As these words appear on the page, it's five weeks since Mario Pavone passed (May 15, 2021) after a multi-year, multi-episode, fight with cancer. Bassist, composer, and educator (he was closely involved with the Litchfield Jazz Camp), he had a long career working alongside creative artists, most notably Bill Dixon, Anthony Braxton, Paul Bley, and Thomas Chapin. After Chapin's death in 1998, Mr. Pavone became a leader – he had already begun recording his own music back in 1979 on labels such as Alacra, New World/Crosscurrents, and Knitting Factory. From 2002-2017, the bassist recorded 13 albums (as a leader or co-leader for his good friend Michael Musillami's Playscape Recordings; he also did the artwork for many of the label's releases. When queried about his writing, he told me his pieces were "composed from the bass upwards" and, when you listen closely, you hear how the rhythm section always participates in the melody. His music is propulsive, even fierce at times but always with a melodic center.
Last time we spoke in person (three years ago at Firehouse 12 in New Haven, CT –– he was a concert attendee not a player), he was thrilled about his latest Trio. He loved writing for and playing alongside pianist Matt Mitchell and drummer Tyshawn Sorey. He felt that they brought the ferocity and emotional balance that his new compositions called for. They first recorded as a unit on 2015's "Blue Dialect" (Clean Feed Records) and followed that with 2019's "Philosophy" (Clean Feed).
2020 was a very tough year for the bassist. His cancer had returned plus his 23-year old granddaughter Isabella died. Mr. Pavone poured himself into his music writing enough material for two albums, two groups. In late February, he went into the studio with his son Michael (guitar), Mike DiRubbo (alto saxophone), and Michael Sarin (drummer who was the third member of the Thomas Chapin Trio) and recorded an album for Clean Feed ("Isabella", to be released later this month). Four weeks after that session (3/25-26/21), he went into the studio with Mitchell, Sorey, and trumpeter/ arranger Dave Ballou (who served as arranger for "Isabella" as well) and recorded "Blue Vertical" (Out of Your Heads Records). Credited to the Dialect Trio + 1, the nine-song program sounds full of life, jammed with melodies, rhythmic twists-and-turns, powerful solos, and Mr. Pavone's trademark propulsive. forward motion. He never looked back, making the music for the time and the future.
Photo: Maurice D. Robertson
The addition of Ballou's excellent trumpet work to the Trio fired the composer's imagination. Pieces such as the opener "Twardzik" and "Good Treble" show his versatility and wit; the former features a delightful solo, with notes tumbling out of the horn and onto the rumbling rhythm section while the latter dances ahead on a Latin-tinged rhythm, the muted trumpet locking in with the piano for the melody. Ballou's solo over the jagged rhythm exudes swagger and a New Orleans-like frisson opening the door for Mitchell's rippling lines over Sorey's mighty drums. "Isabella" shows the bassist at his best, his counterpoint to the melody setting the tenor for the solos. The pianist's impressionistic lines connect with the bass lines, creating a duet that is ethereal. Ballou's muted trumpet joins that conversation, his long tones supported by the whispering cymbals. Sorey's whip-snapping drums at the onset of "Legacy Stories" set the pace for an exciting performance (note how the bass and drums fall into a "swing" rhythm right before the piano solo).
Photo: Victoria Lindsey
The album closes with "Face Music", the composer's percussive plucked notes and the tolling piano chords wrapping around the somber trumpet melody. The music moves slowly, tentatively but with purpose until Sorey's rapid-fire high-hat dance pushes the trumpet solo higher and, eventually, the piano and bass join the mix. The piece closes on Mitchell's abrupt note with the expectation that there was more to be said.
Mario Pavone lives on in his music and the fact that people will continue to explore his oeuvre, perhaps even recording pieces from his repertoire, gives this writer great hope. If you are not familiar with his music, know that from his earliest recordings as a leader to "Blue Vertical", Mario Pavone led from the heart.
Truth be told, nothing thrills this writer than receiving albums by artists whose music i have never heard and being very impressed by their efforts. Guitarist and composer Phil Schurger, a native of Indiana (now living in Fort Wayne), has just issued "The Waters Above", his second album in 12 months for the Chicago-based Ears & Eyes label. The recording features his regular band including alto saxophonist Greg Ward (vying for the 2018 Most Valuable Player as he had appeared on a series of albums this year), bassist Jeff Greene, and drummer Clif Wallace. The group has been together since 2012, working on a collection of Schurger originals he composed from 2006-2011.
Upon initial listens, I heard shades of John Abercrombie and Pat Metheny in the leader's guitar tone as well as his long-form compositions (two of the six track are under 10 minutes). There is an airiness to the group's sound and an intensity to the performances. The warmth of Ward's alto is a fine complement to the clear electric guitar tones. Greene and Wallace provide splendid support with both pushing the rhythms forward (listen to the bassist's melodic lines beneath the solos and how the cymbals splash all around). Schurger's favorite guitarist is the late Jerry Garcia and, if you listen closely on pieces such as "Motion" and "Scorpio", you might hear that influence on some of his phrases. Do pay attention to how Ward plays with such intensity yet never goes "out" or plays long stretches in the alto's higher ranges.
Photo: Tim Wright
Several of the songs have a meditative quality (the guitarist has written about how certain forms of meditation aid in his compositional process - read here) and rest easily in the ears and mind. "Anikulapo" moves forward on the rolling rhythms from the bass and drums, the melody lines expanding as the song goes from section to section. I could listen to "Inclusion", with its melody of longer notes over gentle rhythms, guitar chords, and thick bass tones, on an endless loop and hear something new each time. Ward's elegant sounds wrap one in a protective blanket and keeps your mind safe from daily distractions.
There is so much to enjoy on "The Waters Above", just don't expect an elongated "blowing" session. The music, the quartet, the composer want you to enter a different soundscape if you are willing to explore. If you are, Phil Schurger and his music will reward you generously.
Bassist and composer Evan Salvacion Levine, a native of New Jersey and now a resident of Chicago, issues his second album as leader this month. "Mestizo" (Shifting Paradigm Records) moves away from the piano trio of his 2016 debut "Unsolvable Problem" (although three tracks on that disk employed a guitarist) to a trio where the bassist enjoys the company of guitarist Matt Gold (SUN SPEAK, Makaya McCraven) and drummer Andrew Green (Twin Talk). Levine creates a program that blurs the lines between folk, jazz, blues, world, and rock musics, and that posits the the guitarist and drummer as equal members of the trio and not just the supporting cast.
The title refers to Levine's heritage as the son of a Filipino another and Father of mixed Irish and Russian descent. Nowadays, the meaning in much of the United States is of mixed Spanish and American Indian. This music does not really have a political agenda per se (only what you wish to read into the title and a tune named "Opposing Forces"). Instead what you hear plus you in on the strength of the fine melodies and musical interactions. Green is a powerful drummer with the ability to create dancing rhythms ("Highways") and kick-butt beats that roar out of the speakers ("Center of Gravity"). That latter tune finds Levine on electric bass where his thick sound and melodic lies benefit from the foundation the drummer creates. Also on that tune, Gold lays down a percussive line (along with the bassist) for Green create a forceful solo. Note how the piece shifts gears and volume levels several times in its 7:40 run. The title tune opens on a quieter note until the bass and drummer kick the piece in the direction of a serious groove. The guitarist holds back but soon is drawn into the rhythmic adventure. "Little Shells" finds Green using his hands to create the rhythms in the opening section of the tune (and adding rattles in the background). While the leader plays a sweet circular bass line, Green begins to prod the piece forward and Gold plays a lively melodic solo. The sound of the song may remind some of bassist Marc Johnson's Bass Desires - no matter what, it's a delightful summer groove.
There is a mature beauty to "The Best Things Never Change", the melody expressed by the guitarist while the bassist plays the counterpoint and the drummer keeps a quiet rhythm on his high-hat. Levine solos first - he's an articulate player and, if you listen closely, you'll hear how the drummer plays along. The trio interaction is so impressive on this ballad, the music moves forward so easily as if the trio was breathing as one. The drum solo near the finish raises the heat level as if the trio was about to move into another song but does not obliterate the gentle mood.
I do enjoy the sounds of guitar-bass-drums trio: whether it be the overwhelming attack of Cream or the subtle approach of Jim Hall, the combination is one with so many possibilities. Evan Salvacion Levine makes music that makes us listen with expanded ears, with open minds, and one imagines it's great to hear the trio live in a club setting. The word "Mestizo" refers to a mixture: the album "Mestizo" does just that, mixes influences and goes in many delightful directions.
Bassist and composer Mario Pavone returns to Firehouse 12, 45 Crown Street in New Haven, this Friday (5/21) with his Dialect Trio. Pianist Matt Mitchell and drummer Tyshawn Sorey join the CT native for an evening of sonic explorations, edgy melodies, compelling solos, and absorbing interactions. I have always maintained that Pavone writes from the bass outward and love how his thick lines propel the melody as well as what his associates do with his compositional approach.
The Trio's second CD, "Chrome" (Playscape Recordings) , was issued in the Autumn of 2017 and is, arguably, one of Pavone's most exciting recordings. This is a group that knows how to push each other, they listen, respond to, and inspire each other plus create excellent solos. Engineer Nick Lloyd (of Firehouse 12 Studios) does an amazing capturing the sound of Pavone's bass so you can not only hear his solos but also how he interacts with Mitchell and Sorey. There's a great sense of rhythm as well as "freedom" in this music. The compositions save one are Pavone originals and the one is a group improvisation inspired by and named for pianist Paul Bley who passed six months prior to the recording.
This should be quite a musical experience and is the last date on a short CD release tour. For ticket information, go to firehouse12.org or call 203-785-0468.
Here's the Trio from 4 years ago right before recording their first album together:
I love getting emails from Brian Charette - he's such a busy guy, making so many different kinds of music with so many people. His latest missive included the poster above and links to the CD that the CT-born organist recorded with tenor saxophone master George Coleman. Mr. Coleman, a Memphis, Tennessee, native turned 83 in March and is in the midst of a career that stretches over six decades. He has recorded with B.B. King, Lee Morgan, Max Roach, Slide Hampton, Miles Davis, Herbie Hancock, Elvin Jones, so many others. Steeplechase Records owner and producer Nils Winthers captured Mr. Coleman in the studio last December with Charette, guitarist Vic Juris, and drummer George Coleman Jr. The results of their day together can be heard on "Groovin' With Big G" and, if you read the poster closely, the quartet celebrates the new CD with a date at the Blue Note, 131 West 3rd Street in New York City this coming Monday night. They'll play two sets - 8 and 10:30 p.m. - for more information, go to www.bluenote.net/newyork/index.shtml or call 212-475-8892.
Mr. Coleman and Mr. Charette also play in a trio setting on Saturday May 26 at 7 p.m. in The Jazz Loft, 275 Christian Avenue in Stony Brook, NY. To find out more and make reservations, go to www.thejazzloft.org or call 631-751-1895.
Give a listen to the Quartet live in the WBGO-FM studios:
In the summertime throughout the state, live music moves outdoors and out of the city. Music Mountain, located in Lakeville, CT, (or, as we "staties" call it, "up in the Hills", the Litchfield Hills) has been presenting chamber music concerts each summer since 1930. Gordon Hall, built by Sears Roebuck, is the centerpiece of the grounds, a concert hall (now air-conditioned) that seats 335 people and is said to have one of the finer sound systems in the state.
This summer, in addition to a full schedule of Sunday afternoon classical music concerts, the venue is presenting a "jazz series" and, judging by the lineup, there's going to be a lot of great music "up in the Hills." This Saturday (7/15), bassist-composer Alexis Cuadrado will perform alongside vocalist Claudia Acuña and pianist Pablo Vergara in a concert that will feature songs from Latin American and Spanish composers as well as a healthy dose of music from the bassist's brilliant 2013 project "A Lorca Soundscape" (Sunnyside Records). That album, plus 2011's "Noneto Ibérico" and 2016's "Poètica", are among my favorite recordings of this decade, a trilogy that spans the influence of Catalan music (in particular, Flamenco), an immigrant's impressions of the United States in a crazy time, and the contemporary poetry of Spaniards adopting to a new home.
The intimacy of the "Lorca" music, originally recorded with a quintet plus vocalist, translates well to bass, voice, and piano. The delicacy and strength of Ms. Acuña's delivery is perfect for the stories in the poetry of the lyrics, written in the whirlwind nine months that the great Spanish poet and playwright Federico Garcia Lorca (1898-1936) spent in North America between June of 1929 and March 1930.
The music begins at 6:30 p.m. For more information, go to musicmountain.org/category/concerts/ or call 860-824-7126. Future Saturday shows include the Anouman Gypsy Jazz Quartet (7/22), the Alan Ferber Nonet (7/29), the Ben Kono Group (8/05). Ryan Keberle & Catharsis (8/12), Todd Marcus Quintet (8/19), and Michael Berkeley "Broadway" (8/26). Here'a a piece from "A Lorca Soundscape":
Vocalist/pianist Champian Fulton has a new album, "After Dark" (self-released), dedicated to the music of Dinah Washington (1924-1963). Ms. Washington, born Ruth Lee Jones, started out performing in her adopted hometown of Chicago in her late teens, worked with numerous musicians and made her first recordings in a group led by vibraphonist Lionel Hampton. She signed with Mercury Records in 1946 and began recording a string of hits that ranged from blues to jazz standards to adaptations of country songs and much more. She sang with many fine bands and big bands, from Cannonball Adderley to Count Basie to Duke Ellington. Although there are still a number of albums and compilations available, you rarely hear Ms. Washington's music these days.
Along comes Ms. Fulton, the Oklahoma native who was born into a musical family (Dad is a trumpeter and educator). In an email conversation, she writes " When I was about 5 years old, my father began to buy me CD's, which were still a bit new back in the early 90's, and the second CD he gave me was "Dinah: For Those in Love". He thought I would love Dinah's singing, but also Clark Terry was a very good family friend, and that made the recording even more precious. I became obsessed with that record. I only had a walkman, so we had to make a cassette so I could listen to it whenever I wanted. Pretty soon I learned every song and every solo. My father and Clark thought this was HILARIOUS and would make me sing bits of the record at parties. After all this, when I was about 8, I decided all I would listen to was Dinah. So everytime we went record shopping, that's all I bought and eventually I had most of her recordings. I spent most of my younger years with her, only listening to Billie Holiday, Sarah Vaughan, etc etc, once I was a teenager. To this day Dinah remains my touchstone and my constant companion and inspiration. Doing this project was a great deal of fun, for that reason. I selected the tunes from among my favorite Dinah recordings, some were big radio hits and some were only big hits to me."
The new album features bassist David Williams, drummer Lewis Nash and, on flugelhorn and trumpet, her father Stephen Fulton. If you've not heard the music of Dinah Washington or only know her from her 1959 mega-hit "What a Difference A Day Makes", this recording will be a real treat. That song is here but with a subtle Latin rhythm and no big string orchestra. You'll hear the influence of the vocalist on Ms. Fulton and that's fine - Ms. Holiday and Ms. Vaughan can be heard but this is no imitation. And, this recording also has quite a fine piano solo. Dad turns up on "Ain't Misbehavin'", his muted trumpet work playing some fine blues lines. On "A Bad case of the Blues", the elder Fulton channels Louis Armstrong (at times) but stays in the horn's middle register. There's a great blues piano solo on "Baby Won't You Please Come Home" with Ms. Fulton ranging up an down the keys but always in her blues mode. Williams' thick tone on bass and Nash's splendid cymbal work also stand out. The program closes with "Midnight Stroll"; just piano on this reflective walk, the strong left hand keeping the bottom covered while the right hand tells the "story", telling the "truth" of why she's strolling alone.
Champian Fulton and band - Dad on flugelhorn Adi Meyerson on bass, and Ben Zweig on drums - will be this Friday February 19 at 9 p.m. in the 9th Note, now located at 15 Band Street in Stamford. The venue moved from its original home in New Haven some months ago and has been great entertainment 4 - 5 times a week. To reserve tickets and get directions, call 203-504-8828 or go to www.the9thnote.com. To find out more about Ms. Fulton, go to www.champian.net.
Here, give a listen:
On Saturday night (2/20), the 9th Note welcomes guitarist Syberen Van Munster and his Quintet. The Dutch guitarist and composer released his debut CD, "Plunge For Distance", last Marchand brings most of the musicians who participated on the sessions to the Stamford night club including Ben van Gelder (alto sax), Vitor Gonçalves (piano/accordion) and Rick Rosato (bass). Joining them on drums will be Mark Ferber, one of the finer drummers on the NYC scene. I have yet to hear the recording but below is a video of the title song which will give you an idea of the musical and emotional qualities in the guitarist's compositions. To find out more about his life and work, go to www.syberenvanmunster.com. For ticket information, call the club at 203-504-8828.
The Side Door Jazz Club in Old Lyme has yet another impressive weekend of music planned for this week. On Friday night, Jan and Ken welcome baritone saxophonist Gary Smulyan with the fabulous rhythm section of bassist Ray Drummond and drummer Billy Drummond (no relation). Smulyan, a native of Bethpage, NY, joined the Woody Herman Young Thundering Herd in 1978, a high-powered ensemble that also included saxophonist Joe Lovano and bassist Mark Johnson. He then went on to play with the Mel Lewis Jazz Orchestra as well as the Mingus Big Band and is now a mainstay in the Vanguard Jazz Orchestra. He's also worked with dozens of pop and jazz stars plus has recorded 10 albums as a leader. Smulyan is one of the baritone players who uses the full range of the big wind instrument and sounds great in every one of them
He and the Drummonds will hit the first notes at 8:30 p.m. For more information and ticket reservations, call 860-434-0886.
On Saturday, bassist Ben Wolfe returns to Old Lyme and he brings 2 of his favorite musicians and collaborators, pianist Orrin Evans and drummer Donald Edwards. Both appeared on Wolfe's excellent 2015 PosiTone Records CD, "The Whisperer" (that session also featured the fine reed player Stacy Dillard) and have recorded several dates as a unit (including the one below). Wolfe, who can swing with the best of them, also is a fine composer, writing tunes that bring out the best in the musicians who are featured. He's worked with vocalists Harry Connick, Jr. and Diana Krall as well as with groups led by Wynton Marsalis, his brother Branford, pianist Marcus Roberts, and drummer Carl Allen.
Doors open at 7:30 p.m. and the Trio will begin at 8:30. For more information, go to thesidedoorjazz.com or call the number above. To find out more about the bassist, go to www.benwolfe.com.
Here are Messrs. Wolfe, Edwards, and Evans playing the blues from Orrin Evans' "Flip The Script" CD on PosiTone Records:
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