In The Presence of Creativity, Beauty, and Joy

(By way of apology, read on.) Christopher Zuar, composer and arranger, released his second album as a leader, "Exuberance" (Tonal Conversations) in May of this year. At the time, I had been listening to the music for a month while recuperating from the first of two fractures.  With everything piling up (including student Final Papers), the album kept getting shunted aside. Yet, I kept returning to the music, especially in the quiet morning hours where the only other sounds one hears is the songs of various birds.  Now is my chance to tell you this album is one of the best of this year!

First off, who is Christopher Zuar? A native of Long Island, NY, Zuar has been composing since his youth, winning numerous awards. He did his undergraduate work at the New England Conservatory and earned his Masters of Music degree at the Manhattan school of Music. Along the way, he has studied with Jim McNeely, Maria Schneider, and Mike Holober and had his works performed by the WDR Big Band, the Danish Radio Big Band, and the Brussels Jazz Orchestra. He has arranged for artists such as Miho Hazama (a great arranger in her own right), Joel Ross, Theo Bleckmann, and more.  His debut recording, "Musings", was issued in 2016 by Sunnyside Records to great critical acclaim. In his music, one can hear traces of the influences of his mentors but also of the 20th Century classical composers he listened to as well as more "popular music" artists.

The initial sessions for "Exuberance" took place in August of 2018 but due to numerous complications and the pandemic, did re-commence until three years later (August '21).  The project is a partnership with animation filmmaker Annie Beal (they were married in 2022) when both had fellowships to the MacDowell Colony in New Hampshire (go to https://vimeo.com/260899301 to see them at work). By then, they had created Tonal Conversations, an outlet for their creativity. The album is filled with brilliant musical conversations throughout played by an incredible 18-member band (see "personnel" below), many of them who have worked with each other on large ensemble projects. Guests include violinist Sara Caswell who has also shown up on numerous jazz and classical albums over the past few years. Conductor Mike Holober, who had produced Zuar's 2016 album, led the band for the recording sessions.

Photo: Maria Baranova

This music is quite melodic. The horn and brass sections often push the melodies forward –– they also often set the tone and mood of the music. The opening track, "In Winter Bloom", opens with with a static piano figure before the sections set the piece in motion. Their choruses set the the stage for solos from bassist Drew Gress and tenor saxophonist Jason Rigby.  Listen below to "Communion", how the flutes and piccolos riuse aboe the horns to set the stage for Ms. Caswell's playing of the theme. Pianist Glenn Zaleski plays a second theme before the brass and flutes carry it forward, again opening the path for the piano solo. The violin solo that follows kicks the piece into the stratosphere as Gress and drummer Mark Ferber create a powerful thunderstorm. 

Photo: Maria Baranova

One of the best aspects of this seven-song, 59-minute, program is that each song stands out on its own and as part of the overarching theme. "Simple Machines"  blends the sound of Appalachian bluegrass with big band swing with Ben Kono creating a powerful tenor sax solo over a funky beat followed several minutes by a short fiddle hoedown (shades of Aaron Copland). That leads into a delightful mandolin spot from guest Joe Brent followed by a rollicking solo from Ms. Caswell.  The episodic "Before Dawn" opens with a thunderstorm but, as the "day" breaks, the music becomes more tranquil. Guitarist Pete McCann creates a long, flowing, solo over the rhythm section until the horns and brass enter which then kicks his sound and attack into overdrive with drummer Ferber with him all the way through. One hears the storm fading as ther song closes.

Vocalist Emma Frank joins the Orchestra for the final track, the song that gives the album its title.  The delightful love songs, lyrics by Ms. Beal, talks about how we all need to be nice, even as storms swirl around us as well as inside us. Ms. Frank flows along with the melody with the brass in unison behind her. The ensemble kicks into a higher gear for a hard-hitting alto sax solo courtesy of Dave Pietro followed by a fascinating trumpet spot from Scott Wendholt that actually starts on the powerful side, stays there for several minutes then slows down to reintroduce Ms. Frank to sing "Will you dance with me?/ Will you guide through the crowded floor?/ I will dance with you".  The piece rides out on a wordless vocal over the whispering ensemble, a gentle finish to a splendid piece of music and entire album. 

Exuberance is defined as "the quality of being full of energy, excitement, and cheerfulness". "Exuberance", the album from the Christopher Zuar Orchestra, is all that and much more, downright joyous.  Christopher Zuar is becoming one of the finest composers and arrangers of this time and the future bodes ever-so-well!

For more information, go to www.christopherzuar.com/. To learn more about what Ms. Beal and Mr. Zuar are creating, go to www.tonalconversations.com/.  To hear more and to purchase the album, go to  https://christopherzuar.bandcamp.com/album/exuberance. 

Personnel:

Dave Pietro - Alto/Soprano Saxophone, Piccolo, Flute, Alto Flute

Charles Pillow - Alto/Soprano Saxophone, Flute, Alto Flute, Oboe
Jason Rigby - Tenor Saxophone, Flute, Clarinet
Ben Kono - Tenor/Alto Saxophone, Flute, Alto Flute, Clarinet
Carl Maraghi - Baritone Saxophone, Bass Clarinet
Tony Kadleck - Trumpet, Flugelhorn
Jon Owens - Trumpet, Flugelhorn
Scott Wendholt - Trumpet, Flugelhorn
Matt Holman - Trumpet, Flugelhorn
Matt McDonald - Trombone
Mark Patterson - Trombone
Alan Ferber - Trombone
Max Seigel - Bass Trombone
Pete McCann - Electric/Nylon String Guitar, Banjo, Mandolin, Dobro
Glenn Zaleski - Piano, Fender Rhodes
Drew Gress - Bass
Mark Ferber - Drums
Rogerio Boccato - Percussion
Mike Holober - Conductor

Featuring:
Sara Caswell - Violin ("Communion" & "Simple Machines")
Max ZT - Hammered Dulcimer ("Simple Machines")
Joe Brent - Mandolin ("Simple Machines")
Keita Ogawa - Percussion ("Simple Machines")
Emma Frank - Voice ("Exuberance")

Listen here to "Communion":

Inspiration, Imagination, & Intent

 

There are many listeners of contemporary music no matter the genre are usually looking for spiritual uplift. Listeners say they love technical prowess or "new" sounds but what makes us return to music is how it moves us. Music is a "full-body experience" – for this listener, it usually starts with moving my feet, then enters into my brain, and finally into my heart.  If it feels "real nice", play it twice.  That's why I like the music of John Coltrane, of McCoy Tyner, Muddy Waters, Howlin' Wolf, Bill Withers, Bruce Hornsby, Bonnie Raitt, and others. And Anthony Branker. His music often makes one think, his titles lead one to investigate Black experiences and history, and his rhythms often bring you up out of your seat. Over the course of 10 albums, all released by Origin Records, he's assembled some of the best musicians, given them music to sink their creative teeth, and a created a lot of memorable performances.  

Given the overt political nature of a good number of his albums (2013's "Uppity", 2014's, "The Forward (Towards Equality) Suite", and 2023's "What Place Can There Be for Us"), Dr. Branker's 10th album (and third with his group Imagine), "Songs My Mom Liked" takes a different tack.  His 88-year old mother (she turns 89 on June 27) has been dealing with the ongoing effects of cognitive dementia. Dr. Branker has been driving her to appointment and elsewhere playing his albums in the car. His mother responded so positively to certain songs that he began to collect a group of them, rearranging them for this septet that features Fabian Almazan (piano), Linda May Han Oh (bass), Rudy Royston (drums), Pete McCann (guitar), Phillip Dizack (trumpet), Donny McCaslin (tenor and soprano saxes), and Aubrey Johnson (voice).  Nine of the 12 songs are from Dr. Branker's earlier albums and none recorded by this particular group.

With different "voices" and approaches to the material, this program is brimming with energy, imagination, and joy. Right out of the gate, "Praise" jumps out of the speakers powered by the rhythm section with Royston's drums front and center. This is McCaslin's first recording with Dr. Branker and he shines throughout the program. Listen below to "Sketches of Selim" to hear how he and trumpeter Dizack interact and build off each other's solo. Fabian Almazan also brings a heightened sense of urgency to each one of his solos while his work as part of the rhythm section is a delight. The rollicking "The House of the Brotherhood of Black Heads" takes off at a blistering pace with Ms. Oh and Royston furiously pushing the group forward. Each of the soloists (Dizack, Almazan, and McCaslin) rides the rhythmic waves, sometimes behind the beat but mostly enjoying the frenetic drive.  Later in the program, "To Be Touched (By the Spirit)" gives the listener an insight to one of the composer's touchstone influences; the power and glory of McCoy Tyner. Almazan's incredible solo stands out flowing out atop Royston's stunning drum work and the foundational bass playing. McCaslin comes roaring out out of the piano solo feeding the percussive fire even as his lines raise higher and higher.  A richly melodic and percussive bass solo leads the band back to a quick reiteration of the main theme.

Aubrey Johnson is heard on "Three Gifts (From a Nigerian Mother to God", her lovely wordless solo reading of the theme opens the piece before Dizack and the band enter to repeat the theme.  She can be heard in the background singing in unison with McCaslin's tenor. She drops out for the solos but returns to sing the melody and, later, counterpoint, in the background.  

One of the other highlights is the trio version of "Imani (Faith)" with Ms. Oh and Royston laying down a reggae beat for McCaslin's tenor to soar and roar atop.  The bass solo stands out for its melodic reach and bluesy intent.

Pete McCann performs on a couple of tracks including "When We Said Goodbye", where he states the handsome melody while producing a rippling solo supported by the responsive rhythm section.  McCaslin builds off the energy of the guitar solo for his own splendid spot.

The album closes with the one song not composed by Dr. Branker. "If..." was composed by his daughter Parris at the age of 11! The proud father arranged the piece for the group with McCann replacing Dizack. It's a high tempo, high spirited conclusion to a most excellent program.

"Songs My Mom Liked" is a treat from start to finish. The excellent septet of musicians transform the 12 songs in the program into living representations of Dr. Anthony Branker's spirit, beliefs, and desire to communicate through music.  There are moments where one hears the spirit of Art Blakey's Jazz Messengers, the fire of Max Roach, the cool burn of Miles Davis, the spirituality of John Coltrane and McCoy Tyner, and the Caribbean roots of his family (Trinidad and Barbados). These songs are glorious prayers to the power of belief, love, family, hope, and music.  All of Dr. Branker's albums are recommended, all are excellent: "Songs My Mom Liked" is, arguably, the best he and his groups have yet produced.

For more information, go to www.anthonybranker.com/ – the site needs to be updated but there is still plenty to learn. To hear more and to purchase the album, go to https://anthonybranker1.bandcamp.com/album/songs-my-mom-liked-2.

Listen to "Sketches of Selim":

Passion and Belief

I have been wanting to talk to composer and educator Anthony Branker since 2013 and the release of "Uppity", an album that addressed racism, religion, and hope.  Credited to "Word Play" and released on the Origin label, the music included "Ballad for Trayvon Martin", "Dance Like No One is Watching", "Across the Divide", "Let's Conversate" and the title track.  At the time, I was teaching a course that dealt with music as social commentary and how music, theater, and poetry often reflects the time in which it is/was created.

But, I never had the opportunity to talk with Dr. Branker, at that time the director of the Program in Jazz Studies at Princeton University, leader of the improvising ensembles, and teacher of a number of different courses (he has since stepped down and Rudresh Mahanthappa will take over the program in the Fall of this year.)  His debut album, "For the Children" (Sons of Sound Productions), was recorded in 1980 when he was a senior in the Music Department at Princeton (featuring a young Stanley Jordan on guitar) but not released until 2005.  Just 4 months later, Sons of Sound released "Spirit Songs" featuring a sextet known as Ascent including Ralph Bowen (tenor and soprano saxophones) and Ralph Peterson (drums). Dr. Branker, who played trumpet for many years but had to stop due to health issues in 1999, contributed all the compositions and arrangements.

Anthony Branker's new album, "Beauty Within," has just been released by Origin Records (his 7th for the label, three each by Ascent and Word Play) and I could not resist the urge to speak with him. Not only because the music is so exciting, thoughtful, powerful, and hopeful but also because he's named this group Imagine and the music speaks to his dreams.  The quintet that plays this music lives up to its name by taking the music off the printed page and giving it vitality as well as a commanding presence. (The interview - really a conversation - will air August 21 at 12 noon on WLIS and WMRD in Old Saybrook and Middletown CT respectively - online at www.wliswmrd.net and on the TuneIn Radio app).

timba.com/Tom Ehrlich

Ralph Bowen is here (as he has been on all of Dr. Branker's albums since 2006. Joining him is Pete McCann (guitar), Fabian Almazan (piano), and the amazing rhythm section of Linda Oh (bass) and Rudy Royston (drums), both of whom (pictured left) work with Dave Douglas Quintet and have appeared on each other's albums. It's hard to single out any one track as all nine contain music to recommend them.  The opening cut, "Joy", starts with the guitar and the tenor saxophone playing what becomes the melody and then, one by one, Royston kicks in, Ms. Oh sets the foundation and Almazan supplies the chords.  Bowen takes off on his solo flight and he really sets theme for the album, moving up through his horn's range while Royston pushes him forward amidst the impressionists sounds of guitar and piano and the underpinning of the bass.  There are moments of tenderness and reflection in the mix as well.

allaboutjazz.com

Ms. Oh leads the quintet on the title track with a quiet yet poetic bass solo.  Almazan (pictured left) and Bowen play the theme with McCann supplying the chords. Pay attention to how Royston works below the soloists, painting pictures with cymbal washes, fleet movements across his set, and stop-on-a-dime turnarounds.  Some might say his work is distracting but it works to motivate his bandmates.  The bassist's solid bottom sound gives the drummer the freedom to be creative and adventurous. And he takes advantage of that freedom throughout most of the album.

Also impressive is the powerful work of Ralph Bowen (pictured left).  He has such a presence on his reeds.  Listen to how he wraps his soprano sax around McCann's modified guitar on "People Everywhere", a high-energy song that also features a sparkling piano solo.  His soulful tenor over the gospel piano chords on "(God's) Wisdom" is cliche-free and quite tuneful. Bowen maneuvers the tricky rhythmic landscape on "(We Are) What We Are Not Yet", switching from soprano to tenor after the piano solo and before McCann's excellent spot.  The tenor solo on "Many Roads Beneath the Sky"  starts in a reflective and soon catches fire, thanks to Royston's insistent jabbing.

One track led me to GOOGLE.  "Loving Day (June 12)" is named for the day in 1967 when the Supreme Court of the United States struck down the anti-miscegenation laws in 16 states.  The case before the court, "Loving vs Virginia" pitted an interracial couple (Mildred and  Richard Loving) who had married and were arrested and forced to move out of Virginia. The couple brought the case to then-Attorney General Robert F. Kennedy and, several years later, the Supreme Court unanimously voted the law unconstitutional. Do you need to know that to enjoy the music?  No, but the story informs the music and musicians, adding more power to an already powerful composition.

There's even more to discover on "Beauty Within" - you can sit each time you listen and concentrate on one or two musicians, hearing how each one works so well with the others. Listen for the impressive piano work of Fabian Almazan, for the razor-sharp solos of Pete McCann (pictured left), the singing tones of Ralph Bowen, the fundamental as well as melodic work of Linda Oh, and the glorious drumming of Rudy Royston.  Their life experiences, individual voices, and collective talent make the music of Anthony Branker glisten with confidence and soul.

For more information, go to www.anthonybranker.com and/or to originarts.com/recordings/recording.php?TitleID=82719.