Drums Out Front (June 2020)

Drummer and composer Rudy Royston, a native of Texas who grew up in Denver, CO, is one of the busiest musicians in contemporary music. Or, he was one of the busiest musicians until the pandemic. In an phone conversation just the other day, he told me his "gig book went from all into no ink" in a matter of hours.  He received several grants that helped to pay bills and it gave him the time to think about those musicians who were not being funded and how he could help. Royston had recorded a series of drums solos in 2013 just after releasing his debut album ("303") as a leader.  He sat back, listened, and talked with Greenleaf Records head Dave Douglas about releasing the solos as an album and using the proceeds to support MusiCare Foundation's "Covid-19 Musicians Relief Fund."

The album, "PaNOptic", comes out on June 19, "Juneteenth", and is well worth exploring.  Most people would argue that the drums are not a melodic instrument but, in the hands of someone as talented and dedicated as Rudy Royston, one can hear he's telling  stories throughout the 23-track program.  Whether it's the speaker-shaking "bLUes", the subtly etched "defeRRed" (complete with excerpts from Langston Hughes' "A Dream Deferred" and wordless vocal), or the gospel thump of "MOTHER KELLY and the preacher part 1", the attentive listener understands much of what is going on. He pays tribute to his drum mentors Elvin Jones, Max Roach, and Jack DeJohnette as well as the inspirations of fellow Texan Ornette Coleman and Thelonious Monk.  Royston also pays musical tribute to Bill Frisell with whom he has played and toured with for two+ decades.

If you have ever seen and heard Rudy Royston in person, you know just how fine a musician he is.  "PaNOptic" offers the listener the opportunity to spend a hour in the room with this fine person and to help him help other musicians make their way through these uncertain times.

To read more, go to https://greenleafmusic.com/rudy-royston-on-musicares-and-panoptic/.

Here is a teaser:

Drummer and composer Jerry Granelli, a native of San Francisco, CA, who has lived in Halifax, Nova Scotia, Canada since the early 1990s, is quite an interesting musician. He's played alongside bassist Charlie Haden, Sly Stone, Sonny Stitt, and Ornette Coleman.  Two of his earliest "high-profile gigs" in the 1960s were with pianists Denny Zeitlin and Vince Guaraldi – in fact, he played on the former's first three albums and on the latter's "Charlie Brown's Christmas" album.  In the 1970s, he worked with pianist Mose Allison. Granelli went out oh his own in the 1980s and has recorded a number of impressive albums that blur the lines between blues, jazz, and "free" music.  He's a prolific composer, is interested in electronic sounds, and has recorded with such great players as vocalist Jay Clayton, guitarists Dave Tronzo, Ralph Towner, Bill Frisell, Robben Ford, and many musicians.

For his new album, Granelli recruited pianist Jamie Saft and bassist Bradley Christopher Jones to investigate the music of two of his early employers. "The Jerry Granelli Trio Plays the Music of Vince Guaraldi & Mose Allison" (Rare Noise Records) finds the trio exploring five pieces associated with Allison, three with Guaraldi plus two improvisations for bass and drums.  The album opens Guaraldi's "Cast Your Fate To The Wind"; the pianist composed the song after the seeing the 1959 Brazilian movie "Black Orpheus" and the 45 rpm version of the song was a surprise top 40 hit in 1962. Granelli and the trio capture the mysterious beauty of the opening section which introduces the lovely melody. Unlike the original, the Trio does not go into a conventional "jazz stroll" but keep the sonic sense of mystery going through until the fade.

Photo: Scott Irvine

The five Allison pieces are standards in the late Mississippian's repertoire. "Parchman Farm", named for the infamous Mississippi maximum security prison, allows the musicians to stretch out. Saft refers to the melody throughout his solo as Jones thick tones and Granelli's solid pulse drive him forward. "Everybody's Cryin' Mercy" captures the lowdown feeling of the original while the band lets loose on "Your Mind Is On Vacation" where the minimalist/ pointillistic approach of Saft's piano is countered by the powerful drums and throbbing bass. Hard not to move your body while listening to the three musicians dance through "Baby Please Don't Go" (credited as a "traditional" in the liner notes); the groove is there from the opening gun and it's fun to hear Saft bounce atop the rhythm section.

Photo: Scott Irvine

Besides the opening track, the other two Guaraldi pieces are "Star Song" and the album closer "Christmas Time Is Here".  The former is a gentle samba tha really shows off the virtuality of the bassist especially during his sweet solo.  The latter is, of course, from the "Charlie Brown Christmas"; for many young people, the music Guaraldi composed for the cartoon was the first jazz they ever heard.  The trio plays it straight with fine solos from Jones and Saft above the sympathetic and gentle drums and cymbals from the leader.

The  pair of drums-bass improvisations, "Mind Prelude 1" and "2", illustrate the fine conversational interplay of Messrs. Granelli and Jones. "1" takes place over a rapid-fire drum rhythm while the bassist flies over the delightful brushes work (note the booming bass drum). "2" has a similar feel to its partner with a more pronounced (and bluesy) melody from Jones.  The delightful sparring of the bass with the drums is a highlight of the album.

One should and could emphasize the word "Plays" in the album's title, "The Jerry Granelli Trio Plays Vince Guaraldi & Mose Allison".   The trio of Jerry Granelli, Bradley Christopher Jones, and Jamie Saft approaches this music with respect for the artists who created it and the joy of playing together, making fun music that has substance.  Feels good, sounds good – enjoy!

For more information, go to jerrygranelli.com.

Here's one of the Mose Allison tunes:

Drummer, composer, and educator Steve Fidyk began playing in front of audiences when his father, saxophonist John Fidyk, brought him onstage at the age of eight.  At the same age, the younger Fidyk discovered drummer Buddy Rich and one can hear some of that drummer's tremendous drive in the way Fidyk propels a band forward.  He later studied with Joe Morello (best known for his work with the Dave Brubeck Quartet) and spent 21 years playing with the Army Blues Big Band, an experience that took the drummer around the world playing for dignitaries as well as for troops stationed in the Mid East. While Fidyk has appeared on a number of recordings with the Army Band and others, his debut as a leader, "Heads Up!", was issued in 2014 on Post-Tone Records.  He released another album on the label in 2016 plus appeared on disks led by saxophonists Doug Webb and Walt Weiskopf plus organist Brian Charette.

His third album, "Battle Lines", is Fidyk's first self-released recording (Blue Canteen Music) and finds him at the helm of a swinging quintet: Joe Magnarelli (trumpet, flugelhorn), Xavier Perez (tenor saxophone), Peter Zak (piano), and Michael Karn (bass).  The 11-song program features seven pieces by the drummer plus one each by Eddie Harris, Dave Brubeck, Blue Mitchell, and Charlie Parker. Harris's "Ignominy" leads off the album in an Art Blakey/Jazz Messengers mode with the drums front-and-center but not distracting from the fine solos by Perez, Magnarelli, and Zak. The handsome  waltz "Thank You (Dziekuje)" was composed by Dave Brubeck on a 1958 tour of Poland, has a lovely melody, and is infused with a blues feel.

Photo: Lea Alexandrine

Fidyk's "Bebop Operations" tells you much of what you need to know about the song and the inspired romp fills out the rest.  His "Battle Lines" is a high-speed romp whose melody is split between the saxophone and piano before Zak takes off on a dizzying solo propelled by the leader's driving drums and Karn's speedy bass lines.  Perez (also a member of the Army Blues Big Band) creates a delightful solo before ceding the spotlight to a short but impressive drummer break. The loveliest piece on the recording, "Lullaby For Lori and John", is a sweet ballad Fidyk wrote in memory of his parents, both of whom died in the last two years. Magnarelli's soft-edged flugelhorn frames the piece nicely (he also takes a fine solo) and there are short but eloquent solos from Zak and Karn.

Photo: Lea Alexandrine

After the ballad comes the aptly-titled "Churn" with its rolling bass lines, turbulent percussion, and a roiling tenor sax solo. Perez does a great job building his solo; with Zak's powerful chords pushing him ahead, the saxophonist sings and frolics.  The pianist takes a fine solo as does the leader whose drums fill the sound spectrum delightfully. That's followed by the joyous quartet (Magnarelli sits this and several other tracks out) take on Yardbird's classic "Steeplechase."  The musicians capture the spirit of the 1948 original, kicking the tempo up a notch or two. The album closes with Blue Mitchell's "Sir John", a medium tempo blues that, like the opening track, has that Jazz Messenger "sound".

Despite its militaristic title, "Battle Lines" is more of a party than a skirmish.  Steve Fidyk and company sound as if they were deep into the second set of a gig at an underground club.  It's always fun to hear music that is hard-driving yet relaxed at the same time. Everyone, including the listener, is having fun.  "Make grooves, not war" just might be this drummer's philosophy – give a listen and see if you agree.

For more information, go to stevefidyk.com.

The Lady Sings the Blues, The Drummer Creates Many Hues, & Great Music Made by Two!

Amy Cervini is a busy and very modern women. The Canadian-native has a family with producer Oded Lev-Ari (with two young children), she owns (or co-owns) a publicity firm, and is one-third of Duchess trio (along with Melissa Stylianou and Hilary Gardner).  With Duchess, she is co-host of the group's very enjoyable podcast "Harmony and Hijinks."

For her fifth solo recording, "No One Ever Tells You" (Anzic Records), Ms. Cervini has dug deeper into the blues than in the past, producing a powerful album whose emotions run deep. Her crackerjack band - Jesse Lewis (guitars), Michael Cabe (piano), Matt Aronoff (bass), and Jared Schonig (drums) plus Gary Versace (Hammond B-3 organ on four tracks) -  helped to develop the arrangements over the past few years during the ensemble's weekly residency at NYC's 55 Bar.

Photo: Shervin Lainez

The album opens with the only original on the program.  "I Don't Know" stretches the leader's voice in ways one hasn't heard before. That fascinating blend of soul and blues continues with Lyle Lovett's "God Does", adding a touch of country to the mix.  The soul dripping work of the band frames the voice and allows for Versace's burbling organ to interact throughout (as well as solo). The title track, composed by Hub Atwood and Carroll Coates, was first recorded in 1956 by Frank Sinatra but it was Seth MacFarlane's 2016 version that Ms. Cervini first heard. She replaces the big band groove with sturdy guitar work but pay attention to Cabe's excellent piano accompaniment.

Photo: Shervin Lainez

There are surprises throughout the album starting with the dream-like reading of "The Surrey With The Fringe On Top."  Performed at the pace of a snail, the Rodgers & Hammerstein frolic is transformed into a lullaby. It works!  Ms. Cervini and the band dance dreamily through Bertha Hope's "You Know Who" - Ms. Hope was married to jazz pianist Elmo Hope and has a very impressive career, not only as a performer and composer but also as an educator (her husband passed in 1967: she the married bassist Walter Booker).  Jesse Lewis's hard blues-rock guitar licks introduce "Bye Bye Country Boy", a Blossom Dearie tune that Ms. Cervini first recorded on 2009's "Lovefool."  Here, the song has a slower pace befitting the bluesy approach the band takes. Following that is a smashing duet with Versace on the Arlen-Mercer "One More For My Baby (and One More for the Road)" - first recorded in 1943 by Fred Astaire for the movie "The Sky's The Limit", the duo here have great fun recreating the feeling of the last song of the last set, perhaps 3 p.m. in a New York City bar.

The album closes with the Percy Mayfield classic "Hit The Road Jack" - Ray Charles had a huge hit with the song in 1961 (the song lasted less than two minutes yet stuck in one's brain all day) and it's fascinating to hear the original demo - click here).  But Ms. Cervini replaces the "bounce" of the original with a sultry take that does not have the humor or anger of the original yet there is no missing the singer's intention, that being "get out and stay out". The band takes the place of The Raelettes, Mr. Lewis lays down some fine blues riffs, and the leader caresses the lyrics with just a hint of resignation.

I will tell you that "No One Ever Tells You" is a treat from the opening notes to the soft landing that closes the program. Amy Cervini is a singer, a story-teller, and has a good ear for finding songs that not only fit her voice but also entertain and entrance the listeners.  And, the band shines throughout.

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

Here's the opening track:

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Drummer, percussionist, and composer Chad Taylor has an impressive track record.  He's a founding member, along with trumpeter Rob Mazurek, of the Chicago Underground Duo (and its many offshoots), has recorded and toured with Marc Ribot. Cooper Moore, Matana Roberts, Eric Revis, the late Fred Anderson, and many others.  He's quite knowledgable about the history of his instrument and of the music.

His third album as a leader, "Myths and Morals" (earandeyesrecords), is a solo album of the first order.  One can hear the influence of the AACM, especially the work of Famadou Don Moye (Art Ensemble of Chicago) yet Taylor sounds nothing like that famed drummer.  There is something so appealing about "Gum Tree", a mbira solo that has a dancing rhythm, the "thumb piano" displaying its percussive side.  Other pieces, such as "Abtu and Ahnet" and "Simcha", have a dance feel as well. That latter track, the shortest on the album at 1:44, has an irresistible forward motion. Elliot Bergman joins Taylor, playing a somewhat distorted electric kalimba - one imagines dancing to that beat all night long.

There are many moments when one marvels at how these pieces are constructed. Taylor is not showing off any fancy technique but using his percussion instruments to tell stories. Listen to he builds "The Fall of Babel", the intensity moving from the cymbals as the beginning to the floor toms near the end.  Note the electricity, the drone created by looping, and the lovely African melody on "Island Of the Blessed", a piece where the sounds, natural and electronic, collide yet still dance.

I love the snap of the snare, the thump of the floor tom, the whooshing cymbals, the warp of the high-hat, all of it, and how Chad Taylor is as much an architect as a composer.  "Morals and Myths" is fascinating music, well worth investigating.

For more information, go to www.chadtaylordrums.net.

Listen to "Phoenix":

Photo: Ottawa Citizen

Joel Frahm (tenor and soprano saxophones) is a very talented musician equally at home in a quartet setting and a big band, as a leader or a sideman. He has worked, most notably, with pianist Brad Mehldau, drummer Matt Wilson, and is currently working with drummer Dafnis Prieto's Big Band as well as numerous groups in New York City.  Pianist Adrean Farrugia has been an integral participant in the Canadian music since the later 1990s and his brilliant play has taken him around he world with the likes of guitarist Larry Carlton, saxophonist Chris Potter, trumpeter Kenny Wheeler, and bandleader Darcy James Argue. The pianist first met the saxophonist 10 years ago when both began working with drummer Ernesto Cervini's Quartet and his sextet Turboprop.  The two musicians have similar attitudes to music. Melody is king and what we do is play in every sense of the word.  They talked for several years about playing in a duo setting and, now, listeners can finally hear the fruits of their interactions.

"Blued Dharma" (self-released) finds the duo through eight spirited performances, including two delightfully different takess of Ray Noble's venerable "Cherokee."  It's as if the the first time one hears the song (actually marked as "Cherokee II"), it's in the first set and the musicians excitedly move through the piece.  "Cherokee I" sounds like we're now in the third set: the duo's interactions are a bit more contemplative and released but no less enjoyable. Frahm's soprano shines brightly on the title track. After a poetic piano intro, the soprano introduces the handsome melody. If you have never heard Farrugia play, he may remind you of Chick Corea or Keith Jarrett. I hear Bruce Hornsby, especially in the bounce created by his left hand and his impressive facility.

Their ballad work is filled with space and emotion. "For Murray Gold" opens with Frahm's breathy tenor with Farrugia doubling the melody but also providing soft chords and rippling responses.  The pianist feeds off the rhythmic and melodic choices that Frahm makes during his solo - it feels at times as if the two were gliding together, letting the wind take them wherever it will. The short piano solo is heartfelt and exquisite.  The other slow(er) tune, Jerome Kern's sweet "Nobody Else But Me", has more pizazz - the duo is in no hurry, making you sure you hear the breezy melody before Frahm ventures out on a delightful solo.  When the pianist steps out, there was a moment I heard a hint of Dick Hyman in Farrugia's sprightly phrases and rhythmic approach.

The album closes with the pianist's "Half Moon (for Sophia)", a lovely uptempo tribute to Farrugia's wife and another musical partner Sophia Perlman (they have a duo album of their own, "Live at The Musideum", released in 2012).  The powerful groove that the pianist creates is a springboard for Frahm's splendid soprano saxophone flight.

Sit in the back porch (if you have one) or in a shady park on a lovely day and just listen to delight-filled music that makes up "Blued Dharma".  Adrean Farrugia and Joel Frahm must have had great fun making this album as the music has a professional (not business-like) yet carefree feel.  Trust, melody, and wide-open ears, the duo makes magical music certain to excite the mind and soothe the soul.

For more information, go to adreanfarrugia.com.

Here's the final track: