TuneTown, the trio composed of Kelly Jefferson (saxophones), Artie Roth (acoustic bass), and Ernesto Cervini (drums), first came together in 2016. Each member of the trio is busy in their native Canada and in the lower 48 states. Readers of this blog know Cervini as a tireless drummer and composer, leading or co-leading several groups (including Turbopop and Myriad 3). Jefferson studied at McGill University in Montreal and earned his Masters Degree at the Manhattan School of Music. He has played with the Vanguard Jazz Orchestra, Maria Schneider, Kenny Werner, Brian Blade and a slew of others. Roth also studied in the U.S. thanks to grants from the Canada Council and has been a busy sideman and leader for over two decades. He's issued three albums since 2005 as the leader of the Artie Roth Quartet.
Not surprisingly, the band's debut album "Here To There" (Slammin' Media) features a wide spectrum of pieces, from originals to fascinating re-arrangements of Duke Ellington's "Sophisticated Lady" and Cole Porter's "All of You." Roth's melodic bass leads the Ellington into a rubato landscapes of long tones from the tenor sax and colors splashing from the brushes and cymbals. The conversation in the rhythm section continues as Jefferson plays the lovely melody. The airiness of the music makes the music more plaintive. Meanwhile, the Porter classic gets a straight-ahead, swinging, reading with more fine brushes work and handsome counterpoint from Roth. Cervini tap-dancing drumming beneath the fine tenor solo imbues the music with a joyous feel. When the drummer switches to sticks, the music picks up steam with all three charging ahead.
There's plenty to like on the original pieces. Pieces such as Cervini's "The Monks of Oka" can play within and without the "tradition" – the piece has a bop feel and a drive from the rhythm section that feels unstoppable. There's a funky backbeat to "Split Infinity" and the interaction between Roth's throbbing, droning, bass lines and Jefferson's echo-heavy tenor sax has a mysterious feel, staying clear of cliché. Listen the playful stick work that permeates "The Mayor", a short ditty with rampaging percussion, the boisterous tenor, and melodic underpinnings from the bass that hearkens back to Trio Air and its "ragtime" deconstructions.
"Here to There" closes with the bassist's "A Transient Space" – it's a quiet ballad with numerous silences, Jefferson's soprano sax keening at times and sounding oboe-like at others, while Roth fills the bottom with melodic murmurs and Cervini's changes the rhythmic feel from time-to-time, dropping in-and-out of a flow. A blues feel creeps in 2/3rds of the way through, the volume increases, and Jefferson begins wailing. Yet, the music turns back towards the quiet side and easily comes to a close.
TuneTown has created a delightful debut recording, a 44-minute journey into the collective minds of Kelly Jefferson, Artie Roth, and Ernesto Cervini. Certainly sounds like they are having fun and there's a great possibility the avid listener will as well.
Listen to the three musicians discuss their music:
Pianist and composer Florian Hoefner was born and raised in Germany where he first began his musical studies and career – not only did he study piano but also trumpet and accordion. Upon his graduation from the University of Arts in Berlin, he received a Fulbright Scholarship which took to New York City to earn a Master of Music from the Manhattan School of Music where was a student of Jason Moran, Dave Liebman, and Garry Dial. He recorded a number of albums in Europe for ENJA Records and other labels as a member of the German quintet Subtone plus he co-led a session for Fresh Sound New Talent with Kurt Rosenwinkel. He's issued four albums in the United States including three for Origin Records, two with a quartet and a lovely solo piano. That album, "Coldwater Stories", was the first Hoefner recorded after moving to St. Johns, Newfoundland, Canada.
He has pared his group to three musicians, a trio with bassist Andrew Downing and drummer Nick Fraser. The Florian Hoefner Trio's debut album, "First Spring" (ALMA Records) is quite a blend of traditional songs associated with Hoefner's new home, three originals, two pieces composed or arranged by contemporary folksinger Sam Amidon, Byron Issac's "Calvary" (a piece discovered by the pianist when his quartet's bassist Sam Anning brought Levon Helm's "Dirt Farmer" on the road), and composer Luciano Berio's reimagining of an Armenian folk song "Loosin Yelav." That final song listed is one of the lovelier works on the album – the melody unfolds slowly as the rhythm section proceeds (on tip-toes at times). Bassist Downing creates a fine, melodic, solo statement before the pianist with an introspective spot of his own.
Photo: Bo Huang
The album opens with "Hound's Tune"; composed by legendary Newfoundland fiddler Rufus Guinchard (1889-1970), the piece opens with Downing's bowed bass playing the original melody and then moves into more "modern" territory thanks to he pianist's inventive arrangement. "The Maid on The Shore", a Scottish ballad quite popular with the inhabitants of the Atlantic Canada region. The song has quite a handsome melody which, in the hands of the trio, is opened up in the manner that John Coltrane approached "Greensleeves." There is tremendous energy and joy in the trio's interactions.
Photo: Bo Huang
Listen to how Downing and Hoefner play the melody and countermelody on "Calvary" – it's certainly melodic but just as funky. the album is filled with examples of excellent ensemble interactions. The title track, dedicated to the pianist's son and influenced by the work of the bassist Edgar Meyer, blurs the line between Americana and contemporary jazz as it's fills with various tempo changes and feels plus contains a smashing bass solo. Amidon's "Short Life" has a plaintive expressed by Downing's bowed bass (he's also a fine cellist) and the powerful piano work of Hoefner.
Photo: Mike Meyer
The album closes with the trio's interpretation of Amidon's arrangement of the traditional "Rain and Snow." The quiet opening has the feel of a snowstorm on a cold winter's night, the flakes blowing in the air (here represented by the pianist's rippling fills); soon, the music turns bluesy, the rhythm is funeral-march slow, and Hoefner's lines are filled with articulate single-note runs. Nothing is rushed and the listener gets to soak in the sounds.
"First Spring" is a delight-filled album, a program that lets the light of a Newfoundland spring shine as opposed to the more scholarly "Coldwater Stories" from 2017. Both are excellent albums. Kudos to Nick Fraser and Andrew Downing, two Canadian musicians who deserve more recognition south of the Canadian border. Florian Hoefner has found a home in Newfoundland while its countryside and people have found a home in his creative soul.
Pianist and composer Jason Yeager released his first album "Ruminations" in 2011 on Greg Osby's Inner Circle Music. He's released three since them, one a duo with saxophonist Randall Despommier and another duo album with violinist Jason Anick. He's also recorded with Ran Blake and the Ayn Inserto Jazz Orchestra plus a number of others. Yeager has performed with drummer Matt Wilson, vocalist Luciana Souza, and saxophonist George Garzone as well as many others. He teaches on the faculty of the Berklee College of Music in Boston, even while living in New York City. Currently, Yeager holds the piano chair in both Ms. Inserto's Orchestra and in La Banda Ramirez.
Album #5, "New Songs of Resistance", finds the pianist on Nick Finzer's Outside In Music and in a feisty mood. Yeager has a created a program that meshes his original music with songs from the Chilean and Brazilian protests in the 1950s, 60s and 70s (known as the "New Song Movement" plus today, pieces by Violeta Parra (1917-67), Chico Buarque, Victor Jara (1932-1973), and the contemporary duo of Leôn Gieco and Luis Gurevich. The nucleus of the band posits the pianist with the rhythm section of Fernando Huergo (electric bass) and Mark Walker (drums, percussion) – selected tracks features Milena Casado (Spain – flugelhorn), Naseem Alatrash (Palestine – cello), Matthew Stubbs (California – bass clarinet, clarinet), Cosimo Boni (Italy – trumpet) with vocalists Erini (Crete), Farayi Malek (Idaho), and Mirella Costa (Brazil).
The album opens with Ms. Parra's "Gracias a la Vida" ("Thanks to Life"), a lovely piece celebrating long life and the ability to see all facets. After Erini sings the opening verse over a slow reading pf the melody by the ensemble (plus flugelhorn, cello, and bass clarinet), the piece opens up to a faster Brazilian rhythm, another verse, then solos from Yeager, Casado, and Alatrash's cello counterpoint. Erini also interprets Pablo Neruda lyrics (music by Jara and Patricio Castillo) on "Aqui Me Quedo" ("I'll Stay Here"), a piece dedicated to the Chilean workers who fought oppression in the 1970s with references to the colonialization of the country by Spain. Ms. Malek interprets the leader's lyrics on "In Search of Truth", a musical scree against those who do not believe in Civil Rights, human rights, climate change, a free press, or empathy. The music moves from a dark melody beneath the words and fast-paced instrumental passages. There's a powerful instrumental with wordless vocals moving alongside the piano while Huergo and Walker stoke the fire.
In addition to the various vocal tracks, there are three short solo piano "Interludes" – titled "Uncovering", "Resistance", and "Factitudes", Yeager's introspections range from contemplative to foreboding to quiet wonder. One other short piece, "Protest", actually features sounds from a street protest march with the piano, bass, and drums creating a powerful rage beneath the protesters. Ms. Malek's wordless vocals join Matt Stubb's clear clarinet tones to set the stage on Yeager's "Reckoning." Everyone gets the opportunity to make statements, especially Walker with his powerful drum solo near the close of the tune. The urgency of the bass and drums at the onset of "Mother Earth" along with Yeager's melodic piano brings Leonard Bernstein to mind. Adding the clarion-call trumpet of Boni to the mix gives thematic even more power. His solo, filled with fire and emotion, is a highlight.
"New Songs of Resistance" closes with a rousing reading of Buarque's 1970 anthem "Apesar e Você" ("In Spite of You"). The lyrics thumbs its nose at the authorities. Composed after the Brazilian writer returned from a short self-imposed exile to Italy (check out the video here), the song has an irrepressible bounce to it. Ms. Costa makes the most of her sole appearance on the recording, clearly enunciating the Portuguese lyrics over the exciting rhythms. Perhaps this joyous piece that closes the album is a sign that Jason Yeager feels hope even in the teeth of the political monsters spread around the world. Listeners will enjoy the music, the voices, and the young soloists (many of whom are students at the Berklee College of Music where the pianist is on the faculty as are Fernando Huergo and Mark Walker). Exciting music that speaks to the struggles of Latin America, the United States, and the world; listen closely and pay attention.
Leo Sidran has a great, informative podcast called "The Third Story"; he recently ran a delightful interview with trombonist, composer, and bandleader Ryan Keberle. Among the many points made in the discussion was that (and I am paraphrasing Keberle here) the trombone is enjoying new-found popularity, especially with trombonists (such as him) leading their own groups and not just big bands. Below are reviews of three new recordings that prove his point.
When trombonist and composer Nick Finzer entered the studio to record his third album as a leader, the United States was embroiled in a contentious Presidential election, a time when the country was facing serious choices about its mission and future. The album, "Hear & Now" (Outside In Music), is a musical reaction to those events and the malaise that the composer saw spreading over the country. Pieces such as "We The People", "The Silent One", "Race To The Botton", and "Dance of Persistence" display Finzer's concerns as does the urgency of the musical performances. The power in the music comes as much from those song titles, much the way Charles Mingus provoked his audiences, forcing us to think of the conditions all around.
The sextet for the session includes Lucas Pino (tenor saxophone, bass clarinet), Alex Wintz (guitar), and Glenn Zaleski (piano) plus the powerful rhythm section of Dave Baron (bass) and Jimmy Macbride (drums). The blend of trombone and reeds makes for an excellent contrast on pieces such as "Again and Again" where the bass clarinet plays the harmony behind the melody while the rhythm section simmers underneath, the piano serving as a go-between. Wintz's guitar rises up for the first solo, slowly the intensity rises, reminiscent of Herbie Hancock's music on his Blue Note recordings "Speak Like a Child" and "The Prisoner." Then Finzer and Pino solo together, pushing the piece forward before stepping aside for Macbride's short, powerful solo. Subtle overdubbing creates a reed and brass choir at the onset of Duke Ellington's "Single Petal of a Rose" (the only non-original piece in the program); it's quite beautiful and leads into the emotional piano solo over the whisper-soft bass and drums. Zaleski's solo opening on the final track, "Love Wins", introduces the poetic ballad. Pino's swirling bass clarinet and Wintz's impressionist chords frame Finzer's handsome melody as Baron's spare bass notes serves as the foundation while Macbride dances over his cymbals and drum kit.
The blend of power and gentleness, of reeds, strings, and piano atop an exemplary rhythm section makes "Hear & Now" stand out. One can not ignore the agenda Nick Finzer has on this album, showing how music can reflect the times, how jazz has always been and remains protest music, how the stance of the musicians can call the audience to action, and how much we need to be pro-active in these days of "reaction without reflection." The musicians are not revolutionary in the way that the late Fred Ho and the late Charlie Haden were but this music fights against complacency and blanket acceptance, calling for "presence, vision, passion, inspiration, reflection, dialogue, evolution, action, and change", the words printed on the inner sleeve of the album. Pay attention!
Glenn Zaleski also shows up on the new release from trombonist, trumpeter, and composer Nick Vayenas. "Flow Motion" (self-released) is Vayenas's fourth album as a leader (since 2008) - he's such a busy sideman, working with Michael Bublé, Josh Groban, Lady Antebellum, Patrick Cornelius, and Kendrick Scott (on whose label he released his debut CD, "Synesthesia." Besides Zaleski, the sextet on the recording includes Dayna Stephens (tenor saxophone), Peter Slavov (bass), Colin Stranahan (drums), and the afore-mentioned Cornelius (alto saxophone).
photo by Angela Sowon Vayenas
Although there is a track titled "Anarchy", the majority of the material seems to have no political agenda. That particular track swings with a vengeance, featuring strong solos from the alto saxophonist, the leader, and Stranahan. Zaleski's work in the background is notable for its strength and subtlety, which is true throughout the entire program. In fact, it's his short but rich chordal work that leads off the title track that leads off the album. The song swings with a gentle yet firm rhythm - Vayenas plays in a buttery style, quite melodic, setting the tone for Stephen's handsome solo and the pianist's earthy explorations. The rhythm section moves the music forward in a playful manner, especially the drummer whose accents are a delight.
Vayenas switches to trumpet for "Premonition", sharing the melody with the tenor sax. The piano chords, at times, suggest McCoy Tyner but, like the opening track, there is a gentleness to the proceedings. The leader's tone on trumpet is clear, his notes crisp, and his attack adds intensity to the track. The influence of Herbie Hancock is evident on "The Final Frontier"; again, the trumpet takes the lead and Vayenas's bluesy solo spurs the rhythm section to react with stops-and-starts as well as keeping the flow moving.
Another highlight is "Velvet Mystery", a handsome ballad whose melody is carried by the mellow trombone and breathy tenor sax. Zaleski creates an impressionistic opening solo that opens up to Vayenas's heart-felt improvisation - he's "writing a story", inviting the listener to get lost along the way to come out on a reiteration of the main melody that's now has a quiet intensity, not so much as a mystery. The final track, "Change", is also a ballad with only trombone and piano. The opening features Vayenas on melody and Zaleski on counterpoint with the pianist taking the first solo. Various melodic fragments show up before the trombone reenters. His "singing" lines over the chordal accompaniment intimate a "classic" ballad and serves as a lovely closing to the album.
"Flow Motion" is an album to get lost in. The program never forces its way into your brain yet invites you to relax, settle down - even the funky "Red Stripe" has a good natured gentility. The music Nick Vayenas and crew creates on the album is truly for early morning reveries and late-night meditations.
"Tight Rope", a funky, hard-edged, tune opens "Presence" (See Tao Recordings), the fourth recording from trombonist and composer John Yao. The Chicago native has worked in numerous ensembles including the Afro-Latin Jazz Orchestra, the Vanguard Jazz Orchestra, the Brooklyn Big Band, and the Jeff Fairbanks Orchestra. His previous album, ""Flip-Flop", was created for his 17-piece Instrument but the new recording is with his Quintet, a return to the smaller-group ensemble of his 2012 Innova recording.
This group includes Jon Irabagon (soprano and sopranino saxes), Randy Ingram (piano, Fender Rhodes), Peter Brendler (bass), and Shawn Baltazor (drums); the music Yao gives to them play to their strengths. Irabagon, whose noted for his tenor work, is limited to the higher range reeds here yet it's a smart juxtaposition to the trombone. Plus, he has developed into such a fine player. Listen to the elegiac "M. Howard" (the album is dedicated to the memory of one of the leader's best friends and how the soprano melody lifts up as it sings. The lovely, melodic bass solo (Brendler is one of the most sensitive players on the scene) leads into an intense piano solo that also rises, this time over the rhythm section and the horns. Yao then steps out, the intensity picks up even more, and one hears his sorrow transformed into (musical) action.
I like the audacity of "Fuzzy Logic", the opening moments featuring trombone, bass, and sopranino on melody while the drummer and piano create a raucous scene. As the piece moves into its fiery stop-start pace, Yao and Ibragon wail away, Ingram provides counterpoint to their intense soloing and the rhythm section gives chase. There's also an intensity to "Nightfall" but with a melodic flair. Ingram's forceful solo inspires the rhythm section as well as Yao to really get deeper into the music. The title track is calmer, even more melodic, a work for quartet sans saxophone, becoming a spotlight for trombone and piano. The bass and drums stay active, producing dancing rhythms for the soloists. The closing track, "Bouncy's Bounce", does have a jaunty feel. Pay attention to Brendler as he moves from the melody to his solid walking bass line. Notice also how Irabagon takes the title to heart, his playful solo dancing - yes, even bouncing - above the rhythm section. Yao starts out quieter but soon gets into the playful spirit, goosed by Baltazor's active bass drum and interjections.
Such good music, such strong compositions, such a good ensemble, "Presence" has all the ingredients to please and challenge an active listener. John Yao created this life-affirming music in the aftermath of a sudden loss. Many of us turn to art, to music, in times of stress. This album by The John Yao Quintet gives one hope in the face of tragedy, inspiring us to continue to move forward.
In my lifetime, there have been 17 Inauguration Days plus two swearings-in (one after the assassination of John F. Kennedy and the other after the resignation of Richard M. Nixon). These special days are often filled with excitement, the prospect of change, the hope of unity in an often-divided country, and a sigh of relief from many that our democratic process continues to work after two-plus centuries.
Then, there is "politics", a word that, for some, is a epithet for something unseemly and obscene. If one pays attention to the machinations of Washington politics, it can leave you with a sour taste in your mouth. The press does its best (many would disagree with that statement) to let is know what's going on but there is so much happening at any moment. Yet, it is quite obvious these days that the United States is a divided country, that "conservative" and "liberal" as well as "party politics" is part of what looks like a big game, a game with obscene payouts for the lucky and agony for the losers (think of how healthcare is constantly tossed about in the House of Representatives and the Senate).
How artists look at this nation has, for me, always been a fascination. From the populist anthems of Irving Berlin to the wide-eyed wonder of George Gershwin to the sly observations of Will Rogers to the dreams of Woody Guthrie to the inequalities reported by Billie Holiday to the satire of Randy Newman to the simmering anger of Nina Simone to the shouts of Public Enemy to the chest-thumping of Toby Keith to the clear-eyed visions of Gil Scott-Heron (and so many others), singers and songwriters speak to social issues by cutting to the emotional core of any situation. During the most recent Presidential election cycle, artists took a stand for or against the candidates with a ferocity one has not seen since 1968 and 1984 (also, the Bush years post 9/11/01 were filled with vitriol as well as unqualified praise).
President-elect Trump (who will be sworn-in just hours from when I am writing this) has certainly polarized this country (in many peoples eyes, President Obama did as well) but many reactions have bordered on the apocalyptic. At least, there was "hope" in the changes his predecessor spoke of but that has been replaced by fear, the fear of moving backwards, that the "great again America" being spoken of is one where women, minority groups, and immigrants will not be treated with the "equality" our Forefathers hoped for (dreamed of) when the United States was in its infancy. Mobilization against the changes being sought has been swift (we'll wait and see how strong it is) and artist's reactions are beginning to emerge.
Five weeks after Election Day, saxophonist and composer Noah Preminger gathered the other members of his most recent Quartet - trumpeter Jason Palmer, bassist Kim Cass, and drummer Ian Froman - to record his musical reactions to the results. "Meditations on Freedom" (Dry Bridge Records) features melodies by Bob Dylan, Bruce Hornsby, George Harrison, and a particularly handsome reading of Sam Cooke's "A Change is Gonna Come" plus five originals. Is this music a call to action, a wake-up call, a lament, a warning shot across the bow or just dreaming out loud? One could answer "yes" to every part of that question but the album - released today (January 20) - is more than that. It's a reminder that the musicians are citizens, that creative music is "political" more often than not, that the "freedoms" stitched into these performances are as vital as picket signs and fiery speeches, that the rhythms of these songs are built from the ground up; the formation of this quartet to play this music is really the creation of a community built on shared visions, on trust, on taking risks as musicians, on compromises built from honest discussion. This is music also built on the belief that "We Shall Overcome", that this country has "overcome" in the past and will again in the future, that we as individuals and communities have the ability to pull ourselves up and face any challenge. There is no question that the United States faces challenges within and without but also no question if we face these challenges together, the results should be better.
In a future post, I will explore the music one hears on "Meditations on Freedom", especially the original material that grows stronger in my ears on every time I listen. While the impetus for these songs and performances was a reflection on the elections, the album also serves as a call to action, a powerful reminder that we must be ever vigilant and protect the rights of all people who live here, work on our farms, in factories, in our cities, people who raise families and educate them, to all who suffer from illnesses, from poverty, from oppression; in other words, protect the rights of everyone not just a privileged group who can afford it. It should come as no surprise that this music also has its roots in the "blues", music created out of oppression that spoke of the glory of freedom, music that is both simple and complex, that pushes individual boundaries yet speaks to our humanity.
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