Tribute and Tributaries

In May of 2021, tenor saxophonist and composer James Brandon Lewis released "Jesup Wagon" on Tao Forms (AUM Fidelity). The music on the album told the inspirational story of George Washington Carver (1864-1943), agricultural scientist, inventor, and community organizer (the Southern farming communities). The recording introduced the world to the Red Lily Quintet. Composed of Lewis, Kirk Knuffke (cornet), Chris Hoffman (cello), William Parker (bass), and Chad Taylor (drums, percussion), the ensemble contains multitudes, playing with creativity, invention fire, and wit. The album made a slew of "Best of" lists later that year and deservedly so.

Lewis and the RLQ is back, this time album inspired by the saxophonist's grandmother.  "For Mahalia, With Love" (Tao Forms) is a nine-song program of spirituals made famous by Ms. Jackson (1911-1972) during the four+ decades she toured the United States and the world.  Many people point to the influence of Gospel music on the blues and "soul" music but certainly Black spirituals have influenced a multitude of artists from Louis Armstrong to Duke Ellington to John Coltrane to Archie Shepp to the wonderful albums of Hank Jones and Charlie Haden (there are plenty more).  Lewis and company lean more to the Coltrane type of "testifying" but unlike the 1965 classic "A Love Supreme", there is only one original work on "For Mahalia"–the program opens with "Sparrow", which includes the melody "His Eye Is On The Sparrow" (composed in 1905 by Charles H. Gabriel and Civilla D. Martin) and the leader's "Even the Sparrow".  

Smithsonian/Museum of African History

This music covers a wide swath of territory. From the fiery saxophone shouts on "Calvary" to the swinging final minutes of "Go Down Moses" to the hard-edged driving force of "Wade In The Water" to the joyous power of "Swing Low", this is music that celebrates Ms. Jackson's legacy and builds upon the lessons learned, the lives lost, and the freedoms gained (and now in jeopardy) over the last 400 years.  The music also builds off the messages in the music adapted from the teachings Blacks learned in their churches, the prayers of hope and freedom that flowed into and out of the music. Check out the sly grooves of "Elijah Rock", the splendid bass solo that opens the piece, the long rubato tenor/trumpet call-and-response, and the mid-song drop into tempo; if that does not makes you want to shout "Hallelujah" for its sweet blend of African, Swing, and Caribbean rhythms, I do not know what will

The Red Lily Quintet is an excellent ensemble and the music James Brandon Lewis creates and/or arranges for them gives each person room to move, to influence the direction, to add to the harmonies, to engage in the call-and-response, and more.  The saxophonist's interactions with Knuffke soar, shout praise, and dance on many of the pieces.  Parker and Taylor are...well....they are a rhythm section par excellence in that one creates the foundation and the other the flow plus the fire. There are times when Hoffman's cello gets covered but he's there, sometimes playing counterpoint to the melody, other times counterpoint to the bass lines.  

All told, "For Mahalia, With Love" is a great collection of songs for many and varied reasons, not the least of which is the the ensemble's powerful playing and the excellent settings created by James Brandon Lewis.  Do dip your feet into this mighty stream!

For more information, go to https://jblewis.com/about.  To purchase the recording, go to https://jamesbrandonlewis.bandcamp.com/album/for-mahalia-with-love.  For a limited time, if you purchase the compact disk or vinyl versions of the album, you receive a second disk features Lewis leading the Lutoslawski Quartet in his chamber music piece "These Are Soulful Days", recorded live at its premiere performance in November 2021 at the Jazztopad Festival in Wroclaw, Poland.  

Revive your spirits with "Swing Low":

Photo: Brian Harkin/NYT

Tenor saxophonist Mark Turner has been collecting critical acclaim since he moved to New York City in the early 1990s.  One might say he has a "cool" tone" but you could also argue he's very much his own man.  In late 2019, Turner recorded "Return From the Stars" for ECM with a quartet featuring Jason Palmer (trumpet), long-time collaborator Joe Martin (acoustic bass), and the young, dynamic, drummer Jonathan Pinson.   That group was invited by photographer and label owner Jimmy Katz (Giant Step Arts) to take part in his label's new series. Titled "Modern Masters and New Horizons", the series is curated by Palmer and drummer Nasheet Waits and will include contributions from artists such as vibraphonist Chien Chien Lu, saxophonists Neta Ranaan and Ben Solomon, drummer Eric McPherson and others. 

The first release in the series "Live at The Village Vanguard" and features the Mark Turner Quartet, the same ensemble on the ECM album. Recorded over two nights in June of 2022, the 11-song, 2+ hours, program features material from the earlier studio recording, new pieces written specifically for this ensemble as well as older Turner originals.  What Katz the producer is get out of the artist's way and lets the band do what they do best–play.  Listen to "Return from the Stars" below to hear how tight the band is, how much they listen to each other, and how this music flows.  "Brother, Sister", first recorded in 2014 for ECM with a different quartet (save for Martin), opens with a long, poetic, powerful, solo tenor sax statement––the band comes in seemingly on tiptoes but pay attention to Pinson on the offbeat and Martin's swinging counterpoint.  Palmer gets a shorter unaccompanied solo before the the band reenters. Now the trumpet and sax play long tones while Martin solos.  Notice how the textures change as the music moves forward. 

The newest piece on the album, "Wasteland", is a fascinating ballad that also opens with an unaccompanied tenor sax solo––this time, one hears a plaintive cry, a sense of deep sorrow or, even, loss of hope that leads to a full group elegy. There are long bass notes, Pinson on his toms, a melody line for the sax and trumpet that starts in unison, moves away, and back but in counterpoint now.  When you listen to the song in total, you realize that not only is it an elegy but also serves as a vehicle for the drummer to create short solos in response to and seeming rejection of sorrow.

Photo: Jimmy & Dena Katz

"It's Not Alright With Me" is, at 18:36, the longest track on the album. The playfulness of the melody brings images of the Clifford Brown/Max Roach Quintet. While the rhythms prances and struts, the band takes its time to move through the melody section.  Martin gets the first solo and it's a tour-de-force, quite melodic yet percussive, careering forward at breakneck speed. Turner's solo starts slowly but he rides the waves created by Pinson to create a masterful, hard-edged, dramatic solo.  

The oldest Turner song on the program, "Lennie Groove", is from the leader's second album, 1998's "In This World".  The piece has a nervous, almost jittery, melody line which does fall into a delightfully swinging "groove".  

"Live at The Village Vanguard" is yet another high water mark in Mark Turner's three decade career.  To me, the best to listen to this album is to sit back, put on headphones, pretend you're at one of the tables at the Vanguard, and let the music play.  There's so much music to listen to so take your time and let them play!

As of now, the best place to find out more about the album is to click on this link: https://www.giantsteparts.org/news/2023/4/3/giant-step-arts-launches-modern-masters-and-new-horizons-series-with-the-first-ever-live-album-as-a-leader-by-saxophonist-mark-turner-recorded-at-the-iconic-village-vanguard.  You can buy copies of the CD at Mark Turner's gigs and there will soon be a Bandcamp link to purchase digital copies. This page will be updated as soon as that happens

Here's the opening track, "Return From the Stars":

Braithwaite & Katz · Return From The Stars - Mark Turner

Juneteenth Music

 This post is not a review but to tell you about two albums that lovers of small group Creative Black Music should enjoy.

Giant Step Arts, the recording label owned by photographers Jimmy & Dena Katz, sponsored a series of live concerts in Central Park in New York City in late Spring/ early Summer 2021.  They were held on the grounds that once was Seneca Village, an area where a group of free Blacks had established a village in 1825.  Within 20 years, Irish and German immigrants had moved in but the City took the land through eminent domain and everyone was kicked out.  For Juneteenth 2022, Giant Step releases two recordings; the first one "Live from Summit Rock in Seneca Village", features Jason Palmer (trumpet, compositions) leading a group including Mark Turner (tenor saxophone), Edward Perez (bass), and Jonathan Blake (drums).  The quartet plays five pieces, three from Palmer's 2020 album inspired by a number of art works in Boston, MA's famous Isabella Stewart Gardner, one from 2019's Giant Step album "Rhyme or Reason", and one from his 2014 SteepleChase album "Places".  

To find out how to purchase the album, send an email to JasonPalmerTrumpet@gmail.com. 

The second release is the Giant Step Arts debut of the Burton/ McPherson Trio with Dezron Douglas.   This album, titled "The Summit Rock Session at Seneca Rock", was recorded on the first day of Summer 2021, features the muscular tenor saxophone of Abraham Burton and drummer Eric McPherson with bassist Douglas.  If you've only heard McPherson with the Fred Hersch Trio, you'll be impressed by the power in his percussive work.  Saxophonist Burton, the drummer's long-time running partner, combines the power of John Coltrane and David Murray with the improvisatory elegance prowess of Sonny Rollins.  With Douglas's rock-solid bass work as its foundation, the concert is a real treat.  

To find out how to purchase this album, send an email to abrahamburtonjazz@gmail.com. 

To find out more about Giant Step Arts and its mission, go to www.giantsteparts.org/. 

Getting Together & Letting Grow

Composer, arranger, and reed player Mike McGinnis has built quite a fascinating career. With gigs alongside Anthony Braxton, Yo La Tengo, Alice Coltrane and son Ravi plus playing in the pit band of the Broadway musical "Fela!" (among others), he's shown his versatility.  As a leader or co-leader, he's recorded with The Four Bags, OK|OK, in a trio setting with pianist Art Lande and bassist Steve Swallow for two albums on Sunnyside Records, with an octet playing original music influenced by Filipino-American painter MuKha, and led a dectet playing the music of Bill Smith.

His latest musical adventure, "Time Is Thicker", is the debut album on McGinnis's new label Open Stream Music. It's a delightful program composed of five in-studio jams, three standards, and  "Abnegation" by the late bassist Bob Bowen (1965-2010). McGinnis, who plays clarinet throughout (elsewhere he plays bass clarinet, soprano and baritone saxophones), organized the group with fellow Brooklyn-ites drummer Vinnie Sperrazza and bassist Elias Bailey, both of whom get equal billing on the cover. The drummer has worked with the leader before (as well as with trumpeter John McNeil, Stew & The Negro Problem, cellist Hank Roberts, and in the groups Landline plus Curtis/ Garebedian/ Sperrezza.   The bassist is best known for his work with vocalists Freddy Cole and Rene Marie –– he first "hit the road" at the age 19 with the Tommy Dorsey Orchestra under the direction of Buddy Morrow.

The music runs the gamut from exciting trio collaborations such as the opening "Get In The Car" which runs right out the gate on the power of Bailey's galloping bass lines to a swinging take of the Lerner/ Lane classic "On a Clear Day You Can See Forever."  There are several impressionistic pieces; "Low Bow Prelude" is bowed bass and clarinet that leans towards 20th Century classical minimalism whereas as "Bow Legged Releve" is a livelier interaction with the three voices gleefully weaving in and around each other. Bowen's ballad "Abnegation" is a lovely stroll with Sperrazza's brushes quietly in the background, Bailey's bass serving as counterpoint, and McGinnis's clarinet singing the handsome melody –– one can hear a hint of Jimmy Giuffre's music in this and other interactions on the album.  Listen to below to the delightful take on "Tin Tin Deo"; the piece dances out for over eight minutes but never loses its lively character.  McGinnis creates a splendid long solo as the rhythm section moves from its relentless pace into shorter shuffle paces.

"Time Is Thicker" closes as it opened, with a romp. This time, it's Cole Porter's "Just One Of Those Things" that the trio kick into high gear.  Sperrazza gets to play with the rhythm while Bailey's walking...running...bass lines keeps the piece from spinning off its axis.  There is a brief moment in the clarinet solo when McGinnis conjures up the spirits of Artie Shaw and Benny Goodman.  Pull a chair and get acquainted with the sounds of Mike McGinnis, Elias Bailey, and Vinnie Sperrazza – your head will be in a better place when you do.

For more information, go to www.mikemcginnis.com. To purchase the album, go to https://openstreammusic.bandcamp.com/album/time-is-thicker.

Here's the Chano Pozo/ Gil Fuller classic:

Photo: Jimmy Katz

Alto saxophonist and composer Michael Thomas has been a busy musician since moving to New York City in 201l. His debut album was issued later that year. He's performed with drummer Dafnis Prieto, fellow saxophonist Miguel Zenón, and trumpeters Nicolas Payton and Etienne Charles.  Since 2015, he and bassist/ composer Edward Perez have led the Terraza Big Band – the ensemble's 2019 delightful debut album "One Day Wonder" was issued on Outside In Music.  In 2018, Thomas joined the faculty of the Jackie McLean Jazz Institute at the University of Hartford's Hartt School of Music.  He currently leads a quartet featuring bassist Hans Glawischnig, trumpeter Jason Palmer, and drummer Johnathan Blake. That ensemble recorded its debut album at The Jazz Gallery in New York City on August 14 and 15, 2019.  Recorded by Jimmy Katz, the two-record set, "Event Horizon", has just been issued on Katz's Giant Step Arts, the label he co-owns with his wife Dena.

The recording, released as a two-disk set, features nine pieces composed by Thomas plus a "Bass Intro" and a "Drum Intro" – there's also a "Sax Intro" that leads off Disk two (since it's Thomas playing, he gets the credit for the "composition").  The fullness group pieces are all over 8:40 seconds with two above 13:50.  What stands out on initial listenings is the stamina of the rhythm section. Glawischnig is a melodic bassist so his lines are often moving while Blake is quite an active drummer.  After a few more "deep listens", one begins to hear the different pieces and how the solos grow naturally from melodies.  There are moments when the more energetic tracks bring to mind the music of the classic John Coltrane Quartet, especially the long saxophone solos that continue to explore the many variations in the structure of the original composition. Palmer is one of the premiere contemporary trumpeters; while he can play "fiery", his solos are witty, even danceable (listen to "Dr. Teeth" to see what I mean), and he engages fully with the rhythm section each he picks up his horn.

You can hear the influence of Coltrane (as well as Anthony Braxton and Roscoe Mitchell) on the unaccompanied "Sax Intro" –– the circular lines resemble allegro lines from a classical composition. Those phrases Thomas plays show up again during his muscular solo on the song that follows. "Chant" is one of the more powerful pieces on a program of powerful songs. Again, the trumpet solo tamps down the volume but not the interactions. Both Blake and Glawischnig stand out for their creative support of the soloists.  The closing two minutes of the 14-minute track is a drum solo over cascading lines by the saxophone, trumpet, and bass. One can imagine the audience jumping out of their seats last the amazing climax.

"Event Horizon" is an album that will grow the more you listen.  While there are plenty of long solos from Thomas and Jason Palmer, make sure to pay attention to the songs. There are no quick hooks the leap into the solos. Instead, pieces like "Underground", "Drift", "Framework", and the title track take their time to their time to develop and each member of the quartet is integral to  making sure the listener understands the structure, melody, and harmony the composer puts into each composition. In these pandemic days, I found listening to this album by Michael Thomas while taking a long walk made me appreciate this substantive music even more. Take a deep breath and dive in!

For more information, go to www.michaelthomasjazz.com.  You can listen to and purchase the album at https://michaelthomasjazz.bandcamp.com/album/event-horizon.

Here's the quartet in action:

Photo: Roberto Cifarelli

Bassist and composer Omer Avital came to the United States from his native Israel in 1992 and immediately started working with artists such as Roy Haynes, Kenny Garrett, and Jimmy Cobb (plus many more).  He became part of the scene at Smalls Jazz Club, recorded a series of albums for the Fresh Sound New Talent, toured the globe with Third World Love, a quartet that also featured trumpeter Avishai Cohen (that group recorded four albums), and so much more.  He moved back to Israel in 2002 for three years to study, returning to Brooklyn in 2005.  Since then, he has recorded and toured with numerous artists from classical, world music, and jazz.  He's a powerful bassist, with a great ear for melody as well as percussion.

In 2016, the bassist formed Qantar with four young Israeli ex-patriates who had emigrated to the United States to expand their musical knowledge and opportunities to play. With Avital as the leader and main composer, the musicians –– Asaf Yuria (tenor and soprano saxophones), Alexander Levin (tenor saxophone), Eden Ladin (piano), and Ofri Nehemya (drums) –– have begun to record on their own and perform in numerous groups around the NYC area.  As Omer Avital Qantar, they have just issued their second album, "New York Paradox", on the bassist's Zamzama Records.  The quintet's self-titled 2018 debut album displayed a band with its roots in both Middle-Eastern rhythms and the hard-bop of people such as Art Blakey and John Coltrane.

The new album is all that and more. The blend of the two saxophones, Ladin's exploratory piano, Nehemya's powerful and exciting drummer, and Avital's splendid musicianship and compositions, makes for a program that one would love to hear in a club setting.  Actually, that's not a surprising reaction as the quintet recorded in Avital's Brooklyn recording & performance space Wilson Live.  The opening track, "Shabazi", blows out of the speakers at a pace that will take your breath.  There's a hint of McCoy Tyner in the powerful piano lines while the intertwined tenors pour out the riffs.  Avital and Nehemya set an incredible pace and there are delightful solos from Yuria and Levin plus a driving drum explosion over the repetitive piano and bass figures.

The soulful "Zohar Smiles", a ballad that highlights the sparkling soprano sax of Yuria as well as a strong, soulful, turn by Levin plus powerful chords from the piano.  "Just Like The River Flows" blends a Middle-Eastern flavored melody line with Nehemya's dancing drums.  The whirling dervish soprano sax solo over powerful drums and the driving tenor solo near the end makes the track stand out.  "Today's Blues" is a flat-out swinger that has a bit of that Blakey/ Jazz Messenger feel.  "C'est Clair" has that feel as well but is "cooler" and has more of a blues feel that the previous track.

"Bushwick After Dark" closes the album with even more of that blues feel of "...Clair."  But there's also a raucous quality to the tenor solos. The seductive sound of the bass and drums underneath allows the soloists to let their imaginations roam.  Avital steps out as well – his melodic and playful solo is the perfect embodiment of the entire band's attitude.  Serious fun indeed

"New York Paradox" is the sound of a "working" band having a terrific time playing.  Once these crazy days pass, you are well-advised to check out Omer Avital Qantar at a performance space near you.  Until then, the band's exciting, inviting, new album will more than whet your appetite.

For more information, go to www.omeravital.com. To purchase the album, go to https://omeravital.bandcamp.com/album/quantar-new-york-paradox.

Art Intimates Art

Trumpeter and composer Jason Palmer continues to go from strength to strength.  Over the past decade, he's produced 10 fine albums for Steeplechase Records with one for Whirlwind Recordings as well.  Palmer has also recorded and performed with tenor saxophonist Noah Preminger for six albums over the five years.  Last year, Giant Step Arts issued "Rhyme and Reason", a splendid quartet session with tenor saxophonist Mark Turner, drummer Kendrick Scott, and bassist Matt Brewer recorded live at The Jazz Gallery in New York City. Both Turner and Scott are longtime associates with the trumpeter having appeared on his second Steeplechase album, 2011's "Here Today."

They are both back for his latest Giant Step Arts venture "The Concert: 12 Musings for Isabella"––joining them are bassist Edward Perez (who appeared on the 2011 CD) and vibraphonist Joel Ross.  The new double-CD pays tribute to 10 paintings and two pieces of ornamental art that were stolen (and have never been recovered) in the March 1990 robbery of the Isabella Stewart Gardner Museum in Boston, MA (in fact, the album was released on the 30th anniversary of the event - March 18).  For his blog, Palmer wrote an extensive piece on the program and it's well worth reading even if you do not listen to the music; of course, the writing helps even more if you listen to the pieces.  Like his previous Giant Step album, this was recorded live, this time at the Harold S. Vanderbilt Penthouse at the Intercontinental New York Barclay.

Painting: Rembrandt (1633)

The program begins with "A Lady and Gentleman in Black" (the image to the left); everything that is impressive about the album is laid out within five minutes, from the brilliant drum to the melodic, percussive, bass lines to the crisp, clear, trumpet to the handsome, post-bop tenor sax.  The critical element, besides the excellent writing, is the Joel Ross, the sound of this vibes, how he "colors' the music, his counterpoint, interactions with Scott, and his deceptively inventive solos.  Label owner and co-photographer Jimmy Katz engineered the session and mixed it with Dave Darlington––they expertly capture the quintet's sounds so you can hear all the different voices clearly.  Only one of the 12 tracks is under eight minutes long with seven running more than 11 minutes.  Nevertheless, it's such a pleasure to hear this intelligent music that one finds listening to one disk in one sitting is hardly a chore and to both time well spent.

Painting: Vermeer

Listening to the skittish melody line of "The Concert" (Vermeer painting to the left) and noticing how inventive yet quiet Scott (brushes) and Perez (counterpoint) are during the long vibraphone solo is such a treat.  The slow opening section of "Landscape With an Obelisk" (painted by Govert Flinck in 1638) features a short yet delightful drum solo before the band kicks the piece into a much higher gear. "A French Imperial Eagle Finial" (one of two pieces for ornamental art) has quite the formal opening for trumpet and tenor sax but the body of the piece dances atop impressive bass playing and Scott's inventive drum playing.

Painting: Degas

While the Gardner Museum may still hope to retrieve these stolen masterpieces, this album offers the audience the opportunity to spend two hours+ in the company of five masters.  Jason Palmer was obviously inspired by these paintings to create his own musical canvasses and allow his friends to add their own touches to the works.  If you have had the privilege to hear the trumpeter in concert, you know he never relies on cliches or effects during his solos or his composing.  One could say the same about the playing of Mark Turner and Kendrick Scott plus the intelligent listening and responding of Edward Perez as well as how young Joel Ross (24) is on his way to a long creative career.  "The Concert: 12 Musings for Isabella" is a real delight!

For more information, go to www.jasonpalmermusic.com.  For his blog, go to jasonpalmerjazz.wordpress.com.

Here's one of the "works":

Bassist and composer Peter Slavov already had a busy career as a teenage musician in his native Bulgaria when he came to the United States and the Berklee School of music in 1998.  After graduation, he moved to New York City and within two years, was working with Joe Lovano, Quincy Jones, Kevin Mahogany, and others.  The bassist works in Lovano's Quartet and Nonet plus in US Five band. He's also recorded with saxophonists Patrick Cornelius and Uri Gurvich, pianist Alfredo Rodriguez, and drummer Francisco Mela. Slavov never seemed to have time or the inclination to create his own music; after his father (drummer Peter Slavov Senior) died in 2008, a long period of thinking, composing, and arranging began.  The recording sessions began in early 2017 and continued in its own pace until September 2019.  The results can now be heard on "Little Stories", Slavov Jr.'s self-released album and dedicated to the memory and inspiration of his father.

As you can see by the personnel listed below, there were a lot of people involved in bring the music to life.  Yet, the program feels organic, organized in a sensible fashion so that one can hear all the various influences on the bassist's life and career without imitation. The string quartet intro to "Gone", with the composer's bass lines as counterpoint, opens to a gentle piano melody that pushes forward on the power of the rhythm section and the delicate string arrangement; pianist Nitzan Gavrieli is the focal point and his work is delightful. John Ellis's reed presence is quite impressive on the five tracks on which he plays, none more so than "Bye", a song composed about the last time Slavov's waved goodbye to his son. It's emotional without being sappy while the interplay of Ellis (tenor sax), the bassist, pianist Gavrielli, and drummer Diego Ramirez is lovely. Mi Kim adds her wordless vocals to the Brazilian-inspired "History of Beauty" and "Ghost", her ethereal sound rising in tandem with the acoustic guitar (Marcio Philomena) and then weaving around the active bass lines on the former track. For the latter, her voice sets the mood, picked by Gavrielli's excellent piano solo (note the fine bass counterpoint and active drumming), and joining in with Ellis's alto sax.

Photo: Facebook

There are many different moods on the album.  "Small Little Things" has a funky rhythm and a lively sound darkened a bit by the woody bass clarinet sounds of Mark Small. His interactions with the rhythm section are delightful. Ellis's rich tenor sounds leads the rhythm section into the bluesy "Photos", yet another tune about memories composed right after the bassist moved to the US.  The lovely, medium-tempo, ballad "A.M." features the breathy tenor sax of Matt Marantz (who creates quite a strong solo in the later part of the tune) plus more excellent piano work.

The album closes with "Elegy", a solo bass piece (with overdubbed arco and pizzicato)––composed for a friend who recently died, the music focusses on how melodic a soloist Slavov can be. The piece is not very long but still powerful....and truly hopeful and healing.

"Little Stories" is certainly not small music nor is it loud or annoying. Instead, this program, conceived and composed by Peter Slavov, soothes as much as it excites, makes one think on the stories from our own lives and how being apart from loved ones is never easy. The blend of sounds, of strings and reeds plus piano and vocals, makes for good listening any time.

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

Here's the second track:



Personnel:

Peter Slavov - bass, compositions, arrangements, producer 
John Ellis - saxophone, bass clarinet (on five tracks ) 
Mark Small - bass clarinet ("Small Little Things" only) 
Matt Marantz - tenor saxophone ("A.M." only)
Nitzan Gavrieli - piano
Dan Kaufman - piano (opening track) 
Mark McLean- drums (on two tracks) 
Diego Ramirez - drums 
Marcio Philomena - guitar ("History of Beauty" only) 
Mi Kim - voice (2 tracks) 
Entcho Todorov - violin  (opening track and "Gone") 
Patti Kilroy - cello ("Gone") 
Jen Herman -viola ("Gone") 
Yves Dharamraj - cello ("Gone") 
Adele Stein - cello (opening track) 
Miguel Lagos - executive producer 
Maria Jose Concha - cover art

Music That Imagines, Caresses, & Remembers

If you've been to Boston, Massachusetts, to catch live music over the past two decades, chances are the name Jason Palmer has come up more than once. If you are a fan of Nils Winther's SteepleChase label, Palmer has issued eight albums on the Danish imprint since 2010, including tributes to both the late Minnie Riperton and to Janelle Monae.  For the past several years, he has toured and recorded as a member of tenor saxophonist Noah Preminger's Quartet.  It is with that ensemble that I saw and heard Palmer play.  He's a joyous and serious musician, locked into the music and enjoying interacting with his fellow musicians.  He can be quite a powerful player but he is also supremely melodic.

His new album, "Rhyme and Reason", is the initial releases on photographers/arts patrons Jimmy & Dena Katz's Giant Step Arts label.  Recorded over two nights in early June of 2018, the eight Palmer originals are performed by the trumpeter along with tenor saxophonist Mark Turner, drummer Kendrick Scott, and bassist Matt Brewer. They have recorded together before in different settings but this is the first time all four have appeared on the same album.  Kudos to Jimmy Katz for his engineering as the sound is bright and clear, the rhythm section is up front but never overwhelms the front line.  This music sounds great over headphones, blasting out of speakers in the house and car, and thanks to Scott and Brewer, it's impossible to sit still on the uptempo material.

Photo: Jimmy & Dena Katz

As for the material, the eight tracks are spread over two CDs with only one cut under 11 minutes .  Three cuts - the title tracks, "Mark's Place", and "Kalispel Bay" - clock in at over 16 minutes. Yet, none of this music feels bloated. Every piece has a well-developed melody, harmonies, and delightful interplay. Sure, there are many long solos but each one of the players create witty and delightful statements.  What stands out to this listener is how much joy there is in this music.  It's apparent from the opening track "Herbs in a Glass", influenced both by particular pieces by August Greene ("Aya") and Herbie Hancock ("Tell Me a Bedtime Story" from "Fat Albert Rotunda").  Listen to how both Palmer and Turner float over the active drumming and powerful bass lines.

Just in case you think the album is just a "blowing session", give a listen to the title track. It's hard to initially choose who to listen to: could be the excellent drumming or the delightful bass counterpoint or you could concentrate on the soloists. Play the track several times back-to-back and you should come away at just how good, how alive, this music feels.

"Rhyme and Reason" is an album to savor, to soak up the sounds, to revel in the exuberance of such creative music, and how timeless this music feels.  So many different factors go in to the success of this music, from the long friendships of the musicians to the excellent and intelligent compositions to the exceptional sound of the recording.  Jason Palmer strikes gold with this music and the listeners are the beneficiaries.

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

Here's the opening track:



I mentioned above that this is the first project to be released by Giant Step Arts.  Photographer/ engineer Jimmy Katz and his wife Dena head the non-profit organization and their mission states:

"Our goal is to present unique premiere live performances  featuring some of modern jazz’s most innovative artists, all recorded for independent release and documented both photographically and on film. What is truly unprecedented about this endeavor is that the musicians have total control of their artistic projects. They will not only receive all the recordings and digital downloads of their musical output but will also retain complete ownership of their masters. Giant Step Arts is committed to promoting the projects and fostering the careers of their artists by providing them with promotional photo and video material and publicity."

Mr. Katz chooses all the artists: the next recordings will come from drummer Johnathan Blake in a trio setting (released in April) with bassist Linda May Han Oh and saxophonist Chris Potter. Blake will also appear on the May release by tenor saxophonist Eric Alexander, also recorded in a trio setting with bassist Doug Weiss.

For more information, go to www.giantsteparts.org.  

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Alto saxophonist, composer, and educator Jim Snidero has been playing, touring, and recording for nearly four decades. He studied with Phil Woods, attended the University of North Texas where he studied with Dave Liebman, moved to New York City after graduation to begin his professional career. He's toured with Brother Jack McDuff, Frank Wess, the Mingus Big Band, and the Toshiko Akiyoshi Jazz Orchestra (among others).  Over the decades, he has recorded albums for Double Time Jazz, Criss Cross Jazz, and, over the last dozen years, has recorded seven albums for Savant. He's currently on the faculty of the New School in New York City as well as the New Jersey City University.

"Waves of Calm" is the saxophonist's eighth release for Savant and features Orrin Evans (piano, Fender Rhodes), Nat Reeves (bass), Jonathan Barber (drums), and Jeremey Pelt (trumpet). Snidero's father's ongoing struggle with Parkinson's Disease is one the primary influence on this project.  One can also hear the influence of Miles Davis on this music, especially noticeable on tracks where Evans is on electric piano and where Pelt is involved.  Snidero does not copy the legendary trumpeter but feeds into the spirit and sound of Davis's second "Classic Quintet".  Note the steadiness of Barber's beat on "Dad" and how the trumpet and alto sax play the melody and harmony. There's a sense of freedom and "flying" in the alto, no pity or sadness when he thinks of his father.  "Estuary" rides in on the gentle drumming and rippling Rhodes while Snidero and Pelt play a melody that has more intensity. The trumpeter rises above the rhythm section for a delightful solo that leads to a more introspective solo by Snidero and a sweet turn from Evans.  Bassist Nat Reeves is the foundation of this music, a subtle and thoughtful accompanist, never busy but always "there."

One cannot miss the sound of the blues on Willard Robison's classic"Old Folks."  When I hear this track, I think of Lou Donaldson and the joy plus blues feeling he has brought to his music over his 70+ years as a working musician.  Snidero does not imitate Donaldson either but there is a honesty in his blues that makes tracks like "Old Folks" and "I Fall in Love" so emotionally powerful.

The music on "Waves of Calm" is a smart blend of power and, yes, calm.  Influenced by his father, Jim Snidero, along with an excellent ensemble, creates a program that blends the modern influence of Miles Davis with classic blues ballads.  Give this music time to soak in because there are so many facets to the pieces and such excellent musicianship.

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

Here's a taste of the album:

Vibraphonist Michael Davidson is a busy musician based Toronto, Canada.  He plays with numerous musicians, from guitarist David Occhipinti to drummer Nick Fraser to bassist/cellist Andrew Downing and many more.  He leads or co-leads several ensembles including a duo with bassist Dan Fortin.  Fortin is also based in Toronto, also a very busy musician touring and recording with Myriad3, Bernice, the chamber-jazz-pop band Queer Songbook, and guitarist Harley Card (among others).  Currently, he's working with saxophonist Tara Davidson and pianist Adrean Ferrugia's Playdate.  Both musicians keep busy schedules but found time to enter the studio in 2017.

The results can be heard on "Clock Radio" (Elastic Recordings, the duo's now label). It's a engaging collection of pieces that reflect the many different genres they are a part of without being beholden to any one particular style. In the months before the recording, Davidson was in Germany studying with mallet master David Friedman: his studies are reflected in the program that Davidson composed for the duo and in the song titles, many of which are in German or have the word "Berlin" in the title. After the short, classically inspired "Tür" that opens the album, the duo moves in to "Berlin V" - that tune starts as if the melody and tone was along the lines of music by Gary Burton and Chick Corea but soon takes on a hypnotic and rhythmical feel. The vibes take the melody and, at times, the bass offers counterpoint.  The longest piece on the album, the musicians move easily away from the airy opening to a more intense conversation before moving back towards the opening.

There's a playful feel to "Berlin I" and the musicians fascination with slowing down and picking the tempo back up.  They are literally and figuratively "playing" throughout this piece. "Berlin IV" is the most melodic of the five separate "Berlin" pieces. Fortin's thick bass sound and melodic solo stand out as does the dancing quality of Davidson's solo.  At the onset of "VII", the tracks juxtaposes electronic sounds with the high-powered, rhythmic, dance.  Note how the vibes echo the rhythm in the bass before the electronics return. "VI" is a slow-paced conversation, with stops and starts, quick riffs from the vibes over slow bass lines.

"A Lift Above" opens with a rapid-fire, repetitive, solo from the vibes before Fortin enters with a throbbing bass line plus the melody is picked up by synth.  The duo weave in and around the melody before a mysterious yet lovely close.  "H Moll (Zeitweisse)" has a strong classical feel, a touch of JS Bach right before the melodic bass solo.  As Fortin comes out of his solo, Davidson takes off on a delightful romp. There's also a short vibes overdub right before the close. The album immediately jumps into the lovely ballad "Out of Love" - here, the synth work colors the lovely melody provided by the vibes and underscored by the bass.

Therein lies the pleasure of "Clock Radio."  First time through, the listener is not sure what to expect. Upon further exploration, there are plenty of musical avenues to follow. This is music that demands your attention, that asks you to trust the musicians to take you on a journey that will, in the end, be rewarding.  Listen all the way through and , when you arrive at the closing short track "Doorway", you should realize that the music has come full circle and you are invited to jump right back in.  I imagine this music is just as fascinating, if not more, in person.  As stated above both Michael Davidson and Dan Fortin are busy musicians so catching a show by the duo may be rare.

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

Here's the delightful "Berlin I":