Argentinean-born pianist and composer Emilio Teubal creates music that shines with lyrical beauty, sparkling solos and interplay plus rhythms that make you dance and sway. His 2013 BJU release, "Musica Para un Dragon Dormido", is one of my all-time favorite albums. Teubal has been busy since moving to the United States over two decades. He writes constantly and has worked with artists such as bassist Pedro Giraudo, cellist Erik Friedlander, and various tango organizations and groups in the New York City area. Currently, he leads a trio with bassist Pedro Lanouguere and drummer Chris Michael.
Those two musicians are the foundation of his new recording "Futuro" (Not Yet Records). Recorded in several sessions in December 2021 and May 2022 (drummer Michael has been dealing with long COVID so Brian Shankar Adler appears on five of the 10 tracks, all recorded at the later sessions). Joining the trio on three tracks is Sam Sadigursky (clarinet) and Fede Diaz (guitar) while vibraphonist Chris Dingman adds his sound to three other cuts. From the opening measure of the opening cut (the title track), the listener is transported to sunnier climes. The dancing clarinet and percussive guitar wrap around the warming piano figures. Bassist Lanouguere, who leads a quintet that Teubal is part of, is a rich melodic player with a full tone on both acoustic and electric; he also contributes fine bow work (he and the pianist play the opening melody of "Children of MMXX"––he then solos sans bow and is quite impressive there as well.
Photo: Sergio R. Reyes
Of the three tracks Dingman appears on, "Remolinos" stands out for its hypnotic piano figures and circular melody. There is a Steve Reich in the piano lines that is repeated by the vibes and the electric bass throughout. It certainly feels like all four musicians are percussionists and melody makers at the same time. The vibraphonist also appears on the handsome take of Sir Paul McCartney's "Blackbird". While the piece is the shortest track in the program (2:35), the arrangement allows everyone to shine and the melody to stand out.
Photo: Sergio R. Reyes
The blend of the acoustic guitar and clarinet on "Los que Fluyen" hints at tango as well as Brazilian folk forms––Teubal's solo rises out of the main theme, dancing atop the guitar and electric bass then steps aside for Sadigursky to create a masterful, emotional, solo. The quintet imbues "Tokyo Trenque" with such a gentle quality, caressing the melody while Adler's hand percussion clicks underneath. The music picks up with intensity during Lanouguere's acoustic bass solo from which Teubal moves farther away without going "free" but much more impressionistic. The clarinet solo seems to move the rest of the band back to melody; after a quick climax, the music gently sighs to a close.
The album closes with "Los Ultimos Seran Los Primeros" ("The last will be the first"), a wistful Trio piece dedicated to the pianist's father who passed in 2021. The insistent quality in the piano solo allows the listener to hear touches of Keith Jarrett in the delightful two-hand work of Teubal. As you listen to this track (and others), one can really tell that these musicians are in tune with each and with the material. "Futuro" stands out as a work that celebrates life and melodic adventure without sacrificing the rhythms that have sparked the curiosity of Emilio Teubal since he was a boy. Listen to "Rio" below––it's indicative of how the music incorporates its many influences to create sounds that please, hug, and brings joy!
What do you get when mix drummer Matt Wilson, bassist Mimi Jones, and saxophonist Jeff Lederer, give them two nights at the end of February 2020 in the newly reopened Cafe Bohemia in New York City, and let them loose. It's the Leap Day Trio and now you can hear the results on "Leap Day Trio: Live at The Cafe Bohemia" (Giant Steps Arts). The music on the recording is spirited, lively, at times thoughtful, and very human. Messrs. Wilson and Lederer have been friends and musical partners on and off for three decades; adding Ms. Jones to their special mix neither tempers nor hinders their musical fun. Instead, she's a solid foundational player and a melodic soloist (check her out on "The Dream Weaver" and "Leap of Faith").
The nine song, 68 minute program, opens with Wilson's "Dewey Spirit", (listen below) a tune the drummer dedicates to one of his earliest mentors and employers, tenor saxophonist Dewey Redman. Commencing with percussion and Lederer's spiky tenor sax sounds, the piece opens in rubato with Ms. Jones dancing underneath the melody line. When the main theme kicks in, one hears a running bass line, swinging drums, and the saxophonist flying all around his horn. Everyone solos, the energy is contagious, and the crowd enjoys it all.
Two of the next three tracks are ballads ("Leap of Faith" and "Ghost Town") but the track in between ("The Dream Weaver") rumbles along atop the pulsing bass and percussion. "Ghost Town" is a fascinating journey through the musical terrains of blues, post-bop, and during the bass solo, the feel of Native American music. Lederer lets loose on the opening of "Strival For Survival"––that sets the tempo for the rhythm section and they rocket forward. When the tempo slows down for Ms. Jones fine solo, listen for Wilson's delightful work on the cymbals.
Photo: Jimmy Katz
The program closes with the spirited "For Friends"––again, Lederer leads off the piece with a solo introduction but one can hear from his exciting forward lean, the music is going to be fiery. Even when the gentlemen step aside for Ms. Jones spirited solo, the music has great drive.
One hopes that the Leap Day Trio doesn't only convene every four years. In the meantime, celebrate the group's music on "Live at The Cafe Bohemia".
Hear Matt Wilson's musical tribute to Dewey Redman:
Trumpter, composer, mentor, and author Jeremy Pelt has just issued Volume III of "Griot: Celebrating the Lives of Jazz's Great Storytellers". 15 more interviews with artists whose ages range from 89 (Wayne Shorter) to 28 (Elena Pinderhughes) sharing insights into their musical and spiritual upbringing, how they each developed a singular voice, and the changes they have seen in this art form created by black musicians at the start of the 20th Century. These are stories of resilience in the face of the racism that has never truly been eradicated in this country and in places around the world. Many of the artists speak of how the changes that other musical forms (styles) have brought to the music keeps it alive in the face of listeners and label owners apathy. But you also read of how musicians have been mentored by their musical elders, about the rigors of the road, and the cost, mental and physical, of a musician's calling. Still, there are joys galore in their retelling stories of their formative days and nights on and off the bandstand.
Photo: Ra-Re Valverde
I have written before how "Griot" will remind older Black Music fans of "Notes and Tones: Musician-to-Musician Interviews", the 1977 classic interviews drummer Art Taylor compiled that featured 29 of the greats who helped push the music forward in the middle decades of the 20th Century. Jeremy Pelt has given us the 21st equivalent of Mr. Taylor's book and, hopefully, he will continue to converse with his elders, contemporaries, and young people for years to come!
It's nearly impossible not to like Joe Fiedler the person. The Pittsburgh, PA, native has a quick sense of humor, is curious about lots of different things, and is a hard worker. Joe Fiedler the trombonist is a top-notch player who has shared stages with musicians and groups that range from Eddie Palmieri to Maria Schneider, Anthony Braxton to The Four Tops, and beyond. The trombonist also played in numerous Broadway pit bands including the entire run of Lin-Manuel Miranda's "In the Heights" as well as the soundtrack for the recent movie production of the play. Since 2009, Joe Fielder has been the music director for "Sesame Street", arranging, orchestrating, and conducting the eight-piece orchestra. On top of all that, he leads an eponymous trio, the all-brass quartet known as Big Sackbut, and the quintet Open Sesame.
In February of 2019, Fiedler's Multiphonics Music label issued the album "Open Sesame", a 17-song collection 15 of which were from the children's show along with two group improvisations. And, what a group –– joining the trombonist was Jeff Lederer (soprano and tenor saxes), Sean Conly (electric bass), and Michael Sarin (drums) plus special guest Steven Bernstein (trumpet, slide trumpet). The same group, now with Mr. Bernstein as a full-time member, and Conly on mostly acoustic bass), is back for "Fuzzy and Blue" (Multiphonics). Also in the mix for two songs is vocalist Miles Griffith. 13 songs including one three-song suite and two-song medley make up the program with over half the songs credited to Joe Raposo who was the first music director on the "...Street".
Photo: Peter Gannushkin
Chances are good you'll recognize a number of these melodies whether you sat with your children or grandchildren watching the show or you grew up parked in front of PBS in the morning. The proceedings open where they should with Raposo's "ABC-DEF-GHI" with Conly's bouncy bass line leading the quintet in with a funky Caribbean beat. Lederer leads the way on soprano while the horns play rhythmic fills and harmonies. The trombone stands in for Kermit the Frog for the initial run-through of "Bein' Green" then shares the verse with the soprano sax and trumpet. The solos are quite enjoyable especially the leader's. Later in the program, one can hear the Palmieri influence on the conga-line inspired "One of These Things." Note how Conly's electric bass is the counterpoint on both the trombone and trumpet solos.
Miles Griffith shows up on Fiedler's "I Am Somebody" which features original lyrics by ReverendWilliam H. Borders –– In 1972, Reverend Jesse Jackson led a group of young people on the show in a call-and-response. Here, the leader provides a funky tune for the vocalist to scat and dance upon while the quartet rocks. Griffith returns on the delightful combination of "I Love Trash" with "C is for Cookie"; Griffith's vocals are such fun, playful, constricting his voice to sound like Oscar the Grouch (he who lives in a trash can) and Cookie Monster (whose name tells of his reason for living). There's a fun interaction for Griffith and the trombonist before the songs comes to a close.
You do not need to know the music of "Sesame Street" to enjoy the musical shenanigans of "Fuzzy and Blue". The sound is full and bright, the beats are irresistible (Michael Sarin's drumming stands out throughout the album), the solos playful yet sincere, and the arrangements full of wit and just the right touch of wise-guy! Joe Fiedler and Open Sesame are just the right antidote to seasonal doldrums –– if this music does not make you smile, tap your feet, or laugh out loud, best to rediscover the "kid" in you.
Slowly but surely, the "live music scene" is opening up, especially here in my native Connecticut. Here are three artists with new albums gracing music venues this weekend.
Mary LaRose, life partner and music collaborator of saxophonist/ clarinetist Jeff Lederer, has a new album project arriving on October 7. "Out Here" (little (i) music) takes the music of Eric Dolphy (clarinet, bass clarinet, flute, alto saxophone), adds lyrics by Ms. LaRose, new arrangements by Mr. Lederer as well as poems by Hallie Lederer and Patricia Donegan, and gives all that to a dynamic quintet of musicians to support, innovate, explore, interpret, and more. What a fine band –– Mr. Lederer (clarinet, bass clarinet), Tomeka Reid (cello), Patricia Brennan (vibraphone, electronics), Nick Dunston (bass), and Matt Wilson (drums –– they perform nine songs from across Dolphy's discography. The arrangements allow one to hear the influences of the blues, be bop, and classical music that permeated the Master's music.
The album opens with a delightful take of "Gazzelloni", Dolphy's tribute to the Italian flutist and teacher Severino Gazzelloni (1919-1992) who gave numerous lessons to many artists over the decades including the composer. The introduction is a particular delight with Ms. LaRose and drummer Wilson having a playful conversation. "Out There" has a positive message and a propulsive melody. Ms. LaRose sings with the cello, bass, and the vibes in unison with her. There is no tempo yet the music leaps forward on the strength of the instruments and voice. Trombonist Jimmy Bosch, percussionist Bobby Sanabria, and vocalist Maya Rose Lederer join the band for the Afro-Cuban inflected take of Sonny Simmons/ Prince Lasha's "Music Matador". Note hoe Ms. Reid's cellist interacts with the voice as does the trombone. The show has the quality of a "show stopper"!
Parade drums lead the way into "Out to Lunch" – listen to how the tempos shift under Lederer's clarinet solo as if the vibes were going one way, the cello another, and the drums yet another while the bass keeps the structure intact. "Love Me", a melody by Victor Young with lyrics by Ned Washington and Bing Crosby, is a duet between the Ms. LaRose's playful voice and the swooping phrases of the bass clarinet.
"Out Here" closes with Mal Waldron's "Warm Canto" which the pianist/ composer recorded with Dolphy for his 1961 album "The Quest". Ms. LaRose reads the Patricia Donegan's poem "Lover's Wish" supported by Wilson's fine brushes work, Ms. Brennan's electronically enhanced vibes, and Ms. Reid's expressive cello. In the middle, the clarinet trio of Isaiah Johnson, Cameron Jones, and Mr. Lederer carry on a lively conversation. It's the perfect ending for a delight-filled album that not only contains surprises but also soothes the soul. Mary LaRose is quite the adventurous artist and, while she has only released five albums over the past two decades (she has also recorded with her husband), each album is required listening.
Here's the delightful take of Dolphy's "Gazzelloni":
Mary LaRose will celebrate the release of "Out Here" on Friday 10/7 leading a quintet that includes Ms. Brennan, Matt Wilson, Mr. Lederer , and Michael Formanek in the bass chair. For ticket information, go to http://firehouse12.com/performance-calendar/2021/10/8/mary-larose-ensemble. The event is in-person as well as streamed.
On August 16, 2020, Jeff Lederer invited his friends Jamie Saft (organ, piano), Matt Wilson (drums, percussion), and Steve Swallow (electric bass) to record eight original compositions based on the saxophonist's study of the book "The Heart of Buddha's Teaching" by Thich Nahat Hanh. And, because of the extensive COVID-19 protocols being enforced at the time, the quartet was going to record the session outdoors. They did just that in between the hit-or-miss summer showers. The ensemble, known as Sunwatcher from the title of Mr. Lederer's 2011 Jazzheads release that featured Saft and Wilson plus bassist Buster Williams, creates a powerful sound pushed forward by the insistent drums and Mr. Swallow's amazing bass work. "Eightfold Path" (little (i) music) is a guide to living a good life with the music serving as a guide to immerse one's self into the sound. Tunes such as "Right Speech" and "Right Livelihood" make one want to dance and sound great coming out of a car's speakers driving down the road.
Every time I encounter Steve Swallow's bass, I realize how much he fills the bottom and how melodic he is. Note how bluesy and fundamental he is on "Right Action" and how integral his counterpoint is behind the acoustic piano and tenor sax solos on "Right Effort". Mr. Swallow connects with the New Orleans-tinged drums on "Right Action" playing a three-note figure similar to that of the "Acknowledgement" movement of John Coltrane's "A Love Supreme". Saft's righteously funky organ playing stands out on that track as well. In an interview I conducted with Mr. Lederer and Mary LaRose, I asked if "Right Resolve" was based on the chugging rhythm of Elton John's "Bennie and The Jets" –– the composer claimed "no" but Ms. LaRose laughed and said "Told you!" Certainly the chord structure is different but.....Saft's solo roars while Wilson's drums crush beneath him.
While the music is noisy at times, there are also several lovely ballads. The gospel-tinged melody of "Right View", played together then in counterpoint by Mr. Lederer and Mr. Swallow, has wonderful cymbal work and rich, sustained, organ chords. Mr. Saft's long solo adds intensity to the piece and is followed by a sweet Swallow solo. The afore-mentioned "Right Effort" and the album closer "Right Mindfulness" finds the organist on acoustic piano. The latter track features long sustained bass notes, a handsome tenor solo, and Mr. Wilson on hand-held percussion. Notice how all four musicians are essential to the music moving forward even as they create a meditative sound.
"Eightfold Path" is Jeff Lederer at his best. Yes, he still plays with a ferocity that sounds as if his saxophone will explode but he also displays a softer, more melodic, side that fits the message of the album. Great band, good music –– sure sounds like they had a delightful day in the park!
Vocalist Judy Wexler, born and still lives in Los Angeles, CA, is a person who loves tell a story with each song she sings. Her new album "Back To The Garden" (released in June of this year on her Jewel City Jazz) illustrates how the songs of 1960s, pieces written by Bob Dylan, Joni Mitchell, Stephen Stills, Sandy Denny, and others, have great resonance for this third decade of the 21st Century. With a band that features pianist and arranger Jeff Colella, guitarist Larry Koonse, bassist Gabe Davis, drummer Steve Hass, a string quartet, and more guests, Ms. Wexler comes at these tunes with a jazz sensibility and an well-developed ear for harmony while the arrangements by Collela (with two from Josh Nelson) open the songs up without losing their essential qualities. I imagine that anyone who "grew up" with these songs (as I did) will bring a myriad memories to his or her listening experience.
Despite the album's title, that Joni Mitchell song is not in the program but "Big Yellow Taxi" is. The melody is propelled by a funky piano phrase. Danny Janklow's alto sax fills serve as a smart counterpoint to the vocal plus delightful backing vocals (the tune's co-arranger Erin Bentlage) will make you smile. In the midst of their Brill Building years, Gerry Goffin and Carole King composed "Up On The Roof" and the homage to star gazing in New York City was a best seller for The Drifters during the Holiday season of 1962. Collela's arrangement and far-ranging piano solo brings Bruce Hornsby to mind. "For What It's Worth", composed by Stills for the Buffalo Springfield, became a rallying cry for protesters around the escalating Vietnam War. Koonse's sharp-edged solo, accompanied by the militaristic drums, is a highlight as is Ms. Bentlage's backing vocals.
Mr. Dylan gets two songs, the political broadside "The Times They Are A'Changin'" (1964) and the sweet lullaby "Forever Young", a song the composer recorded twice for his 1974 album "Planet Waves" (featuring The Band). The former song is just as relevant now as it was nearly six decades ago while the latter is one of the sweetest and straight-forward set of lyrics in Mr. Dylan's oeuvre. Ms. Wexler and Jeff Collela don't take liberties with these songs; instead, they make sure you hear the lyrics. Violinist Sara Caswell
makes an appearance on "Forever Young" wrapping her velvety phrases around Koonse's guitar lines and the sweet-sounding background voices.
The album closes appropriately with "Who Knows Where The Time Goes" –– the late Sandy Denny composed and recorded the song with Fairport Convention in 1969 but it was Judy Collins whose 1968 version became the title of her third album. This lovely arrangement by Josh Nelson features a splendid trumpet solo from Jay Jennings as well as a heartfelt vocal. Nelson also arranged "American Tune" (listen below) that utilizes a string trio that underscore Ms. Wexler's emotional vocal.
When you listen to "Back To The Garden", make sure to notice that this is not a nostalgic trip or even a tribute album: instead, notice how Judy Wexler remind us all of the power of music to be relevant over decades and generations and how jazz artists were listeners first and interpreters second, introducing great songs to new audiences. Subtle, swinging, soothing, fun, this album is a true delight!
Judy Wexler will be performing this album and more on Saturday October 9 at The Side Door Jazz Club in Old Lyme CT. Accompanying her will be Jim Ridl (piano), Bill Moring (bass), and Tim Horner (drums). For ticket information, go to www.eventbrite.com/e/judy-wexler-tickets-165027442523.
Here's Ms. Wexler's take on Paul Simon's "American Tune":
It's Valentine's Day 2018 and it seems obvious we could all use a "whole lotta love" (no Led Zep today though, thank you) and a revival of our spirits. To that end, tenor and soprano saxophonist Jeff Lederer has come to our rescue. His Shakers n' Bakers crew has a new album. "Heart Love: Shakers n' Bakers Play the Songs of Albert Ayler and Mary Maria Parks (little (i) music) revisits and updates three tracks from Ayler's controversial 1968 "New Grass" (critics thought the funky sounds beneath Ayler's talent) and three from 1969's "Music Is the Healing Force of the Universe". Lederer has been one of the late Ayler (he died just a year after the "...Healing Force...." Lp was released) and has recorded several albums based on material from throughout the saxophonist's career.
The ensemble includes Jamie Saft (piano, organ, Baldwin electric harpsichord), Chris Lightcap (bass), Allison Miller (drums), Mary LaRose and Miles Griffith (vocals) plus Steven Bernstein (trumpet, slide trumpet), Kirk Knuffke (cornet), Joe Fielder (trombone) and Lisa Parrott (baritone saxophone). Special guest Matt Wilson plays drums on two tracks a quintet of background vocalists known as the "Heart Love Singers" are featured on a number of tracks. They include Amy Cervini, Melissa Stylianou, Toni Seawright, Chelsea McLauren, and Ms. LaRose.
The album hits the streets on February 28 but the digital version can be purchased starting today by going to shakersnbakers.bandcamp.com/releases.
Listen to the track below and you'll get a good idea just how funky and far afield Shakers n' Bakers can go. The band plays with great fire, the vocalists are perfectly matched (sweet and sassy, smooth and gruff), and Jeff Lederer plays with the fire that his fans and audiences have come to expect.
A review will post in a week or so but, for now, if this music fascinates you, give it a listen. Make sure to play it loud: it will do your heart good!
This "Best of" process usually takes four posts to finish; I like to think that's because my tastes are so eclectic. It's true that I like and listen to a lot of different music plus each album reviewed has pieces or themes that really speak to me. Again, this list is in no particular order but notice the number of releases from Sunnyside Records - I'm surprised that François Zalacain does not get more recognition.
Ryan Keberle & Catharsis - Azul Infinito (Greenleaf Music) - Talk about a band that gets better with age and work, trombonist's Keberle's Quintet - Camila Meza (voice), Michael Rodriguez (trumpet, pandeiro), Jorge Roeder (bass), and Michael Doob (drums) - grows stronger and smarter with every release. This album pays tribute to the various groups the composer played with when he first moved to New York City, many of which played South American music. The presence of Ms. Meza (her second recording with the group) adds an extra voice and this music soars. The interaction of the brass throughout the songs is delightful while the rhythm section makes this music soar and sway.
Jeff Lederer - Brooklyn Blowhards (little (i) music) - Albert Ayler and sea shanteys, a name and a style of music you may have never thought would go together in your lifetime but saxophonist Jeff Lederer, a champion of Ayler's music, is fearless, adventurous, and has a great sense of humor. The Blowhards - Petr Cancura (tenor saxophone), Kirk Knuffke (cornet, slide trumpet), Brian Drye (trombone), Art Bailey (accordion) and the percussion trio of Allison Miller, Stephen LaRosa, and Matt Wilson (trap drums, ship's bell, chum bucket, chain) plus guitarist Gary Lucas (three tracks) and vocalist Mary LaRose (5 tracks) - make this mashup work. Noisy and great fun, play it loud! For more information, go to www.littleimusic.com. Here's the band in action:
Alan Ferber Nonet - Roots and Transitions (Sunnyside Records) - Trombonist, composer, and arranger Ferber leads this smallish "big band" through series of composition inspired by the birth of his first child. The Nonet has been together for five albums (several with expanded personnel) and here includes his twin brother Mark (drums), Matt Clohesy (bass), Bryn Roberts (piano), Nate Radley (guitar), Charles Pillow (bass clarinet), John Ellis (tenor saxophone), Jon Gordon (alto saxophone) and either Scott Wendholt (6 tracks) or Shane Endsley (2 tracks) on trumpet). The music often crackles with excitement but there are track with a quieter, contemplative edge. No matter the type of song, this is an excellent recording. For more information, go to www.alanferber.com. Enjoy this taste:
Adam O'Farrill - Stranger Days (Sunnyside Records) - Trumpeter and composer O'Farrill, son of composer, arranger, and pianist Arturo O'Farrill, released his debut (as a leader) with his brother Zach (on drums, with whom he has released two albums as co-leaders), saxophonist Chad Lefkowitz-Brown and bassist Walter Stinson. Loaded with smart melodies and excellent musicianship, this recording illustrates the trumpeter's commitment to making personal and accessible as well as adventurous music. The interactions between the four young musicians set off sparks throughout the program. For more information, go to www.adam-ofarrill.com. Here's the opening track:
Noah Preminger - Dark Was the Night, Cold Was the Ground (self-released) - Over the past several years, saxophonist Preminger has gotten deeply into the blues, Delta Blues in particular. This group - Preminger plus Jason Palmer (trumpet), Kim Cass (bass), and Ian Froman (drums) - made its debut with 2 long improvisations but this nine-song program shows a band getting comfortable with each other so they can explore this material in melodic and adventurous ways. The interaction of the trumpet and tenor sax sparkles throughout while the rhythm section creates a variety of moods. For more information, go to www.noahpreminger.com.
Sara Gazarek and Josh Nelson - Dream in the Blue (Steel Bird Music) - I wrote the following paragraph about this wonderful album: "Dream in the Blue" invites the listener in, makes him comfortable, makes him cry and smile and tap his feet and think about how the interactions of two talented people can open up so many possibilities. The lilt in and lift of the voice, the idea that a piano can be an orchestra or a solitary sound in a crowded lifetime, the lyrics that stir the heart, all that and more make this recording by Sara Gazarek and Josh Nelson so special." It's such a delightful program of standards and contemporary songs. Plenty of heart, lovely vocals, and intelligent piano, what a treat! For more information, go to saragazarek.com/duo/. Here's a swinging track:
Peter Eldridge - Disappearing Day (Sunnyside Records) - One of more expressive vocalists, a strong composer, solid pianist, and excellent educator, Peter Eldridge makes music for adults. This recording, his fifth as a solo artist, was built from his long-standing duo with bassist Matt Aranoff; the material features standards, pop songs (the version of Paul McCartney's "Jennie Wren" is a stand-out), and originals. Also impressive is his use of backing vocalists (people such as Jo Lawry, Laila Baili, Lauren Kinhan, Janis Siegel, and Alan Hampton all pitch at various times). Great music for early morning, late in the day, or any time you need a boost! For more information, go to petereldridge.com. Here's a poem by Robert Bly set to music by Mr. Eldridge:
For more information, go to serpamatos.com. Here's a lovely track set to the words of poet Fernando Pessoa:
Bryan Nichols - Looking North (Shifting Paradigm Records) - Back in July I write the following words about this album: "Looking North" is music that allows the listener to relax, to listen, to create images, to enter a musical world where melody is much more important than technical prowess. This is not music for the car but can be played when the sun shines through the window in the morning or as the moon rises in the late winter afternoon. or after the children go to sleep. If you like solo piano music that forgoes "standards" but has its foundation in folk song, blues, and contemporary music, yet sounds quite original, it's all here in the music of Bryan Nichols." Returning to the program after several months, the music still sounds rich, heartfelt, and so alive. For more information, go to www.bryannichols.org. Here's a lovely ballad from the program, one that sounds influenced by Erik Satie:
Denny Zeitlin - Early Wayne: Explorations of Classic Wayne Shorter Compositions (Sunnyside Records) - Most of the songs on this delightful solo piano journey hearken from Wayne Shorter's tenure with Miles Davis and solo recordings on Blue Note. Dr. Zeitlin explores this music with his usual curious nature, playing with rhythms and moods but with great respect for the melodies. The ballads are emotionally strong, the faster pieces have strong foundations, and the solos within the songs glisten with creativity. Recorded in front of a live audience, this album is a joyous tribute to a man, his music, and his vision as well as a reminder how one can be with respectful and creative. For more information, go to www.dennyzeitlin.com.
Here's a classic Miles Davis Quintet work that is such an aural delight:
When one attempts to describe saxophonist Jeff Lederer, the words "exuberant", "dynamic", "elemental", and "fun-loving" come to mind. In concert with the Matt Wilson Quartet and the Honey Ear Trio, he can be, and often is, ebullient, a Puck-ish character whose approach to the tenor sax knows no limits. In his own groups, Lederer's music blends blues, swing, hymns, gospel, and so much more. He has an affinity for the music and sound of saxophonist Albert Ayler (1936-1970) and has recorded a number of his works as well as dedicating several of his original pieces to the fiery musician.
Lederer's latest recorded adventure (and ensemble), titled "Brooklyn Blowhards" (Little (i) Music), blends his love for Ayler's music (5 of the 14 tracks are Ayler tunes) and sea shanteys - an unlikely match, you say, but ,when played by the octet of Petr Cancura (tenor saxophone), Kirk Knuffke (cornet, slide trumpet), Brian Drye (trombone), Art Bailey (accordion) and the percussion trio of Allison Miller, Stephen LaRosa, and Mr. Wilson (trap drums, ship's bell, chum bucket, chain), this music is so alive. Joining the ensemble on 5 tracks is vocalist Mary LaRose (Lederer's wife) and, on 3 tracks, guitarist Gary Lucas. There are moments when the music sounds like an unhinged Salvation Army Band (before and after the Cancura/Lederer duo on "Black Ball Line" and all throughout "Haul Away Joe") and cuts where the ensemble swaggers or romps with such panache (Ayler's "Heavenly Home" and his classic "Bells"). Check out Matt Wilson's "Dancing Waters", a truly lovely ballad with Ms. LaRose's wordless vocals and Lucas's sparkling dobro, underpinned by the swirling reeds and brass, building to an amazing climax on the power of the drummers, beginning and ending with a short chorale that sounds like a prayer. Lederer's "The Language of Resistance" is a stunning work for the octet, a spotlight for the leader's soprano sax and Bailey's fine accordion work.
Inspired playing abounds throughout the program. Solos by Knuffke and Drye enliven the traditional "Haul on the Bowline" while the spiky slide work of Lucas shines on "Shenandoah." Ms. LaRose leads the way on the raucous take of Ayler's "Island Harvest" capturing the humor of the original version without imitating lyricist and vocalist Mary Parks. The multi-tracked voices on "Shallow Brown" blends sweetly with the dobro, the accordion swells, the martial drumming, and the sway of the horns.
"Brooklyn Blowhards" is serious fun, music that reaches back to music of early America while illustrating how Albert Ayler tapped into traditional musics, making it sound new and "free.' Jeff Lederer, who arranged the entire project, was inspired by the brilliant work of artist Matt Kish, who created "Moby Dick in Pictures - One Drawing for Every Page". Play this loud, let the music ring through the house while raising your glass to the ingenuity and vision of this splendid musician and his mighty band.
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The nine song, 68 minute program, opens with Wilson's "Dewey Spirit", (listen below) a tune the drummer dedicates to one of his earliest mentors and employers, tenor saxophonist Dewey Redman. Commencing with percussion and Lederer's spiky tenor sax sounds, the piece opens in rubato with Ms. Jones dancing underneath the melody line. When the main theme kicks in, one hears a running bass line, swinging drums, and the saxophonist flying all around his horn. Everyone solos, the energy is contagious, and the crowd enjoys it all.
