Hard & Heart to Know Where

Photo: Matt Griffiths

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

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

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

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

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

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

Hear "Traveler":

Nick and Nicky

Nick Hempton came to the United States from his native Australia, saxophones in hand, a young man with a dream that one day his music would be heard around the world (or, at least, that's how I believe the story should go.)

Since organizing the Nick Hempton Band in 2005, he's released 3 CDs with the latest 2 out on Posi-Tone Records. This year, he's decided to try a new approach, a fan-friendlier approach but not "crowd-sourcing."  The "Catch and Release Experiment" is a unique idea, one in which the band - Hempton (alto, tenor saxophones), Dan Aran (drums), Jeremy Manasia (piano) and Dave Baron (bass) - will, over the course of 1 year, "write, rehearse, record, and release one new song every 6 weeks." The songs will be made available on the Band's website, on iTunes and Amazon.

If you have ever listened to Nick Hempton's music, you'll know he's a confident player with a sweet sound on alto and a swinging approach to the tenor.  His compositions leave plenty of room for solos but he does not skimp on melody.  Drummer Aran has been in the band since its inception and one cannot miss his rapport with the leader.

The first track, which takes its name from the "experiment", will be released on Tuesday July 15.You can join in on the fun by going to nickscatchandrelease.com.

Earlier this year vocalist/composer Nicky Schrire returned to her native South Africa after 4 years in New York City where she studied music, recorded 2 CDs and an EP, made scads of friends and ran herself ragged trying to get her career moving forward.  Despite strong positive critical responses, Ms. Schrire felt she needed a change of scene and made plans to settle in London, England.  First, she went home to recharge, see family and friends and to slow down for a little while.  She's now in London, starting to gig and getting established.

Before Nicky Schrire left the US, she recorded 11 original pieces in New York City with pianist Glenn Zaleski, bassist Desmond White and drummer Jimmy Macbride plus tenor saxophonist Jonas Ganzemuller on 3 tracks.   Titled "Demo 2014", the music seems fully realized but was not marked for release.   However, this music deserves to be heard so this post is a personal "shoutout" to Ms. Schrire to consider making these songs commercially available.  (Update - these tracks are not yet commercially available in any form and, after consulting with the artist, she has generously forwarded the following song for our enjoyment:)


While in Capetown, Nicky Schrire formed a duo with cellist Ariella Caira, recorded a 5-song EP that also begs to be heard.  Time will tell.

To find out more about the person and her engaging music, go to www.nickyschrire.com.

The Next Roundup (Part 1 - Nicky & Pete)

Barely 6 months have passed since the release of "Space and Time", vocalist Nicky Schrire's splendid second recording of duets with pianists Gil Goldstein, Gerald Clayton and Fabian Almazan.  Her followup is a 6-song "Extended Play" (EP), digital-only, collaboration with Mr. Almazan and bassist Desmond White (a singer-songwriter as well).  "To The Spring" (self-released, self-produced) concentrates on original material, was recorded in 1 session and continues the maturity of a singer/storyteller.  If you are familiar with Ms. Schrire's music, you know there is a playful streak that inhabits many of the songs but also a contemplative edge (that carries over to her "live" shows - what you see/hear is really what you get. No artifice.)

Her musical relationship with Fabian Almazan is near perfect; he is such a poetic accompanist (listen to his melodic backings.)  White adds a pleasing depth, also quite musical.  The songs have the feel of a short story with Ms. Schrire as the narrator and, in the case of "Father", a participant remembering events of her youth.  Other pieces have a fictional feel, such as "Traveler" which is the story of a songwriting team that has broken up.  The title track is a lovely ballad, opening with a long piano/bass reading of the melody.  When the vocalist enters, one understands this is a song inspired by a bleak winter landscape to dream of the inevitable future. Her wordless vocal in the middle is part of 3-way conversation that creates a whirlwind of sound before returning to the melody/verse.  "Fall Apart" follows but "fall" is not the season but a person who is on the edge. The chorus section has vocal overdubs which reminds this listener of the work of the late Harry Nilsson.  The melody line of "Your Love" feels like the flow of a mountain spring or a summer wind sprite - Almazan's wondrous piano solo picks up on the "freedom" inherent in the vocal.  The program closes with "Give It Away" (not the  Abbey Lincoln classic), a piece that speaks about being careful with matters of the heart, urging caution and to "Don't give it away." More judicious overdubbing, sweeping piano lines and solid bass accompaniment bring the song to life.

Do give this music a listen - it's not a slap-dash project, the songs are well constructed and the performances are sparkling.  This is the music for the heart, for the soul of those who need reassurances that life can be contemplative without being morose or downright stultifying.  Sunshine permeates "To The Spring", filtered through clouds of memory and responsibility yet brought to life by the clarity of and in Nicky Schrire's voice.

As I wrote above, "To The Spring" is only available as a digital download (iTunes, Amazon, emusic.com) and Nicky Schrire will only play 1 gig in support of the release (Tuesday March 25 at the Cornelia Street Cafe) before leaving New York City to go home to South Africa and on to London, England.  

Saxophonist Pete Mills, a native of Toronto, Canada, knows a good rhythm section when he hears one.  On his 2004 CD "Art and Architecture" (Summit Records), he employed drummer Matt Wilson and the bassist Dennis Irwin, a member of Mr. Wilson's Arts & Crafts quartet.  For Mills' new CD, "Sweet Shadow" (Cellar Live), he brings back the drummer with Mr. Irwin's replacement (the bassist passed in 2008), Martin Wind.  Also back from the earlier recording is guitarist Pete McCann (who also appeared in Mills' 2007 CD "Fresh Spin") - there is also a new addition in pianist Erik Augis (who appears on 8 of the 14 cuts).

The CD opens with 3 original pieces including the lively and boppish "Shiner", a tune that displays not only the leader's handsome tenor sound but also just how nicely Messrs. Wind and Wilson can swing.  Augis romps over the dashing bass lines while McCann comps sweetly behind him.  On "The Snagel", Wilson's snare work and McCann's "mysterious" guitar chords suggest an Asian Indian feel while the saxophonist's melody lines go in a more Western direction.

Cut 4 changes the program's direction.  "Duo 1" is a musical conversation for tenor sax and drums; here, Mills digs a bit deeper, making his sound fuller while Wilson pushes and prods for 80 seconds.  The title track is an elegant ballad with solos from Wind and Mills while McCann, Wilson and Augis create a lovely background.  The guitarist gets to "shred a bit" on "Close to Never", letting loose after Mills raises the energy level with his intense solo.  Rahsaan Roland Kirk's "Serenade to a Cuckoo" is the first of 3 covers and is a delightful jaunt for sax, bass and drums (listen to Wilson's inventive cymbal and high-hat work.)  After another short sax/drum conversation, "Duo 2", McCann switches to acoustic guitar for a Brazilian-flavored reading of Billy Strayhorn's "The Star-Crossed Lovers" (composed for Duke Ellington/Strayhorn's Shakespeare collaboration, "Such Sweet Thunder") - here, it has a Stan Getz/Charlie Byrd feel and is quite entrancing.  Augis returns (and McCann sits out) on "Diamonds Are a Girl's Best Friend", noteworthy for Wind's eloquent bowed bass solo, Wilson's fine brush work and Mills' melodic solo.

The closing 3 tracks are all Mills' originals and ranges from the hardy "Blues for Mel" to the pretty medium-tempo ballad "Elora Dolce" (excellent piano work from Augis) to the energetic finale "Momentum."

"Sweet Shadow" does a really good job of blending styles, originals with standards, leaving room for all the musicians to take the spotlight.  The program might flow better with the elimination of several tracks but I'm not sure which ones. What does stand out is the pleasing tenor sound and melodic approach of Pete Mills as well as the clarity of the rhythm section and the smart utilization of guitar and piano.  For more information, go to www.petemills.com.