CT Gig Alerts (Friday & Saturday 10/05 & 6)

Autumn is here and the time is right for jazz in concert venues and performance spaces!  This weekend in Connecticut promises little foliage but three fine shows, all of which are worth your time and effort to attend.

Saxophonist, bassist, composer, and educator Mark Zaleski returns to The Side Door Jazz Club in Old Lyme.  His band includes brother Glenn on piano, tenor saxophonist Jon Bean, guitarist Ciao Aifune, bassist Danny Weller, and drummer Oscar Suchanek.  They'll play music from Mr. Zaleski's second album, 2017's "Days, Month, and Years" as well as his latest project which is a collection  of rearrangements, reconstructions, and deconstructions of Michael Jackson's songs.  What you'll hear over the course of the two sets is great interactions, smart melodies, and powerful solos. Plus it's great fun.

For tickets, call 860-434-2600 or go to thesidedoorjazz.com. To learn more about MZ, go to www.markzaleskimusic.com.

Here's the Mark Zaleski Band live in 2016;

Firehouse 12 in New Haven continues its Fall 2018 Concerts Series this Friday night with a visit from drummer Devin Gray and his quartet know as Dirigo Rataplan.  He's celebrating the release of the group's second album "Dirigo Rataplan II"  - besides Gray, the group features bassist Michael Formanek, tenor saxophonist Ellery Eskelin, and trumpeter Dave Ballou (the same lineup as on the 2015 self-titled album released onSkirl Records). This is one of those delightful groups that blurs the lines between styles (or genres, if you'd rather) so you'll hear snatches of blues, "free" jazz, funk, folk elements, a trace of Ornette Coleman-like interplay, and impressive interactions.

Dirigo Rataplan takes the stage for the first set at 8:30 p.m.  The second set - a separate charge - starts at 10 p.m.  You should enjoy this exploratory music not only for the way the band digs into the music but also because each musician has a distinctive "voice".  The crisp attack and sound of Ballou, the smooth yet searching tones of Eskelin, the melodic majesty of Formanek's bass playing, and Gray's exciting yet thoughtful drumming.  To find out more, go to devingraymusic.com.  For tickets, call 203-785-0468 or go to firehouse12.com.

Here's a short compilation of the album (which, on Bandcamp, is titled "Dirigo Rataplan II" - go figure.

On Saturday evening, The Buttonwood Tree, 605 Main Street in Middletown, welcomes the duo of Christian Artmann (flutes) and Laszlo Gardony (piano).  They will be celebrating Mr. Artmann's new Sunnyside Recording, "Our Story", a quartet album (with guest vocalist) that Mr. Gardony (who often graces the piano seat at The Buttonwood with his exciting and melodic playing) is an important member of the group.  For the Middletown date, it's the two of them sans rhythm section (or guest vocalist).  Mr. Artmann's music is quite handsome, ethereal at times, and his flute sound is graceful and gracious.  He can also swing when the music calls for it.

Mr. Artmann studied classical music in his native Germany as he was growing up, discovering in his teens. He's studied at Harvard Law School, Princeton University, and the Berklee School of Music.  He has toured Europe playing in both classical and jazz settings as well as clubs and performance venues in the United States.  "Our Story" is his fourth album as a leader since 2010, three of them with the delightful rhythm section of bassist Johannes Weidenmuller and drummer Jeff Hirschfield. To find out more about the flutist, go to artmannjazz.com.

The music commences at 8 p.m. on Saturday.  For tickets and more information, go to buttonwood.org/event/laszlo-gardony-and-christian-artmann/.

Here's the opening track from the new album:

A Reed Master in Person + Big Band Delight

On Saturday night, The Side Door Jazz Club in Old Lyme welcomes the great clarinetist (and darned good tenor saxophonist) Ken Peplowski for an evening that will illustrate why the Cleveland, Ohio, native is considered one of the best "stickmen" around.  He started off his career playing in polka bands in his home city and discovered jazz in his teens.  While still in college, he was invited by Buddy Morrow to join the Tommy Dorsey Orchestra and has been a working musician ever since. His credits include working with Mel Torme, George Shearing, Madonna, Woody Allen, Marianne Faithfull, Benny Goodman, and many others.  He studied tenor saxophone with Sonny Stitt and his style on that instrument reminds many of Coleman Hawkins and Ben Webster.

For the 11/11 gig at The Side Door, Mr. Peplowski brings a trio of musicians he has played and recorded a number of times in recent, including pianist Ehud Asherie, bassist Martin Wind, and the irrepressible drummer Matt Wilson. It's the band that is on his 2016 Capri CD "Enrapture" (my glowing review is here) so one should expect quite the eclectic repertoire, from Duke Ellington to Lennon & McCartney, from Noel Coward to "Fats" Waller.  It's a classy quartet with a splendid repertoire - chances are very good you will be mesmerized even as you are tapping your feet.

For ticket information, go to thesidedoorjazz.com or call 860-434-2600.

Here's the title track from the CD mentioned above:

It's been four years since trombonist and composer Alan Ferber released a big band recording (the impressive "March Sublime") but he's not just been sitting around.  As a leader, he released a Nonet CD in 2016 and as a sideman, he's appeared on a slew of recordings with groups led by Darcy James Argue, Frank Carlberg, Brian Landrus, Miguel Zenon, and Paul Simon (among many others).

Late October saw the release of "Jigsaw" (Sunnyside Records), his second recording featuring his 17-member large ensemble.  It's pretty much the same group that recorded the 2013 album except that trombonists John Fedchock and Jacob Garchik replace Josh Roseman, Ryan Keberle, and Tim Albright (the latter two each appear on for tracks) plus trumpeter Alex Norris is the full-time replacement for Taylor Haskins (full lineup below).  Ferber is a such an intelligent arranger, making such creative choices for his sections, utilizing the great dynamic differences between the trombones and the higher reeds as well as Anthony Wilson's electric guitar.  Note how the medium-tempo ballad "She Won't Look Back" (composed by Wilson) builds off of the bluesy guitar intro and Matt Pavolka's melodic bass solo. There are hints of W.C. Handy's "St. Louis Blues" in the main melody and the supporting brass and reed phrases.  The solos are spread around from Garchik to John Ellis (tenor sax) to Rob Wilkerson (alto sax) to trumpeter Norris, culminating in a hard-edged solo from Wilson that slow fades with various players in counterpoint to the guitar.

There's something a bit awry at the opening of the title track, with the powerful alto sound of John O'Gallagher flying over the pounding counterpoint of Mark Ferber's drum (he's the leader's twin brother) while there is crazy looping noises in the background (could be guitar or synth).  Pavolka's electric bass begins riffing and, soon, the sections enter and they introduce the main melody.  The body of the piece is made up of the interchanges between the sections before O'Gallagher takes off on an amazing journey with the bass and drums using him higher and higher.  Close to the end of the 10-minute piece, the drummer gets his own spotlight with the reeds and brass riffing behind him.

That power and drive is also an important part of "Get Sassy", another bluesy "shout" that opens with trombonists Ferber and Garchik in conversation.  About two minutes in, the entire band enters with a "down and dirty" melody line played by the reeds and guitar (the brass joins in later on counterpoint).  There is a sense of danger in the chorus; soon, Wilson steps out in front for a raucous solo and, then, all the horns enter one by one to play his or her own solo. It's chaotic yet the rhythm section never loses its direction. One imagines when the band plays this piece live, the audience is u and cheering by the close.

The loveliest performance is "North Rampart", a ballad composed by the leader. It opens with a short brass fugue that signals the emotional depth of what will follow. The main melody is played by the reeds and brass with fine harmonies and counterpoint built in. Wilson takes the first solo; theres a "twang" in his sound but the blend of single-note runs and chordal phrases (played over the rhythm section only). John Ellis enters next. The reeds and brass play the emotional melody while the alto saxophonist swoops and darts around them (but make sure to listen to the excellent drumming).  The brass return at the end with Ellis continuing to rise above them.

One could go on and on about how delightful "Jigsaw" is to listen to.  The music is, at times, challenging yet the ensemble is so alive, the sound is so clear, the melodies rich, ripe with possibilities. If you enjoy the large ensemble music of Stan Kenton, Bob Brookmeyer, Gil Evans, and Maria Schneider, then the Alan Ferber Big Band will brighten your life perceptibly.

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

Here's the title track:



Personnel:

John O'Gallagher (alto and soprano saxophones), Rob Wilkerson (alto sax), John Ellis (tenor sax, bass clarinet), Jason Rigby (tenor sax, flute), Chris Cheek (baritone sax), John Fedchock (trombone), Jacob Garchik (trombone), Jennifer Wharton (bass trombone), Tony Kadleck (trumpet, flugelhorn), Scott Wendholt (trumpet, flugelhorn), Alex Norris (trumpet, flugelhorn), Clay Jenkins (trumpet, flugelhorn), Anthony Wilson (guitar), David Cook (piano, keyboards), Matt Pavolka (acoustic and electric basses), Mark Ferber (drums, percussion), Alan Ferber (trombone, composer, arranger) + Rogerio Boccato (percussion on two tracks).

Stories to Tell Live & on CD

The Side Door Jazz Club in Old Lyme welcomes back saxophonist and composer Noah Preminger this coming Friday (4/14). Been a busy time for the Canton, CT, native with the release of "Meditations on Freedom" in January of this year, a response and reaction to the 2016 election in the United States. Recorded with his current Quartet - Jason Palmer (trumpet), Kim Cass (bass), and Ian Froman (drums) - the music is, at turns, reflective, angry, sad, resolute, and a call to action.

At times, the recording is reminiscent of the music Sonny Rollins created in the late 1950s, music that verges on exploding, that challenges the listener yet pulls one in on the power of the melodies and improvisations.  Whether it's the solemnity of "A Change Is Gonna Come" or the deconstructed "The Way It Is" that seems to fight against the definition of the title or the gentle push and pull of "Women's March", Preminger and company are asking to rethink the way we interact with our community, the politicians in our district and in Washington, and the world.  Is the joy of George Harrison's "Give Me Love" enough to get us through the day or the resolve of "We Have a Dream" going to get us out of our seats? There is power in Preminger's music and its messages.

The doors open at 7:30 p.m. and the band takes the stage for the first set an hour later.  Sitting in for Jason Palmer (who is out of the country teaching) will be the impressive young trumpeter Billy Buss. For ticket information and reservations, call 860-434-2600.

To learn more about the saxophonist and his music, go to www.noahpreminger.com.

Here's the opening track of the new CD:

On Saturday (4/15), the Side Door presents bassist and composer Linda May Han Oh and her Group as she celebrates the release of her new album "Walk Against Wind" (see below).  Ms. Oh, born in Malaysia and raised in Australia, came to the United States in the mid-2000s to study at the Manhattan School of Music and has gone on to play with Joe Lovano, Dave Douglas, and is currently in guitarist Pat Methany's new Quartet.  Her 2009 debut album, "Entry", recorded with trumpeter Ambrose Akinmusire and Obed Calvaire, was an auspicious one displaying her compositional talents and fine bass work.

Image by Shervin Lainez

In 2013, she introduced her new Quartet with saxophonist Ben Wendel and released "Sun Pictures" (Greenleaf Music).  One could hear the growth in her compositions and arrangements which is continued on the new album.  Mr.Wendel is on the recording and will be on The Side Door bandstand as will drummer Rudy Royston, guitarist Gilad Hekselman, and pianist Fabian Almazan.  One should expect to hear music that defies expectations and ignores genres while valuing melody and interactions.

The Linda May Han Oh Group commences playing at 8:30 p.m.  To find out more, go to thesidedoorjazz.com.
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Inspired by the art of Marcel Marceau (and his brilliant piece "Walking Against The Wind"), Linda May Han Oh has titled her fourth album as a leader "Walk Against Wind." It's her first recording for Fabian Almazan's Biophilia Records and features Ben Wendel (tenor saxophone), Matthew Stevens (guitar), and Justin Brown (drums) with label head Almazan on piano and keyboards (three tracks) and Minji Park (percussion on "Mantis").

The album starts with "Lucid Lullaby", the bassist leading the melody in as Brown skitters and scrambles underneath.  After sharing the theme with the tenor sax, Ms. Oh takes the first solo and the piece unfolds slowly, stopping and starting as the bass gives way to the guitar solo. Yet, listen to the rhythm section as they dance below Stevens's fluid lines.

The emotions and moods shift throughout the album.  There's the joyous interactions on "Speech Impediment" replete with wordless vocals from the leader and Brown's powerful drumming. That song also features a fine slow blues section near the end.  The rapid-pace melody of "Firedancer" is played by the bass and piano before the band takes off on an exciting journey.  The entrancing ballad "Deepsea Dancers"(dedicated to Izumi Uchida, the bassist's manager who passed several years ago) is a lovely ballad and one can hear the influence of Malaysian and Japanese traditional music in the melody and supporting lines). There is beauty as well on "Midnight Reasons", a somber lead by the Stevens's guitar with counterpoint from Ms Oh over long notes held by the tenor sax. Wendel then steps out, adding a third melodic voice to the front line.  There is give-and-take here normally reserved for uptempo pieces.  The high-energy of "Midnight" follows powered by a strong bass line and Brown's explosive drums. Listen to the melody, how intelligently it plays with and against the rhythm section, the changes in tempo and how Almazan's distorted Fender Rhodes suggests the sounds of Keith Jarrett and Chick Corea when they worked with Miles Davis in 1970 and 71.

The album comes to a close on the M-Base influenced funky bop of "Western", whose thematic material grows from the percussive work of Brown and Ms. Oh's thick and active electric bass lines (it's one of several tracks that feature her electric work; check out the rapid-fire excitement of "Perpluzzle" below). The interaction of bass and drums gives the piece its propulsion and you should enjoy how all four members of the band take turns interpreting the melody.

Linda May Han Oh has made quite an impression since coming to the United States. The first thing many people noticed was her impressive bass playing but the quality and breadth of her compositions has emerged to equal that of her instrumental work. She certainly knows how to anchor a rhythm section but the melodic work she does as both a composer and performer is well worth paying attention to. "Walk Against Water" is a special recording, one that demands and deserves many close listens.

For more information, go to lindamayhanoh.com. The album package, like all the new releases on Biophilia this year, is a fanciful origami-like construction that is fun to play with, somewhat tough to read, and heck to fold back up. But, then again, I'm a klutz when it comes to puzzle-like packages.

Here's a taste of this music:

The Side Door Welcomes 2 Groups of 3

Yet another great weekend for piano trio lovers awaits at The Side Door Jazz Club in Old Lyme. On Friday evening June 17, the red-headed Benny Green brings his Trio - bassist David Wong and drummer Rodney Green (no relation) - to the stage to play 2 sets of fine contemporary jazz.  It's hard to believe looking at the ever-young looking Green that 1) - he is 52 years old and 2) - he's been on the scene touring and recording since the late 1980s. Over the years, he's worked with such jazz legends as Art Blakey, Betty Carter, Freddie Hubbard, and Ray Brown. Listening to him play, he has absorbed his influences, playing free and easy with a penchant for swinging mightily.

His latest  CD, "Live In Santa Cruz!" (Sunnyside Records) is his 14th as a leader or co-leader and features Wong plus drummer Kenny Washington. It's an exciting program (the pianist loves to play and play quickly) of all-originals, recorded live,  that shows the influences of Bud Powell, Marcus Miller, Phineas Newborn Jr. and others. That written, Green is his own man, committed to making his music in his own way. Pieces such as "Golden Flamingo" show a bluesy side whereas "Anna's Blues" is so joyful that the blues melt away. "Sonny Clark" is a tribute to an underusing hero of hard bop taken at a knuckle-busting tempo.  Another is the rapid-fire "Bish Bash", which sounds like a variation of "Flight of the Bumblebee." Washington's sprightly drumming leads the way into "Phoebe's Samba", a tune that dances outrageously out of the speakers (and has a melody line reminiscent of Steely Dan's "Don't Take Me Alive").  Green plays with such abandon on this and most of the other 8 tracks. For more information, go to bennygreenmusic.com.

One should expect the Benny Green Trio will play with the same fire when they hit the stage at 8:30 p.m. on Friday.  You should expect that they will!

Here's a taste of the Trio's new recording to whet your appetite:

On Saturday, pianist/composer Luis Perdomo, often seen and heard sitting in the piano chair of the Miguel Zenon Quartet and the Ravi Coltrane Quartet, leads a new trio into The Side Door, an ensemble he calls the Controlling Ear Unit.  Consisting of the dynamic and always exciting drummer Rudy Royston and bassist Mimi Jones (who played the club last Saturday with her own quartet, the trio creates music that has its roots in Perdomo's childhood in Venezuela plus the music and musicians he encountered upon arriving in New York City to study at the Manhattan School of Music. (AUTHOR'S NOTE - the inimitable Mr. Royston had to step down so his chair is being filled by the equally dynamic snd exciting Henry Cole, the drummer in the Zenon Quartet.)

Perdomo & the CEU are celebrating the release of their new CD, "Twenty-Two" (Hot Tone Music) - the title of his 7th CD as a leader relates to how many years the pianist has lived in New York and is also half his age (at the time of the recording in December 2014).  Perdomo plays electric piano on 5 of the 12 tracks and Ms. Jones contributes a wordless vocal that is unison with her bass and the piano on "Aaychdee" - if you've heard her 2014 Hot Tone release "Balance", you know that she has a lovely voice and formidable "chops" on her instrument. Throughout the recording, the piano and bass work together well (no surprise, they are husband and wife!), with the pianist's left hand often playing the same lines on the thematic material.  "Two Sides of A Goodbye", a "freer" piece, opens that way; with Royston quietly moving around his kit, Perdomo and Ms. Jones play in and around each other's phrases. On "Old City", the bassist opens the piece with her thick tone setting the pace, a tempo that the drummer expands upon, creating a thunderstorm of percussion beneath the rolling piano lines.  Royston solos later in the piece, his poly-rhythmical attack erupting out of the speakers.   The bass-drum intro to "Cota Mil" is incredibly funky, setting the stage for the electric piano's entrance.  The song has a "push-pull" tension between the rhythm section and pianist, getting more exciting as the solo unwinds. The trio build to a fiery climax, leading to a soft bass solo that calms her bandmates until the theme returns in a blazing coda.

The interaction of electric and acoustic piano on "Brand New Grays" is impressive (it's overdubbed but sounds fresh and alive). The piece romps along, the pianist trading lines with himself until he and Ms. Jones step aside for an incredible drum solo! Rudy Royston makes one sit up and take notice, rattling the speakers in the car or on the wall.

Of the 12 tracks, only "How Deep Is Your Love" (yes, the Bee Gees tune) is not a Perdomo original. Yet, he brings the same kind of multi-genre approach to that track as he does on most of the cuts, with changing tempos, flowing lines and touches of Latin and Classical styles in the arrangement.

"Twenty-Two" is a splendid album with its spotlight on 3 excellent musicians who give their all, a rhythm section that is responsive and creative, and a composer/pianist whose songs are a kaleidoscope of his musical influences and explorations.  Luis Perdomo & Controlling Ear Unit not only "controls" your mind but also makes you want to move, to dance and to smile.  For more information, go to www.luisperdomojazz.com.

If you're lucky enough to be in Connecticut this weekend, The Side Door Jazz Club in Old Lyme opens its doors at 7:30 p.m. with the first set at 8:30 on both nights.  For more information, go to thesidedoorjazz.com or call 860-434-0886.

February Goes Out Like a Lion

In the midst of the seemingly unceasing cold and storms that have battered the East Coast, The Side Door Jazz Club in Old Lyme has been a beacon of live music.  Musicians love its piano and intimate performance space while patrons enjoy being part of the "action."  Plus, it's connected to the Old Lyme Inn and there are "weekend packages" where one can stay over, enjoying the food, the ambiance of a small but arts-centric community of Old Lyme, and the allure of the beaches.  All this in less than 2 years.

This coming weekend (February 27 & 28), Ken and Jan (who manage/book the club) present 2 great shows.  Friday night at 8:30, drummer/composer E.J. Strickland (pictured left) celebrates the release of his new CD, "The Undying Spirit" (Strick Muzik). Despite appearing on over 30 recordings in his career (now into its second decade), this recording is only his second as a leader (his debut "In This Day" came out in 2009).  He's bringing the musicians who appear on the recording; they include Jaleel Shaw (alto saxophone), Luis Perdomo (piano), Linda Oh (bass) and twin brother Marcus (tenor and soprano saxophones).  While E. J. could have easily made this a recording about his brilliant technical prowess, instead this is most definitely a group recording.  Ms. Oh's active bass lines, Perdomo's probing piano work, the singing reed lines of Shaw, the uplifting sound of brother Marcus's hardy tenor and the lilt of his soprano work, all this and more makes this album a success.  When you see E. J. live in concert, watch and listen to how he directs the music from his chair. The essence of the uptempo pieces is how the music moves and flows; that gives the music its excitement.    

A review of the new CD will posted here soon but, in the meantime, to find out more, go to www.ejstrickland.com.

On Saturday, bassist/composer Ben Wolfe comes to The Side Door and, like E.J. Strickland, he's celebrating the release of a new CD.  "The Whisperer" (Posi-Tone Records - here's the review). He, too, is bringing the musicians on the album, pianist Orrin Evans, drummer Donald Edwards and saxophonist Stacy Dillard. Wolfe, who has worked with so many contemporary musicians (Wynton Marsalis and Diana Krall, to name but 2), creates music that concentrates on melody and, certainly, rhythm but, unlike many leaders who come from the rhythm section, he does not take many solos (so, I suppose, it's not "all about the bass").

This particular quartet is quite strong, the revelation being the excellent saxophone playing of Stacy Dillard (pictured left). The Michigan native has worked with numerous contemporary musicians (including   being a member of Orrin Evans' Captain Black Big Band) and has released several fine CDs as a leader including 2011's Criss Cross release "Good and Bad Memories."   His work with Wolfe, especially on the numerous ballads, is heartfelt, emotionally strong and oh-so-melodic.  He also let loose with a flurry of notes when called for. Dillard is really finding his voice on his reeds and it's refreshing to find a musician who does not overtly sound like John Coltrane or Wayne Shorter or Sonny Rollins.  Check him out at www.stacydillard.net.

To find out more about Ben Wolfe and his music, go to www.benwolfe.com.

To obtain tickets to these excellent shows, go to thesidedoorjazz.com.  You can also call at 860-434-0886.

Live Choices + Choice Cooking

For some reason, every year during the Jewish High Holidays, Firehouse 12, 45 Crown Street in New Haven, books an act that I really want to see but I'm committed to singing in our choir and attending services.  Don't feel bad - I made the choice. If your religion does not trump your love for creative music, head on down to the Elm City on Friday October 3 to catch the Michael Musillami Trio + Kris Davis.  Ms. Davis (pictured above left) is quickly maturing into one of the finest contemporary pianists; one can hear stretch boundaries with Tyshawn Sorey and Ingrid Laubrock in Paradoxical Frog or leading her own trio.

When you add her singular voice to Mr. Musillami (guitar), Joe Fonda (bass) and the "hat-man" George Schuller (drums, percussion), creative sparks fly.  She's on the Trio new recording "Pride" (Playscape Recordings), adding great depth to the first CD of the 2 in the set.

The Trio +1 plays 2 sets - 8:30 and 10 p.m. - for ticket information, call 203-785-0468 or go to firehouse12.com.  You'll be glad you did.

The Side Door Jazz Club continues its tradition of presenting fine young pianists in their lively and initiate performance space in Old Lyme, CT.  This Friday, Cuban-born Harold López-Nussa brings his artistry and great knowledge of Afro-Cuban and classical music to the venue.  The 31-year old López-Nussa has traveled the world with artists such as Horacio "El Negro" Hernandez, trumpeter Christian Scott and vocalist Omara Portuondo's band. With Scott, Harris and saxophonist David Sanchez, he's recorded original as part of the 90 Miles project/band.

He'll bring his trio - Jorge "Sawa" Perez (bass) and the pianist's brother Ruy Adrián López-Nussa (drums) - and they'll play 2 sets.  Doors open at 7:30 p.m. and the music starts at 8:30.  For more information, call 860-434-0886 or go to thesidedoorjazz.com. To find out more about this fine young musician, go to www.haroldlopeznussa.com.

On Saturday evening at 8 p.m., The Buttonwood Tree, 605 Main Street in Middletown, presents a solo concert featuring guitarist Sinan Bakir.  The Turkish-born musician has lived in the Hartford-area for the better part of the past decade playing with numerous local musicians such as Middletown native Mike Augeri (drums), pianist Warren Byrd and bassist Matt Dwonsczyk.  For this concert, however, the guitarist/composer goes alone with his electric guitar.  That is, perhaps, the best to discover what a fine musician he is and how important melody is in his work.  For more information, go to www.buttonwood.org.

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It's been 7 years since trumpeter David Weiss created The Cookers, the septet that has introduced musicians such as Billy Harper (tenor saxophone, 71 years old) and Dr. Eddie Henderson (trumpet, 75 years old) to a new generation of listeners.  Those 2 musicians first came to critical attention in the early 1970s along with pianist George Cables (who turns 70 in November), bassist Cecil McBee (79 years old, who actually was part of Charles Lloyd's Quartet from 1966-67) and drummer Billy Hart (73).   Mr. Weiss (who turns 50 on October 21) and alto saxophonist Donald Harrison (54 - he has replaced 52-year old Craig Handy) are the "young" veterans of the group.  "Time and Time Again" is the band's 4th CD and 2nd for Motema Music.  The leader, who was raised on the music of the late 1960s and early 70s, especially the black creative music inspired by the Miles Davis Classic 1960s Quintet, plus the Blue Note recordings of Freddie Hubbard and pianists Herbie Hancock and Andrew Hill, really wanted to create a band that could channel the vitality and the creativity he heard from his influences.

And, do they ever "cook!"  Mr. Hart, who has never been busier as a musician, teacher and mentor, is the driving force, playing louder and harder than he does in his own fine Quartet.  Mr. McBee may be the elder statesman but plays with great exuberance while Mr. Cables channels the muscular style of McCoy Tynee while retaining his more melodic style.  His composition, "Farewell Mulgrew", pays tribute to this recently passed colleague, pianist Mulgrew Miller, showing a bluesier of the band.    Mr. Harper, who strikes me as the heart and soul of the Septet, contributes 3 pieces to the 9-track program including the rousing opener, "Sir Galahad" and equally closer "Dance Eternal Spirits Dance." He still plays with great power and ferocity, his solos maintaining a link to the manner in John Coltrane approached his solos - go all out and don't settle for cliches.  Dr. Henderson, who practice medicine pet-time in the 1970s and 80s before choosing music as his vocation, has a articulate style, more influenced by Clifford Brown and Booker Little.  His understated solos on tracks such as the drummer's "Reneda" and bassist's "Slippin' and Slidin'" shows a bluesier side.

One of the true pleasures of this CD is listening to Billy Hart's work underneath the solos.  He often leaves the "time" keeping to the piano and bass, playing counterpoint to the soloist.  You hear this throughout, from "Sir Galahad" on, the drummer pushing, prodding, thumping, not allowing the music to sit still.  Most notably, he lights a fire under Donald Harrison who has not sounded this "post-bop" in years.  The alto saxophonist burns brightly on pieces such as the bassist's "Dance of the Invisible Nymph" and Mr Cable's fiery "Double or Nothing."  Mr. Hart matches his intensity each time out, and also really pushing the leader on the latter track.

The Cookers rarely play ballads - the closest on "Time and Time Again" is "Farewell, Mulgrew" - yet their energetic style is contagious, not enervating. This is an ensemble that deserves to be seen and heard live.  The recordings actually do their "sound" justice so play it loud and hang on to the wine glasses.  For more information, go to motema.com/artists/the-cookers/.

Firehouse 12, Side Door Jazz & Positively Posi-Tone

After a rousing Ben Allison Trio concert last Friday, Firehouse 12, 45 Crown Street in New Haven, stokes the fire once again this week (3/28) with the Kevin Hays New Day Trio. Pianist/composer Hays, a native of Southwestern Connecticut, is a very busy musician, working with his own group, alongside fellow pianist Brad Mehldau and with the Sangha Quartet featuring saxophonist Seamus Blake.  For the past decade +, he's been touring and recording with bassist Doug Weiss and drummer Bill Stewart but now has a new ensemble.  Drummer Adam Cruz and bassist/french horn player Rob Jost comprise the New Day Trio rhythm section and Hays has created a new book of compositions for the ensemble.

They will play 2 sets - 8:30 and 10 p.m. - and you can buy tickets online at firehouse12.com or by calling 203-785-0468.

The Side Door Jazz Club in Old Lyme continues its busy schedule with 2 fine shows this weekend. Friday night, guitarist/composer Oscar Penas brings his Ensemble to the club, a quartet that features bassist Moto Fukushima, drummer Rogerio Boccato and violinist Sara Caswell.  His music blends Spanish and South American influences; the use of violin with the guitar has truly expanded the scope of Penas' music.  The doors open at 7:30 p.m. with the music starting at 8:30.

On Saturday, the Noah Baerman Trio - pianist/composer Baerman (pictured above left), bassist Henry Lugo and drummer Vinnie Sperrazza - makes its Old Lyme debut.  They will be playing music from "Ripples", the new release from Baerman, as well as other pieces from their large repertoire (the NBT has been together for over a decade).  The group's interactions are often exciting and tuneful - the pianist, who has suffered from Ehlers-Danlos Syndrome (a connective tissue disorder) throughout his life, is playing better than ever.  As above, the music starts at 8:30 p.m. and reservations are a must.  For more information, call 860-434-0886 or go to thesidedoorjazz.com.

For his new CD, "JG3 +3" (Posi-Tone Records), organist Jared Gold has doubled the size of his ensemble (normally a Trio) to a sextet. Joining Gold, Dave Stryker (electric guitar), and Sylvia Cuenca (drums) is Patrick Cornelius (alto saxophone), Jason Marshall (baritone saxophone) and Tatum Greenblatt (trumpet).  Gold's music is quite soulful and the added voices heighten the effect.

From the outset, the music has the feel of a well-recorded Jimmy Smith album.  The program, a mix of standards, a few originals, and a Trio reading of James Taylor's "Shower The People." Stryker is an excellent musical companion, funky as all get-out whether in the lead or in support.  Ms. Cuenca is a driving force here, whether locked in the groove, as she is on the Gold original, "Pendulum", or driving the sextet with abandon on Ray Bryant's "Cubano Chant."   Her brushes dance over the kit on "No Moon At All", a tune made famous by Julie London in 1956 but here a blazing track with fine solos from the leader and Cornelius.  Greenblatt rocks his solo on "I Can't Stop Loving You" (the Michael Jackson tune from "Bad", not the Ray Charles hit). Bari sax player Marshall (who has recorded and worked in the big bands of Roy Hargrove and Charles Tolliver, leads the group in on its reading of Cannonball Adderley's "Sermonette."  His solo is sweet and passionate. The saxophones and guitar blend to play the theme of "Charcoal Blues", a Wayne Shorter composition from his 1964 "Night Dreamer" Blue Note Lp. Cornelius digs down deep for a soulful solo which is matched by a fine statement from Stryker.

As for Jared Gold, his playing is striking throughout the program.  His footwork is deft while his accompaniment is always tasteful; Gold's solos are always interesting, with that wonderful B-3 sound, full and harmonious.  "JG3 + 3" is a delightful antidote for the craziness in the everyday world.  For more information, go to www.jaredgoldb3.com. 

"Ride" is the 5th CD saxophonist/composer Tom Tallitsch has issued and his second for Posi-Tone Records.  Born in Ohio and now living in Jersey City, New Jersey, Tallitsch has a busy schedule of teaching and playing plus a weekly radio show (8 - 10 p.m. Thursday on WWFM-Jazzon2).  This CD features the impressive rhythm section of Art Hirahara (piano), Peter Brendler (bass) and Rudy Royston (drums) with trombonist Michael Dease joining the front line on 8 of the 11 tracks.

The program opens with the title track, an intense "Ride" for the quartet pushed by the intense drum work of Royston and Tallitsch's strong tenor work.  Hirahara matches that intensity with a blazing solo that displays the influence of McCoy Tyner.  "Rubbernecker" has a similar feel but with a deceptive melody. Again, the rhythm section lights the fire and the leader carries the torch through a fiery solo.  The soulful ballad "Rain" displays another side of Tallitsch's playing, his full-tone and sustained notes telling a story.  Brendler takes a very melodic solo over the simple time-keeping of Royston and Hirahara's impressionistic chords. "Life on Mars" is an intelligent reading of the David Bowie composition, Tallitsch's tenor sticking to the melody supported by Dease's trombone and the fulsome piano chords.  Dease also adds heft to the melody line and backgrounds of "The Giving Tree" - his full tone adds a hearty counterpoint to the tenor on the group's reading of Led Zeppelin's "Ten Years Gone."  Dease steps out on the Tallitsch original "El Luchador", his intense solo pushing the bass and drums to respond in kind. The Quintet "gets down" on "Knuckle Dragger", a pleasing slab of funky blues that is ever-so-playful.

Tom Tallitsch is one of those rare contemporary tenor saxophonists who does not sound overly influenced by John Coltrane, Wayne Shorter or Michael Brecker.  He's studied with both Joe Henderson and Chris Potter plus it's obvious from his wide-ranging material that he listens to many different styles of music.  The band on "Ride" makes music that not only captures your ears but also your soul - to take a test drive, go to www.posi-tone.com/ride/ride.html.  To find out more about the saxophonist, go to www.tomtallitsch.com.

Noah B and Noah P

Can music change the world?  Can it do more than just soothe or bring to anger?  Can it make one person change his/her mind?  I'm one of those cock-eyed idealists who believes music has power beyond the dance floor, stage, concert hall, bar, outdoor stage and recording.

Pianist/organist/composer/arranger/educator/author Noah Baerman not only feels the same way but "lives" his convictions.  His music often reflects those ideals, whether it's the tribute to Dr. Martin Luther King, Jr. that was the basis of 2005's "Soul Force" or the deep introspection of 2010's "Know Thyself." Besides his teaching duties at Choate Rosemary Hall (Wallingford, CT) and Wesleyan University, Baerman is now involved with the organization Resonant Motion, Inc. whose mission states "RMI believes that music has a profound capacity to inspire people towards personal growth, strength and transformation and to educate people about issues important to their world. Likewise, these things can all provide inspiration and thus aid in creating more meaningful and potent music." Find out more about the organization at www.resonantmotion.org. 

2014 brings "Ripples" (Lemel Music Productions), a musical tribute to the composer's aunt (Margie Pozefsky), her activism and philanthropy and how it impacted his life's work. The songs features various ensembles, ranging from the NB Trio (with bassist Henry Lugo and drummer Vinnie Sperrazza) to the newly formed Jazz Samaritan Alliance (with vibraphonist Chris Dingman, drummer Johnathan Blake plus saxophonists Jimmy Greene and Kris Allen) plus a vocal ensemble (Claire Randall, Garth Taylor, Jessica Best, and Erica Bryan) and a Chamber Ensemble (cellist and co-producer Dave Eggar, violinists Zach Brock and Meg Okura, flutist Erica von Kleist and clarinetist Benjamin Fingland). Bassist Linda Oh joins the Jazz Samaritan Alliance on 2 tracks while pianist Kenny Barron is featured on 1 track.

From the opening track, the soulful "Time Is Now", the composer cajoles and entreats the listener to take part in life, to hope in the future, to make a difference in your time on this planet.  To that end, the quartet of vocalists (3 of whom from Wesleyan and one from the Hartt School, all in their 20s) deliver the message that it's time to "Stand up!" and take action.  Baerman, along with wife, artist/educator Kate Ten Eyck, have devoted much of their time and energy in issues of foster care and adoption; that is the impetus behind the fine arrangement of "Motherless", a piece that uses the melody from "Sometimes I Feel Like a Motherless Child" as a springboard for strong statements from Dingman, Baerman (on organ), Greene, and a passionate vocal from the leader.  "The Outer Circle" was composed as part of a multi-media project initiated by Baerman's sister-in-law, the photographer Carla Ten Eyck, dedicated to people whose lives have been impacted by cancer. The ballad features strong work by the Trio and the Chamber Ensemble plus a lovely piano solo.

Among the surprises/highlights along the way is Baerman's slide guitar work on "Peeling The Onion", adding yet another color to the blend of reeds and vibraphone (as well as Ms. Oh's solid bass work.)  The lovely soprano saxophone lines of Jimmy Greene are featured alongside the colorful work of Johnathan Blake's drums and Baerman's organ for the emotional ballad, "Ripple: Brotherhood."  Mr. Barron (the composer's teacher and mentor at Rutgers University) has a soulful turn of his own on the energetic "Lester."Ms. Randall takes the lead on "Ripple: L'Amour Gagne (Love Wins)" with just her fellow singers as accompaniment. That attractive melody is the basis for the string arrangement that opens the closing track "Ripples for Margie" which opens into a high-powered Trio performance.  Lugo and Sperrazza create a fiery foundation for, perhaps, Noah Baerman's most impressive recorded piano solo.  After a series of phrase-trading with the strings, the drummer delivers a powerful solo.  The closing section repeats the main melody with the Trio joining the strings for an emotional finale.

"Ripples" is a major work by an artist/composer/activist who has spent years not only perfecting his craft but battling the effects of Ehler-Danlos Syndrome.  The good news is that the EDS (connective tissue disorder) has not taken away Noah Baerman's ability to play piano.  Fearing the worse effects of the disorder, the pianist concentrated on his writing, both music and the numerous "piano instruction" books he has created over the past decade-and-a-half.  He and his wife Kate have also concentrated their efforts on helping teen-aged foster children and working with Resonant Motion Inc.  All these factors have given depth and gravity to his music yet there is also a great degree of spirituality and much joy flowing through these melodies and grooves. I am a lucky person to Noah Baerman among my friends; his compassion, activism and music inspires me.   For more information about this CD and his music, go to www.noahjazz.com.

Saxophonist/composer Noah Preminger, a native of Canton, CT, is bringing a quartet this Saturday (March 14) to The Side Door Jazz Club, 85 Lyme Street, in Old Lyme.  Fresh off the release of "Haymaker" (Palmetto Records) in 2013,  the young (27) musician has been touring with his group, with drummer Rob Garcia's Quartet and has joined The Superpowers, a large ensemble that creates "21st Century dance music."  Before he plays The Side Door, Preminger will be performing at the Jazz Standard in New York City with bassist Matt Clohesy, drummer Rudy Royston and pianist Fred Hersch (!) Mr. Hersch can't make the CT gig but his replacement is the equally impressive Dan Tepfer.

Doors at The Side Door open at 7:30 p.m. with the music scheduled for 8:30.  I highly suggest reservations as the club has been selling out just about every weekend performance.  Call 860-434-0886 or go to thesidedoorjazz.com.  To find out more about Noah Preminger and his many endeavors, go to www.noahpreminger.com.

Wayne Waxes (Live and on CD)

Saxophonist Wayne Escoffery turned 39 this past Sunday (2/23) and you wish him a "Happy Birthday" this coming Saturday (3/01) as he and his Quartet play The Side Door Jazz Club in Old Lyme, CT.

Escoffery, born in London, England, moved to the US when he was 8 and settled in New Haven, CT, 3 years later.  After spending several years in a youth choir, Escoffery attended the Neighborhood Music School and the Educational Center for the Arts in the Elm City. He went on to study at the Hartt School to study with Jackie McLean and did his graduate work at the Thelonious Monk Institute at the New England Conservatory of Music in Boston.  Since moving to New York City in 2000, he has worked with Tom Harrell, the Mingus Orchestra & Big Band, drummer Ben Riley, Ron Carter's Big Band.  He's issued 6 CDs as a leader plus 2 sessions co-led with his wife, vocalist Carolyn Leonhart.

His 7th CD - "The Wayne Escoffery Quintet: Live at Firehouse 12" - will be issued on March 4 by Sunnyside Records. Besides his regular rhythm section of Rashaan Carter (bass) and Jason Brown (drums), the ensemble also features pianist Orrin Evans and Rachel Z on electronic keyboards. The 36-minute program consists of 4 pieces, opening with "ZWE1", a duet for tenor saxophone and electric keyboard.  In fact, it's all Rachel Z for the first 2:50, her swirling synthesizer sounds setting an ethereal landscape for the entrance of Escoffery.  His warm tenor sound on a plaintive melody softens the piece and leads into "Gulf of Aqaba", an composition first recorded on a CD with Israeli-born guitarist Avi Rothbard.  Here, the Middle-Eastern feel can be heard in the melody line but the rhythm section displays the force of Elvin Jones and Jimmy Garrison from John Coltrane's classic Quartet.  Evans' powerful piano chords blend nicely with Ms. Z's impressionistic sounds.  Escoffery's solo is fiery, building in intensity until he is high in the tenor's register (without squalling).  The intensity softens for the fine piano solo - here, the electronic sounds resemble a string quartet, quietly shadowing Evans as he spars with the rhythm section. Ms. Z's shimmering and quivering synth work opens "The Only Son of One", the title track of the saxophonist's previous CD.  This piece displays a Wayne Shorter/Weather Report influence in its open-ended melody line and its tranquil feel.  Nothing is rushed, the solos are subdued yet forceful (especially the tenor spot) and the rhythm section is exemplary. The program closes with "Blue Monsoon", an Esmond Edwards composition first recorded in 1973 by Sonny Stitt and again in 1975 by organist Jack McDuff. The track opens with just tenor saxophone, a lovely soliloquy that has great power and poetry.  The band enters on a short phrase that becomes the opening line of the theme. Evans powerful piano solo sets the table for another fiery (but under control) tenor solo, this time with a bluesy feel to many of the phrases Escoffery plays.  Ms. Z's keys really fill out the background, doing so without intruding.

The interaction throughout the set is quite impressive, especially the work of Orrin Evans and Rachel Z.  The 2 keyboards could have been distracting; instead, they complement each other admirably.  The elasticity of the rhythm section is also noteworthy.  Wayne Escoffery goes from strength to strength, his music and musicianship imposing and impactful.  "Live at Firehouse 12" might be short on running time but packs a mighty punch.  For more information, go to www.escofferymusic.com.    

Not sure who's joining Wayne Escoffery on Saturday at The Side Door but you can be sure the music will be worth your time.  For reservations, go to thesidedoorjazz.com or call them at 860-434-0886.

5 Reasons to Go to The Side Door

Reason # 1) - On Friday February 21, one of the nicest musicians I have ever me, bassist Mike Asetta, is bringing the Michael Asetta Quintet to the venue. A splendid musician, an excellent soloist (on an instrument that is tough to solo on), and a smart judge of sideman, Mr. Asetta, a graduate of the Yale School of Music, is also an expert in restoration of basses and cellos, will perform with long-time ally Steve Donovan (piano), Artie Dixson (percussion), Dan Cipriano (saxophones) and Cindy Bradley (trumpet).  To find out more about Mr. Asetta, his work and music, go to michaelasetta.wordpress.com or www.mikeasetta.com.

Reason # 2 - The food is quite good.

Reason # 3 - On Saturday night, Jason Anick performs with his top-notch Quintet in the performance space. The 28-year old graduate of the Hartt School of Music at the University of Hartford plays both mandolin (acoustic and electric) and violin and is one of the youngest faculty members of the Berklee School in Boston.  Even before he had earned his degree from Hartt, Anick was touring with GRAMMY-winning guitarist John Jorgenson (who has worked with Elton John and Bonnie Raitt, among many others) and now is a member of the New Hot Club of America.

Reason # 4 - Young Mr. Anick is celebrating the release of his 2nd CD, "Tipping Point" (Magic Fiddle Music), and bringing 4 of the musicians from the recording with him.  That includes the excellent rhythm section of Greg Loughman (bass) and Mike Connors (drums) who also tour and record with pianist John Funkhouser.  Fellow Hartt graduate and pianist Matt DeChamplain (now on the faculty of his alma mater) will share keyboard duties with Jason Yeager (like the leader, he teaches at Berklee). Among the many reasons why the new CD is so good is that Anick and company play such a wide variety of music, from the "hot swing" of Django Reinhardt's "Minor Blues" to the driving hard bop sounds of "This I Dig Of You" (composed by saxophonist Hank Mobley) to the sweet ballad sounds of the great standard "My One and Only Love". The Quintet's version of Horace Silver's "Peace" features one of the more articulate violin solos one will hear outside of the classical world.  The CD also features an electric mandolin and electric guitar (with rhythm section) reading of Ornette Coleman's "Turnaround."  There are also 5 originals, several of which pair Anick's violin or mandolin with the alto saxophone of Clay Lyons.  To find out more about Jason Anick and his music, go to www.jasonanick.com.

The doors open at 7:30 p.m. on both nights with the music set to commence at 8:30.  To find out more (and check out the upcoming gigs of Patricia Barber on 2/25, Ralph Peterson Triangular with the Curtis Brothers on 2/28, and saxophonist Wayne Escoffery on March 1), go to thesidedoorjazz.com.

O, yes, Reason # 5 - It's way past time to get out of the house!

A Taste of Live Music (Weather Permitting)

Old Lyme, CT, is usually praised for its turn-of-the-20th Century Artists Colony, its picturesque downtown and its proximity to the beaches.  Over the past 8 months, music lovers have been heading there just about every weekend to check out the sounds at The Side Door Jazz Club at The Old Lyme Inn, 85 Lyme Street.

This weekend (2/7 & 8/14), pianist Fred Hersch returns to the club with his excellent Trio in tow (which usually means bassist John Hebert and drummer Eric McPherson.) While there seems to be a million piano trios in existence, few are consistently as elegant, exciting and musical as the one led by Mr. Hersch.  Blending original material with standards and, at least, one tune from Thelonious Monk, the Trio is at its best in a live setting.

Chances are good that this show, like many at The Side Door, will sell out (if it's not already) so call them at 860-434-0886 or buy online at thesidedoorjazz.com.

Another ticket that is bound to be tough to get (but do try) is to the duo of Sara Gazarek (voice) and Josh Nelson (piano).  They are performing on Friday February 7 at 7:30 p.m. as part of the Music @ Japanalia series held at Japanalia Eiko, 11 Whitney Street in Hartford.  Ms. Gazarek, whose repertoire covers many facets of popular music (from The Beatles to Broadway to Blossom Dearie and beyond), has a voice that brings lyrics to life, filled with honesty and emotion and no artifice.  Mr. Nelson, who has worked with the vocalist since 2004, has toured with Natalie Cole as well as the Hollywood Pops Orchestra. He has appeared on all 4 of Ms. Gazarek's CDs including 2012's brilliant "Blossom & Bee" (Palmetto Records).

The duo is in the midst of a tour that also takes them to The Iron Horse in Northhampton, MA. on February 9.  For tickets to the Hartford gig, call 860-232-4677.  

The Uncertainty Music Series continues on Saturday February 8 at 8 p.m. in the performance space of Never Ending Books, 810 State Street in New Haven.  Series curator Carl Testa has scheduled an exciting double bill that pairs thingNY, an experimental music sextet, with guitarist/saxophonist Colin Fisher.  Mr. Fisher, who also plays bass, banjo, melodica and slew of other instruments, is an active member of the Canadian "New Music" scene having worked in performances with Anthony Braxton, guitarist Rhys Chatham, bassists William Parker and Dominic Duval, saxophonist Joe McPhee, and in groups such as Sandbox and the AIMToronto Orchestra.  His recordings include "Little Man on The Boat" (a duo with multi-instrumentalist Jean Martin) and "The Localization of Noise and Its Endowment with Form" (a duo with guitarist Simeon Abbott.) To find out more about Colin Fisher and his music, go to www.facebook.com/pages/Colin-Fisher/6601082971.

thingNY (pictured above) is an ensemble (in its own words) "of composers-performers who create and perform theatrically charged experimental music, champion the work of avant-garde and contemporary classical composers, and collaborate across disciplines, medias and genres."  For this New Haven performance, the ensemble will perform "Glue Piece", excerpts from its opera-in-progress "This Takes Place Close By" that includes compositions from group members Paul Pinto (voice, percussion), Erin Rogers (saxophone), Dave Ruder (clarinet) and Andrew Livingston (bass). Filling out the group and the sound will be vocalist Gelsey Bell and violinist Jeffrey Young.  To find out more about the ensemble, its performers and its music, go to www.thingny.com.

For directions and a list of upcoming shows in the Series, go to uncertaintymusic.com.

Up Front at The Side Door + Matt Swings & Pete Rocks

Seemingly without much fanfare, The Side Door Jazz Club in Old Lyme, CT, has become quite the venue to see and hear music.  Located in the Old Lyme Inn, right off of Interstate Route 95, the nightspot is 15 miles from the nearest city (New London) but strategically placed close to both Boston and New York City (as well as Providence, Rhode Island, and New Haven.) Since Ken Pickering opened the doors back in the late Spring of 2013, the club has brought world-class musicians to play for joyous crowds.

 This coming week is no exception.  On Friday January 24, the venue welcomes saxophonist JD Allen and his Quartet, featuring pianist Orrin Evans.  Allen (pictured above), born in Detroit, has been on the scene for nearly 2 decades, has worked with a slew of jazz greats, from vocalist Betty Carter to trumpeters Dave Douglas and Jeremy Pelt to composer Lawrence "Butch" Morris to pianist Evans' various groups.  His series of Trio CDs for Sunnyside Records and Savant, recorded with bassist Gregg August and drummer Rudy Royston (issued between 2008 - 2012), displayed a composer, arranger and improviser who understood group dynamics and how interactions moved the music forward.  His 2013 Savant CD, "Grace", introduced his Quartet with pianist Eldar Djangirov and the Hartford, CT, rhythm section Dezron Douglas (bass) and Jonathan Barber (drums).

Doors open at 7:30 p.m. and the first notes commence at 8:30 p.m.

Saturday (1/25), The Side Door opens for the Andrew Atkinson Quartet.  Drummer Atkinson, born in Jamaica and raised in Miami, FL, brings many influences to his music, a fine and often fiery mix that leans towards mainstream jazz.  On Tuesday (1/28), the Matt Wilson Quartet + John Medeski (all pictured left) celebrate the release of "Gathering Call", the drummer's latest venture for Palmetto Records (reviewed below). This is a rare weeknight date for the Club but who can resist bringing Mr. Wilson and his compatriots in to play any night of the week.

For reservations to any and all gigs at The Side Door (including the Fred Hersch Trio on 2/7 + 8, vocalist Patricia Barber on 2/25 and Wayne Escoffery on 3/01), call 860-434-0886. To check out the impressive lineup, go to thesidedoorjazz.com.

No surprise that drummer/composer Matt Wilson gives the title "Gathering Call" to his latest CD to feature his Quartet of Jeff Lederer (soprano and tenor saxophone, clarinet), Kirk Knuffke (cornet) and Chris Lightcap (bass) plus John Medeski (piano).  Whenever and wherever Mr Wilson and his compatriots play becomes a "revival meeting" masquerading as a concert.  There is usually an infectious feeling when this band plays so that, even if the material is "in" or "out", soft or very loud, the listener is an active participant in the proceedings.

That sort of enthusiasm does not always translate to recordings but, no fear, the MWQ and Mr. Medeski have created a program that leaps out of the speakers and into your soul on "Gathering Call."  From the opening seconds of the "swinging" reading of Duke Ellington's "Main Stem" (from 1942) to the sweet melody of the traditional "Juanita", the music shimmers, shakes, squawks, shines, and, yes, swings.  Lederer's tenor work brings to mind, among other, Albert Ayler and Paul Gonsalves, with his ability to kick solos into a higher gear within seconds well on display here.  Knuffke's cornet lines blend so well with Lederer (they have played together a lot in the past few years), there are moments when it seems their 2 minda are thinking as one.  Lightcap is such a melodic bassist as well as a solid foundational player, he gives the other voices plenty of space to move around.  His counterpoint and chordal work on "If I Were A Boy" (a Beyonce hit from 2008) is quite fine while the band catches the sadness inherent in the lyrics.  Medeski, who first worked with the drummer when both were member of The Either/Orchestra in the early 1990s, sounds as if he's been in the group for years. His spare chordal work under the tenor solo on Charlie Rouse's "Pumpkin's Delight" leads to a sparkling solo that simmers with blues riffs while he injects a New Orleans feel to the raucous reading of Hugh Lawson's " Get Over, Get Off and Get On."  Wilson slows down the tempo of bassist Butch Warren's "Barack Obama", capturing the wistful feel of the melody (lovely clarinet work from Lederer)

The drummer contributes 6 originals to the 13-track program.  They range from the frisky rhythms of "Some Assembly Required" to the lovely, classically influenced, "Hope (For the Cause)." The highly rhythmical "Dreamscape" resembles an Ornette Coleman melody from the early 1960s and leads right into the hard-driving "How Ya Going?" with a polyphonic melody for piano, soprano sax and cornet.  Lightcap's thick tones open "Dancing Waters", a sweet, rubato, ballad with a unison melody for cornet and tenor plus Medeski's impressionistic chordal work.

"Gathering Call" was recorded in a 6 &1/2 hour session in late January of 2013 yet never sounds rushed or incomplete.  The participants are friends, comfortable with each other, knowing when to push or lay out.  This is very much "live" music, alive with possibility, melody and fun, in other words, a reflection of Matt Wilson.  He can be serious, he can be meshugenah but he's never phony. Neither are the members of the Quartet or guest John Medeski - they are musicians and this is good music.  For more information, go to www.mattwilsonjazz.com.

Alto saxophonist/composer Pete Robbins has worked with bassist Eivind Opsvik and drummer Tyshawn Sorey on numerous occasions while dreaming of playing with pianist Vijay Iyer.  "Pyramid" (Hate Laugh Music) is that dream come true, featuring all 3 alongside Robbins on  program that combines 5 songs that the saxophonist says "influenced and affected me earlier in my life and musical development" with 4 originals.  Sorey, who has worked alongside Iyer in the Fieldwork trio (with saxophonist Steve Lehman), is the driving force on this recording, often "kicking" the music into a higher gear.  Whether it's the funky reading of Stevie Wonder's "Too High" or the sweet reworking of Leonard Cohen's "Hallelujah", the drummer makes this music move in good directions.  Listen to the "strutting" Sorey does on "Wichita Lineman", pushing the music out onto the dance floor, nudging the soloists away from the melancholy that infused Jimmy Webb's melody.  Both Robbins and Iyer's solos pick up on the on that "push" and have an element of strength.  The arrangement of "Sweet Child O' Mine" (the Guns N' Roses classic) accentuates the handsome melody (Robbins overdubs clarinet to give his alto an interesting shadow). The piano solo has great power (not unlike Slash's guitar work on the original) and truly fires up Robbins whose solo rips over the intense rhythm section.  Nirvana's "Lithium" rises and falls on the interactions of Opsvik and Sorey with short solos that build quickly and burn brightly.

The Robbins original compositions are also quite strong, ranging from the slippery rhythms and trance-like melody lines of "Vorp" to the soulful piano chords that serve as the melody of the title track.  The leader sits out the song, giving the rhythm section full rein to deliver a powerful performance.   The intense drive of the rhythm section on "Intravenous" offers a good contrast to the leader's softer approach on alto - Iyer's 2-fisted solo is fiery and leads to Sorey's solo, which burns with great intensity.   Robbins' "Equipoise" lives up to its name with its blend of Opsvik's solid bass lines juxtaposed with Sorey's poly-rhythmic approach and Iyer's stabbing chords.  The saxophonist rides the equilibrium with a fine solo then everyone drops out save for Iyer, whose unaccompanied piano brings the piece to a quiet close.

The more I listen to "Pyramid", the more its grooves insinuate themselves in my brain (and feet).  Pete Robbins has found a great balance on this recording, allowing the intensity of the rhythms to co-mingle with his more melodic leanings.  With Vijay Iyer, Eivind Opsvik and Tyshawn Sorey, he's found partners who kick this music as hard as they support his vision.  Find this CD and let the sounds make you smile.  For more information, go to peterobbins.com.

Firehouse Finale, Side Door Shows, More Uncertainty and 2013 Best-Of: Solo Piano

Bassist/composer Mark Dresser and his accomplished Quintet are featured in this Friday's concert (12/13) at Firehouse 12 in New Haven, the ultimate show in the Fall 2013 Concert Series.  The bassist, who last appeared in the venue as part of Trio M (with Myra Melford and Matt Wilson) in April 2012, is touring with the musicians (all but drummer Tom Rainey) from his most recent recording for Clean Feed Records, "Nourishments." Notice the "m" theme as the group includes Michael Sarin (drums), Denman Maroney (piano), Rudresh Mahanthappa (alto saxophone) and Michael Dessen (trombone).  The interactions displayed by the musicians on the CD translate well to live performance as Dresser's compositions blend composed "through lines" and improvisations.  The blend of the vibrant alto saxophone with the blustery yet melodic trombone, spurred on by the strong piano work, involves the listener multiple levels.  Maroney's celebrated "hyper-piano" is in full bloom throughout the session.

The Mark Dresser Quintet plays 2 sets - 8:30 and 10 p.m. - tickets are still available so go to firehouse12.com or call 203-785-0468 for more information.

The Side Door Cafe at the Old Lyme Inn has another busy weekend of great music.  Friday, they present the Bruce Barth Quartet, an ensemble that finds the pianist (pictured left) in musical conversation with the great Steve Nelson (vibraphone), Vicente Archer (bass) and Montez Coleman (drums).  Nelson appears on several of Barth's CD including 2012's "Three Shades of Beauty" (Savant).  Barth is a fine pianist who can play with equal shades of fire and gentleness, has a penchant for strong melodies and intelligent interactions.

On Saturday, pianist Kevin Hays returns to The Side Door, this time with a Trio featuring bassist Rob Jost and drummer Greg Joseph. Together, they go by the name of The New Day Trio and have been performing a new book of pieces Hays composed for the ensemble. Hays, who spent his childhood in Greenwich, CT, has worked with Joshua Redman, Chris Potter, Benny Golson, Roy Haynes and many others yet has also led his own groups for nearly 2 decades.

For more information about these shows and upcoming ones as well, go to thesidedoorjazz.com or call 860-434-0886.

The Uncertainty Music Series continues on Saturday (12/14) with a double bill that features the Joe Moffett/Kristin Slipp Duo plus Jacket Thor.  The latter is the name for the duo of Ryan Kalentkowski (guitar) and Marco Vernacatola (drums).  Their music blends folk, rock, punk and other influences.  Trumpeter Joe Moffett has worked with vocalist Kristin Slipp for the past 5 years, creating music under the name of Twins of El Dorado. They call themselves a "modern song ensemble", music that brings in myriad influences from different genres.  Ms. Slipp also works with keyboard artist Dov Manski - their debut CD was issued earlier this year on Sunnyside Records.

The show starts at 8 p.m. and takes place at Never Ending Books, 810 State Street in New Haven.  For more information, go to uncertaintymusic.com.
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The Best of 2013 continues with 2 solo piano recordings.

Having seen and heard Myra Melford play solo over 2 decades ago, I often wondered why the pianist/composer did not do that more often.  She has a strong left hand - actually she's quite the two-handed pianist  -and has recorded numerous duos with the likes of Marty Ehrlich, Tanya Kalmanovitch and Han Bennink. She became inspired by the paintings of Don Reich, a family friend and, like the pianist, a long-time resident of California.  Reich's work has always been a source of inspiration for Ms. Melford and he gave her a group of paintings as well as drawings to hang in her studio to see what might happen.  "Life Carries Me This Way" (Firehouse 12 Records) is the result; the package comes complete with the paintings that inspired the music.  This is a wonderfully personal experience, contemporary music that wears any of its influences very lightly and truly invites the listener in.  Look at the paintings, listen to the piano, forget about drawing conclusions, just soak in these sounds.

For more information and to listen for yourself, go to firehouse12records.com/album/life-carries-me-this-way.

There's a similar feel to "Piano Sutras" (Thirsty Ear), the latest solo venture from pianist/composer Matthew Shipp. The notoriously outspoken Mr. Shipp rarely has sounded as good as he does on these 13 tracks, all but 2 - "Giant Steps" and "Nefertiti", the shortest ones - original compositions.  He has such a fertile mind, such a great sense of dynamics, with melodies that often sound like either short stories or fragments of poems.  Also enjoyable is that one seems to hear something new each time out.  I'm not sure Matthew Shipp has ever gotten enough credit for the strength of his compositions; these are among his finest.  The presence of the piano on this CD stands out from the rest of his Thirsty Ear catalogue, even his most recent solo effort, 2010's "4 D."

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

Next post will include the Best of Large Ensembles and there are a slew.