Zacc Harris is a MInneapolis, MN-based guitarist and composer who is active as a leader, co-leader (Atlantic Quartet), sideman, and educator. His sextet, the Zacc Harris Group, has just issued its second album, "Small Wonders" for Shifting Paradigm Records. The ZHG consists of the leader (electric guitar, compositions), Brandon Wozniak (tenor sax), Bryan Nichols (piano), Chris Bates (bass), JT Bates (drums), and the newest member John Raymond (trumpet, flugelhorn) who joined some years after the debut album. On initial listenings, one can hear the influences of Pat Metheny and Lyle Mays; when one digs deeper, you can hear the "openness" of the late Kenny Wheeler's sound as well. Pieces such as "Sundials"(listen below) and "Civil Dawn" bear witness to those influences (splendid trumpet work on the latter plus a stunning unaccompanied piano solo) while "A Beautiful Life" with its tender melody, point to new directions. Nichols's piano work is integral to keeping the music flowing throughout the album. Raymond's flugelhorn stands out on "Glass Houses" as does Wozniak's tenor sax stroll through the gardens created by the rhythm section. Meanwhile, the rhythm section burns red-hot on the hard-bop romp "The Void" plus create a New Orleans-groove on "Apple Jacks". The latter tune opens up so the tenor and trumpet can have a sweet exchange and the guitarist have a series of playful interactions with the rhythm section.
The nine-song program closes with the lovely ballad "Maya's Song". Dedicated to Harris's daughter, the music feels as if it was composed while the guitarist was watching his daughter sleeping, imagining her dreams, and hoping for a peaceful future. The piano accompaniment is a perfect counterpoint to the leader's lines. Nichols's solo also has a dream-like quality accentuated by the quiet brushwork and simple yet effective bass lines.
"Small Wonders" is big on melody, intelligent arrangements, and powerful as well as thoughtful solos. Check out the Zacc Harris Group ––much to enjoy!
There is not a lot of information on the webpage of guitarist and composer Chris Olson, who along with bassist Chris Bates and drummer Jay Epstein make up the trio know as Framework. Their new album, "Cognitive Dissonances", is the trio's first for Shifting Paradigm and its first recording in over a decade. Featuring 11 Olson originals, the music covers a wide swath of musical territory. Opening and closing with two takes of "New Anthem", the attentive listener can hear how the trio develops material. Version one refers a bit to Jimi Hendrix in the opening seconds and then falls into the melody Americans sing at the ballparks, stadiums, hockey rinks, and elsewhere. Bowed bass and splashing percussion support the melody, played mostly using chords by the guitar. The "alternate take" that closes the program is fairly similar, not as noisy but still played somewhat like a dirge.
In between those two tracks is a fascinating collections that spotlight the excellent group communication, Olson's fine melodies, and his spirited guitar playing. Bates and Epstein are right in there with the guitarist, pushing and prodding him needs be or strictly building the foundation to frame his melodies and improvisations. "Hitchens" rolls forward with guitars coming out of both sides of the speakers while the melody is in the middle of the sound spectrum. "Dawkins" gives bassist Bates a chance to step out and he leads the group forward on the strength of his thick tone and melodic prowess. There's a wistful quality to the guitar work on the ballad "Changes We Can Believe In" but a bit of grunginess makes its way into Olson's guitar tone before the bass solo returns to the opening feel.
Framework can swing ("Bluetrois"), can deliver a delightfully melodic waltz ("Pre-Conceived Notion"), and they can create aural waterfalls ("Tortured Thoughts") –– some of the song titles don't necessarily easily fit the songs but the trio's musicality will win you over. "Cognitive Dissonance" does not describe how good and ultimately satisfying this music is (well, it does go a long way to describe the mood of "New Anthem"). Titles aside, this is quite an enjoyable album!
Many musicians used the pandemic to create new work, to hone new skills, and to find new ways to express themselves in a most uncomfortable. It's possible Scott Reeves (valve trombone, alto flugelhorn, electronics) did all those things but he also went through his archives. When he did, Reeves listened with fresh ears to a 2005 live gig he recorded at City of College of New York with Russ Spiegel (guitar), Mike Holober (piano, electric piano), Howard Britz (bass), and Andy Watson (drums). Now, pleased by the overall quality of the musicianship and sound, the musician/ composer passed
the tapes on to his label, Origin Records, and they released the album as "The Alchemist". The music does not at all sound dated –– in fact, the music feels fresh and often exciting. One can hear a link from several pieces to the music Miles Davis created for "Nefertiti" and "Filles de Kilimanjaro".
The Davis influence is evident on the opener, "New Bamboo". The ringing tones of the Fender Rhodes mixed with the electronically altered trombone also hearkens back to Herbie Hancock's later Blue Note recordings. Reeves switches to alto flugelhorn, Holober to acoustic piano, for "Shapeshifter", a medium tempo flowing piece that includes a potent drum solo. "Without a Trace" is a lovely ballad with a soft melody played by guitar and trombone. The leader's solo is wistful, as if you can hear him ruminating about a person who has gone. Spiegel produces a handsome solo but pay attention to howe Holober, on acoustic piano, responds. Britz, who is also an accomplished pianist, plays a short yet melodic solo. "Remembrances" is another fine ballad with fine solos from Reeves (flugelhorn), Spiegel, and Holober. "The title track grooves atop the percolating electric piano and the raucous drums. Trombone and guitar play the head that opens to Holober's playful solo and a hard-edged trombone spot.
That playfulness is also evident on the funky take of the standard "All or Nothing at All". The feel modulates from funk to straight-ahead and back to funk. It's a delight hearing the Quintet playing around. That's true throughout "The Alchemist" –– Scott Reeves and company sound like they having such a great time and the audience shows its appreciation for every solo and song!
Trumpeter, educator, and artist Jamie Breiwick has made a name for himself over the past two decades in each of his chosen fields. His artwork adorns many albums by Mid-Western artists including those on Shifting Paradigm Records (as well as the cover of the Lesser Lakes Trio of which he is a member). He has worked with numerous artists in the Milwaukee area including Matt Wilson, saxophonist Ralph Bowen, and pianist David Hazeltine. Breiwick has taught and directed ensembles in several different schools and is currently on the faculty of the Prairie School in Racine, WI.
His new release for Shifting Paradigm is "Awake/The Music of Don Cherry" and features the trumpeter in the company of bassist Tim Ipsen and drummer/engineer Devin Drobka (also a member of Lesser Lakes). The tribute to the great pocket trumpeter, member of the Ornate Coleman Quartet that recorded for Atlantic Records, and a world traveler, features six songs (plus two "alternate" takes) from Cherry's repertoire. Breiwick doesn't attempt to "mimic" the elder trumpeter's style; instead, he and his rhythm section move inside the music with passion and excitement, making it their own. Check out the trio's journey through "Awake Nu" (composed for Cherry's 1966 Blue Note Lp "Where Is Brooklyn?"). The trumpeter romps throughout as the bass and drums roil and rumble.
Before joining Colin Wolcott and Nana Vasconcelos in 1978 to record and tour as CODONA, Cherry recorded "Hear & Now" for Atlantic Records. Breiwick and company take one tune from that album, "Mahakali", remove the South Indian sounds and replace them with a funky backbeat, making it feel like a dance tune. There are two versions of "Art Deco" from the 1989 album of the same name for A&M – that album paired with the rhythm section from several of Ornette's Atlantic Lps, bassist Charlie Haden and drummer Billy Higgins.
"Awake/The Music of Don Cherry" hopefully will push younger listeners to discover the work of Don Cherry (1936-1995) as well as discover the impressive recordings of Jamie Breiwick. This album s short – with the two alternate takes, it's just under 33 minutes – and it certainly leaves the involved listener wanting more. That said, listening to this music will be time well spent!
Bassist, educator, and composer Jeff Denson first came to critical notice in the early 2000s as a member of a trio with Berklee classmates Florian Weber (piano) and Ziv Ravitz (drums). The threesome toured and recorded with alto sax legend Lee Konitz. Denson went to earn his graduate degrees at Florida State University and the University of California/San Diego where he studied with and befriended fellow bassist Mark Dresser. The bassist is currently on the faculty of the California Jazz Conservatory. He has recorded a slew of albums as a leader, co-leader, and sideman plus started his own Ridgeway Records in 2015 – the label's initial release featured Denson's trio backing Lee Konitz.
The label's latest release is "Between Two Worlds" credited to the trio of Denson (acoustic bass), Romain Pilon (guitar), and Brian Blade (drums). Pilon, a native of France, and Denson have been friends for over two decades, working together on ideas that led to bringing Blade, who is one busy musician and first met the bassist in 2017 when they were the rhythm section for guitarist Joel Harrison's "Spirit House", into the mix to record the 10 songs – five each composed by Denson and Pilon – that make up the album. At first glance, one might wish to compare this trio with the one that recorded with Pat Metheny on 1976's "Bright Size Life" but the newer recording is quieter, more contemplative, but no less interesting.
While each track is unique, it's best to first listen to the program without trying to pull it apart. Listen to how melodic both Pilon and Denson are as composers and soloists as well as how Blade easily, often quietly, moves the music forward. You'll notice how these songs are three-way conversations, how supportive each person is underneath the solos, and how no one person hogs the spotlight. When you go back on further listens, moments begin to stand out. one has Blade's unaccompanied opening to Denson's "Listen Up" sets the pace for what follows and never loses its forward motion when the bass and guitar enter. Dig the playing of the drums and guitar beneath Denson's solo. Pilon's "Generation" opens in ballad setting yet picks up in intensity during the guitar solo.
The title track, composed by Denson, is a spotlight for the bassist's impressive arco playing, his solo rising above the guitars (Pilon overdubbed) and Blade's melodic drumming. The musicians don't rush through the ballad, allowing the contemplative mood to spread gently through the sound spectrum. Listen to the song posted below to hear how the trio interact, how they change direction naturally, and always pay attention to the overall sound and mood.
"Between Two Worlds" will grow on you. The music does not explode one's ears as much as it expands in the mind. Give the music the attention it deserves and you will be rewarded! Kudos to Jeff Denson, Romain Pilon, and Brian Blade!
John Yao (pictured left) is one busy person. Besides leading both a big band and a quintet, the Illinois native has worked and continues to work in several large ensembles including the Vanguard Jazz Orchestra and the Afro-Latin Jazz Orchestra. Yao has arranged for numerous groups and college ensembles plus now teaches in the greater New York City area. He also gives workshops and currently has a monthly residence at Terraza 7 in Jackson Heights, New York.
Yao's quintet, now dubbed "Triceratops" (you'll understand why in a moment) has a new recording. "How We Do" (See Tao Records). The long-extinct beast that gives the band its name is known for its three big horns; the "front line" includes Yao with Billy Drewes (alto saxophone, soprano saxophone) and long-time associate Jon Irabagon (tenor saxophone - he's appeared on each one of the trombonist's four albums). The solid and exciting "back line" features bassist Peter Brendler and drummer Mark Ferber.
The eight-song program is a delight from beginning to end. Yao composed seven of the tracks, Irabagon contributes the the swinging "Tea for T" that closes the album, and, throughout, one can hear how much fun this group has playing together. The opener, "Three Parts As One", features a melody and harmonies that the three horns share. Once the rhythm section lays down the pulsating rhythms, Drewes (on alto) solos first, supported by Irabagon and Yao before getting a chorus by himself over the bass and drums. Irabagon is up next, maneuvering around the slinky beats. Drewes and Yao reenter to lead him back to the theme before the trombonist rises out of the mix. The music has the feel of Dave Holland's Quintet with Chris Potter and Robin Eubanks, an ensemble which at its best could bring a crowd to its feet with their great interactions.
Photo: Peter Koloff
After that track, the band digs into "Triceratops Blues", a tune whose title tells a lot of what you need to know. The leader's smooth-as-butter tone gives his solo a delightful sound; that leads into a fine spotlight for Ferber support only by Brendler's melodic and foundational bass lines. The title track is a episodic and playful set of interactions in which the rhythm section leads the way through melodic changes and tempo shifts.
For my money, there's not a weak moment to be heard in the 49-minute program. The music swings, saunters then struts (dig "Doin' The Thing"), soothes (the lovely "Circular Path", a track that features an emotional soprano sax solo with counterpoint from trombone), and closes with sly pizazz of the afore-mentioned "Tea for T." John Yao's Triceratops makes the kind of music that will never go extinct – it's fun, interactive, and crackles with creativity!
Over the past five+ years, trombonist, composer, and educator Michael Dease has built up a fine discography at Posi-Tone Records. His seventh album for the label, "Never More Here", takes its title from the fact the jazz Dease and his fine cohorts make is always "in the moment"; even if the majority of the program comes from people whose physical lives may have come to a close, their music lives on. Nine of the 10 tracks feature the core group of Renee Rosnes (piano) and Lewis Nash (drums) with bassist Gerald Cannon (replaced on three of the nine cuts by Rufus Reid), adding the talents of Steve Wilson (alto sax, soprano sax, or flute on five cuts), Jocelyn Gould (guitar on three tracks), and trumpeter Randy Brecker on one song. The Dr. Billy Taylor classic "I Wish I Knew (How It Would Feel To Be Free)" finds the trombonist in the company of pianist Luther Allison, alto saxophonist Markus Howell, bassist Endea Owens, tenor saxophonist Diego Rivera, drummer Jason Tiemann, and arranger David Gibson.
The program includes pieces by Dr. Taylor, Jackie McLean, Jimmy Heath, John Lewis, Eddie Daniels, Eric Alexander (the barn-burning "Frenzy"), two by Dease's inspiration JJ Johnson, plus an original each from Ms. Rosnes and the leader. The pianist's "Mirror Image" leads off the album, a classy work where the front line works as one then independently. Dease takes the first solo supported delightfully by the rhythm section, especially Mr. Nash's splendid dancing cymbals. The composer follows with a fine spot followed by Wilson, on alto sax, who swings with great delight. Mr. Heath's "Harmonic Future" (a tune that he debuted in the 1990s) swings with a passion as does Wilson on soprano and Dease on tenor sax!
Photo: Sara Pettinella
There's lot to dig into here. The sweet medium-tempo ballad, "For Hofsa", composed by Mr. Mclean has a lilting feel while Mr. Daniels's "Slow Dance" moves with grace of a slow Bossa-nova. Here, the gentle rhythm guitar blends well with the Ms. Rosnes's light touch. Look for the fine alto flute work of Wilson and more smooth trombone from the leader. Dease leads the way of Mr. Johnson's bluesy "Shortcake" – without Wilson, guest artist Rufus Reid contributes a delightfully melodic solo. The trombonist gets a long spotlight in the middle of the tune before Ms. Rosnes dances in front. The other JJ Johnson tune, the classic "Lament", is a lovely ballad with Dease leading the way playing with such emotion and love for this music.
John Lewis's bebop masterwork "Milestones", composed for Miles Davis's All-Stars with Charlie Parker, brings the program to a close on a springy set of steps. The composer played on the 1947 version; the original is not played at that frantic pace that other bebop tunes of the day were. It certainly fits Miles style of playing and there is no solo from Bird. On the Dease album, the pace is similar but the beat is a bit looser, more buoyant. Delightful solos all around from Ms Rosnes, the trombonist, Wilson (alto sax), Brendler, and Ferber. It's certainly a sweet take on a classic.
"Never More Here" is a fine edition to the discography of Michael Dease. It feels just right on a cold Autumn evening – check it out!
JC Sanford is a trombonist, composer, arranger, conductor, and a native of Minnesota. Not only does he lead several different-sized ensembles, he conducts a number of large ensembles for people such as Andrew Rathbun, John Hollenbeck, Alan Ferber, and others. Sanford studied with the legendary Bob Brookmeyer and is currently on the faculty of Gustavus Aldophus College in Saint Peter, Minnesota.
In April 2019, Shifting Paradigm Records released the trombonist's "Triocracy", a 2014 session with reed players Andy Laster and Chris Bacas. Now, the label presents the JC Sanford Quartet and its debut recording, recording in February of this year. Perhaps the first album named for a disorder of the eye, "Keratoconus" features the leader on trombone and seven of the eight compositions as well as Zacc Harris (guitar), Chris Bates (electric and acoustic bass), and JT Bates (drums, percussion). The title track opens the CD in a heavy-metal fashion, a thundering 93 seconds of distortion and all pedals-to-the-metal. Sanford, who loves a good transition/ joke as much as any person, follows that with "Umm, Yeah", a lovely reduction for a large ensemble piece. The handsome melody is introduced by Chris Bates (on arco bass) supported by gentle guitar lines and soft drumming. Sanford also plays the melody through before Harris steps out for a handsome solo. The music is always moving, fairly gently, pushed forward by the rhythm section (listen to JT Bates pushing the leader forward on his solo ratcheting up the energy before the sounds calm down to a handsome bass solo.
The Quartet plays in and with many different styles throughout the album. The funky opening of "Bates Brothers Boy Band" leads into a romp that is part Bossa Nova and part Motown. Notice how the tune and the time dissolves on several occasions, leading to fine solos from the leader, bassist, and drummer. "JT-Rex" is a showcase for the drummer with Sanford adding melodic fragments. The bass and guitar join in on those snippets but this is JT Bates time to shine – dig the crazy and stomping last 10 seconds coda. "Zaccfarben" is the guitarist's piece; the title blends his first name with the German word for "colors." The performance lives up to its name with numerous shifts in melody, going in and out of rhythm, various dialogues between the musicians usually with Harris leading the way.
"Selfish Shellfish" takes the program out in a quirky and quite thumping fashion. The Bates Brothers rhythm section set the pace, one that leads to a rapid-fire bass solo and a John Bonham-style drum solo. The song ends with the Quartet vocally riffing on the title and a bit more.
Keratonus, the progressive eye disease, is not contagious but "Keratonus", the JC Sanford Quartet album, is often quite infectious. Much of the music is filled with humor plus the feeling that these four musicians are having a great time making music. Even the one "standard", "All The Things You Are", moves in a jaunty manner. Life is short, why not have fun? Umm, Yeah!
Some readers may remember that organist Chris Foreman and drummer Greg Rockingham were two-thirds of Deep Blue Trio – along with guitarist Bobby Broom, the Chicago-based ensemble recorded four albums, two on Delmark and two on Origin Records, from 2004 until 2011. Though the Trio in various iterations had been playing since 1992, they waited to record after a decade+ of gigs in the Midwest and beyond. After the trio split, Foreman and Rockingham formed Soul Message Band with guitarist Lee Rothenberg and alto saxophonist Greg Ward.
"Soulful Days" marks the organist and drummer's return to Delmark Records as leaders. SMB's debut recording takes its name from Cal Massey's "These Are Soulful Days" – recorded in 1961 on the trumpeter-composer's one and only album as a leader, "Blues to Coltrane" but not released by Candid Records until 1987 (15 years after Massey's passing), this updated version slows the piece down to a bluesy shuffle featuring guest tenor saxophonist Geoff Bradfield (he's on three tracks), Rothenberg, and Foreman stepping out over the groove. And, it's quite soulful. Ward contributes one of the two original pieces, the sprightly "Uncertainty". Not at all like it's title, the piece dances forward on Rockingham's active (but not intrusive) drums and Foreman's delightful bass lines. The guitarist composed "Sir Charles", the tune that opens the album; it's a tribute to both NBA star Charles Barkley and the great organist Charles Earland. The shuffle beat and easy interactions, delightful solos and the lack of ego, sets the tone for the album. The band is telling the listener these "Soulful Days" are made for swinging, relaxing, and getting into the groove.
Every song is worth spending time with but here are two particular high spots. Ward's singing alto and Foreman's gospel-infused organ lines open up the sweet Rodgers & Hart ballad "Little Girl Blue."
There are bluesy solos from Rothenberg, Foreman (it's the longest and most exciting one), and Ward (who plays such lilting phrases). The quartet absolutely soars on Louis Bellson's "Easy Time" –it's another shuffle but, thanks to the interactions and fine solos from the guitarist, alto saxophonist, and organist plus the drummer's power rising from below, you will want to dance.
"These Soulful Days" lives up to its name. This music will wash away your troubles and sounds so good as it cleaned the soul! Dance along with Soul Message Band as they put their spin on the organ-led band that has been a staple of soul-jazz for many, many decades.
The language of hard bop was created in the 1950s nurtured by the likes of Clifford Brown, Theolonious Monk, Kenny Clarke, Sonny Rollins, Horace Silver, Art Blakey, Max Roach, and many others. In the 1960s, Ornette Coleman, Miles Davis, John Coltrane, and Albert Tyler (to name but four), began searching in multiple directions opening up the music while, often, scaring away older listeners. Even 60 years later, hard bop may sound obsolete to young listeners but, in the hands of musicians who understand the blues and "freedom" at the roots of the musical style, the music still can excite and electrify audiences.
Trumpeter Jimmy Smith and saxophonist James Hughes, both natives of the Detroit, MI, area, have been working together since 2012, recording three albums as a quintet. For "The Gates" (Shifting Paradigm Records), Smith and Hughes added trombonist John Yao (from Chicago IL) to the front line (making him a co-leader to boot) as well as putting a new rhythm section (pianist Corey Kendrick, bassist Jeff Pedraz, and drummer Nick Collins – all three live and work in Detroit). The front line first came together several years ago when they were all studying in New York City. The nine-song program, with four sings by Hughes, three by Yao, and two by Smith, features intelligent music, great interaction, and excellent solos. The rhythm section is delightful, with Kendrick's Horace Silver-inspired piano work, Pedraz's melodic and foundational bass, and Collins' delightful drumming.
While the first two tracks (Smith's "I-75 @ 5" and Yao's "Hell Gate" – the former moves faster than any highway I've been on at 5, p.m. that is) – swing with joyous abandon, Hughes's "Subterranean Miner" is a mysterious twisty blues line with fine bass work, a languid melody, and fine solos. Bassist Pedraz, who introduces the piece, also gets the first solo; his impressive melodic lines leads to a three-way conversation between Hughes (soprano), Smith (flugelhorn, perhaps), and Yao. The proceedings get a bit noisy before the band calms down to take the piece out. Hughes also composed the handsome ballad "Sophia's Song" – he plays the emotionally rich melody and takes the first solo (with Yao and Smith adding color in the background) the turns the spotlight over to Kendrick for a wide-ranging solo sans horns. His playing truly sings even as he hands the song back to the front line.
The title track (composed by Smith) adds a Brazilian feel while giving the feel of a Lee Morgan piece. Smith's crisp trumpet sound leads the way; the bounce in the rhythm section inspires his solo spot. Yao, too, is inspired, his solo dancing along with Collins sweet cymbal work. The drummer alters his attack a bit for Hughes's tenor spot, a playful romp from the co-leader. The album closer, Yao's "Dog Days", is one of several that bring to mind Mr. Blakey's Jazz Messengers. While the rhythm section is not as relentless as the master drummer's could be, the relaxed but powerful bop they create is highly appealing. Kendrick, the composer, and Smith get the solos and they have a great riding the waves from the bass and drums.
"The Gates" opens wide and the avid listener gets to enjoy the delightful interactions of the Yao/Smith/Hughes Sextet. The music brings to mind the hard-bop sounds that filled urban clubs in the 1950s and early 1960s, sounds that have never really gone out of style. Dg in to this feast – the music satisfies!
The trio of Zach Brock (violin), Jon Deitmeyer (drums), and Matt Ulery (bass) has worked together in various larger groups and on recordings by both the violinist and bassist. But, never as a three-piece group: that is, until the last few years (the one exception is one track on Ulery's 2014 Greenleaf album "In the Ivory"). All three are composers and very busy sidemen with Brock playing with groups such as Snarky Puppy and bassist Stanley Clarke's band, Ulery playing in numerous ensembles throughout the Chicago area, and Deitmeyer with pianist/vocalist Patricia Barber and pianist Phil Markowitz.
The band's eponymous debut album, "Wonderment", is out now on bassist Ulery's Woolgathering Records. The 12-song program features four compositions by each member; yet, each piece plays to the strengths of the trio as an ensemble. Whether they are dancing delightfully (Deitmeyer's "Wokey Dokey") or creating a mysterious flow (Brock's title track) or negotiating a tricky rhythm ((Ulery's "Pumpkin Patch"), the music shines with creative interactions, well-drawn melodies, and fine solo moments. There is a full-out "rock" feel, thanks to Deitmeyer's solid drumming (he "kicks it" with such glee), on "Cry Face" and make sure to listen to how articulate and deep Ulery's bass lines sound on "Yge Bieve." Brock's blues and bluegrass sound comes to the fore on the lovely ballad "Cheyenne" – at times, the violin sounds like a voice singing a plaintive ballad.
The album closes with the high-spirited "Happy Place." Note Brock's strummed intro (sure sounds like a mandolin) and how he dances atop the funky rhythms during his solo. "Wonderment" indeed! And in fact. This music is a joy to behold from beginning to end. Playing with your friends is often great fun – to do just that in the studio is an impressive accomplishment. Enjoy this fine new CD from Zach Brock, Matt Ulery, and Jon Deitmeyer: if they are ever playing anywhere near you, go catch them in concert!!
In the months before and until the release of this album, the trio was known as Triptych. Here's the Trio live:
Alto and soprano saxophonist Jeremy Udden (pictured left) moved to Boston, MA, in the mid-1990s to study at the New England Conservtory of Music. Once there, he met, studied, and played with people such as saxophonists George Garzone, Jerry Bergonzi, and Allan Chase, pianists Fred Hersch and Paul Bley plus trombonist/ arranger Bob Brookmeyer. He also began a friendship and musical relationship with trumpeter John McNeil with whom he recorded three albums for Sunnyside Records. Udden also leads a group called "Plainville" that has recorded several albums for Fresh Sound New Talent and one for Sunnyside. He's recorded with the Either/Orchestra, pianist Frank Carlberg, Darrell Katz's Jazz Composers Alliance Orchestra, and vocalist Amy Cervini.
While in France several years ago, Udden met bassist/synthesist Nicolas Moreaux and they recorded album of duets plus the "Belleville Project" with a sextet. The saxophonist returned in 2018 and worked in a trio setting with Moreaux and American-born drummer John Betsch now making his home in Paris. Udden chose 30 tunes to present to his band mates including a number of pieces by the late soprano saxophonist Steve Lacy (1934-2004) whom Betsch had played with for two decades. The resulting album, recorded over two days in August 2018, is aptly titled "Three in Paris" (Sunnyside Records) – the 10-sonh program features two Udden originals, a group improv, four pieces by Mr. Lacy plus one each from Duke Ellington, Don Cherry, and Jerome Moross. Moross's 1954 ballad "Lazy Afternoon" is a lovely vehicle for Udden's soprano sax, Moreaux's splendid counterpoint, and Betsch's smart brush work. And Ellington's "Azure" (first recorded by the Master in 1937) has a lovely Caribbean lilt with the soprano sax lines floating over the dancing drums and melodic bass lines.
The four Lacy compositions range from the alto sax-drums conversation titled "Who Needs It" to the playful "Prayer" during which Betsch moves in a sprightly fashion over his drum kit while Moreaux and Udden (still on alto sax) carry on a musical conversation. Even more playful is "Bone" where the drums and rapidly-walking bass lines propel the alto solo forward. Udden responds by feeding off that fire, moving "out" and away from the melody. The only Lacy tune played on soprano is "The Crust": again Udden is in conversation with Betsch only and they jauntily move through the piece as if they had not a care in the world.
"Three in Paris" just might take its cues from the fascinating cover photo by Alain Laboile ("L'orielle" is its title and is part of the French photographer's series "The Family"). The music is certainly playful, a bit mysterious at times, and should be enjoyed for the interactions, the abundant melodies, and the sweet sound that Jeremy Udden creates with his friends.
Drummer and composer Jeff Williams has a career that spans five decades. Having worked with Stan Gets, Dave Liebman, John Abercrombie, and Frank Kimbrough. For the past two decades, he's split his time between London and New York City and went back to recording as a leader (after a 16-year hiatus) when he signed in 2011with Whirlwind Recordings. Since then, he's released four albums, two with his NYC-based quartet and two with his British quintet. While the music sometimes hearkens back to his earlier recordings, his style of composing and playing has certainly become his own "sound."
Album number five is here: the meeting of musical minds came about when the drummer was in New York City in early 2018 playing in saxophonist Dan Blake's "The Digging." Blake had just replaced his pianist with Carmen Staaf and Williams felt an immediate musical kinship. On the same trip, he became reacquainted with bassist Michael Formanek who has met when the young musician moved to the City in the 1970s – six months later, the trio entered the Samurai Hotel Studios in Astoria, Queens, New York and the sessions yielded "Bloom" (Whirlwind). Each participant contributed compositions (Williams has four, Ms. Staaf three, and Formanek two) plus there's one group improvisation and a lovely reading of bassist Buster Williams's "Air Dancing" (first recorded by the composer with guitarist Larry Coryell in 1988 and than the following year on his own "Something More" album with pianist Herbie Hancock.
Much of the trio's music has a joie de vivre brought on by the sheer joy of playing together. Whether they are playing introspective slow pieces (such as Formanek's "Ballad of the Weak") or up-tempo "soft-shoe (the drummer's "She Can' Be a Spy") or Ms. Staaf's modal blues ("New York Landing"), the musicians are on the same wave length. Ms. Staaf, who co-leads a group with drummer Alison Miller and works with artists as diverse as vocalist Allegra Levy, klezmer clarinetist Michael Winograd, plus is musical director for Dee Dee Bridgewater, is a delightful player – she certainly can swing but also can produce long, flowing, phrases (as she does on Williams's "Another Time"). She certainly pays attention to details, listens closely to the rhythm section (as they do to her), ands builds her solos from a combination of melodic and rhythmic explorations. Her composition "Chant", which closes the program, is an atmospheric ballad with a truly enchanting melody, brilliant bowed-bass work, and Williams's orchestral cymbal colors.
Photo:Lester Barnes
Williams and Formanek shine throughout. Whether working together to push a piece forward (listen to what they play underneath the piano solo on "Short Tune") or making space for their own solos, they are always in sync. The bassist is known for his muscular playing plus he is a top-notch composer for ensembles large and small. Check out his Herbie Nichols-inspired "A Word Edgewise"where the song, anchored by his rapidly walking bass lines, always seems to be rushing forward ever-so-sightly out of control.
In a world with so many piano trio albums released every month, "Bloom" stands out on the strengths of its compositions and the excellent musicianship of Jeff Williams, Carmen Staaf, and Michael Formanek. Willams may be the leader and producer but this subtle, swinging, and singing album truly is a group effort.
There are hundreds of albums every year that seem to come and go. In the instance of the jazz world, unless the group is touring or gets a write-up in a major publication or has a "famous" name or two, the album is set aside to make room for the next recording. For some artists who spend years playing their trade in clubs and concert halls, it's not fun to be ignored. But that part of the business has always been there. You never know what will capture the fancy of listeners or when that might happen. Numerous artists have told that sell more recordings on gigs than through the internet or in the retail world.
The trio of pianist Chris Lomheim, bassist Michael O'Brien, and drummer Jay Epstein often worked together in the years before the bassist moved to NewYork City from the Twin Cities (Minneapolis-St. Paul). All three are quite busy with the pianist leading his own trio as well as playing with other groups, the bassist working with the likes of drummer Matt Wilson, Harry Connick Jr., and saxophonist Joel Frahm while the drummer has recorded and/or toured with pianist Bill Carrothers, the late Sarah Vaughan, and saxophonist Eric Alexander (among many others). These three veterans have now recorded their debut album. "Triage" (Shifting Paradigm Records) is an odd title for this lovely group of original songs (eight by Lomheim and three by O'Brien) but don't let that distract you from listening.
Photo:Andrea Canter
While the music works as an accompaniment to a late afternoon time on the porch or to play during dinner, when you sit and really listen one hears how enjoyable these 11 pieces are. Particularly attractive is the pianist's "Even More Than Before", a medium-tempo ballad with the hint of a Burt Bacharach melody (as well as a section of the chorus that reminds this listener of the 60's hit "Goin' Out of My Head") –pay attention to O'Brien's foundational bass work and the dancing cymbal work of Epstein. The bassist's "At What Price Happiness" has a faint touch of bossa nova in its rhythm. The airy melody line, the quiet interactions of the rhythm section, and the long, luxurious, piano solo (as well as the melodic bass solo), all adds up to an enjoyable aural experience.
Photo: Andrea Canter
As one returns to "Triage", you begin to see and hear the influence of the Bill Evans Trio and the Keith Jarrett Standards Trio. Specifically in the importance of bassist O'Brien (pictured left) and how his solos plus his great ear for melody meshes with the work of pianist Lomheim. And, like Evans and Jarrett, smartly written melodies are so important to how the music opens up for the solos. Epstein's role is to make sure the music flows on a even keel yet even he get many opportunties to interact with the melodic lines and solos.
The music of Chris Lomheim, Michael O'Brien, and Jay Epstein truly unfolds when one really pays attention. Their professionalism and camaraderie makes "Triage" a delightful experience, one that should come and stay.
I have had the pleasure to write about Dr. Denny Zeitlin and his music numerous times over the past decade. We have spoken several times and I remain amazedly by his energy, his devotion to his music, his practice, and his students (he teaches Clinical Psychology at the University of California/ San Francisco and sees patients in the "City by the Bay" as well as in his current hometown of Kentfield, CA). His professional music career started in the early 1960s, playing acoustic before getting deeply involved with synthesizers (still is, to this day). He may be best-known for his absolutely scary soundtrack to the 1978 movie "Invasion of the Body Snatchers." Several generations of "Sesame Street" viewers learned to count to 10 with the music he created for the then-Public Television program.
Over the past five years, Zeitlin has played yearly solo piano concerts at the Piedmont Piano Company in Oakland CA. He has the pick of the pianos in the showroom. In 2016, Sunnyside released his December 2014 presentation "Early Wayne", the compositions Wayne Shorter - now the label presents "Remembering Miles". Recorded in December 2016, the concert features an overview of Mies Davis's amazing career, from early songs such as "Milestones (1947 Version" to "Tomaas" from the trumpeter's 1986 "Tutu" collaboration with bassist Marcus Miller. Left to his own devices, the pianist makes each song sparkle with inventiveness and spirit, melody and emotion. You may not recognize "Flamenco Sketches" on first listen but it's easy to hear how the piece takes shape. Zeitlin has great fun deconstructing Cyndi Lauper's "Time After Time" (check out the rhythmical and playful left hand).
Photo: Josephine Zeitlin
Hard to pick out a favorite track but one of the more interesting ones is the afore-mentioned "Tomaas." The 1986 recording is quite funky (a la Chic) whereas here, Zeitlin plays inside the piano and has also prepared strings - it's as if he's duetting with slide guitarist. But, when the slinky bass line comes in, the music changes direction, starting to roll forward and the melody line emerges. Now the right and left hands are in a call-and-response and the listener hears the original funky nature.
The album closes with two songs that have their origins in the 1950s. "The Theme" comes from a 1955 Art Blakey & The Jazz Messengers session - you may have it played on several of Davis's live albums (he used the tune int the 60s). Put simply, the music swings. The rolling bass lines and the percussive attack of the left hand is a delight. "Weirdo", from a 1954 Blue Note quartet session (bassist Percy Heath, pianist Horace Silver, and Mr. Blakey on drums) gives the pianist a lot to play with; it's bluesy quality, the rolling gait, and flowing solo lines.
Denny Zeitlin is a master. His love for this music comes shining through the notes he plays and how he rearranges the songs so you hear them anew. "Remembering Miles" is not only a tribute to the game-changing Mr. Davis but also to the elasticity and longevity of jazz. Splendid recording, sweet sound, and great music - can't be that combination.
For more information, go to www.dennyzeitlin.com.
Take a stroll through this Benny Golson tune:
The duo of Alex Harding (baritone saxophone, bass clarinet) and Lucian Ban (piano) has been together two decades. They first recorded on the CIMP label in 2002, releasing one album as a duo and two as a Quintet (including 2006's delightful "Tuba Project"). They have recorded with the electronic musician Silent Strike and with soprano saxophonist Sam Newsome on "The Romanian-American Jazz Suite." Harding has worked with Julius Hemphill's Saxophone Sextet, with the Sun Ra Arkestra, and with fellow baritone saxophonist Hamiet Bluiett's Baritone Group. He has appeared on recordings by David Lee Roth (!) and Greg Osby. Ban has led groups with violist Mat Manieri, saxophonists Evan Parker and Abraham Burton plus earlier this year, released a duo album with clarinetist Alex Simu. The pianist has also issued several recordings that reframe the music of Romanian composer George Enescu.
"Dark Blue" (Sunnyside Records) is their first duo album since 2002's "Somethin' Holy". The music ranges from exploratory ballads such as the title song and Harding's solo tribute to the late Bluiett ("H.B.") to the meditative, Erik Satie style "Chakra" and the more "open" "Tough Love." On baritone, Harding likes to mine the lower tones as well as use the "keys" to play percussion. His bass clarinet work has a lilt ("Esto") as well as a bite to it ("The Invisible Man"). Ban is never intrusive, providing excellent support plus rhythmic excitement (a touch of Chick Corea on "Black Sea") and a sense of melodic wonder as he does on his solo piece "Low Country Blue".
Photo: Cornel Brad
The duo's use of silence and interaction on "Monkey See", how Harding uses the piano as a springboard as well as to speak to, and how Ban keeps the music flowing with his phrases and spare bass lines, all combine to keep one's attention. Listen to them "testifying" on the gospel-influenced "Not That Kind of Blues" - the melody suggests Herbie Hancock's "Watermelon Man". Ban puts a lot of boogie-woogie into the piano backing as Harding roars, struts, and dances on top of the rollicking keys.
Photo: Ziua de Cluj
"Hymn" closes the 11-song program on a hopeful yet solemn note. Ban's lovely introduction opens to let Harding's melodic and breathy baritone melody. The pianist composed the song and you can hear his hope and love for a better world come out in the performance.
Alex Harding and Lucian Ban bring there friendship, musicianship, and intelligence to the forefront on "Dark Blue". The music surrounds the listener, invites him or her in, and keeps their attention throughout. Take a chance on this album - there are many rich moments in the music.
"Pyramid Scheme" is finally available thanks to the Minneapolis, Minnesota-based Shifting Paradigm Records. The 13 tracks include seven pieces from Sanford, three short improvised pieces, and one song each from Billy Joel, Stevie Wonder, and George Frederic Handel. Though the program is just a shade over 44 minutes long, there's a lot to take in. The title track opens with the three musicians playing the theme, goes into another short section, back to the theme, and then, the separate voices begin to go there own way away from and back to the theme. There's a hint of Julius Hemphill in the bluesy "Everything We've Always Wanted" starting with the bouncy baritone sax line, the trombone counterpoint, and Bacas's tenor sax solo. There's a different kind of bounce to "Bagheera's Dance", a piece based on the trombonist's love of the Disney classic cartoon based on "The Jungle Book." Sanford created a melody out of the baritone saxophonist's last name to create "Outlaster" which breaks into a funky dance for the soprano sax, trombone, and the baritone sax.
"And So It Goes", the oft-recorded Billy Joel (at least this year it is), gives the trio the opportunity to each play the lovely melody as well as create counterpoint for the lead player. The harmonies Sanford orchestrated for his horn, the tenor and alto saxes, sound lush and gentle. Handel's "Sarabande" (from the third movement of his "Concerto for Oboe in G minor") also contains lovely three-part harmony as well as a fine soprano line. The Wonder song, "You and I" (from 1972's "Talking Book" album), has an expansive melody line that the trio plays in harmony. Laster's tenor solo is played alone, a finely etched interpolation of the melody.
As for the improvisations, they range from the bumble-bee freneticism of "Quick Change (#5)" to the odd call-and-response of "Time Parameters (#3)" and it's nervous trombone, fluttery soprano sax, and noisy alto sax. "Something Chordal (#4)" is exactly what it purports to be, the three musicians creating long tones and the occasional group chord. That track is quite handsome and even more striking for the fact it's totally improvised.
"Pyramid Scheme" may have taken four-and-a-half years from the studio sessions to the final product but the music sounds contemporary. JC Sanford's Triocracy debut is an often exhilarating blend of sounds and styles of composition with and without improvisations. And it's fascinating to sit and listen to.
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