Over the past two decades, bassist and composer Clark Sommers seems to have become ubiquitous. He's worked or still works with Kurt Elling, Typical Sister, Chicago Yestet, guitarist Jeff Parker, pianist Darrell Grant, and saxophonist Chris Madsen (among many others). There are really good reasons for his continued employment; not only is he a truly "foundational" bassist but also very melodic. His composing "chops" are formidable as he has displayed on his two "solo" albums plus his work in the cooperative Ba(SH) Trio (with saxophonist Geof Bradfield and drummer Dana Hall) and with guitarist John McLean in their Quartet. Like most musicians, the pandemic took him off the road for an extended period of time which gave him the opportunity to work on his composing and arranging skills in the wake of his attending at Master's Program at DePaul University. While there, he attended a Workshop led by the afore-mentioned Dana Hall. That workshop included writing and arranging for a 12-piece band and Sommers created several pieces for that group.
In his time away from touring, Sommers composed numerous pieces for his own 12-member ensemble that would include many of the people the bassist has worked with since moving to Chicago from the West Coast. Scroll down and look at the list of musicians; they are among the "cream of the crop" of the Windy City and the Midwest. The results of Sommers' work can be heard on "Feast Ephemera" (Phrenology Music/self-released). Nine songs, 71 minutes of music and not a dull moment to be heard. Take your time to get into the program. You may notice how delightful the arrangements are or the smart original works that Sommers brought to the sessions. Perhaps it's the impressive solos that stand out for you or the fact that the leader does not take a solo. On pieces such as "The Rider" and "Pedals", the textures of the horns and reeds as they swirl around the rhythm section as well as the soloists that surprise on first listen. Also, notice how the section writing makes room for the solos.
Photo: Scott Hesse
Perhaps the most impressive aspect (to my ears) of this program is how the music does not really sound like any other modern large ensemble. The music swings a bit more than that of Maria Schneider and it is not as "spiky" and angular as the music of Darcy James Argue. Like those two composers (and others like Duke Ellington, Bob Brookmeyer, Miho Hazama, and Jim McNeely), Sommers writes for these friends and musicians, knowing their strengths, their willingness to explore their roles within the music, and to stretch. Listen to "Cave Dweller" below; you'll hear the various voices, including piano, clarinet, flute, and saxophone introduce the opening melody before moving into the theme. Notice the powerful drumming and direction setting of Hall, the powerful bass notes (in step with and counterpoint to the piano accompaniment), all in service of the music.
Dig in to "Feast Ephemera", bask in the brightness of melodies and solos, drink in the sweetness of each performance. As he showed listeners on 2022's "Intertwine" (Outside In Music) and 2017's "By A Thread" (Phrenology Music), Clark Sommers is an excellent composer, more interested in the arc of the musical stories he and the musicians are telling than in showing how technically fine a player he is. Sit down and listen, listen deeply!
Like many top-notch bass players, Chicago-based Clark Sommers is often first-call. He has done numerous tours with vocalist Kurt Elling, with pianist Darrell Grant, the late tenor sax giant Von Freeman, vocalist Jeff Baker, the Chicago Symphony Orchestra, the 13-member Chicago Yestet, and guitarist Bobby Bloom (plus many others). For the past decade, the bassist has led the Ba(SH) Trio with saxophonist Geof Bradfield (tenor and soprano saxes plus bass clarinet) and drummer Dana Hall. That group has issued two excellent albums and Sommers' two compatriots are the foundation of the latest version of his Lens quintet. Sommers and Bradfield, along with drummer Kendrick Scott, guitarist Jeff Parker, and pianist/ organist Gary Versace released its first album, the self-titled "Lens", on eyes&ears Records in 2017. The quintet's second album, "Intertwine", is now out on Outside In Music now featuring guitarist Matt Gold, tenor saxophonist Chris Madsen, and drummer Hall.
Replacing the keyboards with the guitar acts to "open up" the sound of the quintet. The new album, which clocks in at nearly 74 minutes, never feels over-stuffed or sounds dull––instead, Sommers has composed music with strong melodies that gives the ensemble plenty of room to create cogent solos and for Hall to experiment underneath the solid foundations the leaders creates. "Also Tomorrow" opens the 12-song program, the two tenor saxes combining to present the melody while the drums and bass play a skipping rhythm. "James Marshall" follows and the title is a reference to James Marshall "Jimi" Hendrix. You can hear the influence of the great guitarist in the structure of the song but Gold's solo certainly goes its own original way. There's a bluesy solo from Bradfield and exciting statement from Madsen that leads the piece to its powerful close.
Sommers the composer keeps one guessing as to what direction the next track are going to take.. There's the swinging hard-bop of "Second Guess", the lovely and mysterious modalities of "Ancient Voice" (where Bradfield's bass clarinet blends nicely with Madsen's tenor sax), the bluesy funk of "Weeks and Weeks" (where the handsome melody runs counter to the down-home feel of the rhythm section) which leads into "Invisible Arrow" that again has the open play feel of the earlier tracks.
The up-tempo title tracks closes the program. Again, it's the skipping quality of the drums that gives the handsome melody the room to move and expand. The blend of soprano and tenor over Gold's rippling guitar lines is so attractive. The track also features a melodically rich solo from the leader and rousing call and response by the saxes that leads the piece and album to a gentle finish.
"Intertwine", for this listener, is an album that I start at the beginning, go to the end and start all over again. The bountiful melodies and rhythms wash through the room and, in the long run, are greatly rewarding. Clark Sommers Lens is an ensemble that begs to be seen live so it can work its musical magic on an attentive and appreciative audience. In the meantime, this album is a true treat!
Most modern music fans know Elan Mehler as co-producer and Artistic Director of Newvelle Records, the label that has been producing ultra-high quality vinyl albums in a subscription series since 2016. There's much more than music––each package features impressive art work, informative liner notes, and more. Most people don't know that Mehler is a fine pianist––the fifth" season featured Mehler in a musical conversation with trumpeter Dave Douglas and, in 2020, his duo album with vocalist Becca Stevens was issued as a "digital-only" release.
This month, Newvelle issues a new quartet of albums under the name of "The Renewal Collection". Subscribers purchase four vinyl albums including new work from Mehler, saxophonist Michael Blake, saxophonist Dave Liebman, and trumpeter/ flugelhornist Nadje Noordhuis. All four will be issued digitally one month at a time. The impetus for this collection is how music was able to soothe so many souls during the worst months of the Pandemic. "There Is a Dance" finds Mehler in a trio conversation with acoustic bassist Tony Scherr and drummer Francisco Mela––if you love piano trios, this is worth your time. While most people will point to Bill Evans or Keith Jarrett or Bud Powell as the most influential piano trios, this 13-song (the digital release has two more tracks than the vinyl) reminds this listener of the cooperative trio of Geri Allen, Charlie Haden, and Paul Motian that recorded for Soul Note and DIW (Japan) in the late 1980s and 1990s.
In his liner notes, the pianist writes that "I’ve spent my whole life with this music – listening to this music – practicing this music – relying on this music – struggling with this music – and – when it’s good – welcoming this music’s arrival from the quietest place in my heart." (There's much more to understand about this recording in the notes). The music ranges from the sweet blues of "East Side Blues" to deep introspection of the title track to lovely gospel sounds of "When You Were Blind" to the Frank Kimbrough influence that permeates "The Shakes" to the lyrical "We Spin" to the Erik Satie gentleness of "Ruby D." Scherr and Mela are the perfect partners––while neither solos, they listen intently to the pianist either following as Mehler moves through his solos or gently prodding him or just quietly interacting. One of the aspects of this music that stands out is how articulate and musical Elan Mehler is.
What might happen to the active listener as he or she goes deeper into "There Is a Dance" is that a sense of calm should spread through the body. This music is not about technique, about swing, or volume; inevitably, it's about healing, about acceptance, about moving forward into a better state of being. Power need not be about pushing someone away until they push back; it can also be about pulling one into a hug and giving thanks for being alive. Elan Mehler may have struggled to bring this music to life but the results are life-affirming.
Plenty of attention being paid to bassist, composer, activist, author, and bandleader Charles Mingus (1922-1979) in this year, the 100th anniversary of his birth. Those of us who followed Mingus when he was alive knew how important he was as a link from the bebop generation to the new Black Music of the late 1960s and into the 1970s. If you listen closely to the music of The Art Ensemble of Chicago, Dave Holland, Vijay Iyer, Tyshawn Sorey, Dave Douglas, you can, at times, hear the Mingusian approach.
Into the mix steps bassist Ethan Philion. The Chicago-based musician has made a name for himself working alongside saxophonist Greg Ward, violinist Mark Feldman, saxophonists Gary Bartz and Ernest Dawkins plus many others. He was chosen in 2015 to take part in the Betty Carter Jazz Residency at Lincoln Center where he worked/studied with pianist Jason Moran, bassist Eric Revis, vocalist Carmen Lundy, saxophonist JD Allen, and others. Currently, Philion leads three ensembles including a piano trio, a piano-less quartet, and a 10-piece ensemble dubbed Meditations on Mingus––it's that last group whose new recording, released August 26 on Sunnyside Records, that we're concerned with in this post. Arranged and produced by the bassist, "Meditations on Mingus" features Russ Johnson and Victor Garcia (trumpets), Rajiv Halim, Geof Bradfield, and Max Bessessen (saxes, bass clarinet, flutes), Norman Palm and Brendan Whalen (trombones), Alex Lombre (piano) and Dana Hall (drums).
The eight-song, 76-minute, program features pieces Mingus fans will recognize plus a few surprises. The album opens with "Once Upon a Times, There was a Holding Corporation called Old America" which was composed for "Mingus at Monterey 1965" but not heard until a 1966 live recording at UCLA. It's an episodic adventure that plays to the strengths of both the collective and individual soloists. "Meditation for a Pair of Wirecutters" also showed up in 1966 ––at 15:11, it's the longest track on the disk and, as most of these pieces, goes in several directions, from a piano solo over arco bass to a lovely bass clarinet solo (Bradfield) over shifting rhythms to powerful ensemble work. Philion's arrangement allows all the instruments to be heard even when the music gets cluttered. Hall's drum playing is exemplary throughout but especially on "...Wirecutters".
Longtime favorites such as "Haitian Fight Song" and the rip-roaring "Better Get It In Your Soul" sparkle with splendid playing, the ensemble joyously dancing through the melodies before the solos. The former track opens with a powerful bass statement leading into the familiar intro before melody comes rolling in. The buildup to the full ensemble is great fun with trumpets blaring, bluesy trombones, and thick piano chords. Powerful solos from Palm (trombone), pianist Lombre, and the leader stand out. "Better Get It...", with its delectable soul-gospel melody, features fire in the rhythm section, delightful "shouts" from the brass and reeds during the piano solo, a powerful alto sax solo (Bessessen), and a "stomping" drum spot for Hall. The music is so infectious you'll want to press "repeat"! Dig the coda!!
There's a lovely take of "Self-Portrait in Three Colors" with a long and powerful trumpet solo from Johnson over different ensemble backgrounds. Also, check out the bluesy, playful "Prayer for Passive Resistance" with a smashing alto solo from Rajiv Halim. "Remember Rockefeller at Attica" from 1975's "Changes One" gets a sparkling arrangement (with a little hint of "Fables of Faubus" thrown in to enforce the fact how stupid Governors can be)––the pace is powerful led by the throbbing bass and dancing drums.
Thanks to Ethan Philion and to "Meditations on Mingus" for reminding us that there are many ways to interpret the music of a Master and how rewarding it can be to dive right in. Play it loud!
Pianist and composer Matthew Shipp turns 60 years old in early December and remains one of the busiest, most creative musicians on the Black Music scene. His current Trio––bassist Michael Bisio and Newman Taylor Baker––is, arguably, his finest ensemble while his music continues to expand. The band's new album, "The Unidentifiable" (ESP Disk), captures one's ears and mind from the opening seconds of "Blue Transport System" and refuses to let go until the 10:31 "New Heaven and New Earth" fades to silence. Even then, moments return in snatches of melody, sounds, and beats. Upon first listening, you might think Newman Taylor Baker's splendid drumming is the reason to return. Perhaps it's Michael Bisio's powerful and often melodic bass work or the muscular piano, long flowing phrases, or thoughtful compositions that the leader supplies that turn your head. In fact, it's all three and more.
Photo Mark Lazarski
I've learned to listen to a new Matthew Shipp Trio all the way through each time. This is not music you "cherry-pick" your favorites and ignore the rest. Listen to how the rhythm section goes its own way on "Phantom Journey" or provides a gentle cushion of colors for the exploring piano lines on "Dark Sea Negative Charge". Baker's trance-like drums go alone on the short "Virgin Psych Space 1" serving as an intro to the trio's reading of "...Space 2". Note how each music builds on those drums, Bisio's bass weaving in and around while Shipp's piano travels above.
There is a quiet passion pulsing on the above-mentioned "Dark Sea...."; check out the fascinating hard drumming on "Trance Frame" (another short solo piece) and the powerful piano on "Phantom Journey." The sound of the album, engineered by Jim Clouse in Park West Studios in Brooklyn, NY, is clean and loud. Te lengthy final track will glue you to the chair, the thick bass tine, dancing snare work, and the ever-exploratory piano lines slowly build to a powerful climax–Bisio's bowed bass and overtones atop Shipp's gently piano melody become a contrast in light and darkness dropping out so the music can close on Baker's subtle brushwork.
"The Unidentifiable" is one more high point in the creative career of Matthew Shipp, not just for the music he composed for the Trio but also for his continued dialogue with Michael Bisio and Newman Taylor Baker. There is no compromise, no cliches, just a powerful message of creativity in uncertain times.
Pianist and composer Lafayette Gilchrist has created an amazing amount of music, relevant music, over the past three decades. A resident of Baltimore, MD, since 1987, his music covers a wide swath of territory, from House to Jazz to Hip Hop to Funk to Blues and beyond. His music has been featured on the HBO series "The Wire" "Treme", and "The Deuce", he's played with the David Murray Quartet as well as drummer Louis Moholo-Moholo, and bassist William Parker. The pianist gets compared to many keyboard masters, from McCoy Tyner to Willie :The Lion" Smith––his ability to play so any styles reminds this listener of the late Jaki Byard.
It's been 13 years and myriad experiences since his last Trio album ("3") was issued. "Now" (self-released) has arrived and it's an collection of amazing adventures. Two CDs, 16 songs (all originals), 150 minutes, and the great rhythm section of Herman Burnie (bass) and Eric Kennedy (drums), the music is an incredible journey. Opening with "Assume The Position" (first heard on David Simon's "The Wire"), the listener is bowled over by the thundering chords, the rapid-fire drums, and the pounding bass. Latter on Disk one, "BMore Careful" is a New Orleans-inspired blues that serves a warning and a spotlight for Burnie's handsome arco work. Kennedy's drums and Gilchrist's piano are mixed high and loud making the music jump from the speakers.
Dig into "On Your Belly Like a Snake", another hard-edged romp. Most of the longer pieces (seven of the 16 tracks are 10 minutes or longer) usually have stretches where the band eases off the intensity but here it's a short break before the drums push the leader to play harder. Disk one closes with "The Midnight Step Rag", a delightful dance with a touch of the Crescent City in Kennedy's drumming and a bouncy piano solo. You can just about pick out the deep notes of the bass but also listen to the pianist's active left hand.
Photo: Theresa Keil
Disk two opens with the 13:33 "Tomorrow Is Waiting Now (Sharon's Song)", a handsome medium tempo ballad that builds in intensity on the strength of Gilchrist's splendid piano playing. Burnie creates a fine solo as well and even though Kennedy does not solo, he plays an integral role throughout the piece. The following piece, "The Wonder of Being Here", is a true ballad, a handsome one at that. The bassist shows his melodic side, especially beneath the lovely piano solo. Later on the disk, "Can You Speak My Language" is a poignant ballad, the two-handed piano playing and Gilchrist's melodic runs seem to nod towards Keith Jarrett.
Disk two and the album closes with "Specials Revealed", a rich melody wrapped in a soulful rhythm. Gilchrist's solo is built off the repeating chords in his left hand and he gracefully moves up the keyboard while Burnie hugs the bass line and Kennedy pushes the rhythm forward. I understand the title of the song is also the name the leader has given the Trio–that make sense as this is special music. Yes, "Now" is a lot of music to take in all at once, really three good sets of music on two CDs. But, take your time and do take it all in. One can hear so much in the music that Lafayette Gilchrist, Herman Burnie, and Eric Kennedy have created for this album. Gilchrist's collection of songs plumb his own experiences as well as those of his community, reminding us that music not only tells stories but moves us emotionally. "Now" moves, oh yes it moves!
The trio of Geof Bradfield (tenor and soprano saxophones), Ben Goldberg (clarinet and contra-alto clarinet), and Dana Hall (drums, percussion) first met in 2017 at The Hyde Park Jazz Festival in Chicago, IL. That chance encounter led to "General Semantics" (Delmark Records), recorded a year later. All three musicians have years of experiences behind them as leaders, co-leaders, or group members (Bradfield and Hall have worked together over two decades)––one can tell from the music that recorded how comfortable they are with each other, willing to push and be pushed into many different musical areas.
What a splendid sonic journey this is. Opening with the quiet rush of "Air" (Bradfield on tenor, Goldberg on contra alto, and Hall using brushes), the music dances forward delightfully as the two reed players carry on quite a conversation. Composed by the late pianist Cecil Taylor and recorded in 1961 by Steve Lacy, the "swinging" track has a timeless feel. "Tioga Street Zenith" is a three-way conversation, a bit more frenzied yet Hall sticks with brushes as the reeds spar and parry. "Last Important Heartbreak of the Year" may sound like the title of a Country ballad but is really a rollicking tune with New Orleans drumming goosing the reeds right along. A bit later in the program, "Hit Flip Switch" (from Goldberg's prolific pen) also is a delightful romp, hearkening back to the raucous music of Louis Armstrong and Johnny Dodds. Bradfield's laughing soprano and Goldberg's playful clarinet should tickle one's fancy!
The soprano sax and clarinet combo returns to dance together yet again on Hermeto Pascoal's happy "8 de Agosto"––again, the two reeds weave around each other as Hall kicks and sticks away with glee. Bradfield's tenor sax introduces the title song which soon drops into a funky beat, Goldberg's contra alto clarinet producing the bass line. The tenor solo is built off that bass line while Hall keeps the tune close to the ground. "Half The Fun" opens with a "deep" solo from Goldberg over quiet hand-held percussion. Several minutes later, Hall drops into a modified "jungle" rhythm a la 1920's Duke Ellington, Goldberg plays a slinky bass line, and Bradfield creates a sweet soprano sax melody.
The album comes to a close with "Under and Over" which has a "freer" feel as the tenor sax and drums open the piece in a fiery conversation. After they stop, Hall drops into a slow, bluesy, beat, Goldberg's clarinet gets the melody while Bradfield acts as the bass line. There's a feel of Julius Hemphill's "Hard Blues" in the sound of the music, in the way the sax and clarinet move together. The piece closes with a classically-inspired clarinet and tenor saxophone duet.
The trio of Geof Bradfield, Ben Goldberg, and Dana Hall reminds us that when like-minded musicians get together, magic can happen. Magic does happen on "General Semantics"––this delightful and musical recording is well worth your attention!
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