Firehouse 12 Series Ends, The Side Door's Ladies' Weekend + a Picker' CD Pick

2011

The Firehouse 12 Spring 2015 Concert Series comes to a close this Friday June 12 with Noah Jarrett's Triage. Bassist/composer Jarrett, who is one of 2 sons from pianist Keith Jarrett's first marriage, started out playing violin at a very early but switched to electric bass by the age of 9 and acoustic bass some time later.  He graduated from the New England Conservatory of Music, all the while playing in numerous ensembles he either led or was a member of.  Triage features the bassist in the company of Jarrett Gilgore (alto saxophone) and Noah Ripley (drums).  The trio has, in the past, included tenor saxophonist Adam Niewood.  They have yet to record but have playing together a lot lately, with gigs up and down the Eastern seaboard.

They'll play 2 sets - 8:30 and 10 p.m. - for more information, go to firehouse12.com or call 203-785-0468.

Cezanne Jazz Club

Pianist and composer Leslie Pintchik has been in the studio this week recording tracks for her next release.  She's bringing her rhythm section, longtime bassist Scott Hardy and drummer Michael Sarin (Ben Allison's band, Thomas Chapin Trio, Mario Pavone) to The Side Door Jazz Club in Old Lyme.  They'll play a hefty amount of Ms. Pintchik's original music, which is quite melodic, filled with strong interplay, and flows rather than swings or rocks.  Her most recent self-released recording, "In the Nature of Things" (my review here), is quite impressive.  Her imaginative rearrangements of standards is also worth noting.

Doors open at 7:30 and the first set starts at 8:30. To find out more about the pianist and her work, go to www.lesliepintchik.com.

Bassist, composer, and label head Mimi Jones (Miriam Sullivan) leads a dynamic quartet to The Side Door on Saturday.  Ms. Jones, a native of New York City, started her musical career playing guitar but switched to cello to join the LaGuardia High school of Music and Performing Arts.  She earned a full scholarship to the Manhattan School of Music where she studied, played or came into contact with greats such as Dr. Billy Taylor, Max Roach, Barry Harris, Yusef Lateef and many others.  By this time she had switched to bass and began working on quite a regular basis.  Upon graduation, she found work in the bands of saxophonists Tia Fuller and Ravi Coltrane, pianist Luis Perdomo and so many others. Several years ago, she founded Hot Tone Music, a label that has released 6 CDs including "Balance", her 2nd recording as a leader (my review is here). O\

Joining Mimi Jones at The Side Door will be pianist Miki Hayama (who's appeared on both of Ms. Jones' CDs), Mark Shim (soprano saxophone, wind controller/synthesizer) and Hartford native Jonathan Barber (drums). You'l be impressed by the band's musicality as well as Ms. Jones' strong bass work.  The quartet hits the stage at 8:30 p.m.  For tickets and more information, go to thesidedoorjazz.com or call 860-434-0886. To find out more about the bassist and her music, go to www.mimijonesmusic.com.

Here are some hot tones from "Balance":


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Jeff Richman, as one can see by the cover of his 16th CD as a leader, is an electric guitarist.  "Hotwire" (Nefer Records), produced by bassist Jimmy Haslip (Yellowjackets), features 9 originals and 1 cover ("Oh, Yeah?", composed by Jan Hammer and Fernando Saunders). Among the musicians on the various tracks are Vinny Colaiuta (drums), Jeff Lorber (synthesizer), Mitchel Forman (acoustic piano), Scott Kinsey (piano, keyboards), Jeff Beal (trumpet, flugelhorn), Brandon Fields (saxophones), Anthony Jackson (bass), Gary Novak (drums), George Whitty (keyboards and programming) and, on 2 tracks, guitarist Mike Stern.  To Richman's credit, when you consider all this "firepower", this is one of the most melodic fusion albums by a guitarist since Jeff Beck's "Blow By Blow" (1975).

That's not to say Richman does not display his formidable technique but he seems to be more interested in keeping your attention on the song. Pieces such as the funky "Seven Up" dance along merrily (in this instance atop Colaiuta's drums and the producer's thick bass lines) with the Fields and Beal providing acting as the horn section. Beal rocks out n flugelhorn on "Golden Arrow", acting as a strong solo voice to offset the guitar. Forman's handsome piano introduction on the ballad "One Last Kiss" sets up the emotionally rich melody line.  Scott Kinsey's "space" synth sounds lead the way into "Solar City" which then is powered by the melodic bass and powerful drums (here it's Haslip and Hungarian-born drummer Gergo Borlai in his only appearance). Anthony Jackson and Gary Novak make up the rhythm section for "North Shore", a powerful piece with a lovely solo acoustic piano intro by Gary Fukashima.  Here, the guitar melody is shadowed by the wordless vocals of Josefine Löfgren and she supplies an angelic voice beneath the fiery guitar solo.

One cannot help but hear the Jeff Beck influence in Richman's lines (although he's not as enamored of the whammy bar as the great British guitarist is) and in his intelligent use of volume.  His tone is truly big, similar at times to a trumpet, and he can really rip (check out the Hammer/Saunders to hear him let loose). Yet, each time I listen, it's easy to get past the Beck connection and enjoy the songs.  This music does not sound "phoned in" nor do the pieces seem an excuse for a "blowing session". "Hotwire" is indeed hot stuff - Jeff Richman sounds great throughout but, for this listener, it is his compositions that are the most impressive aspect of this recording.

At this moment, jeffrichman.net seems to be inaccessible. So, you can get more information and listen to most of his recordings by going to jeffrichman.bandcamp.com.

Here's a delightful taste of Mr. Richman and company:

Guitar Trios Plus

The Michael Musillami Trio - Musillami (guitar) with the irrepressible rhythm section of Joe Fonda (bass) and George Schuller (drums) - has been together for over 10 years during which time they have released 7 CDs for the leader's Playscape Recordings.  No. 7 is titled "Pride" and is a 2-CD set comprised of 2 sessions recorded in New Haven CT's remarkable Firehouse 12 Studios.  Both disks feature guests with the Trio, the first from late November of 2013 adding pianist Kris Davis and tenor saxophonist Jimmy Greene (on 2 tracks).  Disk 2 was recorded in concert (the space serves as both recording studio and performance space) on October 10, 2007 and features violinist Mark Feldman.

Musillami has recorded with pianists before, most notably the mercuric Peter Madsen and melodic Ted Rosenthal.  Ms. Davis (pictured left), whom the guitarist met in an Artists Showcase in January 2013, brings a different dynamic from the pianists mentioned above.  She's rarely demonstrative, often understated, yet can play with such grace, as she displays on "Old Tea."  Her angular lines both work against and with the active rhythm section on "Mountain Pride" and serve as a smart counterpoint for the often rapid-fire phrases of the leader.  The head to "Uncle Fino's Garden" is a swinging, even boppish, jaunt that evokes Thelonious Monk. Ms. Davis's gentle comping behind the guitar during the solo sets the stage for her impressionistic solo, one that starts out rubato (with smart counterpoint from Fonda and forceful interjections from Schuller) and goes through numerous shifts in tempo and intensity. Her subtle blues riffs on "Bald Yet Hip" (also Monk-like at times) set the pace for the leader's long solo, which in turn, opens up the floor for Greene to come in soft and low before building a head of steam.  There's a funky feel to "Courageous David B." and Greene rides the evolving waves of support from Fonda and Schuller.

The disk closes with "Wild Things Music", 4 songs from a suite Musillami composed to accompany a reading of Maurice Sendak's 'Where the Wild Things Are." Like the book and the drawings that inspired it, the moods of the music range from dark and foreboding to playful and downright rowdy. Ms. Davis is an integral part of the music from the opening seconds to the last tones, seamlessly matching her intensity to the Trio's exuberance.

Disk 2 comes from a CD-release gig that the MMT with Mark Feldman (pictured left) played at the Firehouse 5 months after recording the CD/DVD set "The Treatment." This 4-song set includes 1 song ("Human Conditions" from the earlier release (it appears on both the studio and live recording that make up that package), 2 early Musillami songs re-arranged for this quartet, and the title track from the Trio's 2003 debut CD, "Beijing."

"Swedish Fish" opens the set, a high-energy piece that excites not only the crowd but the band. Once the 4 musicians leave the "theme" section, the music exploded with feisty solos and great rhythm section work. "Human Conditions"  features a melody picked and plucked by the guitarist and violinist plus playful movement in and out of solos.  Schuller's subtly forceful drumming underpins Feldman's expansive solo then drops out as Musillami and Fonda execute a nifty dialogue filled with counterpoint and call-and-response.  The 20-minute "Beijing" is a multi-sectioned tour-de-force that starts softly but picks up in excitement as the 4 musicians move into the body of the piece. Everyone but Schuller solos in the first 11 minutes then the guitarist returns to solo over a "straight-ahead" rhythm. After that solo reaches its climax, everyone drops out for the drummer who, at first, quietly with hand percussion, then with growing intensity, delivers a rhythmic and melodic solo dropping back down to a whisper before the guitarist returns to the opening theme.  Overall, the performance is dramatic and emotionally satisfying.

"Pride" is powerful music played by musicians who have no fear of the unknown and great trust in each other.  The music that Michael Musillami composes for these various combinations is written knowing the strengths of his partners and their intuitive natures.  Messrs. Fonda and Schuller are adventurous, supportive, and playful throughout the program - the listener should pay special attention to how they interact and support the soloists and the composed material. The guests are not afterthoughts or add-ons but full participants in the adventure.  For more information, go to www.michaelmusillami.com.

Kris Davis joins the Michael Musillami Trio in concert at Firehouse 12 on October 3, 2014 (writer's note: the evening of Yom Kippur - darn!) - for more information, go to firehouse12.com.

Rotem Sivan is a young guitarist/composer who moved to the United States from his native Israel in 2008 to study at the New School in New York City.  "For Emotional Use Only" (Fresh Sound New Talent) is his 2nd recording and the first to feature his working group of Haggai Cohen Milo (bass) and Mark McLean (drums). It's fascinating that the first song you hear on the CD - "Intro to Spirals" - is a bass solo but, after you listen several times, you understand that the leader cares more about the compositions than displaying his formidable chops.  Yet, Sivan can surely play. "Sefi's Blues" shows he can "blaze" with the best, that bassist Milo has great dexterity and that McLean can swing quietly or very much out loud. The melody line of "Spirals" may remind you a country song until the bridge while the title track is a stunning ballad built upon a handsome bass line.  "Pass It On" has a sly melody line that picks up speed as if the guitar and bass were falling downstairs.  The guitar solo starts off as if the Trio was playing hide-and-seek but soon hits on a groove that allows the guitarist to show a bluesier side.  There's a strong sense of "play" as the 3 shift tempos at will, speeding up to a breathtaking pace.

Sivan composed 8 of the 10 tracks, the exceptions being the expansive reading of "A Dream Is a Wish Your Heart Makes" (from Disney's "Cinderella") - one hears the influence of the late Jim Hall in the rippling horn-like phrases of the guitar solo (not to mention the various song quotes Sivan throws in). Tom Jobim's "Useless Landscape" shows that the group can move in-and-out of tempo without losing its forward motion and also play an intense piece without raising the volume.

"For Emotional Use Only" ought to introduce guitarist Rotem Sivan to a larger audience (his previous release is on SteepleChase). The program is a delight from start-to-finish, the musicianship top-notch and the execution delightful.  You can listen late at night without waking anyone in the house (but not in the car with the windows open.)  More, please!  For more information, go to www.rotemsivan.com.

For his first release as a leader since 2007's "Invocation", guitarist and composer Paul Bollenback brought bassist Joseph Lepore (Melissa Aldana, Shauli Einav) and drummer Rogerio Boccato (John Pattitucci, Kenny Garrett) into the studios for 2 days in October 2013.  The ensemble's work resulted in "Portraits In Space and Time" (Mayimba Jazz), nearly 80 minutes of fine melodies, hearty improvisations and, best of all, wonderful give-and-take.  Set up in the manner of a trio gig, the 14-tune program includes several short group improvisations that serve both as an introduction to the program as well as transitions to new songs.

Perhaps the best way to enjoy this music is to start at the beginning and let it go. It will take the interested listener 2 or 3 times through program to tell the tunes apart. There are traces of John Abercrombie in the sound and melody phrases of "Homecoming" and isn't that the opening riff of Miles's "Milestones" that shows up now and then.   The second transition piece, "Collective", introduces the acoustic guitar into the set plus sets the stage for Bollenback's lovely ballad "Sunset" - he articulates his notes with such grace on this track and the more up-tempo (and Brazilian sounding) "Little Island" that these tracks really stand out. The subtle rhythms and sway of "Dance of Hands" and the quiet yet emotional strength of "Dance Delicious" display a gentleness , 2 more acoustic guitar tracks with song melodic content and intuitive interplay. The trio never substitutes technique for content, endless riffs for melody and it's important to mention that the rhythm section is not there just to support the guitarist but to interact, to give him ideas and to push him in new directions.

By the time one reaches the final track, the blues-soaked "Swingin' At Capones", I can't imagine one not being satisfied with these "Portraits."  Paul Bollenback can and does play with great gusto but a good percentage of this recording shows off a well-developed sense of melody.  Kudos to Joseph Lepore and Rogerio Boccato for their stellar contributions. For more information, go to www.paulbollenback.com.

Intriguing Voices Without & With Words

Guitarist/composer Mike Baggetta continues to create music that, while veering from what one might call the “mainstream”, nevertheless is quite accessible and attractive. He does so by creating musical adventures that lead the musicians (and hence the listeners) down unexpected paths.

He undertakes his latest journey, "Thieves and Secrets" (Fresh Sound/New Talent), in the company of Jason Rigby (tenor and soprano  saxophones), Eivind Opsvik (bass) and the indefatigable George Schuller (drums). Opening with a group composition “Transmissions”, this is a piece where the music often shifts rhythms and intensity levels at the drop of Mr. Schuller’s ubiquitous pork-pie hat.  The interactions of the quartet during the solos is commendable as everyone is involved Rigby’s saxophone weaves line around the guitar while the rhythm section alternately pushes and pulses, the bass lines moserving as the foundation while the drummer creates rhythmical counterpoint.

The guitarist keeps finding new ways to express himself.  “New Scotia” is a work for acoustic and electric guitar, a plaintive melody for one and sonic textures for the other. Rigby's tenor and Baggetta's acoustic guitar are the solo voice on "Hidden Things", the expansive melody suggested in the guitar opening and carried out by the reed.  The short yet expressive guitar solo builds upon the handsome saxophone melody.   Baggetta’s loops set the stage for the handsome ballad “The Wind”, the drums laying down a solid 4/4 for a melody that could have been a hit for WILCO or a group with an Americana sound. Schuller's insistent drive motors "World Leaders", a piece where the electric guitar mixes with soprano saxophone on the main theme. Baggetta pulls out the stops (at least, an octave divider) for his furious but never out-of-control solo. The final track, "Bridges", blends the fire one hears in a Neil Young/Crazy Horse piece with the jazz chops of Nels Cline Singers jam.  

"Thieves and Secrets" draws you in with its energy and keeps one's interest with its sonic experiments plus the impressive melodic variations.  Go see Mike Baggetta in person as he always gives is 110% to his music as the listener can tell from this excellent new release.  For more information, go to www.mikebaggetta.com. 

How best to describe the music of the trio known as Rallidae?  First, know that the ensemble includes Angela Morris (tenor saxophone, voice), Scott Colberg (acoustic bass, voice) and Alex Samaras (voice).  Understand that Ms. Morris has studied with Darcy James Argue and is currently a member of the BMI Jazz Composers Workshop under the tutelage of Jim McNeely and Mike Holober. Fellow Canadian Samaras has worked with Meredith Monk and leads the 8-voice GREX ensemble.  Bassist Colberg is extremely busy as both a band member of numerous ensembles and as a sideman.  None of that will really prepare one for this adventurous project.

The trio's debut, "Paper Birds" (self-released by Ms. Morris) hews closer to the music of Theo Bleckmann (especially in Mr. Samaras's wide ranging vocals) and Sam Sadigursky (setting poetry to music). This is a 4-song EP, clocking in at just under 24 minutes.  Ms. Morris wrote the music and lyrics save for the Johanna Skibsrud poem on the opening track, "I Had Imagined Them, Unthinkingly", also the only track with 3-part vocal harmony. I like the blend of the clean lines of the female voice with the more pliable voice of Mr. Samaras.  The final track, "Long Time", is just voice with Ms. Colberg's expressive bass; it has the feel of an Appalachian ballad, a handsome melody with a plaintive vocal. The longest cut, "Prettier" (9:03), moves away from simple opening (voice, sax and shivering bowed bass) to a more "conventional" ballad and then out from that into "freer" territory. "Smells Like Paint" tells a more humorous approach to a "pickup" situation where the narrator has already drunk 9 beers.  The saxophonist and Mr. Samaras get a bit agitated in the middle of the song and end the song on a frantic "blowing in the ear."

"Painted Birds" make take a few intense listens to understand the trio's intent but it's worth the effort. The 4-song program is a smart calling card for Rallidae as it makes one want more and keeps you guessing as to where the music can go.  For more information, go to angelamorris.wordpress.com.

Here's the opening track:

The trio of Andrew Downing (bass), Jim Lewis (trumpet) and David Occhipinti (guitar, effects) have banded together to create "Bristles" (Occdav Music).  The recording is both a celebration of great 20th Century painters and a continuation of the tradition in contemporary jazz to reinterpret standards.  The 3 musicians, all based in Canada, take an approach to this music not unlike the late drummer Paul Motian used with his trio featuring Joe Lovano and Bill Frisell in that the "melody is king" and everything builds from that.

Whereas the tribute tracks are short, often offering only fragments of melody, the majority of the "standards" are longer (yet, at times, just as experimental). Downing's masterfully bowed bass powers his bandmates through an energetic "You and The Night and The Music", a piece that also features a powerful trumpet solo and a rollicking guitar spotlight. Downing sticks to bowed bass for his excellent solo turn.  Hypnotic sustained guitar chords and notes set the scene for a slow opening to "My One and Only Love"; halfway through, the bassist falls into a medium-tempo walking line for the trumpet solo.  "Once I Loved" opens with the trumpet stating the melody, the guitar sustaining with feedback behind him and the bassist strumming like a flamenco master. The pace of the performance is slow yet always moving forward. There is a gentle sweetness to the performance of Johnny Mandel's "Emily", a feeling that continues all the way through - the melody keeps experimentation to a minimum and it sounds as if the audience (5 of the 6 "standards" were taped in person) appreciated the group's effort.

As for those "painters portraits", none exceeds 1:57 with four tracks around 70 seconds.  These totally improvised "miniatures" are quite a contrast to the longer works in that the improvisations capture the essence to the particular painters; "Jackson Pollock" has a wildness, a violence to its composition while "Paul Klee" is more deliberate, more angular yet softer overall. "Emily Carr" (a British Columbian painter who excelled at both landscape paintings and First Nations totemic representations) receives a dignified if still experimental performance while the American "Cy Twombly" (1928-2011) gets short phrases and barely formed sounds, a sonic representation of his abstract "scribblings."

The pun of "Bristles" as the title of this recording refers as much to the artists who are celebrated as to the way Andrew Downing, James Lewis, and David Occhipinti create their aural landscape (musicians as "sculptors of sound"). Subdued yet intense, this album is one well worth keeping.  For more information go to www.davidocchipinti.com/bristlestrio.html.