him last year, he was waiting for SteepleChase Records to release his third recording with his "reeds" sextet.  "Power From the Air" has just been issued and it's well worth the wait.  Charette plays organ throughout, composed eight of the 10 tracks, is joined by drummer Brian Fishler in the rhythm section; the "Air" comes from Ital Kriss (flute), Mike DiRubbo (alto saxophone), Karel Ruzicka (bass clarinet), and Kenny Brooks (tenor saxophone).

If you are familiar with the organist's music, you know that he likes to "swing" but also can be very funky.  His piece "As If To Say" rolls forward on a burbling organ bass line before dropping into a hard-bop free-for-all. The saxes and flute play a trance-like repetitive line while the organ introduces the melody.  The solos are short but powerful.  That's followed by Earle Hagen's classic "Harlem Nocturne" –– dig the slight dissonance in the reeds arrangement. The four-piece section really dig into the bluesiness of the piece yet also take a slight "free" turn before Charette's restating of the theme. The other "standard" is Ray Noble's "Cherokee" which jumps delightfully with the reeds playing a slightly altered arrangement of the main theme.  The leader takes a splendid joyride through the changes with Fishler's dancing drums as his co-pilot. Ruzicka dances through his solo followed by DiRubbo, Brooks, and Kriss – they make time to "trade 4s" with Fishler.  

Photo: Volha Talatnick

The melody for the funky and soulful "Want" is shared by the reeds before the drummer gets "down and dirty for the organ solo.  Back to the original rhythm for Kriss's delightful flute solo, DiRubbo's funky spotlight, Brooks short but pithy solo that leads into Ruzicka's tour-de-force that srars low in the bass clarinet's range and rises throughout. The album closes with "Low Tide", the only track other than "Harlem Nocturne" that has a ballad feel. There's a lot going on in this piece and the music builds in intensity throughout right up to the drums-fueled ending.

"Power In The Air" is yet another feather in the chapeau of Brian Charette.  The performances bristle with energy and creativity, the organ work is strong, and the drumming contains an energetic snap.  Give this album several close listens and it will work its way into your soul and your feet.  

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

Here's the ensemble live in 2019 from Dizzy's @ Lincoln Center in February 2019:

The trio of Kelly Jefferson (tenor and soprano saxophones), Artie Roth (acoustic bass), and Ernesto Cervini (drums, percussion, bass clarinet), a.k.a. TuneTown, are three of the busiest and creative musicians on the contemporary Canadian scene.  Together since 2016, the trio released its debut in late Summer of 2019.  That recording displayed myriad influences as well as the trio's delight in creating its own sound.  By the time that album was issued, they had already recorded their follow-up. 

"Entering Utopia" (Three Pine Records) follows a similar format with originals from both Cervini and Roth, several group improvisations, and two standards.  All three musicians are leaders, all are excellent musicians and improvisors, so this music breathes with excitement and adventure.  The opener "Hello, Today" opens with Cervini hand-held percussion followed by a bluesy theme from Jefferson.  When Roth joins, the drummer turns to the drums set, kicking his bandmates forward. Everybody solos but the last half of the track show hows closely the musicians listen to each other. Cervini's "Layla Tov" ("Good Morning" or "Good Night" in Hebrew) opens with the bass and tenor sax holding one note while Cervini plays a melody on glockenspiel.  The bassist introduces the main melody which Jefferson then picks up on soprano. Roth's solo is quite melodic with just brushes-on-snare for accompaniment.  The soprano solo that follows is emotionally rich, melodic, and heartfelt.  Interspersed through the piece are the sounds of the drummer's family at the beach (the baby's infectious laughter is contagious).

Charlie Parker's "Cheryl" opens with a slow bass solo but soon the trio step out with Jefferson's tenor rising above the rampaging rhythm section.  Cervini's "Billyish" is a good companion piece, it's boppish head leading to a thundering drum solo before Jefferson's tenor steps out. Roth's thick bass sound gives the other two players a strong foundation to get creative.  "Flood, Deluge" is the longest of four group improvisations on the album –– Roth's droning then frantic arco bass sounds spark his companions to create their own paths in the song's maze-like construction. The bassist's "Memories Remain" is a lovely ballad during which the tenor sax and bass intertwine the melody through the opening several minutes.  Roth's highly melodic bass solo is supported by quiet brushes work and Jefferson's breathy tenor notes.  The bass counterpoint behind Jefferson's lovely solo is stunning (and pay attention to how the drummer also gets in on the melody.

Roth's short (30 seconds) multi-tracked bass feature, titled "Looking Glass", serves as an introduction to "Blue Gardenia", the album's final track.  Composed in 1953 by Lester Lee and Bob Russell for the Fritz Lang movie of the same name, the piece was performed by Nat "King" Cole. Several years later, Dinah Washington had a big hit with the song, so big that he became one of her "signature songs" through to the end of her career (1963).  Cervini plays the melody on bass clarinet with Roth's strummed bass as the only accompaniment until Jefferson enters on tenor to play harmony and counterpoint. The two reeds wind around each other throughout with Roth creating a comfortable cushion for their tuneful interactions.

"Entering Utopia" is a delightful musical vacation trip. Our three tour guides play with fervor, emotion, and plenty of joy plus the sound of the performances is powerful, clean, and clear.  TuneTown is an apropos name for this fine trio!

For more information, go to tunetownjazz.com.  To hear more and to purchase the album, go to. https://tunetownjazz.bandcamp.com/album/entering-utopia. 

Here's the trio performing "Billyish":

Pianist and composer Paul Bedal is another one of the fascinating artists that reside in Chicago.  After earning his undergraduate degree in Studio Music and Jazz Performance from the University of Miami, he returned to the Windy City to earn his Master's Degree in Film Composition form Columbia College Chicago.  He's co-led a band with saxophonist Caroline Davis, played and recorded with trumpeter Paul Dietrich as well as bassist Matt Ulery. The pianist issued his debut CD, "Chatter", in 2014, a quintet date featuring Ms. Davis and bassist Ulery. Bedal has since signed with the Chicago label BACE Records and issued another quintet album (2018's "Mirrors") plus his first album (2019's "In Reverse") with the quartet of Ulery, alto saxophonist Nick Mazzarella and drummer Charles Rumback. 

The same lineup returned to the studio in January of 2020 to create Bedal's new recording on BACE, "Cerulean Stars."  The pianist certainly created this music for these musicians with each of the seven compositions playing to their strength.  Both Rumback and Mazzarella have been on the Chicago scene for over a decade and are often heard in "freer" music settings.  Ulery, who is known for his excellent writing for large and small ensembles, is a "foundational" bassist, more concerned with keeping the beat steady and creating a solid bottom. Still, on the opening track "Iris", his counterpoint during the solos is a highlight. The saxophonist leans more in a melodic direction throughout the album yet there are moments, such as during his solo on "Panorama", when he rides the powerful drums and moves away from the melody. That melody, by the way, is quite well-drawn, giving the pianist a great base to create an impressive solo.  Speaking of impressive melodies, the title track comes in on a dancing alto sax song (carries a trace of Randy Newman) then moves forward into Mazzarella's solo with a bounce in rhythm section.  Pay attention to the leader's intelligent fills and short runs underneath then hear how they inform his enchanting solo.  

I have been listening to this music as well as Bedal's previous quartet album on my daily walks. There are moments when the music reminds me of Herbie Hancock's mid-60s Blue Note Lps (post "Watermelon Man") –– you can hear the resemblance in the flow of the material, in how the members of the quartet interact, and the movement of the rhythm section.  As a soloist, Bedal leans more towards Keith Jarrett, Fred Hersch, and occasionally, Bill Evans.  The combination of melody and rhythm on pieces such as "Summer Fade" and "Citrine" offers so much possibility that one would love to hear the band play live. 

"Cerulean Stars" closes with "Free" –– the piece begins slowly and solemnly, in rubato, picks up somewhat in intensity during the sax solo but the rippling piano figure lead the listener to a soft close. This album is a joy from start to finish –– Paul Bedal is a mature composer with his ears attuned to his musicians and not to what's popular or hip. Not to say this music is "square"; no, instead from the opening moments, these songs enter the long and, hopefully, timeless river of Creative American Music, music that is always loving back and forward but never static.

For more information, go to www.paulbedal.com.  To hear more and to purchase Paul Bedal's music, go to https://paulbedal.bandcamp.com/album/cerulean-stars.  

Here's a video of the title track: