This Music Reaches Out & In

Cellist and composer Peggy Lee utilizes a most interesting dectet of musicians for her new album.  "Echo Painting" (Songlines Records)  utilizes two reeds (Jon Bentley, tenor and soprano saxes, and John Paton, tenor sax), two brass (Brad Turner, trumpet and flugelhorn, and Roderick Murray, trombone), five string instruments ( Ms. Lee's cello, Meredith Bates, violin, Cole Schmidt, acoustic & electric guitars, Bradshaw Pack, pedal steel, and James Meger, acoustic & electric basses), and Dylan van der Schyff, drums, percussion, and Yamaha RX-15 drum machine. Robin Holcomb adds her unique voice to "The Unfaithful Servant", Robbie Robertson's masterful ballad from The Band's self-titled second album.  That track is the only non-original piece on the program, that features 10 Lee originals, one "free improv" by the cellist, bassist, guitarist, and violinist plus one improv track by van der Schyff (drums, drum machine) and Meger (electric bass) that serves as an intro to Ms. Lee's "Weather Building".

The album title gives the listener a good idea of what to expect.  Paintings can be mirrors, whether the artist is looking at a landscape, a lake, a lighthouse, a lover, or the madness of the world.  Echoes are sounds sent out, either in enclosed places or on mountain tops and, like paintings, they are an approximate replication of the subject, the notes on the page as performed, the sounds created by instruments when the musician is in improvisatory flight on her own or in response to the musicians around her.  Ms. Lee's "paintings" are performed by a group of her choosing, her friends (and, in the drummer's case, her husband) formed  in the echoes of Carla Bley and Charlie Haden's Liberation Music Orchestra.

Ms. Lee has been in the forefront of the experimental music "scene" for several decades, working alongside trumpeter Dave Douglas, composer and pianist Wayne Horvitz, and her own groups as well as writing for stage and dance performances.  In this ensemble, she makes sure all the musician are involved, whether on solos or in group interplay.

Photo: Victoria Johnson

It's certainly fascinating to hear the various directions this music takes.  From the prayer-like "Incantations" that opens the album to the Charles Ives-like hoedown of the first half of "A Strange Visit" to the sweet sounds of "Painting Echoes" and its swirling brass, reeds, and violin, the attentive listener moves in and out with the musician, even breathing with the music.  The title track moves in on an insistent rhythm, with percussive cello and guitar creating a trance-like setting with the bass and drums - the horn melody moves slowly atop that foundation until Turner's trumpet lines take flight.  The subtle touch of blues and country music can be heard on "Silent Piece", reminding this listener of Robertson's music for The Band, the trumpet moving the melody along like the voice of the late Rick Danko rising out of the rich sonic background.

The album closes with "The Unfaithful Servant" - this version stays true to the 1970 original (the one that included the stunning soprano sax solo from Garth Hudson) with solos from guitarist Schmidt and trombonist Murray. Turner does a fine job of shadowing the vocal line on the final restatement of the melody, leading the rest of the brass and horns through the verses.  And, like the original, the piece does not really resolve.

"Echo Painting" serves to remind the listener of the power of group arrangements, of melodies that evoke images and memories, of how Peggy Lee can create arrangements where the solos are part of, not apart from, the fabric of the songs. Yes, there are few moments of improvised noise, frenzied playing that sound more like the madness of big cities than the cool reserve of the cover photograph.  Fascinating music from start to finish!

For more information, go to www.peggylee.net.

 

3 Quintets

"Impetus" is the 3rd release (all Quintet albums) from trumpeter/composer David Smith and 2nd for BJU Records. Guitarist Nate Radley has been in the group since its inception in 2005 and is an excellent foil for the leader.  Filling out the ensemble is bassist Gary Wang (who's also featured on "Anticipation", Smith's 1st BJU disk), Dan Pratt (alto and tenor saxophones), and Anthony Pinciotti (drums).

Smith's compositions all have good, strong, melodies, and intelligent voicings (listen to the blend of trumpet, guitar and tenor sax on the opening and closing themes of "Bond") plus he leaves plenty of room for solos.  The insistent drive of "Starr St." is created by the rhythm section but pushed forward by the guitar  Radley provides a second solo voice with Pratt's tenor then goes into overdrive for the trumpet solo, his raucous chords provoking Pinciotti to drive harder. "Seven", which gets its harmony from a movement of Beethoven's "Seventh Symphony", reminds this listener of the driving rock tunes of John Lennon (especially "Happiness is a Warm Gun") - Smith's solo pulsates forward, pulling the rhythm section with him.  When he hands off the solo to Pratt, the intensity lessens for just a bit before picking up again. "The Toaster" burns, from the fiery rhythm section to the rapid-fire theme to the blistering trumpet solo and incendiary tenor spotlight.

The final track, "Intersection", opens with a sweet trumpet melody over bluesy guitar chords. Smith stays in front for over 5 minutes of the song (total time = 10:45) before giving way to a fine guitar solo.  Radley starts by playing chords before going into fast single-note runs yet always returns to chords. The trumpeter builds the intensity towards the climax, adding the saxophone to push forward over the hard-edged work of the rhythm section.

There's much to like on "Impetus", from the excellent compositions to the fine interactions of a working band. Everyone gets the opportunity to shine especially guitarist Nate Radley who is the lynchpin on the majority of the cuts.  Give David Smith a close listen, it's worth your time.

Here's the opening track:

David Smith also shows up on "Scenic Design", the second BJU recording for pianist and composer David Cook. He shares the front line with saxophonist and producer Ben Wendel while the rhythm section features the expert work of Matt Clohesy (bass) and Kendrick Scott (drums).  Cook has served as musical director for vocalists such as Taylor Swift, Lizz Wright, Marianne Faithful and his wife Shayna Steele plus has played in the large ensembles of Alan Ferber, J.C. Sanford and Travis Sullivan's Bjorkestra.  His 2010 BJU debut, "Pathway", was an impressive trio session that also featured bassist Clohesy in the rhythm section along with drummer Mark Ferber.

This program covers a wide swath of musical territory, from the trumpet/piano duo on Ms. Swift's "Safe and Sound" to the inspired reimagining of Jerome Kern's "Long Ago and Far Away" to the lovely ballad "I Know You Know" (co-written by and featuring Ms. Steele).  Cook is quite an expressive pianist, whether he's quietly playing the chords beneath Wendel's tenor sax on "Midwestern" (which has a lovely melody line) or stepping out in glorious fashion as he does on ""80s TV Theme Song", a piano-bass-drums workout that has splendid solos from everyone involved. Anyone who knows the work of Kendrick Scott knows the drummer rarely plays it safe. His high-powered drive on "Shift" and his easy-going yet subtly intense work on the title track makes those pieces stand out even more.  How he drives the opening "Flower and Hope" serves to free up the soloists and he goes on to make the interweaving solo lines of Cook and Wendel more exciting.
The final track, "Still", opens with a long solo piano statement (reminiscent of the work of Fred Hersch) - when the rhythm section and Wendel's alto saxophone enter, they join the pianist in the melody (note Clohesy's strong contribution) bringing the program to a gentle yet uplifting close.

After listening to "Scenic Design" a number of times, one continues to be impressed by how David Cook has arranged this music for this quintet. One can tell the musicians were emotionally invested in the music, giving the album an undeniable positive feel. Check out these sweet sounds.

For more information, go to www.davidcookmusic.com.

Here's the title track:

As I write this, Harris Eisenstadt is in the midst of a week-long residency (9/01-06) at The Stone in New York City in celebration of his 40th birthday and all the great music and ensembles he's created since first arriving on the scene a few years before the beginning of the 21st Century.  In the midst of the Big Apple week, Songlines Recordings has issued "Canada Day IV", featuring the drummer/composer's long-running quintet of Matt Bauder (tenor saxophone), Nate Wooley (trumpet), Chris Dingman (vibraphone) and newest member Pascal Niggenkemper (bass).

What you'll notice about this quintet music is that the composer puts great stock in melodies as well as creating smaller groups inside the ensemble.  And, there are times when the band is very playful.  Check out the interaction on "Let's Say It Comes In Waves" and how everyone is involved in moving the melody forward (even the drummer) - that does not change until the handsome trumpet solo but pay close attention how the rhythm section plays beneath that solo. Wooley enlivens "Life's Hurtling Passage Forward" with a raucous trumpet solo worthy of Lester Bowie and Taylor Ho Bynum then adds a mute to take the song out over Dingman's mesmerizing vibes.  The vibraphonist has such a full sound, does not swing in the manner of Jay Hoggard (his teacher at Wesleyan) or Gary Burton, yet his background work is integral to the success of this music.  His support beneath Niggenkemper's bowed bass at the start of "What's Equal To What" adds to the mystery of the piece, an alternative universe that does not waver until the drums enter and the bassist eases into a walking rhythm.  And the band knows how to let loose.  Dingman dances through his solo on the uptempo, Monk-like, "What Can Be Set To the Side"; the piece falls apart and takes on a circus-like atmosphere right near the end.  The closing track, "Meli Melo" (named for a Canadian snack mix), starts out quietly, just saxophone and vibes for the first 3 minutes before the sax drops out leaving Dingman to move the melody into the forefront. The bass and drums enter before the band plays a stop-and-go melody leading into an interchange of the saxophone and trumpet.

"Canada Day IV" continues a streak of impressive recordings for Harris Eisenstadt. His ability to write for disparate ensembles continues to grow (the residency includes music for his Canada Day Octet and a new piece for string quartet) and, while on paper this Quintet looks like typical "jazz" lineup, the music they play is anything but typical. Engaging, involving, and challenging, yes, but not typical.

For more information, go to www.harriseisenstadt.com.

Here's a taste of this fine CD:

Musicians at Play + November 1st Noah

It's been nearly 3 decades since Wayne Horvitz wrote and performed with the New York Composers Orchestra, a large ensemble that commissioned works from numerous composers (Anthony Braxton, Lenny Pickett, Butch Morris and others), playing the pieces and more in concerts around the world.

Mr. Horvitz and his wife, the composer Robin Holcomb, moved to Seattle, Washington, in the late 80's and, while he has composed for orchestras and large ensemble, his latest for Songlines Recordings "At The Reception: The Royal Room Collective Music Emsemble" is his first for a "big band" since the NYCO days. This 14-member ensemble, composed of musicians from the Pacific Northwest, may not have many recognizable names (one exception would be tenor saxophonist Skerik) but they play this music with great joy and abandon.

The all-original program, split into "Side A" (7 tracks) and "Side B" (6 tracks), opens with "A Walk In The Rain" that shows the influence of Billy Strayhorn and Duke Ellington, an opinion strengthened by the strong trombone solo of Naomi Siegel. The funky rhythm section - Ryan Burns (piano), Geoff Harper (bass) and Eric Eagle (drums) - keep the piece on track while the sections interact behind the combined solos of Skerik and trombonist Jacob Herring. The next 6 songs feature plenty of group interaction and very few solos, ranging from the lovely ballad "Forgiveness" (it's a treat to hear the reeds dancing around the brass figures in ways that remind this listener of the music of Ms. Holcomb) to "Daylight" with its quiet rubato opening to the sudden explosion of sound.  Again, the reeds carry the melody until they begin to furiously challenge the brass.  "Barber Shop", with its English Music Hall bouncy rhythm, replaces the Strayhorn with a blend of Ray Davies (around the time of "Village Green Preservation Society") as well as a Bavarian Gilbert & Sullivan brass section. There's a touch of Anthony Braxton and Muhal Richard Abrams' circular melodies, rhythmic variations and section interaction on "Ironbound."

"Side B" opens with "Prepaid Funeral", a swirl of horns, reeds and rhythm section sprinkled with fine solos, sounding like the work Bob Brookmeyer did with the New Art Orchestra in the first decade of the 2000s. The solos grow naturally out of the section interplay. Unlike the majority of the tracks on "Side A", most of these songs have solos.  "Sweeter Than The Day", which is also the name of a quartet Horvitz led from 1999-2008, has a melody and harmony feel of Randy Newman and Robbie Robertson - the quartet version came be heard on the group's 2002 Songlines CD (which also contains "Ironbound.") "Disingenuous Firefight" (also recorded by STTD on its 2000 debut) marries a boppish groove to a mysterious descending line while Al Keith (trumpet) and Ms. Siegel play above the band (there's a touch of Carla Bley's music in this tune). Back into an Ellington and Basie groove for the title track, which features strong solos from Steve O'Brien (trumpet), Kate Olson (soprano saxophone) and Beth Fleenor (clarinet).

"At The Reception" is a delightful large ensemble recording, depending more on Wayne Horvitz's intelligent arrangements and well-crafted songs than on solo after solo.  The section writing is truly delightful.  During his career, Wayne Horvitz has rarely stayed in the same mode for long periods of time but does like to rearrange his material for different groups. The Royal Room Collective Music Ensemble is quite a treat, not only for aficionados of his music but for fans of contemporary big band music. For more information, go to songlines.com/release/at-the-reception/ - there are even a pair of bonus tracks.

It's been nearly 15 years since pianist/composer Frank Kimbrough recorded an album as a leader that also featured a reed player (Scott Robinson appeared on 2000's "Noumena").  His 6th release (7th, if you count the digital-only reissue of "Chant") for Palmetto Records is aptly "Frank Kimbrough Quartet" and finds the pianist in the company of drummer Lewis Nash, bassist Jay Anderson and saxophonist Steve Wilson (alto and soprano) - the latter 2 musicians also play alongside Kimbrough in the Maria Schneider Orchestra. All 4 are members of Ryan Truesdell's Gil Evans Project.

Judging by the opening 2 cuts, "The Call" and "Blue Smoke", the addition of Wilson has opened up the possibilities for Kimbrough's music. Both pieces have great forward motion with the former having a strong blues feel while the latter swings with abandon. The composer's Southern roots (he was raised in North Carolina) are quite evident on "Kudzu" - Nash's work is quite "groovy" while Anderson's thick tones create a solid foundation for the soloists.

Still, there are few who play an introspective ballad as well as Kimbrough and this CD has several excellent additions to his repertoire.  "Trouble Man" (the Kurt Weill composition, not the Marvin Gaye one) is a lovely piece, framed intelligently by Nash's cymbal work and Anderson's melodic bass work. Wilson's soprano lines are filled with sweetness and a generosity which one also hears on the closing track, the Rodgers & Hart gem, "It Never Entered My Mind."  There is a bluesy touch to Wilson's lines as well as a sparkling bass solo - Kimbrough states the melody at the beginning and as the piece closes. Otherwise, his sensitive support and Nash's splendid brush work give the saxophonist and bassist wings to soar.

The Quartet jumps right into John Lewis's "Afternoon in Paris", everyone at his melodic best (yes, even Nash.)  It's fun to hear these musicians move from the solo piano introduction of the melody into the body of the piece and realize how "free" the music becomes.  Kimbrough supports the lyrical saxophone while Anderson and Nash play around beneath them. During the long piano solo, the rhythm section continues to play outside the form and, damn, if that's not exhilarating.

"Frank Kimbrough Quartet" is what one has come to expect from the pianist and more.  Melody, rhythms, group interactions, sensitive ballads, and utter joy.  The liner notes say that the CD was culled from one 6-hour session at Systems Two in Brooklyn, NY.  O, what fun they must have had! If you like music that takes chances and also soothes the soul, dig into this disk.  For more info ration, go to home.earthlink.net/~fkimbrough/.
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Frank Kimbrough joins leader and saxophonist Noah Preminger, bassist Ed Howard and drummer Billy Drummond this Saturday November 1 (already!) for an 8:30 p.m. gig at The Side Door Jazz Club in Old Lyme. Young Mr. Preminger (pictured left), a CT native now living in the Boston area and in school at his alma mater The New England Conservatory, working on his Master's Degree, returns to the venue as a leader - he appeared once before as a member of the Rob Garcia 4.

Kimbrough appeared on the saxophonist's 2011 Palmetto debut, "Before the Rain" as well as 2008's "Dry Bridge Road", recorded when Preminger was in his senior year at NEC.  They work well together, knowing when to push each or when to hold back or when to lay out.  Preminger, like the pianist, is a melodic player and, as he has matured, has become an excellent soloist, neither dull nor derivative. The veteran rhythm section will not only be supportive but also knows when to light a fire and build the intensity.

Doors open at 7:30 p.m. - reservations and more information can be found thesidedoorjazz.com or by calling 860-434-0886.