This "Best of" list is in no order other than coming from the pile of CDs on the desk. Each album holds the power to capture the mind, to ask questions, to illustrate technical prowess but not for the sake of the narrative. I discovered that my original list of 36 did not include reissues or "albums of historical note" plus a pair of delightful solo piano disks so, "Yes Virginia, there will be a Part 5."
Saxophonist and composer Noah Preminger made this album in the heat he felt following the 2016 US Election (as did Ryan Keberle - see "2017..Pt 1"). The songs, originals and selected "covers", speak to the dysfunctional nature of politics and government to be able to see its inherent problems (and its strengths) and do something - anything - that benefits the people. It's no surprise that the album cover is in black & white because there are days when it seems that there are no shades in between. Yet, this music is not all "doom and gloom"; feelings of hope enter into pieces such as "Give Me Love", "A Change is Gonna Come", and "We Have A Dream." Kudos to Preminger, trumpeter Jason Palmer, bassist Kim Cass, and drummer Ian Froman for lighting up the dark nights.
It's been over 10 years since saxophonist and composer Miguel Zenón made an album that just featured him with his oft-dazzling quartet of pianist Luis Perdomo, bassist Hans Glawischnig, and drummer Henry Cole. "Típico" (Miel Music) arrived in February of 2017 and shows just how delightful this "working" band can be. Friends who attended "live" shows have told me that the ensemble often breathes as one. In many ways, this quartet reminds me of the "classic" John Coltrane quartet in that no one voice is more important than any one else, that they share the same goals, that they listen, respond, and are sympathetic. In its finest moments, one can hear how these musicians are in the midst of a most delightful dance, one in which they may go in separate directions but come back together with such delight, spirit, and gentleness.
I did not review or write about "Song of Silver Geese", the splendid new recording by multi-instrumentalist and vocalist Jen Shyu. Honestly, I am not sure what to tell you other than the album is a culmination of Ms. Shyu's years of studying the music and stories of East and West Timor, Taiwan, Indonesia, Korea, and elsewhere in Asia. Using Eastern and Western instruments (vibraphone, string bass, piano, Taiwanese moon lute, zither, plus a string quartet), this music is truly like nothing you have heard. To this observer, the main point is human beings around the world share stories, think about our existence in a fragile world, dream of the supernatural yet are aligned with the sun, planets, and stars. We may not understand the lyrics - read the translations - but the underlying emotions are universal. Powerful music that deserves not only to be heard but certainly to be seen.
In the space of a week, three separate albums featuring pianist Tal Cohen arrived on my doorstops (physical and digital). "Gentle Giants" (self-released) emerge quickly as my favorite, the powerful melodies and emotional ballads sparking to a musician who has absorbed his influences and is not afraid to take chances. Add saxophonists Greg Osby (alto) or Jamie Oehlers (tenor) to the rhythm section of Cohen, bassist Robert Hurst, and drummer Nate Winn and the music soars with inventiveness, exhibiting the joy that musicians have when they are playing well together. Cohen digs into every solo as if it was his last, mining the melodies and harmonies to create cogent statements as well as exciting flights of fancy.
For those of following the career of bassist Linda May Han Oh, her fourth album as as leader "Walk Against Wind" (Biophilia Records) continues to show her development as a composer and soloist. Written for her "regular" band - Ben Wendel (tenor saxophone), Matthew Stevens (guitar), and Justin Brown (drums) - and featuring pianist Fabian Almazan (on three tracks) plus percussionist Minji Park (on one track), this music is ever-so-melodic with unexpected turns, fine solos, and Ms. Oh's expressive bass work. And the more you return, the more you hear. This artist can certainly hold her own in any rhythm section but you can't help but marvel at how her instrument can help create the sound of a band - that writ, her interactions with Brown really stand out.
Saxophonist Ralph Bowen's self-title Posi-Tone release is, arguably, the most impressive release of his long and varied career. Recorded with Jim Ridl (piano, Fender Rhodes), Kenny Davis (bass), and Cliff Almond (drums), the bulk of the album's time is dedicated to the saxophonist's (mostly tenor) original work "The Phylogeny Suite" - the 42-minute, six-part, work covers a large amount of musical territory and neither flags or loses its direction. Playful, honest, at times soaked in blues, the program shows a musician at the top of his game and a band that pushes, prods, and fiercely supports his every move. Kudos as well to Nick O'Toole for a splendid recording and his usual excellent mastering.
Tenor saxophonist, composer, and arranger Paul Jones used several different ensembles in the recording of "Clean" (Inside Out Music) including a sextet with two saxes, guitar, piano, bass, and drums plus a wind trio with cello, a saxophone quartet, and a flute-piano duo. The sextet appears on the majority of the longer tracks bur the guests rarely intrude and the music really flows. Soaked in melody, the music goes in many directions without getting lost. The stories Jones is telling deal with creativity, with the musician's search for growth, and wanting to connect with as many people as possible. Is it possible to be true to your "muse", to want to continue to grow each and every day, and to want people to join you on your journey? We say yes! We say that "Clean" is a delight from start to finish!
I did not review "The Sky Remains" (Steel Bird), the latest album for pianist and composer Josh Nelson, but I did listen to the delightful album many times. The music is a love-letter to and appreciation for his hometown, the city of Los Angeles, CA. Many of us think of LA as one giant freeway but the area was first settled in the late 1780s, incorporated as a city in 1850 and is currently the second most populous city in the U.S. There is so much to learn reading to liner notes and much to enjoy listening to how Nelson's music gives an emotional heart to his urban area. Kathleen Grace adds her luminous voice to four of the tracks. Also pay attention to Nelson's classy arrangements especially how he utilizes Chris Lawrence (trumpet, flugelhorn), Josh Johnson (alto sax, flute), and the expressive clarinets of Brian Walsh. Take this journey and you will be so pleased!
Violinist Sam Bardfeld, whohas worked with Bruce Springsteen, Anthony Braxton, and the Jazz Passengers, came back as a leader this year with "The Great Enthusiasms" (BJU Records). Joining him on this aural journey was pianist Kris Davis and drummer Michael Sarin - the stores they tell are inspired by the likes of Richard Nixon and the music of the 1970s (the trio covers Bruce Springstreen's "Because The Night" plus do a knock-out version of The Band's "King Harvest (Has Surely Come)"). The trio does not play it safe, meaning the music goes in many and varied directions. With influences ranging from bluegrass, rock, the explorations of Leroy Jenkins and Billy Bang, and more, Sam Bardfeld and company create a program that is challenging, exciting, rich with ideas and interactions, and well worth exploring.
It's been quite an amazing several years for pianist, composer, arranger, and educator Vijay Iyer. His Trio (with bassist Stephan Crump and drummer Marcus Gilmore) made a number of impressive albums including 2015's "Break Stuff"), he's released a soundtrack and a classical recording, joined the faculty of Harvard University, curated a month of concerts in March of 2015 for the Met Bruer Tony and Amie James gallery in New York City, and served as the music director for the 2017 Ojai Music Festival (held 6/8-11). Groups such as the Bang-on-a-Can Allstars, Brooklyn Rider, Imani Winds, and Silk Road Ensemble have recorded his pieces. His 2016 ECM recording with Wadada Leo Smith, "A Cosmic Rhythm With Each Stroke", made numerous Top 10 lists as "Record of the Year."
His latest project, the Vijay Iyer Sextet, combines his Trio mates of Crump and, here, Tyshawn Sorey with alto saxophonist Steve Lehman, tenor saxophonist Mark Shim, and cornetist/flugelhorn player Graham Haynes. The ensemble's new album, "Far From Over" (ECM Records) is a fascinating mixture of sounds, from the forceful title track to the funky "Nope" to the elegiac yet forceful "For Amiri Baraka" (just piano, bass, and drums) to the thunderous "Good On The Ground" (listen to the power of Sorey's drumming and the rhythmical work of the reeds and brass) to the stunning "Threnody" that closes the album. This is music that holds your attention, makes you move your feet as much as it makes you think. The musicianship is impressive throughout yet these songs are not mere exercises of technical prowess.
photo: Lynn Harty
Steve Lehman, who has played with the pianist and drummer in Fieldwork, plays with great fire throughout. His lines slash through the thunderous climax of "Threnody" and take flight over the drums on the album opener "Poles." Mark Shim, who has been a member of Lehman's ensemble, is a smart foil to the last saxophonist's tart tone. He can dig deep or fly high (doing both on the title track) and his powerful interactions with Haynes and Lehman on "Nope" really hit hard. Shim gets the spotlight on "Down to the Wire", connecting to the pianist and Sorey to produce a powerful statement. Cornetist Haynes is a treat as well; his brash electronic treatments on "End of the Tunnel" will remind many of early 1970s Miles Davis. His interaction with the Iyer's Fender Rhodes on "Wake" hearken back to "In A Silent Way" yet he is never imitative. His cornet rises up out of the horn section on "Into Action", creating a fine solo atop Sorey's "fatback" drums, Crump's powerful bass lines, and the excellent piano counterpoint/rhythm.
davidbazemore.com
How good is this rhythm section? Watch the video below to see how hard both Crump and Sorey play, how integral they are to the flow of the music as much as they are to the movement of the melodies and how well they interact with the soloists. Iyer is also a driving force beneath and in front of this music. His solos throughout display his great sense of rhythm - it's also great fun to see where his phrases go when he is deep into his solo. The employment of the Fender Rhodes on several tracks helps change the complexion of the music and the listener's ear.
"Far From Over", the title, can relate to many of the events taking place everyday, whether it's the seemingly endless political gyrations of the United States to the continuing racist, anti-Muslim, and anti-Semitic events taking place in the US and around the world. The music of the Vijay Iyer Sextet has great power, not only to entertain but also to educate, not to only to make us think but also to move. Dig in!
For more information, go to vijay-iyer.com. The album is set to be released on August 25 and be pre-ordered from iTunes, Amazon, and other outlets!
Here's the Sextet in concert from the 2017 Ojai Festival:
newseum.org
Nellie Bly, the pen name of pioneering journalist Elizabeth Jane Cochran (1864-1922), first got involved in the newspaper business when she sent a scathing response to an editorial in the Pittsburgh Dispatch titled "What Girls Are Good For?" (according to the editor, the answer was "staying home). That editor was so impressed by Ms. Cochran's reply that he asked her to write her own editorial in response and, then, gave her a position on the staff. He also gave her the byline of "Nellie Bly", the name of a children's song penned by Stephen Foster. The journalist went on to expose issues in "lunatic" asylums, crooked lobbyists, working conditions in factories, and so much more. Ms. Bly also took up the challenge to travel around the world in less than the "80 Days" that Author Jules Verne had written about. At a time when a woman rarely traveled abroad, especially by herself, Ms. Bly did just that and broke the fictional record by nearly eight days. To fond out more about this extraordinary person, go to www.nellieblyonline.com.
You can also listen to this new recording by the Sam Boshnack Quintet. The trumpeter, vocalist, and composer has created the "Nellie Bly Project" (Artist Recording Collective), a four-piece suite featuring Ms. Boshnack, Beth Fleenor (clarinet, bass clarinet), Alex Chadsey (piano, keys), Isaac Castillo (acoustic and electric bass), and Max Wood (drums). Joining the ensemble are vocalists Valerie Holt and Anne Matthews (both on tracks 1 and 3) and Anne Whitfield (spoken vocal on tracks 2 and 4). All the lyrics and words come from Ms. Bly's columns and essays. While no one would or should argue about the accomplishments of the journalist, Ms. Boshnack's music is also quite impressive. The integration of words and music is well thought-out and the compositions are quite strong.
Listen to the power of the opening track, "Expositions." The power of the rhythm section pushes the melody forward, the bass clarinet and trumpet two strong voices rising above the beat. Chadsey's electric piano softens the attack but he also deliver a fine solo. "After One Is In Trouble" opens with a sound and feel that reminds this listener of the week of the late baritone saxophonist and activist Fred Ho. After a handsome melody is played by trumpet and clarinet, Ms. Boshnack steps out for quite an impressive solo. The rhythm section applies heat and the trumpet flies about them. About a quick tempo shift, drummer Wood take over for a long and involved solo (with different musical voices stepping in along the way). "72 Days" has a wonderful acoustic piano solo before shifting gears with the voices coming in to show Ms. Bly's determination, chanting over and over"I would rather go in debt and successful/than alive and behind time." That mantra leads into an excellent. clarinet solo before Wood kicks in and the band celebrates the success of the trip as they take the song out.
Nellie Bly's story is one of courage, determination, the fight to find the truth and correct wrongs in what seems like an uncaring society. The power in her words and deeds is the fuel for Sam Boshnack; you can hear it in every note of her "Nellie Bly Project", hear it in the impressive melodies, the rhythms, the interactions, and solos of the Quintet. Music is be a powerful tool in education, helping students see more of the world around them and the people who have make great compositions to move this nation and the world forward out what seems to be the eternal "dark ages."
Here's an in-concert performance of the opening movement (Dawn Clements is on piano):
Saxophonist (tenor and soprano) Ralph Bowen has been an active member of the creative music scene since the mid-1980s both as a performer and educator (his teaching credits include serving on the faculties of Rutgers/State University of New Jersey and Princeton University). He has played and/or recorded with Horace Silver, the Art Blakey Big Band, Freddie Hubbard, pianist Michel Camilo, Orrin Evans, Dr. Anthony Branker, and many others. Bowen has recorded as a leader for CrissCross and Posi-Tone Records. His latest album for the latter label (his sixth) is a self-titled quartet date featuring Jim Ridl (piano, Fender Rhodes), Kenny Davis (acoustic and electric basses), and Cliff Almond (drums).
The program is set up like a concert. Opening with the high-octane original "Cache Cache", the piece serves as a "warmup" as the band dances its way through with solos by Ridl, Bowen, and Almond. The alliteration in the song title sets the listener up for "The Phylogeny Suite", a six-part, 42 minute, musical adventure with titles such as "A Rookery of Ravens", "A Leap of Leopards", and so forth. What stands out is not only the fine musicianship but also the intelligence of the material, the well-thought out melodies and the interactions. Almond and Davis are integral throughout, keeping the songs flowing forward and offering great support and, on occasion, powerful counterpoint. And there is such great variety. "A Pandemonium of Parrots" swing lustily while "A Venue of Vultures" (there's an image) has a delightful funky edge. "...Ravens" has a darker edge as well as a great solo from Ridl while there is a gentle edge to "A Flamboyance of Flamingos" (Ridl on Fender Rhodes). Listen also to Bowen's even tone, the clarity of his notes, and how well he builds his solo from the melody. The "...Suite" comes to a close with "A Cast of Crabs", a deeply funky piece with a touch of Steely Dan and a hint of New Orleans (dig Davis's deep notes on the electric bass). Ridl's overdubbed Rhodes solo has a jaunty edge
One could view the final three tracks as the "encores". Up first is "Aye", a sweet ballad from bassist Davis. Again, the "honest" tones that Bowen creates (no effects, light or no vibrato no "harsh" sounds) stand out as he builds his solo over the rich sounding piano chords and gentle rhythm section. Dave Liebman's "Picadilly Lily" is an inspired choice as the band romps through the song with such joy. Listen to the drive emanating from the rhythm section! The album closes with "Search For Peace" - composed by McCoy Tyner and first released on his 1967 Blue Note Records debut "The Real McCoy" (also his first album after leaving the John Coltrane Quartet), this lovely ballad is carried along gently on Ridl's Fender Rhodes work and the melodic work of Almond (Davis is the "foundation" on this piece). One can echoes of Joe Henderson (the tenor saxophonist on the Tyner album) in Bowen's tone yet one is reminded how much the leader of this date has had his own "sound" since his earliest recordings.
"Ralph Bowen" the album and Ralph Bowen the musician will bring the adventurous listener many hours of pleasure. This new recording is, arguably, his best and there's not a weak in the crowd. I'd love to see this group in action but this album is well worth your time.
There are times when this blog slows down because of school or family visits but rarely a week goes by when I do not post a review or a notable gig happening in Connecticut. But, I must step aside for what could be as long as two weeks. Lord knows, I have lots to review but.....So the plan is to upload videos and audio from artists with new albums and more - just no reviews.
Here's the first installment!
We open with a live video featuring the Vadim Neselovskyi Trio. Vadim's on piano, Dan Loomis on bass, and Ronen Itzik on drums and this was recorded in Bremen, Germany, exactly two weeks before the Trio appeared at The Side Door Jazz Club in Old Lyme, CT. I was there for the later gig and the musicianship blew me away! So, watch the Trio having so much fun and make sure to turn up the volume.
Music Mountain in Lakeville, CT, has booked a fascinating summer of creative music for its "Twilight Concerts" series. On Saturday August 5, multi-reed artist and composer Ben Kono brings his Quintet to the lovely hall on the mountain. Kono, who plays in multiple ensembles and Broadway "pits", has been working on a work titled "Don't Blink" for the past several years (thanks to commissions from Chamber Music America and the Doris Duke Charitable Foundation. Not sure who is in the Quintet for this gig but here's a live take from 2014 with band that features Pete McCann (guitar), Mike Holober (piano), Kermit Driscoll (bass), and Satoshi Takeishi (drums and percussion).
Here's the opening track from saxophonist Ralph Bowen's new self-titled disk on Posi-Tone Records. Besides Bowen blowing hard on tenor saxophone, the band features Jim Ridl (piano), Kenny Davis (drums), and the rollicking drum work of Cliff Almond (especially on the track below). The album includes six-song "Phylogeny Suite" that has songs titled "A Rookery of Ravens", "A Venue of Vultures", and so forth (you'll need to look up "phylogeny"). The track below is not part of the suite but an invitation to and preview of the great sounds to come.
Here's a track from alto saxophonist John O'Gallagher, bassist Johannes Weidenmuller, and drummer Mark Ferber. Whirlwind Recordings released "John O'Gallagher Trio:Live In Brooklyn" earlier this year (actually, late December 2016) and, somehow, it got buried under a pile of others recordings and student papers (excuses, excuses) - a review is forthcoming but here's a taste of what to expect from this exciting group. Pay attention to fascinating interactions and powerful playing from all three.
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, forthe 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.
Posts
