Thanksgiving Day 2024; Two Alto sax-Piano duos + One Quartet

 

Been absent from this blog for two months but not for a lack of great new albums but more so for being much too busy. Teaching coillege freshmen as I do is more fun than work; when you add to that the stresses of Middle East War and the horrors perpetrated in the name of freedom, music becomes a much-needed escape but writing does not seem to be enough.

Still, it's Thanksgiving Day in the United States, a day for remembering how lucky many of us are. We have a roof over our heads, food to eat, time to read, the ability to walk most streets without fear, heat in our domiciles, lights in our living areas, and, for some, vehicles to take us out into the country.  Today is a good day to get away from the bluster of candidates, especially who treat democracy as a toy to throw in the trash when it displeases, people who flaunt their wealth, shoot off their mouth, point fingers, and make promises to sweep personal freedoms under a big rug.  

Tomorrow, the news will still be bad, the bluster will return yet we have the power to make the world less of a scary place by celebrating and protecting our freedoms, by staring hate in the eyes until it blinks and slinks away. Set an example of doing good and maybe, just maybe others will join you. No matter their religion, gender, political persuasion, we should all understand compassion and how to practice compassionate caring.  Can't hurt to try––the music is always there to fall back onto.

Photo: Jimmy Katz

I've spent a lot of time recently falling back on the music of two saxophonists, Miguel Zenón and Andrew Rathbun. In the case of the former, he has two new duo albums, one with long-time Quartet member pianist Luis Perdomo (pictured left) and the other with friend and duo pianist Dan Tepfer (pictured below).   Perdomo came to the United States from his native Venezuela in 1993 and by the end of that decade, was playing in groups led by Ravi Coltrane and soon became as founding member of Zenón's Quartet.  The pianist and saxophonist both have a love for the folkloric and popular of their home countries (Zenón is from Puerto Rico), both have a love for melody as well as rhythmical variations, and both are brilliant improvisers.  The music created and arranged for the Quartet has travelled a wide swath of territory over the course of 10 albums, winning numerous awards and lavish praise from critics and reviewers around the world.

Six months into the Pandemic, the duo went into the Jazz Gallery in New York City and recorded a program of songs from the Bolero era, a musical style that began in Cuba in the 1890s and, during the 20th Century, spread throughout the Caribbean and Latin America.  Upon its January 2021 release, "El Arte Del Bolero" (Miel Music) was celebrated not only for its musicality but for its gentle persuasions and splendid playing.  Three years later, the duo reconvened in a recording studio with the expression "to play songs we know and love" (Zenón). "El Arte Del Bolero; Volume 2" expands upon its predecessor by expanding its repertoire with songs from Mexico, Panama, and Venezuela.  The seven-song program is a true delight, especially when the duo moves beyond the melody to create fascinating solos. Listen below to "Paula C.", to how how Zenón caresses the melody as Perdomo creates a quiet symphony beneath him.  As the alto saxophonist dances into solo, the pianist is so playful, whimsical at times, beneath the flowing sax but never losing the pulse.  "En La Soledad" (from the fertile mind of Puerto Rican composer Tito Rodriguez: 1923-73) may remind some John Coltrane's "Central Park West" especially due to the rubato feel.  It's a lovely ballad that kisses one's heart.

The album closes with "Silencio"; composed by legendary Puerto Rican songwriter Rafael Hernández (1892-1965), the rapid-fire music belies song title and flows forward on the delightful alto solo atop the dancing piano lines. When Perdomo steps out, you can hear a touch of the New Orleans "Spanish Tinge", especially in his delightful left hand.   

"El Arte Del Bolero" is a joy from start to finish. The duo of Miguel Zenón and Luis Perdomo reminds us once again of the great music created in the Caribbean and Latin America; they do so with style, grace, and love!

For more information and to purchase the recording, go to https://miguelzenon.bandcamp.com/album/el-arte-del-bolero-vol-2.

Hear the duo play Rubén Blades' "Paula C.":

While the duo of Miguel Zenón and Dan Tepfer has not played together as long as the one reviewed above, these two musicians have improvised numerous times over the past decade-plus. Over two nights in June 2018, they got together at the Yamaha Artists Services in New York City and laid the tracks that make up their first album together. "Internal Melodies" (Main Door Music/self-released) combines the duo's love for spontaneous composition, pieces each composed for the occasion as well as a duo interpretation of "Fanfares" by György Ligeti and a sparkling take of "317 E 32nd St." by Lennie Tristano.

Tepfer is one of the more adventurous pianists of the 21st Century diving into the worlds of classical music, electronic music, and computer music. He's also  a great jazz pianist and, like Zenón, eschews labels. Together, they push each other to create music that is both mentally satisfying but also moves with grace and occasional rhythmic excitement.  The 12-song program opens with the short and totally improvised "Soundsheets" before they embark on the pianist's "The Thing and its Opposite"––after a particularly angular composed melody that the alto saxophonist reads with grace, Tepfer moves into a more ethereal mode. He steps aside and Zenón dances forward alone, phrases building on top of each other without losing sight of the original melody. They return together to the opening melody yet the music feels somewhat lighter. The pianist also composed the title track. The melody has a lightness to it, especially in how Zenón plays through it. Tepfer picks up on that with a solo that hints at Beethoven in how it unfolds gently, steadily building the intensity without overwhelming the mood.

Listen below to the saxophonist's "La Izquerida Latina Americana", to how Tepfer creates a martial rhythm with his left hand before Zenón introduces the melody.  There is a seriocomic feel to the music without falling too hard into either camp.  Zenón's "Centro de Gravedad" is a gentle ballad with a lilting melody line underscored by a mix of powerful chords and gentle piano trills. Tepfer's solo has a flamenco feel, his articulated notes giving the music a sense of drama.  The saxophonist also brought "La Libertad" to the duo; it, too, is a handsome ballad and both musicians create heartfelt solos. 

The album closes with the Tristano classic plus another spontaneous piece "Freedrum".  The former is a delightful romp, the duo bringing out the dancing quality of the rhythm and melody.  The final track combines Tepfer's piano "percussion" with Zenón's playful melody for a short but spirited finish to a wide-ranging program. "Internal Melodies" goes in many directions over the course of an hour but Dan Tepfer and Miguel Zenón never lose their way.  Their musical conversations can be serious or light-hearted; all told, this music is generous in spirit and a delight to listen to!

For more information and to purchase, go to https://dantepfer.bandcamp.com/album/internal-melodies. 

Hear the duo play Zenón's "La Izquerida Latina Americana":

Although alto saxophonist and composer Andrew Rathbun has been recording and touring since the late 1990s, he's still gets recognized a "Rising Star" in recent Downbeat Critics Polls. That's a nice honor but he has created music that needs to be heard by more people. The Toronto, Ontario, Canada native has recorded impressive music for labels such as Fresh Sounds New Talent Records, Origin, Centaur, and SteepleChase.  Along the way, he has collaborated with pianists Ran Blake, Jeremy Siskind, and Gary Versace, flugelhornist Kenny Wheeler, drummers Billy Hart, Michael Sarin, Bill Stewart, and Jeff Hirshfield, among others.  

What stands out for this listener is that, since his earliest recordings, Andrew Rathbun has been an excellent composer. He certainly can improvise as impressively as his contemporaries but telling a story with his music is just as important. For his latest SteepleChase recording, "Speed of Time", he's joined by Gary Versace (piano), John Hébert (bass), and Tom Rainey (drums).  While the majority of eight-song program was composed during the Pandemic, this music is written with these musicians in mind, as a group project.  The title track kicks off the album––it's got a funky rhythm, a well-drawn melody, and strong solos from the leader and the pianist.  Rathbun quickly dances away from the melody, creating a playful interaction with the rhythm section pushing up the intensity until Versace takes over building his far-ranging solo off Rainey's herky-jerky rhythms. 

Photo: Domenic Gladstone

The leader plays both tenor and soprano saxophones for the insistent up-tempo jaunt that is "Widen the Doorway".  Versace's solo, at the onset, keeps turning back on itself but soon bounces forward atop the insistent work of Hébert and Rainey. The leader's tenor solo opens unaccompanied and then he jumps upon the rhythm section. More reed overdubs on "Still a Thing"; this time, the soprano leads the way on the melody (although the solo is again on tenor) with the rhythm section creating quite a funky rhythm.  

The soprano is featured on the ballad "Wandering"––in the liner notes, Rathbun pays tribute to the late Wayne Shorter, particularly the "human cry" that the great musician often employed in his playing. There's a sense of urgency in the rhythm section but the deliberate pace never wavers. Excellent solos from pianist and bassist precede the leader's spotlight where Rathbun shows but never overdoes the Shorter influence.  More soprano can be heard on "Velocity Unknown", a fascinating piece in an odd time signature (9/4). Rainey's delicate cymbal dance decorates behind the opening bass solo. Rathbun enters two minutes with his own delicate sound. Every time you think the music will erupt, the quartet gathers themselves and continue their gentle journey forward. The power in this piece comes from Rathbun's powerful solo as well as Versace's impressive improvisation.

"Speed of Time" closes with "Tooth and Nail", an insistent work powered by the active drumming. The piece opens with short exposition from Rainey joined quickly by the tenor sax.  After the quartet push their way through that long introduction, the music jumps forward with the drums and bass stoking the fire for the impressive tenor and piano spots.  This particular track sounds even better at a higher volume, the drums shaking the speakers.

Andrew Rathbun keeps "rising", keeps getting better as a composer and musician––this album is yet another fine example of his musicality and creativity.

For more information, go to https://andrewrathbun.com/. 

Here's the title track:

Solo Trumpeter

Hard to believe it's 16 years since Ambrose Akinmusire won the Thelonious Monk International Jazz Competition. That same year, he won the Carmine Caruso International Jazz Trumpet Solo Competition plus his debut album on Fresh Sound. In 2011, Akinmusire signed to Blue Note Records where he released five albums as a leader one as a member of the Blue Note All Stars. He's been a frequent guest artist appearing on albums by Jen Shyu, Me'shell Ndegeocello, guitarist Wolfgang Muthspiel and Mary Halvorson, Jack DeJohnette, and many more. He's also has collaborated with Australian composer Michael Yezerski for two seasons on the soundtrack of the STARZ series "Blindspotting".  Earlier this month, Akinmusire was named the Artistic Director for the incoming class of 2025 of the Herbie Hancock Institute of Jazz (formerly the Monk Institute) in Los Angeles, CA. 

Now, Ambrose Akinmusire is launching his own label, Origami Harvest. The first release is also Akinmusire's first solo album.  Titled "Beauty Is Enough", the 16 tracks were recorded in Paris inside the Church of St. Eustache (pictured below)––the trumpeter rented space within the building bringing sound engineer Julien Bassères along to capture the improvisations.  In an excellent interview with Nate Chinen for his SubStack blog, "The Gig", Akinmusire said "You know, the idea started from talking to Wadada and Roscoe, and them talking about the importance of having a solo record". (Sign up for "The Gig" as it is now Mr. Chinen's main vehicle for writing).  There's certainly a precedent for this album as there are numerous Creative Music solo trumpet albums including several excellent TUM releases by Wadada Leo Smith.  

As stated above, there are 16 tracks clocking in at just under 50 minutes. Only two are over four-minutes long and all are absorbing.  Solo albums tell a story––few of them are created to highlight technical brilliance––and "Beauty Is Enough" is filled with dedications, memories, and dreams.  Listener sit down, start on track one ("To Taymoor"), pay attention to the intimacy of the sound (and the resonance within the building), to how Akinmusire builds the piece up from the opening tones to a gentle melody, and the softness of his attack.  Other "dedication songs" include "Carvin" (for drummer Michael Carvin), "To Shabnam", and "To Cora Campbell" which closes the recording.  There are others tracks with names attached but also tracks such as the playful "Off the Ledge" (feels like madcap romp based on "Reveille") and "Achilles" which, to these ears, sounds like a chase scene in a cartoon.

Over the course of his career, Ambrose Akinmusire has made us listen to the power in his music, to his responses to the world around him that he translates into sounds and images. "Beauty Is Enough" feels more like a launching pad for future adventures than a summing up of where the trumpeter has already been. Listen and judge for yourself but do listen with an open mind.  

For more information and to purchase the recording, go to https://ambroseakinmusire.bandcamp.com/album/beauty-is-enough.  For the trumpeter's history, go to www.ambroseakinmusire.com/.  

Hear "Launchpad":

Sixteen Strings Attached

Over the past decade+, pianist Fred Hersch has released solo piano records, several duo sessions as well as a number of trio albums plus a 2019 date with the WDR Big Band.  He continues to explore different facets of his instrument as well as different ways to approach his original music. During the first lockdown of the pandemic, Hersch showed up online playing solo piano in his Pennsylvania home but was already writing charts for piano, bass, and drums joined by a string quartet. In August 2021, the pianist, composer, and arranger entered the studio with bassist Drew Gress, drummer Jochen Rueckert, the Crosby Street String Quartet – Joyce Hamman and Laura Seaton (violins), Lois Martin (viola), and Jody Redhage (cello) – plus, on one track, percussionist Rogerio Boccato.  The results of their two days recording can be heard on "Breath by Breath" (Palmetto Records).

For this project, Hersch composed "The Sati Suite", an eight-part musical adventure based on the pianist's longtime practice of "insight meditation".  The "Suite" opens with "Begin Again", its handsome melody moving atop a Latin-flavored rhythm reminiscent of the late Chick Corea's love of Spanish music.  The string quartet is part of the piece not just background.  The first one-third of the next track, "Awakened Heart", belongs to the strings; with its handsome melody and counterpoint, the music transitions into the composer's solo piano.  The strings return to play a short coda.  The quartet also gets the opening of the title track to themselves before the drums enter and bassist Gress begins his solo. The piano enters, the strings exit, but Gress continues for another 90 seconds. Hersch takes over the solo spotlight pushed forward by the bass and Rueckert's splendid brushes work. 

Hersch, who has had a number of excellent trios over his career, continues that tradition here.  Gress, who was a member in the 1990s and the first decade of the 2000s, is back – Rueckert is new to the ensemble and his gentle touch is perfect for this material. He creates such a fascinating atmosphere on pieces such as "Rising, Falling" as well as joining with Gress to really push "Worldly Winds" (listen below) forward.  

The ninth and final track is "Pastorale (Hommage A Robert Schumann)", an original that the pianist featured on 2011's "Alone At the Vanguard" and on 2019's "Begin Again" with the WDR Big Band. And why not?  It's one of Hersch prettiest pieces with counterpoint from the bass, a playful middle section with pizzicato strings, a powerful section for the piano, strings, and rhythm section leading back to the piano and bass, then solo piano to the finish (with the string quartet on the last note).  

"Breath by Breath" is yet another triumph for Fred Hersch.  With his Trio and the string quartet, one can fall into this music from the the opening notes to the very end. For the avid listener, the reward is that you can go back time and again because these songs are so melodic and the arrangements so intelligent. Enjoy!

Go to www.facebook.com/fredherschmusic/videos/619069642762378 to hear Fred Hersch talk about this album.

Hear "Worldly Winds": 

Photo: Steve Splane

Guitarist and composer Dave Stryker is nothing if not prolific.  In the 1990s and early 2000s, he recorded two dozen albums for Steeplechase Records and, since 2014 for his own label. Stryker has performed in jazz groups, blues groups, big bands, and now, his latest album, "As We Are" (Strikezone Records), finds him fronting a jazz quartet and joined by a string quartet.  It's a "dream" ensemble.  The rhythm section features John Patitucci (bass), Brian Blade (drums), and Julian Shore (piano, all arrangements) with violinists Sara Caswell and Monica K Davis plus violist Benni von Gutzeit and cellist Marika Hughes.  

After a short (70 seconds) "Overture" for the string quartet, the band kicks in to Stryker's "Lanes" (six of the nine tracks are composed by the leader, one he co-wrote with Shore, one piece by Shore plus Nick Drake's "River Man"). With the shimmering strings on top, the rhythm section sets a frisky pace and the guitarist plays a delightful solo. Blade steps out for a spotlight that leads into an excellent solo statement from the pianist.  The funky "Hope" has a bouncy feel with the strings moving around the guitarist's melody lines.  Shore, Stryker, and Patitucci each solo and the string quartet  arrangement over the final two minutes is excellent.  Shore is featured on the opening melody of Stryker's "Saudade", a lovely slow Brazilian-inspired piece with deep cello accompaniment from Ms. Hughes in the opening moments.  The guitarist's solo kicks up the energy while the piano spotlight gently rides the waves from the rhythm section and strings. The final minute pays tribute to Tom Jobim with the quiet piano melody above the gentle guitar chords. "As We Were" may be the most mature ballad that Stryker has composed; the richness of the melody, the guitarist's evocation in the last chorus of his solo plus the excellent use of the strings, all make this track stand out on the album

Sara Caswell

The oft-recorded "River Man" is extremely soulful, especially the emotional work of the leader and the generous colors plus harmonies added by the string quartet.  Ms. Caswell steps out in front for a powerful solo that captures many of the qualities composer Nick Drake imbued the song with, particularly the wonder and the solitude.  Stryker builds off that solo: with his ability to infuse much of what he plays with the blues, the song stays at an emotional high throughout.  The violinist is also a featured voice on the final track, the guitarist's "Soul Friend".  This is more of a straight-ahead blues but make sure to listen to how Shore's arrangement utilizes all the strings.  Stryker's long solo over the driving drums is a sheer delight but stick around for Patitucci's bluesy spotlight with the strings adding counterpoint.

Dave Stryker strikes gold again on "As We Are".  He met Julian Shore two decades ago at the Litchfield Jazz Camp in CT when the pianist was a precocious and quickly maturing 14-year old.  The guitarist's memories of those encounters plus listening to Shore's albums convinced Stryker that the now 35-year old musician was the right person to arrange these pieces.  Adding Messrs. Patitucci and Blade to the mix as well as the smashing string quartet makes this recording stand out among new releases.  

For more information, go to www.davestryker.com/wp/.  To hear more and to purchase the album, go to  https://davestryker.bandcamp.com/.

Hear "Lanes": 

Just the Child in Me

Photo: Peter Gannushkin

It's nearly impossible not to like Joe Fiedler the person. The Pittsburgh, PA, native has a quick sense of humor, is curious about lots of different things, and is a hard worker.  Joe Fiedler the trombonist is a top-notch player who has shared stages with musicians and groups that range from Eddie Palmieri to Maria Schneider, Anthony Braxton to The Four Tops, and beyond.  The trombonist also played in numerous Broadway pit bands including the entire run of Lin-Manuel Miranda's "In the Heights" as well as the soundtrack for the recent movie production of the play.  Since 2009, Joe Fielder has been the music director for "Sesame Street", arranging, orchestrating, and conducting the eight-piece orchestra. On top of all that, he leads an eponymous trio, the all-brass quartet known as Big Sackbut, and the quintet Open Sesame.  

In February of 2019, Fiedler's Multiphonics Music label issued the album "Open Sesame", a 17-song collection 15 of which were from the children's show along with two group improvisations. And, what a group –– joining the trombonist was Jeff Lederer (soprano and tenor saxes), Sean Conly (electric bass), and Michael Sarin (drums) plus special guest Steven Bernstein (trumpet, slide trumpet). The same group, now with Mr. Bernstein as a full-time member, and Conly on mostly acoustic bass), is back for "Fuzzy and Blue" (Multiphonics). Also in the mix for two songs is vocalist Miles Griffith. 13 songs including one three-song suite and two-song medley make up the program with over half the songs credited to Joe Raposo who was the first music director on the "...Street".

Photo: Peter Gannushkin

Chances are good you'll recognize a number of these melodies whether you sat with your children or grandchildren watching the show or you grew up parked in front of PBS in the morning.  The proceedings open where they should with Raposo's "ABC-DEF-GHI" with Conly's bouncy bass line leading the quintet in with a funky Caribbean beat.  Lederer leads the way on soprano while the horns play rhythmic fills and harmonies.  The trombone stands in for Kermit the Frog for the initial run-through of "Bein' Green" then shares the verse with the soprano sax and trumpet.  The solos are quite enjoyable especially the leader's.  Later in the program, one can hear the Palmieri influence on the conga-line inspired "One of These Things."  Note how Conly's electric bass is the counterpoint on both the trombone and trumpet solos.

Miles Griffith shows up on Fiedler's "I Am Somebody" which features original lyrics by Reverend William H. Borders –– In 1972,  Reverend Jesse Jackson led a group of young people on the show in a call-and-response.  Here, the leader provides a funky tune for the vocalist to scat and dance upon while the quartet rocks. Griffith returns on the delightful combination of "I Love Trash" with "C is for Cookie"; Griffith's vocals are such fun, playful, constricting his voice to sound like Oscar the Grouch (he who lives in a trash can) and Cookie Monster (whose name tells of his reason for living).  There's a fun interaction for Griffith and the trombonist before the songs comes to a close.

You do not need to know the music of "Sesame Street" to enjoy the musical shenanigans of "Fuzzy and Blue".  The sound is full and bright, the beats are irresistible (Michael Sarin's drumming stands out throughout the album), the solos playful yet sincere, and the arrangements full of wit and just the right touch of wise-guy!  Joe Fiedler and Open Sesame are just the right antidote to seasonal doldrums –– if this music does not make you smile, tap your feet, or laugh out loud, best to rediscover the "kid" in you.

For more information, go to https://joefiedler.com/.  To hear more music and to purchase the album, go to https://joefiedler.bandcamp.com/. 

Here's a taste:

History In the Present Tense

 For the first 2/3rds (or so) of the 20th Century, Black Creative Music was concerned with "today"or "looking to tomorrow, to a better day". With the passing of John Coltrane, the music seemed, in the public eye, to stall only to be rejuvenated the following decade by the work of Chicago's AACM but soon retreated again under the onslaught of new, more commercial, developments such as hip-hop and rap, as well as the rise of the Neo-Conservatives.  Still, many artists in the 21st Century have figured out how to keep one foot in the past, the other in the present, and an eye to the future.

Over the past decade+, tenor saxophonist, composer, and poet James Brandon Lewis has been receiving more and more attention for his creative approaches to Black Music.  He's issued six albums as a leader, two co-lead with drummer/ mbira player Chad Taylor, and is one of the co-founders of the poetry/ music/ performance art ensemble Heroes Are Gang Leaders.  His tone on tenor saxophone hearkens back to John Coltrane and Archie Shepp but his music takes its directions form artists such as Henry Threadgill, the Art Ensemble of Chicago, Julius Hemphill, and Oliver Lake.  After graduating from Howard University in 2006, the Buffalo, NY, native spent several years in Colorado playing gospel music. Lewis did his graduate work at CalArts, studying with Charlie Haden and Wadada Leo Smith (and others) before moving to New York City in 2012.  There, he began playing with pianist Marilyn Crispell, vibraphonist Karl Berger, pianist Eri Yamamoto, and fellow tenor saxophonist Charle Gayle.  His debut CD, "Moments", was self-released in 2010; since then, he's released two albums on Okeh Music, one each on BNS Records and Intakt Music, and, in 2019, Relative Pitch released "An Unruly Manifesto". 

His new album, "Jesup Wagon" (Tao Forms), was recorded during the pandemic and tells the story of Dr. George Washington Carver (1864-1943). Born in the South before the end of the Civil War, Dr. Carver went on study at Iowa State Agricultural College and started at Tuskegee University in Alabama in 1896 becoming the Director of the Agricultural Experimentation Station the following year. Most people know of the work he did with peanuts but he also found over 100 uses for sweet potatoes but was also an artist (the album cover is his painting), a musician (he played piano and accordion), and was an early environmentalist.  Dr. Carver believed that science and art worked hand-in-hand to create a fuller human being. When Lewis was a young student, he was very interested in Science and wrote a paper on Dr. Carver. With the release of the new album, Lewis can not only celebrate the life of an amazing person but also give the listener a bigger picture of his accomplishments.

The album takes its name from from the movable science Experiment Station that Dr. Carver designed in 1906 (pictured left) as a mobile school to help poor Black farmers in Alabama.  Because the vehicle was loaded down, the station moved quite slowly. Still, it moved through the countryside helping as many people as possible.  To tell this story and to have resonate with the sounds of the Deep South, Lewis populates his songs with the sounds of the Red Lily Quintet, a group composed of Kirk Knuffke (cornet), Chad Taylor (drums, mbira), William Parker (bass, gimbri - which is a three-string bass lute), and Chris Hoffman (cello).  This music may remind one of Julius Hemphill's "Dogon A.D." or some of the pieces Henry Threadgill composed for Air and his Sextett.  

The title song opens the album – in fact, Lewis opens the album unaccompanied playing a blues melody, blatting out low notes, squealing now and then. The band enters and we are dancing forward on the hard blues of Knuffke's cornet. Pay attention to the rhythm section, to the plucked cello and thumping bass and, especially to the raucous, hard dancing drums. Parker's gimbri plays a 4-note figure that leads in the drums, cowbell, and hand percussion plus Hoffman's cello for "Lowlands of Sorrow". The song, named for the conditions Dr. Carver found when he arrived at the fields that the sharecroppers used to grow what they could under adverse conditions. Lewis's tumultuous tenor spars with the crisp sounds of the cornet –– their "conversation" over the roiling rhythm section drive the piece to its quiet conclusion. 

This powerful music rarely lets up. From the fugue-like opening of "Arachis" which leads to a rumbling free-blowing mid-section to the dancing rhythms of "Fallen Flowers" (Hoffman's bowed then plucked solo over just drums and bass stands out) to the relentless drive of "Experiment Station", Taylor pushes the band from his drum seat while Lewis's tenor sax roars, Knuffke's cornet crackles, Hoffman's cello shines in counterpoint, and Parker's bass holds the proceedings together.  

Put simply, "Jesup Wagon" is a great album, certainly one of the best releases in the past 18 months. Not only does James Brandon Lewis weave a compelling narrative about the genius that was Dr George Washington Carver but also subtly reminds the listener of the hardships Black people had in the United States through the first half of the 20th Century (and beyond).  Another highlight of the album package is the excellent and comprehensive essay from author Robin D. G. Kelley. This music of the Red Lily Quintet will certainly challenge you but the rewards are great.

For more information, go to www.jblewis.com/.  To listen to and purchase "Jesup Wagon", go to  https://jamesbrandonlewis.bandcamp.com/album/jesup-wagon.

Photo: Irina Rozovsky

Dan Blake (tenor and soprano saxophones), like many of his contemporaries, is a multi-faceted composer. He has recorded and released three albums is the jazz genre plus has composed for the contemporary classical Mivos Quartet as well as a Chamber Orchestra and done several soundtracks for short films.  He studied at the New England Conservatory of Music and Tufts University (working n two degrees simultaneously.  Among the people he studied music with was Steve Lacy, Danilo Perez, Robert Dick, and composer Tania Leon.  He has played and recorded with percussionist Rogerio Boccato, Anthony Braxton, Esperanza Spalding, and keyboard artist Leo Genovese.

His fourth album (second for Sunnyside Records), "Da Fé", features Carmen Staaf (piano, Fender Rhodes), Dmitri Ishenko (acoustic and electric basses), and Jeff Williams (drums) plus Leo Genovese (synths, electric keyboards, Fender Rhodes, acoustic piano).  While Blake's 2016 Sunnyside release "The Digging", was basically a trio album (bassist Ishenko and drummer Eric Harland) that had a "freer" sound, "Da Fé" covers a wider swath of musical territory owing to the work of John Coltrane in the 60s and Wayne Shorter in the 80s through the present day.  Pieces such as "Fish in Puddles" and "Cry In The East" feature strong piano work from Ms. Staaf and the impressive, open-ended, drumming of Williams.  The solid rhythm section gives the Blake's soprano plenty of support to express its feeling of freedom, of soaring through cloudless skies. The addition of Genovese's slippery synth work on "...Puddles" and Blake's overdubbed sopranos during the last 90 seconds adds more heft.

The opening of "Dr. Armchair" explodes with shards of sound from the piano and soprano before Blake and Ms. Staff play the melody.  While the rhythm section keeps a steady beat, the front line go on wild ride.  They move back to and away from melody led by the crashing phrases of the pianist.  Then the song just stops.  There's an urgency to the tenor saxophone on "The Grifter"; as Ms. Staff moves into her solo, the bassist and drummer settle down but the pianist soon pushes to intense interactions.  The tenor solo stays fairly straight-ahead and delightfully melodic until the end when Genovese's synths swoop and the overdubbed tenor .  Blake's overdubbed tenors introduce "The Cliff (Waat)" playing a repetitive figure while the rhythm section push against him and finally join in the fragmented melody.  Soon, several tenors saxes are soloing as is Ms. Staaf while the bass and drums thunder below.  Ishenko's short bass solo quiets the piece down but not for long.

Photo: Christopher Drukker

The title track ("Da Fé" translate to "of faith") rolls in on a steady pulse with Genovese's synths burbling out of the right and left speakers while Blake's soprano chase them in and out of the mix.  Slowly but steadily the piece takes shape especially on the entry of the acoustic piano.  The Shorter influence is quite evident here not so much in the sounds of the soprano sax but with the chattering synthesizers and the long, angular, melody that is played throughout the first half of the 6:30 piece until when Blake takes off on a rambunctious solo shadowed by his recorded loops.  

The "Epilogue – It Heals Itself" is more than an afterthought but a full-throated (Blake on several sopranos and tenors) prayer for a better world.  While the quartet recorded before the Pandemic, both Leo Genovese and Dan Blake spent a day each in the studio adding and overdubbing, filling out the sound changing the density of the music but not the intentions. "Da Fé" illustrates how the saxophonist and composer has matured, how his writing has developed, and how his ideas/ beliefs are clearer to the listener.  Give a listen, give more –– enjoy!

For more information, go to danielblake.net/.  To hear more and to purchase the album, go to https://theaquariansuite.bandcamp.com/album/da-f. 

Listen to the title track:

Springing and Swinging!

One of the joys of Spring (for some of us) is opening the windows, sitting outside, and listening to music. Here are three viable candidates for backyard (or indoor) enjoyment. 

Photo: Anna Yatskevich

Saxophonist, flutist, composer, and arranger Alexa Tarantino is a busy musician. She plays with DIVA! Jazz Orchestra, with Arturo O'Farrill & His Latin- Jazz Orchestra, with the Steven Feifke Big Band, with vocalist Cecile McLorin Salvant, and others.  Ms. Tarantino is adept on soprano and alto saxophones, flute, alto flute, and clarinet who serves her well in her various musical assignments. She's also an educator serving on the Faculty of Jazz at Lincoln Center as well as the founder and director of the Rockport Jazz Workshop (Rockport, Ma).  Posi-Tone Records producer Marc Free has posited Ms. Tarantino in his "curated" groups such as Lioness, Works for Me, and Something Blue plus paired her with baritone saxophonist Lauren Sevian.  She's issued two CDs as a leader for Posi-Tone and has been a featured soloist in several ensembles.

The third album under her name, "Firefly", finds the young lady in the company of Behn Gillece (vibraphone), Art Hirahara (piano, Fender Rhodes), Boris Kozlov (bass), and Rudy Royston (drums and percussion).  The four gentlemen are Free's choice for his "Lockdown" group as they have became (along with drummer Donald Edwards) his rhythm section during the pandemic recording sessions.   All but two of the 12 tracks on the disk are originals by the leader and group members with a pair of Wayne Shorter tunes ("Iris"and "Lady Day") filling out the program. The album opens with the pianist's "Spider's Dance", a medium-tempo tune with a sweet melody for alto sax and the comforting vibes providing a soft cushion for the song. Gillece contributes the next piece, "Mindful Moments" which finds the leader on flute and Hirahara on Rhodes.  There's a gentle quality to both of these tracks with the latter rising on the easy push from the bass and drums plus the sweet combination of Rhodes, vibes and flute.

Photo: Anna Yatskevich

Ms. Tarantino's piece, "Daybreak", has the funky feel of Marvin Gaye's "What's Goin' On" with the insistent nature of the Motown classic.  Kozlov and Royston do a fine of job of making sure the music has a groove and always moves forward.  "Surge Capacity" leaps out of the speakers on top of rapid "walking" bass lines and frolicking drums. Ms. Tarantino and pianist Hirahara really get fired-up when it's their time to solo plus they enter into a delightful "trading fours" with Royston before all is said and done.  Rhodes and bass introduce the powerful "Rootless Ruthlessness"; when the band enters, the music scurries forward propelled by the rampaging drums and Kozlov's furious bass lines.  When the alto sax solo begins, the band has dropped into slow-motion with Royston all over his drums, Hirahara running his hands up and down the Rhodes, and the bassist sending urgent musical messages. Soon, the music is at break-neck speed and rushing to its climax.  

Ms. Tarantino caresses Wayne Shorter's melody on "Lady Day", the lovely ballad evoking Billie Holiday's unique way of presenting a melody.  Kozlov's lovely bowed bass solo is a highlight as is the leader's ever-so-sweet alto solo.  Shorter's "Iris" is a also a ballad for alto sax and features an impressionistic piano solo, lovely colors from Gillece, and the intelligent work of the bassist and drummer.

 "Firefly" closes with "The Firefly Code", another medium-tempo piece that is dedicated to the resilience of people as well as musicians since the pandemic began.  The sound of the flute supported by the vibes feels comforting plus there is a surprising drum solo that raises the intensity level; listen for the "surprise" ending!  Overall, "Firefly" is an aural treat on which Alexa Tarantino shares the spotlight with her four-piece band. She is generous in sharing the spotlight, the songs do not dawdle with only a pair over six minutes, and the sound quality is clear and cool.  Enjoy! 

For more information, go to https://alexatarantino.com/. 

Photo: Anna Yatskevich

A month before Ms. Tarantino's September 2020 recording sessions, Behn Gillece took Messrs. Royston, Kozlov, and Hirahara into the studios to record the 10 tracks that make up his fourth Posi-Tone album "Still Doing Our Thing".  The vibraphonist contributed seven originals to the program, several of which have titles that reference the musician's issues with the pandemic. Songs such as "Back to Abnormal", "Don't Despair", "Going On Well", the title track, and Royston's "Glad to Be Back" carry titles that illustrate how these musicians are dealing with having their lives turned upside down. Yet, the overall feeling one gets listening to this music is the joy the musicians have for being able to get together and play.  

One of the most impressive aspects of Gillece's compositions is that while the music does not seem complex, the pieces are well-organized, have strong melodies and rhythmic fire, and are ripe fodder for soloists.  Take the opening track, "Extraction".  The composer introduces the melody; the rhythm section with Hirahara on Rhodes set a wicked pace and the vibraphonist takes off.  Chances are you'll dig the solo but do pay attention how Kozlov and Royston set the torrid pace while the pianist lays down the chordal structure.  The next track, "Rattles", has a similar opening but this time Hirahara and Gillece share the melody while the beat is decidedly funky.  Both the pianist (acoustic) and the leader share the solo space feeding off each other's lines.  The rhythm section is relentless during the solos, pushing, shoving even, as the intensity level rises to the boiling point.

Among the other highlights is the leader's lovely ballad, "Blue Sojourn", which shows the influence of Billy Strayhorn.  The song is a duet for vibes and piano and includes an emotional and lovely solo from Hirahara.  There's plenty of space in the vibes solo giving the notes time to breathe. Kozlov's "Outnumbered" finds the bassist going "electric" supported by the pulsating chords from the Rhodes.  The piece may remind some of Chick Corea's Return To Forever especially in Kozlov's throbbing bass, Royston's "attack-mode" drumming, and the incredible forward motion.  Tenor saxophonist Nicole Glover joins the trio (Royston sits out) for Hirahara's "Event Horizon", her lighter attack a pleasing contrast to the flowing yet percussive piano and vibes.   

Photo: Anna Yatskevich

The album closes with Gillece's soulful musical plea, "Don't Despair".  The ballad has a handsome melody played by the leader and Kozlov (electric bass).  Hirahara is back on Rhodes, the lighter sound of the keyboard meshing well with the rounder bass tones (listen to the excellent music the bassist is creating) and Gillece's soothing vibes chords.  

It's good to know that Behn Gillece, his compatriots, and producer Marc Free are "Still Doing Our Thing".  This music has the power to pull listeners out of their doldrums, giving us hope for when we can get out and see/ hear music in person.  In the meantime, open the windows and let this music flow!

For more information, go to www.behngillece.com.  To hear more and purchase the album, go to. https://behngillece.bandcamp.com/album/still-doing-our-thing. 

Give a listen to the closing cut:

Saxophonist, educator, and radio show host Tom Tallitsch never fails to impress when it comes to making music, having a great cohort of musicians, and swinging with abandon.  If one has to classify his music, it comes out of the flow of the late 1950s through the mid-1960s Blue Note/Prestige Records sounds.  Much of the music kicks hard but rarely boils over.  Yes, there is a hint of John Coltrane's emotional style in the tenor saxophonist's phrasing and an urgency in his uptempo piece that show the influences of Freddie Hubbard, McCoy Tyner, and Jackie McLean.  He's not a zealot for any particular style but Tallitsch has a melodic streak a mile wide making his songs stand out for their emotional strength and, yes, the fire that comes from really exploring his repertoire.

Earlier this year, Tallitsch issued his 11th album as a leader, "Message", the fourth release on his TT Productions label. Featuring his working band of Mike Kennedy (guitar), Neil Podgurski (piano), Matthew Parish (bass), and Dan Monaghan (drums), the program features nine original pieces by the leader.  The album opens with the appropriately-titled "Let's Go!" which jumps out from the first note and does not relax for seven-plus minutes. Fueled by the thick piano chords, a romping bass, and rock-steady drums, Tallitsch takes the first solo flying over the rhythm section with glee.  Kennedy displays touches of Herb Ellis and John Pizzarelli in his lively spot while you hear hints of McCoy Tyner in Podgurski's lively solo.  Parish's short yet powerful solo leads to the everybody "trading 4's" with Monaghan.  

The leader switches to soprano sax for the medium tempo "Bubble". Meshing his sound with the guitarist on the melody, the tune feels a breath of fresh after a long winter (and the album was recorded in January 2020!)  "Dusk" is a bluesy ballad with Tallitsch's tenor sketching the melody. Podgurski, who works with the Capt. Black Big Band and drummer Chad Taylor's Trio, creates an impressionistic solo supported by the melodic bass and steady drumming. Listen to what guitarist Kennedy adds in the background especially during the leader's delightful solo. Then, there's "Mablestates", a lovely reconstruction/ tribute of and to Benny Golson's classic "Stablemates."  Golson first recorded the piece in 1958 with his Philadelphians; Tallitsch's loving remake is also performed by musicians active in the Philly jazz scene. There's a "cool" feel to the tune and, once again, the leader's sax plays the melody in tandem with the guitar.  

The album's final two tracks are like day and night.  "In The Weeds" is a powerful, hard-bop, filled with fiery work in the rhythm section and strong solos from piano, tenor sax, and guitar. There is a clever change near the end that should make you smile.  "Moon" closes the album, a ballad that is takes its time to unfold. The richness in Tallitsch's tenor sound stands out, an emotional highpoint on the album.  The guitar solo starts quietly before picking up in intensity but Kennedy knows when to back off so as not to upset the gentler nature of the ballad.

This "Message" is clear –– Tom Tallitsch and company make human music, not trying to overwhelm you with technique but reminding us all that there is room in this music for melody, for rhythm, and for intelligent interplay. Give a listen!

For more information, go to www.tomtallitsch.com.  To hear more and to purchase the album, go to  https://tomtallitsch.bandcamp.com/album/message.  

Here's the band in the studio recording the opening track:

The Joys of Spring (Part 1)

Lots and lots of new music to absorb and enjoy. This is the beginning of a series of short reviews of new release.

Photo: Volha Talatynik

Organist, composer, pianist, and arranger Brian Charette has kept himself busy during the pandemic making videos of his songs surrounded by keyboards in his apartment. When I spoke to him last year, he was waiting for SteepleChase Records to release his third recording with his "reeds" sextet.  "Power From the Air" has just been issued and it's well worth the wait.  Charette plays organ throughout, composed eight of the 10 tracks, is joined by drummer Brian Fishler in the rhythm section; the "Air" comes from Ital Kriss (flute), Mike DiRubbo (alto saxophone), Karel Ruzicka (bass clarinet), and Kenny Brooks (tenor saxophone).

If you are familiar with the organist's music, you know that he likes to "swing" but also can be very funky.  His piece "As If To Say" rolls forward on a burbling organ bass line before dropping into a hard-bop free-for-all. The saxes and flute play a trance-like repetitive line while the organ introduces the melody.  The solos are short but powerful.  That's followed by Earle Hagen's classic "Harlem Nocturne" –– dig the slight dissonance in the reeds arrangement. The four-piece section really dig into the bluesiness of the piece yet also take a slight "free" turn before Charette's restating of the theme. The other "standard" is Ray Noble's "Cherokee" which jumps delightfully with the reeds playing a slightly altered arrangement of the main theme.  The leader takes a splendid joyride through the changes with Fishler's dancing drums as his co-pilot. Ruzicka dances through his solo followed by DiRubbo, Brooks, and Kriss – they make time to "trade 4s" with Fishler.  

Photo: Volha Talatnick

The melody for the funky and soulful "Want" is shared by the reeds before the drummer gets "down and dirty for the organ solo.  Back to the original rhythm for Kriss's delightful flute solo, DiRubbo's funky spotlight, Brooks short but pithy solo that leads into Ruzicka's tour-de-force that srars low in the bass clarinet's range and rises throughout. The album closes with "Low Tide", the only track other than "Harlem Nocturne" that has a ballad feel. There's a lot going on in this piece and the music builds in intensity throughout right up to the drums-fueled ending.

"Power In The Air" is yet another feather in the chapeau of Brian Charette.  The performances bristle with energy and creativity, the organ work is strong, and the drumming contains an energetic snap.  Give this album several close listens and it will work its way into your soul and your feet.  

For more information, go to www.briancharette.com.

Here's the ensemble live in 2019 from Dizzy's @ Lincoln Center in February 2019:

The trio of Kelly Jefferson (tenor and soprano saxophones), Artie Roth (acoustic bass), and Ernesto Cervini (drums, percussion, bass clarinet), a.k.a. TuneTown, are three of the busiest and creative musicians on the contemporary Canadian scene.  Together since 2016, the trio released its debut in late Summer of 2019.  That recording displayed myriad influences as well as the trio's delight in creating its own sound.  By the time that album was issued, they had already recorded their follow-up. 

"Entering Utopia" (Three Pine Records) follows a similar format with originals from both Cervini and Roth, several group improvisations, and two standards.  All three musicians are leaders, all are excellent musicians and improvisors, so this music breathes with excitement and adventure.  The opener "Hello, Today" opens with Cervini hand-held percussion followed by a bluesy theme from Jefferson.  When Roth joins, the drummer turns to the drums set, kicking his bandmates forward. Everybody solos but the last half of the track show hows closely the musicians listen to each other. Cervini's "Layla Tov" ("Good Morning" or "Good Night" in Hebrew) opens with the bass and tenor sax holding one note while Cervini plays a melody on glockenspiel.  The bassist introduces the main melody which Jefferson then picks up on soprano. Roth's solo is quite melodic with just brushes-on-snare for accompaniment.  The soprano solo that follows is emotionally rich, melodic, and heartfelt.  Interspersed through the piece are the sounds of the drummer's family at the beach (the baby's infectious laughter is contagious).

Charlie Parker's "Cheryl" opens with a slow bass solo but soon the trio step out with Jefferson's tenor rising above the rampaging rhythm section.  Cervini's "Billyish" is a good companion piece, it's boppish head leading to a thundering drum solo before Jefferson's tenor steps out. Roth's thick bass sound gives the other two players a strong foundation to get creative.  "Flood, Deluge" is the longest of four group improvisations on the album –– Roth's droning then frantic arco bass sounds spark his companions to create their own paths in the song's maze-like construction. The bassist's "Memories Remain" is a lovely ballad during which the tenor sax and bass intertwine the melody through the opening several minutes.  Roth's highly melodic bass solo is supported by quiet brushes work and Jefferson's breathy tenor notes.  The bass counterpoint behind Jefferson's lovely solo is stunning (and pay attention to how the drummer also gets in on the melody.

Roth's short (30 seconds) multi-tracked bass feature, titled "Looking Glass", serves as an introduction to "Blue Gardenia", the album's final track.  Composed in 1953 by Lester Lee and Bob Russell for the Fritz Lang movie of the same name, the piece was performed by Nat "King" Cole. Several years later, Dinah Washington had a big hit with the song, so big that he became one of her "signature songs" through to the end of her career (1963).  Cervini plays the melody on bass clarinet with Roth's strummed bass as the only accompaniment until Jefferson enters on tenor to play harmony and counterpoint. The two reeds wind around each other throughout with Roth creating a comfortable cushion for their tuneful interactions.

"Entering Utopia" is a delightful musical vacation trip. Our three tour guides play with fervor, emotion, and plenty of joy plus the sound of the performances is powerful, clean, and clear.  TuneTown is an apropos name for this fine trio!

For more information, go to tunetownjazz.com.  To hear more and to purchase the album, go to. https://tunetownjazz.bandcamp.com/album/entering-utopia. 

Here's the trio performing "Billyish":

Pianist and composer Paul Bedal is another one of the fascinating artists that reside in Chicago.  After earning his undergraduate degree in Studio Music and Jazz Performance from the University of Miami, he returned to the Windy City to earn his Master's Degree in Film Composition form Columbia College Chicago.  He's co-led a band with saxophonist Caroline Davis, played and recorded with trumpeter Paul Dietrich as well as bassist Matt Ulery. The pianist issued his debut CD, "Chatter", in 2014, a quintet date featuring Ms. Davis and bassist Ulery. Bedal has since signed with the Chicago label BACE Records and issued another quintet album (2018's "Mirrors") plus his first album (2019's "In Reverse") with the quartet of Ulery, alto saxophonist Nick Mazzarella and drummer Charles Rumback. 

The same lineup returned to the studio in January of 2020 to create Bedal's new recording on BACE, "Cerulean Stars."  The pianist certainly created this music for these musicians with each of the seven compositions playing to their strength.  Both Rumback and Mazzarella have been on the Chicago scene for over a decade and are often heard in "freer" music settings.  Ulery, who is known for his excellent writing for large and small ensembles, is a "foundational" bassist, more concerned with keeping the beat steady and creating a solid bottom. Still, on the opening track "Iris", his counterpoint during the solos is a highlight. The saxophonist leans more in a melodic direction throughout the album yet there are moments, such as during his solo on "Panorama", when he rides the powerful drums and moves away from the melody. That melody, by the way, is quite well-drawn, giving the pianist a great base to create an impressive solo.  Speaking of impressive melodies, the title track comes in on a dancing alto sax song (carries a trace of Randy Newman) then moves forward into Mazzarella's solo with a bounce in rhythm section.  Pay attention to the leader's intelligent fills and short runs underneath then hear how they inform his enchanting solo.  

I have been listening to this music as well as Bedal's previous quartet album on my daily walks. There are moments when the music reminds me of Herbie Hancock's mid-60s Blue Note Lps (post "Watermelon Man") –– you can hear the resemblance in the flow of the material, in how the members of the quartet interact, and the movement of the rhythm section.  As a soloist, Bedal leans more towards Keith Jarrett, Fred Hersch, and occasionally, Bill Evans.  The combination of melody and rhythm on pieces such as "Summer Fade" and "Citrine" offers so much possibility that one would love to hear the band play live. 

"Cerulean Stars" closes with "Free" –– the piece begins slowly and solemnly, in rubato, picks up somewhat in intensity during the sax solo but the rippling piano figure lead the listener to a soft close. This album is a joy from start to finish –– Paul Bedal is a mature composer with his ears attuned to his musicians and not to what's popular or hip. Not to say this music is "square"; no, instead from the opening moments, these songs enter the long and, hopefully, timeless river of Creative American Music, music that is always loving back and forward but never static.

For more information, go to www.paulbedal.com.  To hear more and to purchase Paul Bedal's music, go to https://paulbedal.bandcamp.com/album/cerulean-stars.  

Here's a video of the title track: