While visiting family in Chicago last month (6/21), I took the opportunity to meet (on separate occasions) with musicians Sam Pilnick (pictured left) and Shawn Maxwell. Both are saxophonists and composers with Pilnick just beginning his career and Maxwell twenty+ years into his (my next post will feature his two new releases). The younger musician teaches middle-school Band in a Chicago suburb and has been performing with various ensembles since moving to the city four years ago. One of those groups is the Sam Pilnick Nonet Project featuring himself on tenor saxophone and eight of his close musical friends. He composes pieces that play to each member's strength and his debut recording is a fine example of that
"The Adler Suite" (Outside In Music) started its life when the composer served as a chaperone on a school trip to the Adler Planetarium in Chicago. Not only was Pilnick impressed by the architecture (see photo below) but was fascinated by the many displays that spoke of man's quest to discover what's beyond the sky. Each time he returned to the Planetarium, Pilnick would take notes and begin composing themes about different aspects of exploration. The first three solo trumpet notes of the opening track, "Squawk Box", leads one to believe that the piece is a rewrite of Richard Strauss's "Also Sprach Zarathustra"; the piece soon moves into a harmonic adventure that invites in the nonet. The composer-arranger uses variations on those three notes throughout the first several minutes before a short bowed bass solo opens the music up to the reeds, brass, and piano creating musical universe. Pianist Meghan Stahl creates an introspective solo that is fllwed by an excellent bass clarinet solo from Ted Hogarth. In case you wondered, the title of the piece comes from the apparatus NASA would place in an astronaut's home so the family could hear the communications between those in outer space and Mission Control.
The Adler Planetarium
The Nonet then jumps into "Star Launch", a bebop-inspired romp that features a saxophone conversation between Max Bessesen (alto) and the leader's tenor. The interaction of two stars revolving around each other until they merge is the basis of "Revolving Twins" – you'll hear how the sections move around each other, how the rhythm section push them together and pull apart. "House of the Massives (Pismis-24)" rocks from the opening notes and is based on a photograph of a star system and the amazing colors one sees. The music also reflects the composer's love of rock music yet listen to how he moves the reeds and brass around each other. Powerful solos from Bessesen, guitarist Ben Cruz, and the leader give even more urgency to the music.
The album closes with "Expanding Universe" which feeds into "Falling Backwards". The first track has no set tempo but moves forward on the rich section work with Bessesen's alto leading the way. The intensity builds (thanks to drummer Matthew Smalligan) until it is broken by the eerie guitar scratches, bowed bass, and Pilnick's tenor playing the melody line until silence; then, the piano, bass, and drums set a driving rhythm for the latter piece which is based on the space capsule's reentry into Earth's atmosphere and gravity. The tenor solo over a changing rhythmic landscape highlights the various emotions one must feel coming home. Trombonist Euan Edmonds strong solo statement over the horns and thunderous rhythm section echoes the final, fiery, descent before the parachutes open and the capsule splashes into the ocean.
"The Adler Suite" is a delight-filled debut from Sam Pilnick. This labor of love is highly personal yet resonates with those who dream of seeing stars, traveling to other planets, and exploring the vast universe. The Nonet plays with verve and emotion, sharing the composer's Planetarium dreams. Listen with open ears and open mind; you'll find this journey quite exciting!
Nine years have passed since I last heard the music of pianist Ari Erev. Born, raised, and still living in Israel, he's been studying and playing jazz since the age of 17. He's worked alongside many Israeli musicians including bassist Tal Ronen, percussionist Gilad Dobrecky, and vocalist Ayelet Rose Gottlieb (now living in Canada). He's also recorded with saxophonists Joel Frahm and Yuval Cohen (brother of Anat and trumpeter Avishai). In addition to his Trio work, his Nocturno quartet explores the music of Central and South America as well as Cuba. Erev has recorded five albums as a leader, the latest being "Close to Home" (self-released).
Instead of celebrating exploring outer space or new worlds on this planet, composer' pianist writes about the places and people he loves, about his community, celebrating life in the midst of continuous strife. Joining Erev is bassist Assaf Hakimi and drummer Gasper Bertoncelj plus guests Yuval Cohen (soprano sax on five tracks), Hadar Noiberg (flute on two tracks), and Gilad Dobrecky (percussion on eight tracks). The 73+ minute program features nine originals plus one piece each by Keith Jarrett, Antonio Carlos Jobim, Israeli rock star Efraim Shamir, Brazilian composer/ conductor Debora Gurgel, and Paul Simon. The album opens with the leader's "Israeli Story", an uptempo samba featuring Ms. Noiberg's lyrical flute work. Dobrecky and Bertoncelj combine with the bassist to create a bouncy rhythm for the soloists to play upon. There is a similar feel to the following track "Playground" although this time it's Cohen's delightful soprano sax leading the way.
Photo: Gangi N all that jazz
Ms. Gurgel's "Para Sempre (Forever)" also utilizes a samba on which the composer places a fine melody. Erev leads the way with a heartfelt reading of the main melody. The pianist builds his solo off the melody lines moving back and forth like watching a leaf dancing in the wind. Shamir's "Shi'ur Moledet (Homeland Class)" opens with a classically-inspired melody played only by piano and bass (excellent counterpoint) until Dobrecky joins 1/3rd of the way into the piece. Listen closely to the interaction between bass and piano as it supplies the forward motion. Ms. Hoiberg and Cohen combine to present the melody on Erev's "Afar (for Tal)" but the first solo goes to bassist full-toned acoustic bass. Then the flute and soprano improvise together, wrapping the lines around each other and occasionally moving back to the melody until the leader steps out for a finely-constructed solo.
The last three tracks begin with A C Jobim's "Olha Maria", a lovely ballad on which the pianist caresses the circular melody with just bass and percussion in support. Following that is Simon's "Still Crazy After All These Years" – the drums and percussion percolate below the piano playing the melody as the bass dances in company with Erev's left hand. The pianist, as is his style, stays close to the melody throughout his solo. He captures the bluesy quality of the original. Hakimi switches to electric bass for the final track, Erev's "Po (Here)", while Cohen's soprano is featured on the melody. He's in the higher register throughout the tune; there's a delightful piano solo that leads back to Cohen whose solo stays close to the melody. The sax and piano tease each other as the rhythm section guide them to a gentle finish.
"Close To Home" is the most personal of the albums Ari Erev has released. The leader, the rhythm section, and the guests all have reverence for melody and Brazilian rhythms so the music rarely gets noisy. Many of the songs wrap around the listener like a comfortable blanket, a hug that serves as a balm in troubled times. Some make you want to dance. All of them sound really good!
Over the past decade, composer and arranger Miho Hazama, a native of Tokyo, Japan, had developed into one of the jazz world's most in-demand artists. She has arranged and conducted for numerous Japanese Big Bands and pop recordings as well as making her mark in the United States and Europe in the past several years - she has worked with Owen Broder, Theo Bleckmann, the Danish Radio Big Band, and the WDR Big Band among many others.
In August of 2018, Sunnyside Records released "The Monk: Live at Bimhuis", her arrangements of classic Thelonious Monk songs. Now. less than six months later, the label has issued "Dancer in Nowhere" credited to Miho Hazam m_unit, her 13-piece ensemble (plus guests) that features a rhythm section plus vibraphone, three reeds and two brass, and a string quartet, the same instrumentation she has employed for her two previous large ensemble releases. The original music this group plays is fascinating, not beholden to any one particular style or influential mentor. One hears snippets of "pop" music, swing, hard-bop, Ellington-Strayhorn, theatrical music, and more. That written, this music is certainly not static. Like many of her contemporaries, the solos rise intelligently out of the melody lines and arrangements not just because the song needs a solo.
On the opening "Today, Not Today", note how natural the strings sound not only on their own but when mixing with the reeds and brass (trumpet and French horn). On "RUN", listen to how Ms. Hazama utilizes Jake Goldbas's powerful drumming to not only push the piece forward but also create the initial intensity in the music. The interaction of the ensemble during the flute solo (Ryoji Ihara) creates quite a tension which increases during Steve Wilson's wonderful alto saxophone flight of fancy.
This is the rare recording where every song stands out. "Somnabulant"opens with the wordless vocals of guest Kavita Shah supported by the string quartet. Then, the trumpet and reeds enter and the music drops into a slow ballad tempo over which guest Jason Rigby plays a lovely tenor solo. Other instrumental voices are introduced as the music moves forward. Ms. Shah and pianist Billy Test work together in the center section - when the drums reenter, it's to support the powerful guitar solo of Lionel Loueke. The rest of the ensemble enters to support and then be influenced by the wailing blues lines from the guitarist. Later in the program, Ms. Hazama creates an exciting arrangement of John Williams's "Olympic Fanfare and Theme", the only non-original on the eight-song program. The way the various voices are blended during the second half of the piece is fascinating.
Charles R. Hale Productions
The album closes with the title track. There are several different storylines as the music progresses, moving from a quiet, even peaceful melody to a powerful series of interactions where the various sections interpret the melody and the harmonies (plus Nate Wood takes over the drum seat). Jason Rigby's robust tenor solo leads the group to the finish line.
"Dancer In Nowhere" is impressive and expressive from the opening note to the final fade. Miho Hazama has grown up before our very ears. Her music is contemporary yet timeless and we are the beneficiaries of her brilliance.
Miho Hazama - conductor, composer Steve Wilson - alto, soprano sax, flute Ryoji Ihara - tenor sax, clarinet, flute Jason Rigby - tenor sax, clarinet (4 & 8) Andrew Gutauskas - baritone sax, bass clarinet Jonathan Powell - trumpet, flugelhorn Adam Unsworth - French horn Tomato Akeboshi - violin Sita Chay - violin Atsugi Yoshida - viola Meaghan Burke - cello James Shipp - vibraphone, guiro, shekere Billy Test - piano Sam Anning - bass Jake Goldbas - drums Kavita Shah - voice (4 & 6) Lionel Loueke - guitar (4) Nate Wood - drums (8)
The Wing Walker Orchestra, an 11-piece ensemble organized by composer, arranger and bass clarinetist Drew Williams, has issued its debut album. "Hazel" (ears and eyes Records) is composed of the seven-part "Hazel Suite", two more Williams originals, and a reworking oftUnE-yArDs "Look Around". The "...Suite" is inspired by the graphic "space opera" series "Saga" created by Brian K. Vaughan and illustrated by Fiona Staples. As a listener, you do not need know that because the music stands on its own. The seven pieces utilizes all the voices in the ensemble; many of the songs ride on the powerful rhythms created by drummer Nathan Ellman-Bell. The initial five tracks are fairly short but the music hits its stride on parts VI and VII. The pounding drums and the clarinet melody leads the ensemble into "VI: Heists (or Your Majesty)", a piece that really pushes hard. The "low" instruments, trombones and tenor sax, continue the theme as the rest of the group begins to chime in. "VII: Ignition (or Hazel)" is much slower, the tolling piano note keeps the rhythm section as the brass and reeds quietly play longer notes. The intensity picks up once the bass drum replaces the piano note yet the music never changes tempo - although the piano plays tolling chords as the piece fades - nor is there a defined melody line.
The balance of the album is just as engaging. "Look Around" is a smart arrangement of the original with trombone and alto saxophone replace Merrill Garbus's vocals. The ensemble really kicks into middle section which features a muscular trombone solo. "We've Seen These Walls Crumble" is a soulful ballad which, at times (especially at the beginning and in the final third), reminds this listener of The Band (Americana jazz?). The rubato middle section starts off very quietly and features a conversation by the two trumpeters (John Blevins and Danny Gouker). The final track on the CD (the digital download has a bonus track), "High", has a delightful feel with a playful bass clarinet solo from Williams, several tempo changes, a high-powered guitar solo from Jeff McLaughlin, and an exciting lead-up to the finish, once more powered by Ellman-Bell with help from bassist Adam Hopkins.
Some of the thematic material on "Hazel" may remind listeners of the writing of Darcy James Argue. However, unlike many modern large ensembles, the reed section of the Wing Walker Orchestra does not double or triple on other instruments. Nevertheless, over its six years of existence, the ensemble has developed its own personality and one hopes this is just the first installment in a series of fine recordings with the promise of tours. For more information, go to www.wingwalkermusic.com. Give a listen:
Personnel:
Brad Mulholland - alto saxophone & clarinet Eric Trudel - tenor saxophone Drew Williams - bass clarinet John Blevins - trumpet Danny Gouker -trumpet Karl Lyden - trombone Nick Grinder - trombone Jeff McLaughlin - guitar Marta Sánchez - piano Adam Hopkins - acoustic bass Nathan Ellman-Bell - drums
Guitarist, composer, and arranger Chris Jentsch has, over the course two decades, released seven albums, the majority with larger ensembles. The latest is "Topics In American History" (self-released on Blue Schist Records) and features the Jentsch Group No Net, a splendid ensemble recored live in concert; the band features a group of Brooklyn-based musicians conducted by JC Sanford. The seven-song program covers, in its own special way, 460+ years of history Starting with "1491", just before the European ships ventured to the Caribbean; it's obvious this is an abstract history clarified by the liner notes. Still, the various voices of the ensemble, the strong rhythm section, and the intelligent arrangements help the listener to understand how the events referred to in the song titles helped to the shape the present day
Photo: Gina Renzi
The Copland-esque "prairie" ramble that opens "Manifest Destiny" gives way to a handsome melody (excellent colors from the reeds, brass, and guitar in the background) leads to solos by bassist Jim Whitney, onto a delightful conversation between the leader and the clarinet of Mike McGinnis who then steps out for a powerful solo before Jason Rigby creates a lovely soprano sax solo.
Before the songs closes, other voices step out for monetary solo and duo lines pushed forward by drummer Eric Halvorson.
Just as the pioneers discovered new territories, the listener can do that with these songs. There are touches of darkness in "Dominos", a piece inspired by the Red Scare of the 1950s (Cold War and McCarthyism). The leader takes a long impassioned solo followed by an equally powerful solo from Rigby, here on tenor sax. Throughout the album, the arrangements leave space for the various voices to interact and nobody is ignored.
Photo: Gayle Cornish
The album closes with "Meeting At Surratt's", a reference to Mary Surratt's boarding house where the group that plotted to assassinate President Abraham Lincoln met. She was hanged for her association with the conspirators although the evidence against her was weak. The song, introduced with martial drumming, has a traditional feel and a melody line led by the tenor saxophone. After Rigby creates a fascinating tenor sax statement, the leader steps out for a robust solo, his lines rising above the ensemble and leading them to the finish.
"Topics In American History" is filled with good melodies and excellent musicianship. Every solo stands out as do the arrangements around the melody and the verses. Jentsch Group No Net, the brainchild of Chris Jentsch, tells us stories worth paying attention to.
Chris Jentsch - electric guitar
Michael Gentile - flutes
Mike McGinnis - clarinets
Jason Rigby - tenor saxophone, soprano saxophone
David Smith - trumpet, flugelhorn
Brian Drye - trombone
Jacob Sacks - piano
Jim Whitney - acoustic bass
Eric Halvorson - drums, percussion
JC Sanford - conductor
The past month has included the usual "stuff of life", from convalescing partners to losing a favorite animal to sad deaths in the community to the long East Coast heat wave. While I still have been listening to the piles of CDs and mp3s that clutter my desk/desktop, writing time has diminished sharply. As for the listing part, there was a week where Miles Davis's "In a Silent Way" and music from the John Coltrane Quartet (concentrating on his Atlantic releases and the new Impulse "Lost Tapes.") That concentrated listening took place in mid-June but, since then, my ears have enjoyed a number of new albums including the two recordings below.
For his seventh album as a leader or co-leader, saxophonist and composer Geof Bradfield moves on to the Delmark Records label from successful stops at Cellar Live and Origin Records. "Yes, and...Music for Nine Improvisers" is a "concept" program with four pieces for nonet and four for four different trios. Utilizing his high-energy rhythm section of bassist Clark Sommers and drummer Dana Hall, Bradfield creates a number of different scenarios for the ensemble. "In Flux" shines the spotlight on guitarist Scott Hesse even as it builds color options for the brass work of trumpeters Marquis Hill and Russ Johnson plus trombonist Joel Adams as well as his fellow reed players, Anna Webber (flute, bass flute, tenor saxophone) and Greg Ward (alto saxophone. Note how the arranger weaves his bass clarinet into the ensemble lines as well as Ms. Webber's expressive flute.
What the composer/arranger accomplishes on the nonet pieces allows the music to breathe even as the ensemble move in and out of written material into improvisations. The long opening theme section to "Impossible Charms" gives Bradfield the opportunity to utilize all the voices, setting up a series of solos from himself, Adams, and Hill (especially on fire here) that are occasionally punctuated by the reeds and brass to play pieces of the opening theme. "Anamneses" (defined as recollections - the word is plural - from a supposed previous existence) opens with statements from Webber's bass flute, Adams's expressive trombone and the handsome section writing (led by Johnson's clear trumpet tones). Webber's flute solo over the expressive percussion and rippling guitar chords opens the piece even further. Johnson's solo is a fascinating tour-de-force, expressive, exploratory, thoughtful, and powerful. Listening to the final track without looking at the title of the piece, I immediately thought "Brazil." "Forro Hermeto" (inspired by and dedicated to Brazilian genius Hermeto Pascoal is imbued with a lightness of spirit - one hears it in the delightful rhythm section work, the fun give-and-take between guitar and trumpet that culminates with both soloing at the same time. Webber and Bradfield step out from the short full-band interjection to present their own call-and-response. The piece has a lightness yet still retains the adventurous spirit of the other nonet works.
The four shorter pieces for trio combinations include the opening "Prelude" that is a hard-driving sax-bass-drums romp that lights the fire for the proceedings. "Chorale" combines the two trumpets with the trombone for a darkly beautiful classically inspired piece. "Ostinato" is a work for guitar with bass and drums with all three overdubbed to great effect. "Chaconne" is the last of the trio pieces. Composed for soprano sax (Bradfield), Ward's alto, and tenor (Ms. Webber), it's also classically oriented and attractive.
"Yes, and..." is inspired by the improvisational techniques created by Chicago's Compass Players in the mid-1950s whose comedy skits inspired the work of Second City and other experimental troupes. Geof Bradfield also cites his studies of French composer Olivier Messiaen's variety of ideas about rhythm, melody, and harmony on his preparation of this material. Over the course of the saxophonist's career, he's paid tribute to Melba Liston, to Leadbelly, to bebop and mainstream jazz, and the inspiration of African rhythms. One can see that this new album is a continuation of all of his studies, his maturity as a composer and arranger, and his desire to continue searching. We who listen closely reap the rewards of his adventurous musical mind.
Here's a different edition of the nonet playing Herbie Hancock's "The Prisoner" (from late March 2017 - it will give you a good idea of the ensemble's sound and Bradfield's arranging talent):
For his fifth release on Posi-Tone Records, "Wheelhouse", tenor saxophonist and composer Tom Tallitsch has gathered a strong assortment of musicians - Jon Davis (piano), Josh Lawrence (trumpet), Peter Brendler (bass), and Vinnie Sperrazza (drums), all leaders in their various groups - and let them loose on a nine-pack of originals that tempt the listener's ears and mind with fine melodies and excellent improvisation. It helps that the rhythm section is quite strong, from Davis's sparkling accompaniment and fine solos to Brendler's "foundational" bass work (not to forget what a melodic player he is), and Sperrazza's adventurous work at the drum set. The leader enjoys sparring with his rhythm section: those interactions on such songs as "Schlep City" and "Red Eye" makes the listener feel as if he or she are in the middle of the band watching as the musicians push, prod, and dance with each other.
Photo: Bryan Murray
One cannot miss the sound of the blues that permeates certain tracks. "Paulus Hook" (named for the waterfront area of Jersey City, New Jersey across the Hudson River from Manhattan) has a sweet, slowly swinging, feel with a handsome melody (note pianist Davis's lovely elaboration around the tenor and trumpet at the close of the tune). The one real ballad on the album, "One for Jonny", opens with a long, lovely, piano solo before Tallitsch enters with the sweet, wistful, melody. Lawrence shines on his part, so lyrical and clean, his articulated notes creating a fine musical portrait. The piece, written with Davis in mind, opens up for allow him to dance atop the gentle brush work and spare bass lines.
There are really no weak tracks on "Wheelhouse." The program closes with the aptly-titled "The Crusher" and "Gas Station Hot Dog" (the two tracks that surround "One for Jonny"). On the former, the quintet explodes from note one on a journey that roils and rollicks thanks to the propulsive drum work and the exciting bass figures. Davis absolutely rocks (he always plays as if he is having the "best time ever"), Lawrence's trumpet dances with glee (goosed on by the rhythm section), and Tallitsch flat-out swings! On the album's final tune, one hears a funky beat and melody reminiscent of Herbie Hancock's "Watermelon Man" - the listener may not be able to contain a laugh or two as the quintet hits the groove, as the soloists ride the "boogaloo", and the cares of the day wash away.
Need a sonic break from the endless waves of negativity that seem to batter one from all sides. Dig in to "Wheelhouse", enjoy what Tom Tallitsch and his creative companions have created, and have a good time.
Music and poetry are often intertwined; whether it's through the turn of the lyrical phrase or the message of the verse, poetry has a rhythm that speaks to many people. Trumpeter and composer Matt Holman was introduced to the Greek poet Sappho (630-550 B.C) by his wife in the early of their courtship and the poet's words fell on receptive ears. Historians believe that the poems were written to be sung with accompaniment of the lyre.
Holman, who has worked or is now working with large ensembles led by Darcy James Argue, John Hollenbeck Fred Hersch’s Leaves of Grass, Asphalt Orchestra, guitarist Joel Harrison, and the JC Sanford Orchestra (among others), also is a member of the SKETCHES quintet and is on the faculty of the Manhattan School of Music and Hunter College.
The poetry of Sappho is the inspiration for "The Tenth Muse" (New Focus Recordings), the trumpeter's second album. Working with Sam Sadigursky (soprano sax, clarinet, bass clarinet, flute, alto flute), Chris Dingman (vibraphone), and Bobby Avey (piano), Holman uses fragments of poems (many of them no more than a short sentence) to create 16 pieces that are minimalistic yet melodic, thoughtful, meditative, reflective, emotionally powerful, and sometimes verging on melancholy.
The Lilypad/Cambridge, MA
It's best to let the music do the talking. The clarity of the sound, the beauty of the individual instruments, how the composer and arranger mixes and matches the voices, how the poetic fragments become musical stories, the moments when the music transports the listener (literally) out of time, all this and more makes "The Tenth Muse" very special. There are moments when the Sadigursky's clarinet or soprano sax echoes or trails behind the trumpet, when the rolling piano chords build to a thundering climax, when Dingman's vibraphone peels like a church bell or the trumpet sustains a note that resonate long after the album ends.
Holman leaves space in the program for each member of the ensemble to have an unaccompanied solo. Those interludes are the shortest tracks in the 67-minute suite but do not feel extraneous (are titled as "Fragments"). And, while there is a classical chamber music feel to the proceedings (especially in Bobby Avey's piano work), the music defies categorization. The composer wisely leaves it up to each listener to find his or her way.
If you are a person who loves to get lost in music, who likes to be challenged and rewarded by a composer and his ensemble, then seek out "The Tenth Muse." The sounds, these abstract notes that coalesce into emotions, have great power and stand out from the standard fare. Matt Holman has given us a wonderful present; take notice.
Mike McGinnis (clarinet, soprano saxophone) is a musician who easily moves in an out of different musical styles without losing his voice. He has composed for large ensemble ("Road Trip" for 10 musicians), worked on Broadway (in "Fela"), performed with Anthony Braxton and Steve Coleman as well as with Yo Lo Tengo, plus is a founding member of The Four Bags, an eclectic group that combines accordion, trombone, guitar, and his woodwinds.
His new recording, "Recurring Dream" (Sunnyside), is a consummation of a desire to work with musicians he idealized growing up in Maine. The album finds him in the company of pianist Art Lande and bassist Steve Swallow, both with long careers, both connected with ECM in its early years (and, in the case of the bassist, to this day thanks to his association with Carla Bley), and both excellent composers as well as adventurous musicians.
McGinnis's liner notes make mention of the bassist's work with clarinetist Jimmy Giuffre, a big influence on the young reed player. This program does not follow Giuffre's experimental trio music (with Paul Bley as well as Swallow) of the early 1960s although "Circle Dance" (credited to McGinnis and Lande) is a short "free" excursion. Instead, the listener is treated to seven delightful melodies with originals for all three, one track by saxophonist Mel Martin (the album opener "Mel's Drive In"), and a Lande "derangement" of the standard "Darn That Dream" that the pianist titled "Drat Recurring Dream."
The opener is a rousing and funky piece with McGinnis on soprano sax dancing through the theme supported by the bass and piano. Listen to how Swallow not only supplies the rhythm but also counterpoint, especially beneath Lande's delightful solo. The bassist's subtle sound blends nicely with the piano throughout and, most notably, on McGinnis's handsome bluesy "Hearth." Another lovely ballad is "Amazing", composed by Swallow, that the trio takes its time to explore. Again, the piano solo is a delightful, a poetic take on the melody with impressionistic flourishes and lovely single-note runs. After the composer's melodic solo, McGinnis creates an emotionally rich clarinet excursion. Lande's "Constantinople" opens with an unaccompanied piano solo and it's fun to hear where the directions the pianist's mind goes. Swallow's tone is perfect for this ensemble, meshing well with the lower piano notes but also serving as a strong solo voice. Listen to his delightful lead-in to his piece "Bend Over Backwards" and how it sets the stage for the bluesy body of the song. Lande and McGinnis take a jaunty stroll through the theme and then the clarinetist digs in for a solo that may remind some of Benny Goodman or Artie Shaw. The pianist takes off into a solo that plays with the tempo, working with it or behind the beat, even jumping ahead on occasion.
One gets the feeling while listening to "Recurring Dream" that this trio had a lovely March day in the recording studio. They got to play, create lovely music, some playful music, and just enjoy the camaraderie. Art Lande or Steve Swallow, no matter the setting, are always "themselves", knowing when to lay back or step in. Over the past 15 years, Mike McGinnis has demonstrated he can play and compose in many different styles, creating a body of work is fun, funky, serious, and very much his own. Delightful music anytime of day, I bet they are a joy to watch in person as well.
One of the joys of contemporary music is how composers and musicians often go in unexpected directions (not talking about "pop" music here). Drummer and composer Harris Eisenstadt has several "working", ensembles that explore "free" music, through-composed pieces, jazz, Americana (Canadia, I suppose), and more. His new album, "Recent Developments" (Songlines Recordings), features a fascinating nonet - Anna Webber (flute), Sara Schoenbeck (bassoon), Nate Wooley (trumpet), Jeb Bishop (trombone), Dan Peck (tuba), Brandon Seabrook (banjo), Hank Roberts (cello), Eivind Opsvik (bass), and Eisenstadt (drums) - playing a suite that only displays a form on repeated listenings. That is not a criticism. The composer does not betray a theme by giving his pieces titles so it's up to the "active" listener to make sense of this work.
The music features a "Prologue", "Introduction", the six-part "Suite", five "Interludes", and an "Epilogue." Each part of the "Suite" contains intimate conversations between the musicians, whether it's Ms. Webber's flute interacting with Robert's cello to close "Part 4" or "Wooley's trumpet solo over bass and drums (with Bishop and Peck interjecting) on "Part 1" which then has a countermelody for flute, banjo, and bassoon before the trumpeter takes off over the drums. It's much more fun to listen than to dissect, more exciting to hear how structure is stretched, broken, reassembled, and changes. "Part 3" sounds like "modern jazz" yet is led in by the bassoon while the trombone solo is supported by bass, drums, and Seabrook's banjo as the rest of the ensemble move in and out of the mix. The composer adds a short counter-melody for reeds and brass that comes and goes like before you really notice. Ms. Schoenbeck's emotional solo on "Part 5" is stunning but note how the music evolves from various voices moving in and out with melodic fragments at the beginning and how the bassoon rises out of that to begin her statement over just bowed bass and drums.
Subtle, rewarding, and challenging, the album opens with just flute and bassoon on the "Prologue" and closes on a group "Epilogue", a piece that ends on a bass and banjo melody that makes you feel like there's more to come and that the music is not really over. "Recent Developments" is engrossing music, surprising at times, often quiet, with the various voices drawing the listener in. Let the musical vision of Harris Eisenstadt soak into your mind and enjoy how it unfolds, expands, and changes.
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