If you enjoy vocalists, it's easy to enjoy the work Sara Gazarek. The Seattle, WA, native has been "on the scene" since the early 2000s releasing is albums as a leader or co-leader since 2005. She really inhabits songs, articulates the lyrics, the emotions are real (and never forced), and records songs from across a wide spectrum from "pop", folk, rock, blues, Broadway, and jazz. Ms. Gazarek possesses a seemingly effortless voice with a wide range – she can sing really high up in that range and always make it sound good.
Album #7 is "Thirsty Ghost." The singer produced the album and it's her first to be self-released. Working with a crackerjack trio – Stu Mindeman (piano, Rhodes), Alex Boneham (bass), and Christian Euman (drums) – the 12-song program is her most emotionally varied. Take "Never Will I Marry", the Frank Loesser song the 1960 musical "Greenwillow"; the Caribbean rhythms, the responsive reeds and brass, her joyous scat singing, and Mindeman's bubbling electric piano make the piece a declaration of independence. And, as break-up songs go, Hoagy Carmichael's "I Get Along Without You Very Well" is one of the sadder ones. Missing the rarely used subtitle, "Except Sometimes", Ms. Gazarek makes us believe those two words without every uttering them. The sympathetic bass and drums (subtle brush work) and Mindeman's soul-tinged piano is excellent, a smart arrangement by the vocalist and pianist.
Photo: Andrew Southam
Then, there's Stevie Wonder's "I Believe When I Fall In Love", arguably one of the songwriter-performer's better tunes. Ms. Gazarek's reading, replete with a horn section and backing vocals, takes its time to get to the chorus – when she does, it's such a quiet yet intense emotional release. Plus, that leads directly into an equally emotional alto sax solo from Josh Johnson. Ms. Gazarek's wordless vocal in the final 30 seconds is breathtaking. She follows with a smashing Geoff Keezer arrangement of Dolly Parton's "Jolene". The rhythm section hits hard and really creates a whirlwind of tension-and-release while the vocalist pleads her hopeless case. One has to be impressed how big the sound of the trio and voice are here without being shrill or over-blown. Note the delightful drumming by Euman (you'll see him at play in the video below).
Photo: Shervin Lainez
Three of the twelve piece are original lyrics by Ms. Gazarek including two with melodies by Larry Goldings (who contributes organ on the tracks) and the other by Brad Mehldau. "Easy Love" is a soft, swinging, tune with excellent piano by Mindeman with Goldings' organ coloring. The organ has a more atmospheric role on "Gaslight District", a tune that has the feel of Steely Dan's "Aja" with an excellent horn arrangement by trombonist Alan Ferber. There's tenderness and vulnerability in the vocal plus a wistful hope for a better day. The album closes with "Distant Storm", the Mehldau melody. Opening with Ms. Gazarek's voice supported by Ferber's horn arrangement. Listen closely for the background voices of Erin Bentage and Kurt Elling – their subtle contributions help lead us to the verse and chorus. Elling takes a verse after a fine Johnson solo, the poetry of the alto lines nicely expanded upon by the vocalist. Ms. Gazarek returns, reminding the listener that although the "storms" that often make our lives so scary, there is hope with each new dawn. She takes out the song with just Mindeman's piano and the reminder to "move on".
"Thirsty Ghost" is a triumph for Sara Gazarek. Her song selection is spot-on, her voice sounds more assured than ever before, and the musicians she partners with play with such commitment and soul. And, it sounds so good! You'll feel better listening after listening to this music, so much so there should be no guilt playing it over and over.
Here's Ms. Parton's tune with the fine Geoff Keezer arrangement:
The Curtis Brothers, pianist Zaccai and bassist Luques, grew up in Hartford, CT, and were the beneficiaries of the school that Jackie and Dollie McLean created, The Artists Collective. They both studied in Boston, MA, Zaccai at the New England Conservatory of Music and Luques at The Berklee College; after graduation, they formed their own band while maintaining an impressive number of sideman gigs. Zaccai has worked with Ralph Peterson, Wallace Roney, and Donald Harrison while Luques has been in-demand since moving to New York City, working with Eddie Palmieri, Etienne Charles, Albert Rivera, and many more. They started their Truth Revolution label in 2009 and now, with the arrival of "Algorithm", have released five albums (including one recorded nine years before they had their own label).
The new label is a live date recorded in February of 2018 at The Side Door Jazz Club in Old Lyme CT. The nine-song program is the result of a Chamber Music America grant that Zacccai won; originally composed for their own band, this recording three of their mentors, drummer Ralph Peterson, trumpeter Brian Lynch, and alto saxophonist Donald Harrison. Thanks to the presence of Mr. Peterson, much of this music is volcanic in nature (having seen the drummer perform in the space, he is surrounded by plastic for the recording; otherwise, his sound would swamp the band). But the drums are not the only focal point. Zaccai is an excellent composer with an ear for intelligent melodies and fine harmonies. He fashioned these songs to tell a story about the Brothers upbringing and the various mentors they encountered. "Chief" is Donald Harrison's vehicle and he owns the space, his rippling phrases and powerful solo over the rollicking rhythm section is a joy to hear. Touring with the "Big Chief's" band was the Brothers first professional gig.
Photo: Ramsey De Give/WSJ
The spotlight turns on Brian Lynch for "The Professor", a finely-etched tune, well-constructed, a blues-soaked ballad that he makes his own with long phrases, breathless runs, snappy notes, at times in dialogue with Peterson while the Brothers hold the piece together. Luques takes a short but fine solo as the music fades to a close. Several tunes pay tribute to the sound and feel of Art Blakey's Jazz Messenger, none moreso than "Undefined." The front line blares out while Zaccai's piano sets the stage. Soon, Lynch takes over, his muscular solo riding the waves of sound from the drums. Harrison roars into his solo and throughout, he too in dialogue with the drums. The thunder recedes for the beginning of the piano solo – the piano and drums engage in cat-and-mouse game before Zaccai dances forward, his brother's bass lines dancing beneath him. You will scream alongside Side Door owner Ken Kitchings during the drum solo.
The album closes with "Sensei" and one its to hear Ralph Peterson in the lead. Zaccai and Luques supply the rhythmical melody line and the drummer tell the story. The shortest track on the disk (4:01), one still is impressed by the power and the determination that Peterson brings to the song (as well as the entire program).
"Algorithm", with its Latin sensibilities and its impressive execution, is worth hearing for so many different reasons including the story lines, the wonderful musicianship, and to hear how the roles of the rhythm section and the front line can be blurred to great effect. Yes, the themes are well-drawn, the solos fiery yet often melodic, and the rhythms seductive and thunderous – for those of us in central Connecticut, The Curtis Brothers have grown up before our very ears, matured into excellent and thoughtful musicians. This album will rock your speakers (and your world) the way the performances rocked the audience at The Side Door.
Jacques Kuba Séguin is a trumpeter and composer based in Montreal, Quebec, Canada. He is one of the more celebrated trumpeters in Canada, winning several awards for the work he has done with two of his groups, including his Litania Projekt quartet collaboration with the Quatuor Bozzini, the Montreal-based string quartet. Besides creating his own label, Odd Sound, for his various ensembles, he's traveled to Germany, Poland, and China. One of his bands, Odd Lot, has more of an electric edge with keyboards, synths, and pedals.
His latest album, "Migrations", has its roots in the composer's interviews with various cultural groups in Quebec Province. Séguin, who is of Polish origins, created a musical program that addresses the hopes, dreams, fears, and joys of the people he talked with. Playing the seven-song program is an ensemble that features highly acclaimed saxophonist Yannick Rieu, equally as acclaimed pianist Jean-Michel Pilc, vibraphonist Oliver Salazar, bassist Adrian Vedady, and drummer Kevin Warren. One may be surprised on much this music swings. For example. "L'érivain" would not sound out of place on a mid-1960's Miles Davis album or coming from Dave Douglas.
The album opens with "Hymn" which opens with a solemn melody played by the trumpet with the tenor sax in counterpoint. The band enters with a gospel lilt before the bass and drums drop into a loping rhythm underneath the lilting yet bluesy trumpet. Check out the delightful piano solo followed by a fine tenor turn. "I Remember Marie in April", a title which sounds as if should be for a lovely ballad, is quite a active post-bop tune that would not sound out of place on Wynton Marsalis's "Black Codes From The Underground." The piece has a contagious rhythm and features exciting solos from Séguin and Pilc (dig his "Giant Steps" quote), a hopping vibes solo, and excellent counterpoint from bassist Vedady.
The powerful ballad, "Preimiére Neige (You're Not Alone)", features the leader's lyrical trumpet playing, filled with emotion, long notes, and, at times, sadness. The album closer, "Mosaïques", has a Middle-Eastern feel in its rhythm and sinewy melody line. The bassist has a long solo, then a short call-and-response with the entire group before stepping out once more. The group takes the song out with the melody. What makes this program so good is how the blend of solos and group playing are on an equal level, one not more important than the other.
"Migrations" is my introduction to the music and musicianship of Jacques Kuba Séguin. He's organized an excellent band, Jean-Michel Pilc has rarely sounded so joyous, and the rhythm section truly supports and pushes the rest of the band. Check it out.
Brian McCarthy, composer, arranger, and saxophonist, looks at the United States during a time when it was at its most divided, the Civil War. Six of the nine tracks on "The Better Angels of Our Nature" (Truth Revolution Records) were composed during the conflict, two are original, and one, "Oh Freedom", is an African American spiritual. Using a quote from President Abraham Lincoln's 1861 Inaugural Address as its title, the album could be weighed down by expectations as well as by comparisons to today's toxic (to many) political climate. But the project came into being thanks to a Vermont Arts Council Creation Grant in 2015 and really took flight when the Flynn Center for the Performing Arts in Burlington Vermont in November of that year.
Vermont Public Radio
Opening with "The Bonnie Blue Flag" (composed in 1861 by Harry McCarthy - no relation to the leader), the song was a favorite of the Confederate States. McCarthy, the arranger, creates an impressive arrangement around the melody, one that sounds quite contemporary. After the nonet explores the melody, baritone saxophonist Andrew Gutauskas begins a lengthy solo accompanied by the handsome piano of Justin Kauflin. The piece picks up with the entrance of the rhythm section, then the brass and reeds. Not surprisingly, "Battle Hymn of the Republic" follows, a piece that has as much for the North as the previous one did for the South. The leader opts for a less rousing readin, opening up the chords to give the piece its wings. Fine solos from pianist Kauflin and the leader on alto saxophone.
I admit that the first two tracks, while well played, did not capture the emotions one imagines anthemic music provides for people. "Shiloh", the first of McCarthy's original, has great power and gravitas while still telling its story. The title track is the other McCarthy original and is a three-part look at Abraham Lincoln, the lawyer, then the President, and closing with the Person. There's authority in Bill Mobley's fine solo that closes the first part. Kauflin's strong piano work draws a picture of President in command of his emotions after several early Confederate victories. Tenor saxophone Stantawn Kendrick also solos in that section and the second section comes to a crashing close. The last two minutes are contemplative, quiet, a portrait of a man reflecting on all the events occurring as he attempts to right the Ship of State.
There are numerous highlights during the remainder of the album. Daniel Ian Smith's impressive soprano sax solo on "Battle Cry of Freedom" as well as the lengthy exploration of the "I Wish I Was In Dixie" sparked by Zach Harmon's powerful drums and featuring strong saxophone work from Kendrick and McCarthy. However, it's the two ballads - "Weeping, Sad and Lonely" and "Oh Freedom" - that really stand out. The latter track, scored for reeds and brass, may remind some of the short introduction Blood, Sweat, and Tears created in 1968 for its reading of "God Bless The Child." Still, it's a powerful gospel work and the performance is captivating. That should be the last cut but Brian McCarthy decided to add a "bonus track", a swinging take of "All Quiet Along The Potomac To-Night" (composed by John Hill Hewitt in 1863). It's fine with good playing all around but it is anti-climatic (hence the "bonus" appellation).
Minor quibbles aside, "The Better Angels of Our Nature" is a powerful statement - particularly tracks three through eight - about the Civil War, a conflict whose issues were not confined to the four years of horrific battles and skirmishes but whose roots are in the country's fight for independence and its centuries of racial inequality. The music is a compelling fusion of our ethnic makeup, the messages in the songs are (mostly) uplifting, and the performances often riveting.
Personnel: Brian McCarthy, composer, alto & soprano saxophone Daniel Ian Smith, tenor & soprano saxophone Stantawn Kendrick, tenor saxophone Andy Gutauskas, baritone saxophone Bill Mobley, trumpet & flugelhorn Cameron MacManus, trombone Justin Kauflin, piano Matt Aronoff, bass Zach Harmon, drums
Here's the title track:
Trombonist, composer, and arranger Ed Neumeister (born in Topeka, Kansas, and raised in the San Fransisco Bay area) moved to New York City in 1980 and was soon a member of the Duke Ellington and the Mel Lewis Band (which became the Vanguard Jazz Orchestra after Lewis passed). He, also, performed and recorded with the likes of Jerry Garcia, Gerry Mulligan, Aretha Franklin, and the New York Philharmonic. After nearly two decades in Europe where he taught and worked with the Metropol Jazz Orchestra, Budapest Jazz Orchestra, and Jazz Big Band Graz, Neumeister is returning home to the United States, New York City, to be precise.
Like many modern composers-arrangers-educators (Jim McNeely Bill Kirchner, Maria Schneider), Neumeister displays the influences of Duke Ellington, Thad Jones, and Bob Brookmeyer, doing so without imitating any of them. His new self-released and fan-funded album, "Wake Up Call" (MeisteroMusic), is his first with the NeuHat Ensemble, a group he has written for over a decade. The musicians, listed below, should be familiar to most readers as many of them work and record with the Vanguard Jazz Orchestra, with Ms. Schneider, and with Ryan Truesdell's Gil Evans Project. And, like much of the material those groups play, the songs are more about melodic and harmonic development, a narrative, rather than an vehicle for multiple solos. Yes, it could be called "concert music" and that's fine. While there is plenty of rhythmic action, the leader wants you to listen and have emotional reactions.
Listen to the glorious tone-poem "Reflection" to hear how each member of the Ensemble contributes to the piece, how the tension is heightened by the repetitive lines in various sections while drummer John Riley colors the piece with his fine cymbal work. After the long introduction, the melody is moved forward by the brass until Dick Oatts (on tenor) and trombonist Larry Farrell begin a solo section (aided by the atmospheric guitar work of Steve Cardenas and David Berkman's impressionistic piano). There's more than a hint of Burt Bacharach in the arrangement and melody line of "Dog Play", enlivened by the sweet clarinet work of Billy Drewes. The focus is on the tenor sax of Rich Perry on "New Groove" but not until the melody is laid out by the reeds and brass.
There are impressive examples of ensemble writing throughout the album, especially on the opening and closing tracks. "Birds of Prey" moves in quietly on percussion before the main melody is introduced shared by the sections. There are no solos, just different voices moving in and out of the melody as well as the background. No solos either on the title track that closes the album. Yet, listen how the reeds and brass share melody and harmonies while the rhythm section creates a light samba feel. There's a playful nature to the interactions, the piece moves insistently forward and, again, listen to how all the pieces fit so well.
"Wake Up Call" is a delight from start to finish with melodies that linger long after the final fade. Though it's taken nearly three years from the recording dates to the release date, the music is timely and timeless. With Ed Neumeister moving back to the US, maybe the NeuHat Ensemble will bring this music to concert halls. That's so nice to contemplate!
Personnel: Reeds: Mark Gross Dick Oatts Billy Drewes Rich Perry Adam Kolker Trumpets: Tony Kadleck Ron Tooley Jon Owens Dave Ballou Trombones: Keith O’Quinn Marshall Gilkes Larry Farrell David Taylor
David Berkman - Piano Hans Glawischnig- Contra Bass Steve Cardenas - Guitar John Riley - Drums John Hollenbeck - percussion Take a listen:
Until "Big Alpaca", the self-released debut album from the Bill Simenson Orchestra, came in the mail, I knew nothing about the man and his ensemble. Do what I did - go to www.billsimenson.com and you'll discover the composer, trumpeter, and educator has led quite a busy life. Take a look past the names listed below under personnel. Chances are, unless you live in the Minneapolis/St. Paul area (where the ensemble is based), you've not heard of these musicians. Do not walk away from this album. Give it a good listen. You'll hear the influences of Thad Jones and Bob Brookmeyer in the compositions and arrangements as well as hints of Duke Ellington, Gil Evans, Quincy Jones, Thelonious Monk, and Kenny Wheeler.
Thanks to an Artist Fellowship, Simenson took time off to study composition for big band. In 2012, he formed the Orchestra, they began playing once-a-month in Minneapolis, learning the music and how to create a unified sound. In late January of 2016, they entered the Sateren Auditorium of Augsberg College (also in Minneapolis) and emerged with this album.
Jazz Central Studios
Allow the music to roll around your brain. Whether it's the bluesy opener "Bedlamoogie" (and its Count Basie-lie dance rhythms) or the noir-ish "Uptick" or the "Killer Joe" flow of "Pete's Waltz", this program has many pleasing qualities. There are pieces that swing in delightful fashion such as "New Shoes" with the brass and reeds playing off each other in contrapuntal fashion. Dig the second-line groove of "Steamboatin'", replete with playful trumpets and forthright reeds plus a straight-forward swig under the solos. The title track opens with a strong bass solo before the playful interaction of the sections roll through the melody. Trombonist Ryan Christianson and the leader share the solo spotlight, the former with just the rhythm section and the latter with the brass and reeds vying for your attention with quick riffs. "Might Have Been" has the makings of a classic big band ballad with the reeds and brass introducing the melody before excellent solos from Pete Whitman (soprano sax) and pianist Ted Godbout. Both short, both sweet. In the liner notes, Simenson credits the influence of Alison Krauss for the creation of "Titanium"; perhaps that influence shows in the ways the band moves together underneath the melody or how the sections make the melody and rhythm fit so seamlessly. Not sure how Ms. Krauss's music and lovely voice impacted the composer but it is quite a good tune.
In the 1930s and early 40s, the Bill Simenson Orchestra might be considered a "territory" band, with its home base in the Twin Cities. It's easy to imagine people gathering in a club or auditorium to listen and to dance. "Big Alpaca" is truly a collection of good tunes. The songs don't necessarily blow you out of your chair as the melodies and the crisp execution of the band insinuates its way into your head. Give the album a listen and you'll be glad you did. Go to www.billsimenson.com/billsimensonorchestra.html to find out more.
Personnel: Pete Whitman (soprano and alto saxophones), Doug Little (alto sax and flute), Clay Pufahl (tenor sax), Scott Johnson (tenor sax), and Gus Sandberg (baritone sax) Bill Simenson (leader, composer, arranger, trumpet, flugelhorn), Paul Stodolka (trumpet, flugelhorn), Elizabeth Stodolka (trumpet, flugelhorn), and Jake Baldwin (trumpet, flugelhorn) Pete Enblom, Ryan Christianson, and Matt Hanzelka (trombone) Derek Crosier (bass trombone) Ted Godbout (piano) David Martin (guitar) Chris Bates (bass) Dave Schmalenberger (drums)
To commemorate and celebrate the 50th Anniversary of the release of The Beatles "Sgt. Pepper's Lonely Hearts Club Band", the Frankfurt Radio Big Band (also known as the hr-Bigband) commissioned British multi-instrumentalist Django Bates (keyboards) to "reimagine" the classic album from 1967. Commission partners include the
Norrbotten Big Band (Sweden), the Danish Radio Big Band, and the UMO Jazz Orchestra. For the recording, Bates brought along Stuart Hall (acoustic and electric guitar, electric sitar, violin, lap steel) plus the Danish trio Eggs Laid By Tigers (vocalist Martin Ullits Dahl, bassist Jonas Westergaard, and drummer Peter Bruun) to augment the reeds and brass sections plus guitarist from the Frankfurt Radio Big Band (personnel listed below).
The assembled multitude move through "Saluting Sgt. Pepper" in the order of the original album. Bates doesn't change the music drastically but makes room in each song for his "alterations" - for instance, listen to the reeds and brass dance during the second chorus of "With a Little Help From My Friends" and the raucous tenor saxophone work of Tony Lakotos on "Lucy In the Sky.." Lakatos bops away on the extended close of "Getting Better" over a snappy arrangement. Impressive drum work from Bruun takes the place of tablas on "Within You Without You" (the one George Harrison song on the record) as well as strong violin work from Hall. Flutes replace the violin, the brass jump in, and Hall switches to electric sitar in the solo section. The brass sound like a traffic jam and car alarm at the onset of "Lovely Rita" - there is a Blood, Sweat, & Tears feel to the playful arrangement, especially in the middle of the song.
The desperation that seemed to envelop John Lennon's vocal on "A Day In The Life" is missing - Dahl, who does an impressive job throughout the album, seems a bit distant here. Yet, listen to the long rising line to the center section (the McCartney part of the song). After its climax, there is a feel of Rio De Janeiro and samba. It's cleverly done, a delightful shift in the mood. Back for the final verse and the long-awaited final piano chord. Bates gives the brass a quick shout and there's a long fade until....the goofy closing loop from the original pressing.
Kudos to the participants as they handle the classic material and the alterations Django Bates brought to the party with aplomb. Dahl and his compatriots from Eggs Laid By Tigers (the band took its monicker from as Dylan Thomas poem) capture the vocals without imitation (harmonies are nicely done). All in all, a fun and fine tribute that old fogies such as myself (18 years old at the time of the original album's release) and younger fans will enjoy.
Here's a live version of the Harrison song (check out YouTube for the group's versions of "Penny Lane" and "Strawberry Fields Forever":
Frankfurt Radio Big Band (hr-Bigband):
Heinz-Dieter Sauerborn: soprano sax, flute, clarinet.
Oliver Leicht: alto sax, flute, clarinet, alto clarinet.
Tony Lakatos: tenor sax, flute.
Steffen Weber: tenor sax, alto flute, bass clarinet.
Rainer Heute: baritone sax, bass sax, bass clarinet, contra alto clarinet. Frank Wellert: trumpet.
Thomas Vogel: trumpet.
Martin Auer: trumpet, flugelhorn. Axel Schlosser: trumpet, flugelhorn. Günter Bollmann: trombone.
Peter Feil: trombone.
Christian Jaksjø: trombone.
Jan Schreiner: bass trombone. Martin Scales: electric guitar.
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The album closes with "Sensei" and one its to hear Ralph Peterson in the lead. Zaccai and Luques supply the rhythmical melody line and the drummer tell the story. The shortest track on the disk (4:01), one still is impressed by the power and the determination that Peterson brings to the song (as well as the entire program).
