Record Store Day Delights (Part 1)

What does a writer do when he fractures his arm?  I can't answer for anyone but myself and tell you the writer listens to myriad of Historical Jazz albums released by Resonance Records, Cellar Live/Reel to Reel, and Jazz Detective Records.  2024's Record Store Day welcomes 12 (!) new recordings all touched by the genius that is Zev Feldman. Here's a quick look at three of those albums.

In February of 1959, tenor saxophonist Sonny Rollins went on a European tour bringing bassist Henry Grimes and drummer Pete LaRoca Sims along. "Freedom Weaver: The 1959 European Tour Recordings" (Resonance Records) is a four-

LP/3-CD package that presents music from radio concerts and live dates in Sweden, Switzerland, France, and Germany. Along the way, Sims is replaced by Joe Harris (new name to me) and, in France, by Kenny Clarke.  Some of this music has shown up on bootlegs over the decades; however, the sound quality was spotty and here it's downright stunning.  Grimes and Sims are perfect accompanists who are attuned to Mr. Rollins every move, every zig and zag. Harris, a native of Pittsburgh, PA, was a first-call drummer in New York City in the late 1940s and early 50s but moved to Sweden in 1956 and to Germany in 1961.  He fits in perfectly with the Trio on the nine tracks – interestingly, he and Sims switch seats on the Radio Zurich date and several of the club/concert dates.

If you're a fan of Sonny Rollins, buying this set is a no-brainer. For new arrivals, "live" Sonny is a good place to start. His solos are most often delightful stream-of-conscious explorations Several of the songs are repeated but, of course, each version has its charms and highlights.  The saxophonist is three-to-four months away from his self-imposed sabbatical but never sounds as if he's struggling.  The three side-long tracks with Clarke and Grimes, recorded March 11 in Aix-en-Provence, France, are notable for the long sax solos, for the veteran Clarke's interplay with Rollins, for Grimes' solid foundational work, and for the playfulness of the Trio.  

Three hours of Sonny Rollins is a gift that keeps on giving. It's great to hear his voice on the radio broadcasts, his musical "quotes" on the long interactions with Clarke and during many of the solos, The booklet that accompanies has great interviews. never before seen photos, and more.  "Freedom Weaver: The 1959 European Tour Recordings" is certainly worth your time and attention!

For more information and to purchase the CD release (on 4/26), go to either https://resonancerecords.org/product/sonny-rollins-freedom-weaver-the-1959-european-tour-recordings-cd/ or https://sonnyrollins.bandcamp.com/album/freedom-weaver-the-1959-european-tour-recordings (where you can also purchase the digital release).

Here's the title track:

When one mentions Art Tatum to a jazz aficionado, chances they'll remember his amazing facility, the speed of his lines, his ability to transform all kinds of material into party. If one really sits and listens, his creativity and wit come shining through. Resonance Records has just issued "Art Tatum: Jewels 
In The Treasure Box – The 1953 Chicago Blue Note Jazz Club Recordings", a three LP/three CD set that features the great pianist with guitarist Everett Barksdale and bassist Slam Stewart.  

This is a delightfully formulaic program.  The pianist introduces the song, the bassist enters sometimes with the guitarist, sometimes a chorus later.  What makes it so easy to take is that Messrs. Tatum, Barksdale, and Stewart are such good musicians – Tatum's virtuosity can often be overwhelming but his Trio mates are more than up to the task. Especially Stewart, whose foundational lines and swing are so strong, the pianist's left hand is free to help create dazzling solos.  Many of Stewart's solo are bowed with him "buzzing" right along and every one is pretty impressive.  The guitarist is also a strong rhythm player and he digs right into each solo – Barksdale does not worry about overshadowing the leader (as if anyone could) so he swings with glee every opportunity he gets. 

The sound quality is quite good with Stewart's bass high in the mix. Barksdale's solos come through loud and clear but pay attention to how closely the pianist listens and responds.  Just about every tune they present features "quotes" liberally sprinkled through the solos. There are several ballads in each set (the program is built from tapes made by the club's owner Frank Holzfeind over the two-week run of shows) yet even those tunes have a playful edge.

"Art Tatum: Jewels In The Treasure Box – The 1953 Chicago Blue Note Jazz Club Recordings" is most definitely a "treasure". Art Tatum's milieu was the performance space. That's not to say his studio recordings don't shine but there's something about an audience, about the smells and sounds of the nightclub that brings the best of the pianist.  The booklet features an excellent essay from Brent Hayes Edwards plus interviews with Ahmad Jamal, Spike Wilner, Sonny Rollins, and others.  Great music is timeless as are the artists who create the music. Search out and enjoy!

For more a link to purchase the CD, go to https://resonancerecords.org/product/art-tatum-jewels-in-the-treasure-box-cd/.  For the digital download, go to  https://arttatumresonance.bandcamp.com/album/jewels-in-the-treasure-box.  

Here's a taste of the Tatum Trio in flight:

If drummer Shelly Manne had so chosen, he could have made a very good living in the 1950s as a session player and in the film studios.  Instead, he did all that plus owned a nightclub ("The Manne-Hole") and led an acclaimed band ("His Men"). The son of a drummer, Manne was known to all as a consummate musician, generous with his time and praise. He also write the scores for several movies and television shows. "Live From the Pacific Northwest' (Reel-to-Reel) is a bit of a misnomer in that one of the two Lps/CDs is from the inaugural edition (1958) of the Monterey Jazz Festival based in California. The second disk does come from the band's September 1966 extended stay at The Penthouse in Seattle, Washington. No need when the music is as solid, swinging, and witty as the nine tracks in the program.

The Monterey session features Manne with his constant bassist Monty Budwig plus pianist Russ Freeman, tenor saxophonist Herb Geller, and trumpeter Stu Williamson.  The highlight of the three-song set is the 18-minute "Quartet (Suite in Four Movements)". Composed by Bill Holman, whom Manne met when both played in the Stan Kenton Orchestra in the late 1940s, the piece offers smart melodies, fine solos from all involved including a long drum solo interrupted near its close by a low flying plane.  Overall, a pleasing journey of hard bop, blues, swing, and more. Geller is a facile tenor player while Williamson leans more to the Clifford Brown school of clean, clear lines. Pianist Freeman, whose long career included stints with Chat Baker, Art Pepper, and the Manne "Men", also recorded great albums with Andre Previn. Here, he shows how, like Budwig, is a stalwart of the rhythm section plus he's a fine soloist.

Disc two was recorded live by Seattle radio station KING-FM, featuring half of the songs recorded on September 7th 1966 and the other three on September 15th.  Besides Budwig, the Men now consist of pianist Hampton Hawes, flutist and alto saxophonist Frank Strozier, trumpeter Conte Candoli - vocalist Ruth Price appears on two songs. Like the 1958 band, this group really swings and often shines. That said, they also create unique takes on several standards.  "Summertime" is introduced by a fascinating drum pattern before moving into a swinging blues. Strozier's flute is out front for the first third of the 12-minute tune followed by a sweet muted trumpet solo from Candoli (sounding a lot like Miles Davis). Hawes' "Funny" leads off the later date – it, too is a blues but has a funkier edge. Candoli dances along with the drums until Strozier jumps in alto sax here. His Memphis, TN, roots come flowing through his rapid-fire phrases. The composer creates a joyful solo that is gritty as well as smooth.  

As stated above, Ruth Price, who sang with for better part of the 1950s through the late 1960s, is featured on two songs. First, she and Hawes swing through Jerome Kern and Johnny Mercer's "Dearly Beloved".   he horns sit this one out allowing for a rippling solo from the pianist. The album closes with Ms. Price leading the rhythm section through "Surrey With The Fringe On Top" – note how Manne plays the edge of his snare in the same fashion as he opens Sonny Rollins take of "I'm An Old Cowhand" on 1957's "Way Out West".   

Overall, 'Live From the Pacific Northwest" is a treat from beginning to end. If you think that Shelly Manne & His Men played lightweight Pacific Coast jazz, just listen.  This music is alive from start to finish. Sound quality is downright pristine; it feels like you're sitting right next to the bandstand! Classy album and you should dig right in! Enjoy the interviews in the booklet with Ruth Price, Bill Holman, Joe LaBarbera, Peter Erskine and Jim Keltner

For more information and to purchase the CD and the digital version, go to https://shellymannehismen.bandcamp.com/album/jazz-from-the-pacific-northwest. 

Here's Mr. Manne & His Men swinging:

2021 - Music that Moved, Soothed, Educated, and Inspired (Part 1)

 One gets to a certain point in life, especially if one has been reviewing albums for over five decades, that you realize what it is that really moves you. 2021, and all the craziness that has occurred, the anger, the apathy, the bullshit, the miracles, the possibilities, has been filled with a ton of great music.  Impossible to pick one favorite, never mind 10.  This list is split into two parts: the first list contains the 10+ I chose for the Critics Poll. 

James Brandon Lewis/ Red Lily Quintet – "Jesup Wagon" (Tao Forms) – Great story, great playing, important message, JBL and cohorts (drummer Chad Taylor, bassist William Parker, cornettist Kirk Knuffke, and cellist Chris Hoffman) create sounds soaked in blues and country folk, post-bop and more, into one of the freshest programs of this or any year. 

JBL's new Intakt release, "Code of Being", is also worth your close attention but start here!

Go to https://jamesbrandonlewis.bandcamp.com/album/jesup-wagon.  

Various Artists – "Kimbrough" (Newvelle Records Digital only) –– It's been almost a year since pianist/ composer/ educator Frank Kimbrough passed on and the effects of his passing continue to reverberate through the music. To honor Kimbrough's accomplishments as a composer and educator, producer and Newvelle Records co-owner Evan Mehler (also a former student) gathered 65 musicians, many of whom had played and/or studied with FK. The producer and the musicians spent four days in May in the studio in various formations recording 60 of Kimbrough's composition (one song is recorded twice, one with a vocalist, the other time as an instrumental). Two months, Newvelle released the 61 tracks as a digital download and at a reduced price –– the music is well worth exploring, painting multiple portraits of a composer always looking to create new ways of expressing melody and emotion.

Go to https://newvellerecords.bandcamp.com/album/kimbrough to check it out.

Ches Smith and We All Break – Path of Seven Colors (Pyroclastic Records) - Percussionist, composer, and experimenter Ches Smith first got involved playing Haitian Vodou music over two decades, first as an accompanist for dancers before forming his group and creating new music for a quartet (drums, percussion, and piano) he formed.  That group recorded in 2015 on a small label.  For his second album, We All Break has expanded to an octet, adding a female vocalist, a fourth percussionist, and the evocative alto saxophone of Miguel Zenón. The music is fascinating, hypnotic, the rhythms pouring out of the speakers pushed by the small army of percussionists and pianist Matt Mitchell. Great package (if you buy the CD), so colorful plus informative and you get the quartet album as well!

Go to https://weallbreakpyroclastic.bandcamp.com/album/path-of-seven-colors. 

Kate McGarry & Keith Ganz Ensemble – "What To Wear in the Dark" (Resilience Music) - Just what one needs in the midst of a dark year is music that teaches us about love, resilience, friendship, creativity, and more.  Ms. McGarry and Mr. Ganz reimagine a number of songs from artists such as The Beatles, Steely Dan, Leonard Cohen, Paul Simon, and others, creating a program that often lads the listener back to the possibility of hope. Not only is Ms. McGarry's voice in splendid shape but also the arrangements by Mr. Ganz stand out for their creativity and musicianship.

Go to https://katemcgarry.com/music/ for more information.

Julius Hemphill – "The Boyé Multi-National Crusade for Harmony: Archival Recordings 1977-2007" (New World Records) – As Historical Recordings/ Reissues go, this seven CD set of live and studio recordings from the late composer, saxophonist, and conceptualist Hemphill (1938-1995) is akin to finding a vein of gold running through your backyard.  Kudos to producer/ curator Marty Ehrlich for his tireless work going through Mr. Hemphill's archives of papers and tapes housed at the Fales Library & Special Collections of New York University.  If you're a fan of Mr. Hemphill's adventurous music, this collection is a must. If you don't know how important he was to Black American Music in the last 25 years of the 20th Century, this set is essential learning.

Go to https://newworldrecords.bandcamp.com/album/julius-hemphill-the-boy-multi-national-crusade-for-harmony.

Steve Coleman and Five Elements – "Live at The Village Vanguard (MDW NTR)" (Pi Recordings) – This two-CD set from MacArthur Genius grant recipient and innovator Coleman's May 2018 three nights at the legendary New York City music venue continues an incredible of amazing music that the Chicago native has produced over the past three+ decades.  Mr. Coleman is his usual fiery self on alto saxophone surrounded by the stunning rhythm section of Anthony Tidd (bass) and Sean Rickman (drums) with the exploratory trumpet of Jonathan Finlayson and the brilliant vocal poetry of Kokayi. This music is relentless and once you start listening, you do not want to stop. 

Go to https://stevecoleman.bandcamp.com/album/live-at-the-village-vanguard-volume-ii-mdw-ntr. 

Henry Threadgill ZOOID – "Poof" (Pi Recordings) - Mr. Threadgill is deep into his sixth decade of stretching the boundaries of Creative Music; ZOOID celebrated its 20th Anniversary this year showing no end to the creative adventures that the composer/ alto saxophonist/ flutist designs for them.  Some people call this music jazz, some classical, but it's so much more than that. This music is storytelling that reaches into both your brain and soul, exposing one to possibilities of melody, sound, interaction, and ideas that seem radical but once absorbed, become part of one's DNA.  And, it's always a treat when Mr. Threadgill plays with his band!

Go to https://henrythreadgill.bandcamp.com/album/poof. 

Wadada Leo Smith's Great Lakes Quartet – "The Chicago Symphonies" (TUM Records) – Wadada Leo Smith's music was ubiquitous in 2021 and believe me when I tell you it's hard to pick just one (in fact, all four of his TUM releases make my extended list (the entire list will be posted soon).  While the trumpeter/ composer/ conceptualist is not a Chicago native, his amazing musical vision began to find its shapes while working with various members of the AACM, coming to life as he played alongside Anthony Braxton, the late violinist Leroy Jenkins, and late drummer Steve McCall.  His Great Lake Quartet includes two Chicago stalwarts, Henry Threadgill and drummer Jack DeJohnette, plus long-time ally, bassist John Lindberg (saxophonist Jonathon Haffner replaces Mr. Threadgill on disk 4).  These four "Symphonies" focus on the people and ideas that Mr. Smith encountered in Chicago and the AACM people he encountered later in Paris, France, and New Haven, CT.  I spent the better part of two weeks almost exclusively listening to these disks and still hear new ideas and make new connections when I return to the albums.

Go to https://tumrecords.com/box-004-chicago-symphonies. 

Sonny Rollins – "Rollins in Holland: the 1967 Studio & Live Recordings" (Resonance Records) – As the psychedelic era of rock music enveloped the United States in its smoky haze, jazz masters were beginning to lose their places on the Hot 100 albums and many clubs were revising their music policy. Tenor sax master Sonny Rollins was about to on another sabbatical but before he did, he honored a number of outstanding performances. He landed in Holland in May of 1967, met his rhythm section, bassist Ruud Jacobs and drummer Han Bennink, played a radio show and a couple of club dates, then moved on.  The music on this two CD set features shorter pieces recorded for the noontime radio show plus a generous helping of longer cuts from the "live" dates.  The sound quality of the broadcasts are top-notch but the relative brevity of the tracks does not give the leader music room to stretch; he's also quite generous in giving solo time to his rhythm section. The longer live cuts have poorer sound quality but Mr. Rollins shines throughout! 

Go to https://sonnyrollins.bandcamp.com/album/rollins-in-holland-the-1967-studio-live-recordings. 

Chet Doxas - "You Can't Take It With You" (Whirlwind Recordings) – Tenor saxophonist Doxas in a trio setting with pianist Ethan Iverson and bassist Thomas Morgan playing a delightful and heartfelt program of standards and originals.  The intimacy of this trio sans drums pulls the listener in, seducing one with melodic interplay, thoughtful interpretations, intelligent solos, and a sense of calm.  Doxas can "blow" with the best but here he chooses melody over facility/ technique. It's music for early morning and long nights when one can soak in the sounds without engaging the rest of the world.  

Go to https://chetdoxas-whirlwind.bandcamp.com/album/you-cant-take-it-with-you. 

Mario Pavone Dialects Trio + 1 – "Blue Vertical" (Out of Your Head Records) –  In my original list, I posted "Isabella", the album Mr Pavone recorded with his Tampa Quartet in late February of this year but, after going back and listening to both posthumous albums, this one stood out a bit more. Recorded four weeks later (and six weeks before cancer claimed his life), one is amazed by the depth of the compositions (plus the brilliant of trumpeter Dave Ballou) and Mr. Pavone's stellar musicianship. Pianist Matt Mitchell and Tyshawn Sorey fill out the band – this ensemble's  history with the bassist explains why the music feels so urgent but not rushed.  Though I knew Mario Pavone for almost five decades, heard him play countless times, this is not a sentimental favorite.  This album shines brightly!

Go to https://outofyourheadrecords.bandcamp.com/album/blue-vertical. 

Roy Brooks – "Understanding" (Reel-to-Real Records) – For a time in the late 1960s and 70s, Roy Brooks was the "drummer" from Detroit. Not only did he lead his own ensembles but he also played alongside Horace Silver, Yusef Lateef, Chet Baker, and in Max Roach's percussion ensemble  M'Boom. This "buried" treasure was recorded live in Baltimore, MD, on November 1, 1970 and features the amazing trumpet work of Woody Shaw, tenor saxophonist Carlos Garnett, pianist Harold Mabern, and bassist Cecil McBee.  The intensity level this quintet creates leaps out of the speakers (the interactions between Shaw and Brooks are reminiscent of those of John Coltrane and Elvin Jones – no prisoners!) Roy Brooks, who passed in 2005, had a tough life yet his flame shone brightly until his illnesses got the best of him.  

Go to https://roybrooksband.bandcamp.com/album/understanding. 

Glenn Close & Ted Nash – "Transformation" (Tiger Turn) – Ms. Close and Mr. Nash decided to work together after the actress hosted the Lincoln Center Jazz Orchestra (of which Mr. Nash is a charter member) after a concert near her summer home in Maine. They threw ideas around for a collaboration and settled on telling stories about people who have made life-changing decisions and the people those decisions affect.  The blend of Mr. Nash's original music with the stories of people such as the saxophonist's son Eli, actor/ comedian Wayne Brady, convicted murderer Judith Clarke, activist Matthew Stevenson, E.O Wilson, playwright Tony Kushner, and others, remind us how complex the world can be and how the simple acts of paying attention and acceptance can make such a difference.  

Go to https://tednash.com/.  

More to follow!  Everyone, be safe!

Twenty Recordings for 2020 (Pt. 2)

There was a lot of very good-to-excellent music to listen to and write about this year; so much so, that I'll play catch-up through January 2021. Here's the rest of the recordings (in no particular order) I believe made this year so much better.

Brian Asher – "Brian Asher's Skrontch Music" - (Sinking City Records) – Even though this large ensemble album was issued in October of 2019, I did not create a review until late January of 2020. Asher has created a fascinating recording illuminating how the Black music that grew up in New Orleans permeates much of what we listen to.  The 5-song "suite", created for a 10-piece ensemble, combines the issues of anti-Jim Crow activism with the growth of jazz from the turn of the 20th Century forward.  Considering the craziness of this year, the music is hardly dated but right on target.  

For more information, go to www.brianasher.com.  Go to https://byronasher.bandcamp.com/album/byron-ashers-skrontch-music to hear more and purchase the album. 

Rudy Royston – "PaNOptic" - (Greenleaf Music) – Mr. Royston is one of the finest drummers playing at this time.  He is the supersonic engine beneath numerous Posi-Tone Records recording sessions yet can play gently and melodically when working with people such as Bill Frisell and Dave Douglas.  When the pandemic hit, the drummer decided to release these solo tracks he made several years before.  It's a percussive "autobiography" with Mr. Roystron paying tribute to the blues, to influences Max Roach and Elvin Jones, Herbie Hancock, Prince, and Jack DeJohnette, to dancing and more.  100% of the proceeds from the sale of the album goers to the Music Cares COVID-19 Musicians Fund.  To listen to and purchase this splendid project, go to

https://rudyroyston.bandcamp.com/album/panoptic.

And, here's a video:

Jorge Roeder – "El Suelo Mio" - (Self-released) - Bassist Roeder, who has regular gigs with guitarist Julian Lage as well as trombonist Ryan Keberle's Catharsis, created this musical gem before the pandemic struck yet it's a perfect example of an artist making creative statements on an instrument that often is overlooked for its versatility. Like a snifter of Cognac, aged single-malt Scotch, or vintage Port, this is music to be savored in the quiet moments of the day, early morning and late evening.  Thoughtful, melodic, soulful, exciting and more, this music shines!  For more information, go to www.jorgeroeder.com. To hear more and purchase, go to https://jorgeroeder.bandcamp.com/album/el-suelo-mio.  Take a look:

The Dayna Stephens Quartet – "Right Now! Live at The Village Vanguard "- (Contagious Music) - Listening to this album for the first time five months into the pandemic made me long for live venues and for groups such as this who are musical explorers. Stephens (saxophones, EWI), joined here by Aaron Parks (piano), Ben Street (bass), and Gregory Hutchinson (drums), dances, swings, and sings his way through pieces from throughout his expanding catalogue.  What a treat!  Stephens work on the EWI has always been fascinating and the two tracks on this 2-CD set are excellent. To find out more, go to www.daynastephens.net.  To hear more and purchase, go to

https://daynastephens.bandcamp.com/album/right-now-live-at-the-village-vanguard.  

(Honorable mention––Dayna Stephens Trio "Liberty" (Contagious Music),  

Here's a piece from the Quartet:

Chris Dingman – "Embrace" & "Peace" - (Inner-Arts.org) - Vibraphonist Dingman issued two projects this year, "Embrace", a trio recording with bassist Linda May Han Oh and drummer Tim Keipers plus the solo project "Peace" that he created for his father during his time in hospice.  Both albums are infused with melodic invention, with hypnotic sounds, and with love. The trio disk is mesmerizing yet has moments of great excitement.  "Peace" is a five-CD, nearly five hour project that is concerned with soothing and healing the body and mind. "Beautiful" is the word that comes to mind when this music is playing––it's not about technique or flash but all about how one person can help others when they are vulnerable, ailing, and in the last days of their life.  For more information, go to  https://chrisdingman.bandcamp.com/. 

Here's a trio track:

Kurt Elling with Danilo Perez – "Secrets are The Best Stories" - (Edition Records) - Elling's debut for the British-based Edition Records is a fascinating reminder just how wide-ranging his creative mind can be. Teamed up with pianist Danilo Pérez, the material combines jazz compositions that the vocalist adds his poetry to. Social conscious works sit comfortably next to tributes to Toni Morrison and Robert Bly. Percussionist Rogerio Boccato is on the majority and there are appearances by bassist Clark Sommers, drummer Johnathan Blake, and alto saxophonist Miguel Zenón but the work of Elling and Perez is exemplary––this music gets better and deeper with each listen.  For more information and to purchase the album, go to https://kurtelling.bandcamp.com/album/secrets-are-the-best-stories.  

Here's the video for powerful "Song of the Rio Grande":

Dave Douglas – "Dizzy Atmosphere: Dizzy Gillespie at Zero Gravity" - (Greenleaf Music) - There are few people busier in the music world than Dave Douglas. The trumpeter-composer runs Greenleaf Music, hosts a monthly podcast, seems to be composing all the time, and teaches as well. 2020 saw three releases, tow initially for Greenleaf Music subscribers only, and this delight-filled tribute to John Birks "Dizzy" Gillespie.  Joining him are Dave Adewumi (trumpet), Matthew Stevens (guitar), Fabian Almazan (piano), Carmen Rothwell (bass), and Joey Baron (drums).  While only two of the nine pieces are Gillespie compositions, one can hear the Master's influence throughout the album.  To find out more and to purchase the recording, go to 

https://davedouglas.bandcamp.com/album/dizzy-atmosphere.  

(Honorable mention:  Dave Douglas – "Overcome" (Greenleaf Music) – This six-song album, released in December, was recorded "in quarantine" with each musician adding his or her part to the "blueprint" tracks that the trumpeter sent. What a lineup––Fay Victor and Camila Meza (vocals), Jorge Roeder (bass), Ryan Keberle (trombone), and Rudy Royston (drums)––playing music that ranges from "protest" songs to "prayers" to "free improvisation." The recording is now available at  https://davedouglas.bandcamp.com/album/overcome.  Check it out!)

Orrin Evans and The Captain Black Big Band – "The Intangible Between" - (Smoke Sessions Records) – Pianist, composer, and sometime arranger Evans has managed to keep this large ensemble going for nearly a decade. For this album, it's more of large-ish band, down to nine members from its usual 16-18.  But, as always, these pieces are noisy, raucous, emotionally powerful, and chock-full of excellent soloists.  There's Monk ("Off Minor"), there's gospel ("This Little Light of Mine"), a tribute to Roy Hargrove (the late trumpeter's "Into Dawn"), and a statement of power and against police brutality in these uncertain time ("Tough Love", music by Andrew Hill plus several poems).  This music sounds better the more you listen!  For more information, go to https://smokesessionsrecords.com/shop/albums/the-intangible-between-feat-the-captain-black-big-band/.

Take a listen:

Raphaël Pannier Quartet – "Faune" - (French Paradox) - As debut albums go, this effort from French drummer and composer Pannier. Now based in New York City, Pannier enlisted Miguel Zenón as "music director", co-producer, and alto saxophonist for these sessions. From the opening moment of Ornette Coleman's "Lonely Woman", the music is exciting, exploratory, and interactive.   Besides the drummer and saxophonist, the ensemble includes François Moutin (bass) and Aaron Goldberg (piano); there are also two "classical" pieces, one composed by Olivier Messiaen, the other by Maurice Ravel, both featuring pianist Giorgi Mikadze.  Great playing all around as well as inventive arrangements!  To hear more and to purchase this delightful album, go to https://raphaelpannier.bandcamp.com/album/faune. 

Check out the classic Coleman piece:

The Awakening Orchestra – "vol. II: to call her to a higher plain" - (Biophilia Records) – The long-awaited sequel to 2014's "vol. I", this album, composed (most of it), arranged, and conducted by Kyle Saulnier for this 18-member (plus guests) ensemble, continues in the vein of the earlier album in that there is a strain of "protest music" running through these works.  The program includes two four-part "suites" plus rearrangements of songs by Nine Inch Nails, Nick Drake's mother, Bill Frisell (in the style of the Liberation Music Orchestra), and choral composer Eric Whitacre. The four-part title track features the powerful violin of the composer's wife Brooke Quiggins. The album, nearly two hours in length, is quite impressive for the intricate arrangements, often-stunning musicianship, and the breadth of the compositions.  To find out more about this orchestra and its creator, go to www.awakeningorchestra.com/.  To listen to and purchase the digital-only album, go to https://awakeningorchestra.bandcamp.com/album/volume-ii-to-call-her-to-a-higher-plain. 

Give a listen:

This year's most wonderful "Historical Release" comes, no surprise here, from Resonance Records. "Sonny Rollins: Rollins in Holland" is a combination of tracks from three different sessions, one for a radio program and two in concert. Mr. Rollins met his rhythm section––bassist Ruud Jacobs and drummer Han Bennink–moments after stepping off the plane.  Sound quality ranges from very good to okay but the music shines nonetheless.  On the longer tracks, the great tenor master rarely comes up for an extended breather.  Kudos to the rhythm section as they really spurred Mr. Rollins on to such inspired playing.  For more information, go to https://resonancerecords.org/product/sonny-rollins-rollins-in-holland/.  Be sure to check out the mini-documentary!

Actually, it was quite impossible to stop after 20 (my list, including reissues and "historical releases", comes closer to 44) but, as I wrote at the top, over the next month I will attempt to catch up with 2020 releases that are well worth your attention.  

Have a Happy, Healthy, and Safe New Year!  Thanks for reading!

Looking Back, Thinking Forward

 I usually use this space on Thanksgiving Day to write about the state of the world and how music can help us through hard times, giving us hope for a better world.  This year, I am going to forgo my editorializing––chances are good you're talking about the world at your dinner table and/or on ZOOM calls with the family.  You don't need me to go through that.  I just wish you the best and hope that this is a time of good health and quiet reflection.

In the meantime, this month brings a number of fascinating "historical" albums, some with music not released before by Sonny Rollins, Bill Evans Trio 1968, and Wolfgang Lackerschmid/ Chet Baker Quintet with Larry Coryell, Buster Williams, and Tony Williams––let us take a look.

Not surprisingly, there are two new releases from those inquisitive and quite thorough folks at Resonance Records (both vinyl packages will be available on Record Store Day/ Black Friday November 27).  The story behind "Sonny Rollins: Rollins In Holland" is smartly recounted in the 100-page booklet included in the two-CD and three-Lp Vinyl packages which include interviews with the three musicians who create the musical magic. There are great interviews with the person who uncovered the Dutch radio recordings that are the first four tracks on the program. There are also two tracks from a gig at the Go-Go Club in Loosdrecht in The Netherlands on May 5, 1967 (the same day that the radio program was recorded at lunch time).  The largest chunk of playing time belongs to five tracks recorded two days earlier in Arnheim, The Netherlands.

Mr. Rollins is in fine form throughout although he seems reined on the 30-minute radio program. He gives equal time to his rhythm section––bassist Ruud Jacobs and drummer Han Bennink––none of the four tracks are longer than seven minutes. Both of the sidemen were considered the finest players on their instruments in the country and were thrilled to be working with the saxophone legend. Bennink, 25 years old at the time, had already joined the Instant Composers Pool but had absorbed the playing of Kenny Clarke and Max Roach before falling under the spell of Sunny Murray.  The drummer, along with the 29-year old Jacobs, had worked together as a unit numerous backing American musicians such as Wes Montgomery, Johnny Griffin, and Ben Webster. Both loved the records that Mr. Rollins had made in the 1950s, especially the trio sessions for Blue Note and Riverside Records. 

Photo courtesy of Michael Maggid

Fans of this recordings, especially "Freedom Suite" and "Live at The Village Vanguard", will love the Arnheim tracks. The sound under headphones is quite good (kudos go to label head George Klabin and Fran Gala for their splendid sound restoration) as you can really hear riding the powerful work on the rhythm section on pieces such as "Four" and "Three Little Words".  There are moments where the sound fades but the trio never does. Mr. Rollins, two months away from losing his good friend John Coltrane and a year away from a six-year recording sabbatical, sounds as if he's having great fun, especially on the live cuts. Jacobs, whose 29th birthday fell on the first day of recording, and Bennink plays with abandon, which is just what Dr. Rollins hoped for. .

There have been bootleg recordings from these live dates circulating around the world for over five decades.  Zev Feldman and Resonance Records have put together a splendid package with plenty of photographs from the days was in The Netherlands plus the interviews are a true pleasure to read.  And, much of this music is sublime. "Live In Holland" adds yet another shining example of how great Sonny Rollins sounds in concert––have fun counting all the quotes from other songs he throws in, especially in the last 10 minutes of "Four". 

For more information, go to https://resonancerecords.org/product/sonny-rollins-rollins-in-holland/. 

Check out this overview from Resonance:

 

Up until 2016, the only recorded instance of the Bill Evans Trio with Eddie Gomez (bass) and Jack DeJohnette (drums) was the GRAMMY Award-winning Verve Lp "Bill Evans at the Montreux Jazz Festival."  Four years ago, Resonance Records released "Some Other Time: The Lost Session from the Black Forest", a studio album the Trio recorded the same week as their Montreux Festival appearance. One year later, the label released "Another Time: The Hilversum Concert", a live concert recorded in the studios of the Netherlands Radio Union (NRU) a week after Montreux.  Both albums showed the Trio at the height of their creative abilities. The group then spent a month in residence at Ronnie Scott's in London.  DeJohnette told Zev Feldman at Resonance Records he had recordings he had made at the time but the sound was fair at best.  Feldman initially passed on the tapes, hoping to find other enthusiasts who may have taped a show or two.

The story of how the drummer and the label executive discovered a glitch in the playback, fixed it, and the magic of the music was revealed is told in the 44-page booklet that accompanies "Bill Evans: Live at Ronnie Scott's".  The 2-CD, 2-Lp, arrives just in time for Record Store Day November 27 and if this 20-song program (in the form of two sets) doesn't warm your tired bones, nothing will. The band sounds so together, so relaxed, and so ready to stretch out that their musicality shines through.  There are few surprises in the choice of repertoire but pieces such as "Alfie", "Waltz for Debby", the two versions of "Emily" (from the pen of Johnny Mandel), "Someday My Prince Will Come", and "'Round Midnight" sparkle with delightful solos and interactions, smart harmonies and delicate musicianship.  The one rarity is "For Heaven's Sake", a song composed by Don Meyers, Elise Bretton and Sherman Edwards for the Claude Thornhill Orchestra in 1948 but made famous by Billie Holiday in 1958 on her "Lady In Satin" album (the last released in her lifetime).  Evans first recorded the piece on "Evans 64" with bassist Gary Peacock and drummer Paul Motian and once again in December 1968 at The Village Vanguard with DeJohnette's replacement Marty Morell (released on "The Secret Sessions 1966-1975" assembled from tapes recorded without permission by Evans super-fan Mike Harris.  

To my ears, "Live at Ronnie Scott's" is the best representation of the creative work of bassist Eddie Gomez of the now-four albums from this Trio. His amazing melodic sense stands out and you can really hear how he inspires the pianist and drummer.  Yes, I know that there seems to be several thousand Bill Evans albums on the market but you do not need to be a completist to enjoy "Bill Evans: Live at Ronnie Scott's"; you need to love music that is emotional and melodically rich with many moments of rhythmic swing.  Thanks go to Jack DeJohnette for preserving the tapes and Resonance Records for persevering to bring this splendid music to light!

For more information, go to  https://resonancerecords.org/product/bill-evans-live-at-ronnie-scotts/.  

Here's the mini-documentary from Resonance featuring Zev Feldman, Brian Priestley, Jack DeJohnette (interviewed by Chick Corea), and Chevy Chase: 

Photo: Hans Kumpf

Vibraphonist Wolfgang Lackerschmid and trumpeter/ vocalist Chet Baker first began playing in the late 1970s.  They recorded a duo album for the vibraphonist's own Sandra label and, in the aftermath, Baker invited Lackerschmid to be a member of the trumpeter's touring group.  Guitarist Larry Coryell saw the duo play at a Festival in Austria (where Coryell was playing with saxophonist Sonny Rollins) and suggested they play together.  Baker's agent liked the idea and floated the idea of adding a rhythm section which turned out to be the brothers in name only, bassist Buster Williams and drummer Tony Williams. 

The five musicians went into a Stuttgart, Germany, studio and created "Quintet Sessions 1979" to be released on Sandra.  Thanks to D.O.T. Time Records, the album has a new life in the 21st Century.  The six pieces (the seventh and eighth tracks are a rehearsal and the other an alternate take) include two composed by the guitarist, one each from the Williamses and Lackersachmid plus a lovely take of Jimmy Van Heusen's "Here's That Rainy Day."  Everyone respects Baker's limited technique; still he rises to the occasion throughout with a handsome tone and his fine sense of melody. He only sings on one track, a sweet wordless vocal on Lackerschmid's "Balzwaltz" (but not on the alternate take).  Bassist Williams stands out in the mix, his melodic solos and intelligent counterpoint meshes well with the rest of the group. Listen to how the bassist wraps his thick notes around the lighter trumpet tones without overwhelming Baker.  

The quintet creates a pleasing swing on Buster William's "Toku Do" with solid solos from Baker, Coryell (who is a stalwart throughout the program), the composer, and strong work from the drum set.  There's a funky feel to the opening of Tony Williams's "Mr. Biko" which then drops into a loping swing. The drummer rarely lets loose but his cymbal work is delightful.  The Caribbean/ French feel of the guitarist's "Rue Gregoire Du Tour" shows the influence of Burt Bacharach; one half-expects Dionne Warwick to step out and vocalize.  Instead, we get melodic solos from Baker, the composer (his trademark blazing solos replaced by a fine melodic sense), Lackerschmid, and the bassist.

"Wolfgang Lackerschmid/ Chet Baker: Quintet Sessions 1979" sounds a bit undercooked at times––perhaps it's the addition of two extra tracks that helps to create that illusion. Yet, there is enough good playing on this album, especially from Buster Williams and Larry Coryell, to recommend that you give it a listen.  You can do just that by going to https://dottimerecords.bandcamp.com/album/quintet-sessions-1979 where you can also get more information and purchase the recording.  

Here's a track to check out while you're reading:

Sonny Rollins Turns 80, Sarah Wilson Enchants

There have been a slew of tributes to Theodore Walter "Sonny" Rollins as the great tenor saxophonist turns 80 on September 7, 2010.  Over the past week, Marc Myers, of the blog JazzWax, has dedicated 2 long columns to Mr. Rollins, including one in which he travels through Rollins' Harlem neighborhood where he grew up (the major part of the article was printed in the weekend edition of the Wall Street Journal (read that here, then finish it at Myers' blog here.)

One of the great perfectionists in creative music, Mr. Rollins has confounded critics and reviewers with what some have called lack-luster groups and sub-par recordings.  But, his live shows usually transcends the bands and give viewers/listeners a glimpse of a great soloist who continues to push forward, practicing every day so that he can continue to make music on the highest level.  Go to his web site - www.sonnyrollins.com -  and watch the videos of Bret Primack's interviews.  Fascinating stuff. Long may he play.

Trapeze Project - Sarah Wilson (Brass Tonic Records) - Trumpeter/composer/vocalist Wilson has created a CD with music that has influences from around the world played by a band that makes her pieces sound fresh and enticing.  Joining the San Francisco Bay area native and agian a resident (after a decade on the East Coast) is pianist Myra Melford, clarinetist Ben Goldberg, acoustic bass guitarist Jerome Harris and drummer Scott Amendola (all leaders on their own.) 

The program commences with "Blessing", an up-tempo piece that sounds as if it came from the pen of South African pianist Abdullah Ibrahim with its bouncy rhythms and unison melody (and a pleasing counterpoint from the trumpet.)  Several pieces, including "She Stands In a Room" and "From The River" remind this listener of the sweet yet melancholy works of Robin Holcomb (abetted by Goldberg's woody clarinet tones.)  Ms. Melford's blues roots are apparent on the high-strutting opening section of "At Zebulon" and throughout the funeral-march blues/"second line" of "To New Orleans" that closes the program. I love the simplicity in much of what Ms. Melford adds to several of these songs, strengthening the mood instead of displaying her impressive "chops." She and Goldberg play around each other on "In Resonance Light Takes Place", her most impressionistic section on the CD. Earlier in 2010, Ms. Melford was part of drummer Allison Miller's trio on "Boom Tic Boom", showing her versatility and striking work in a group setting.  Amendola is the right drummer for this music; he is propulsive, raucous, sensitive, supportive and quite musical.  His floor-tom work on "Fall Has Arrived" gives the work its gravitas, allowing Harris to move around in counterpoint to Goldberg's melodic and solo work.  The bassist's round notes stand out on many tracks, including his work with Ms, Melford's percussive piano on "Possibility." 

Despite the fact she is the leader (and wrote 11 of the 12 tracks), Ms. Wilson does not solo or even play trumpet on every track.  She has a crisp attack, fairly bright tone, but does not go in for long flights of notes or breathless solos. Her muted trumpet solo on "In Resonance Light Takes Place" is made of short, staccato, phrases and little rhythmic riffs. Her vocal work is often unadorned, rarely straying away from melody, even overdubbing a wordless vocal onto "She Stands In a Room."  Ms. Wilson takes the Joy Division hit from 1980, "Love Will Tear Us Apart", slowing it down, allowing the song to breathe - the minimalist piano is stark compared to the flurry of notes from Goldberg. 

"Trapeze Project" will please adventurous listeners, at times tickling your ears or soothing them and, once in a while, even presenting challenging sounds.  Both the rewards and joys are plentiful on this most impressive recording.  For more information, go to www.sarahwilsonmusic.com.