Sounds of Playing

I Will Follow You - Jerome Sabbagh (BEE JAZZ) - French saxophonist Sabbagh's 4th CD as a leader is his second straight trio "hit".  He retains guitarist Ben Monder from his quartet recordings and adds the classy European drummer Daniel Humair to the mix. The program is a mix of freely improvised pieces and Sabbagh's originals, played sans rehearsals. Only 3 of the cuts are over 5 minutes yet nothing seems rushed, forced or superfluous.  Humair may remind some of Paul Motian's "less is more" approach to the drummer's role but he is also quite melodic.  He and Sabbagh create "Come With Me" out together - listen how their lines weave in and out, complementing each other - the same approach can be heard on the saxophonist's duet with Monder, "Apaise" (meaning "appeased" in English) although the guitar is both atmospheric and melodic.  Monder "wails " on "Rahan", his duet with Humair, for the first 80 seconds then drops into a reflective period before flaring up for a short while then fading out. 
Throughout the program, there is a strong feeling of experimentation, a sense of friends having short conversations - it's no surprise that one piece is titled "Haiku" yet there's a touch of irony that it is the longest cut.  "Saloon" is a freely improvised piece, opening with Monder's distorted riffs over Humair's parade drums  - about 1/2 way through, Sabbagh enters on soprano sax, Humair moves a "rocking shuffle" beat before a frenetic close.  There are sections that sound like Jimi Hendrix sparring with Mitch Mitchell.  The lone standard, "I Should Care", closes the disk, softly, a reflection of the interplay that precedes it and a reminder of the power of what happens when like-minded musicians enjoy their time together.
"I Will Follow You" works best as a complete statement.  Only 44 minutes long, the music goes in many different directions, perhaps sounding (on first listen) a bit disjointed.  Let the sounds wash over you, pay attention to what each musicians does and you'll enjoy this ride.  For more information, go to www.jeromesabbagh.com. 



Leaving - Scott Lee (Steeplechase) - Bassist/composer Lee has as worked with a surprising array of artists such as Lee Konitz, Zoot Simms, Al Cohn, Freddie Hubbard, Kenny Werner, Andy Statman, Mose Allison and Joe Lovano.  He has also supported a bevy of vocalists including Nancy Wilson, Morgana King, Betty Buckley, Helen Merrill, and Anita O’Day.  It's easy to hear why - he is a very melodic and supportive player with musical ideas that make the pieces fuller.
This session features the sweet reed work of Billy Drewes (tenor and soprano saxophones, clarinet), pianist Gary Versace and drummer Jeff Hirschfield.  There's much to like on these 11 tracks, from the joyous interplay of "Two Ways" (emphasis on the idea of "play") to the reflective title track (Drewes' clarinet work is just right) to the aptly-titled "Old Friends Talking" (contemplative and playful duet for bass and soprano sax.)  "Drummersome" may conjure up images of James Brown exhorting his band to step aside and let the drummer have his time - here, Hirschfield is the backbone of the music, pushing the beat on his ride cymbals in the beginning and "kicking it hard" in the second half.  Solid but not flashy, this is music not "showtime" or even "show-off time." Bass and drums go together on  "The Connection", an example of how creative musicians pay attention to each other while in the process of creating. If the listener pays that attention, he or she can hear the way the rhythm section interacts throughout the program, never in each others way but building the foundation for the lead voices to be able to express themselves.
Versace, best know for his creative organ work in  numerous settings, is being heard more often on piano.  He stands out on several tracks here, including the fast-moving but never frenetic "JGB."  He, Lee and Hirschfield create a wonderful flow, like a rushing stream with each musician moving in and around each other (more impressive cymbal work) while Drewes' soprano darts like a bird above.
The best contemporary jazz is timeless. One can hear the kind of interplay and interaction from the Miles Davis Quintet of the mid-to-late 1960s that is played here but the music is different because the players are different, each with his own style and each being able to be himself within the wide-open spaces of the music. This recording may not instantly knock you for a loop but, if you listen with an open mind, there is much to savor here. 
For more information, go to http://scottleemusic.com.

Thanksgiving 2010

Usually, this column is concerned with music, especially modern jazz.  The excitement of hearing a drummer push the beat, a saxophonist fly over the changes, or a guitarist go from low to high in a flurry of notes sets  my mind, body and heart abuzz.

Thankfully, that feeling has never disappeared for more than a day or 2 at a time.  The past 6 months, keeping this blog alive has not been easy what with the health issues of my wife (she's much better) and the search for new employment.  No, I'm not looking for a handout, for sympathy, for get-well cards - music is still a big part of my day but putting my thoughts onto the pages of this comfortable format has, understandably, taken a back seat to more pressing issues.

Yet, I am such a lucky person.  We live in a great town, are involved with a goodly number of communities within the city limits and are supported by and, in turn, support good people.  I continue to be impressed by the fine citizens who donate time, food, clothing and/or money to the needy, the homeless, the working poor and the scores of children who survive without one or both parents and live in less-than-comfortable surroundings.

After a rancorous election season, where millions upon millions of dollars were spent to win a  position that could be used for such good (and instead, is an invitation to the "rich man's club - great benefits and super retirement), the Thanksgiving holiday reminds us of the importance of family, of security, of the simple helping hand and what we can accomplish by listening to each other.

Enjoy this time if you can. Be thankful for your health. Play, dream, love, and live for peace.

Here's a treat from the new Randy Weston CD, "The Storyteller", courtesy of Motema Records and IODA Promonet.

Randy Weston
"African Sunrise" (mp3)
from "The Storyteller"
(Motema Music)

More On This Album

Going Places, Hearing Music

'Tis the weekend before Thanksgiving and you've got plenty of choices.  Here's a quick look at several events that I wish I were attending.

Middletown-based pianist-composer Noah Baerman cites Mr. Steveland Morris as an influence.  Music lovers know Mr. Morris as Stevie Wonder, whose music has permeated the airwaves for over 4 decades.  Noah, bassist Henry Lugo and drummer Vinnie Sperrazza will be performing the world premiere of "Fulfillingness' First Finale" (in its entirety) on Friday November 19 at 7:30 p.m. in the Chase-Bear Experimental Theater on the campus of Choate-Rosemary Hall in Wallingford. The program includes such Wonder-ful tunes as "You Haven't Done Nothin'", "Creepin'", "Boogie on Reggae Woman", "They Won't Go When I Go" and others. For ticket information, go to https://www.choate.edu/calendars/events.aspx.

The following night, the NBTrio heads for Brooklyn, NY, to give the audience at IBeam a taste of the Wonder music.  That show starts at 8 p.m. and you can find out much more by going to http://www.ibeambrooklyn.com.

Mr. Baerman also has an informative blog housed on his website - www.noahjazz.com - and I recommend you visit him there.  

Firehouse 12, 45 Crown Street in New Haven, also has a busy weekend with 2, not just 1, fine evenings of music.  On Friday, the performance space welcomes Ches Smith & These Arches for shows at 8:30 and 10 p.m.  Drummer-composer Smith, who has worked with Wadada Leo Smith and Nels Cline (among many), loves to play with sound and he has 3 fine collaborators in Tony Malaby (tenor saxophone), Andrea Parkins (accordion, organ, electronics) and Firehouse favorite Mary Halvorson (guitar). The foursome's debut CD, "Finally Out of My Hands", has just been issued on Skirl Records -  the music literally dares you to put a label on it (esoterica? punk-jazz? - not worth it, just enjoy.) The band can be thunder-storm loud and whisper soft.

On Saturday, the Firehouse welcomes 2 ensembles associated with the New Haven Improvisers Collective for an evening of fascinating sounds.  Set 1 (8:30 p.m.) features NHIC Atlas, a group with Steve Asetta (saxophones), Nathan Bontrager (cello), Bob Gorry (guitar), Jaime Paul Lamb (bass), Adam Matlock (clarinet), and Steve Zieminski (drums, percussion). Set 2 (10 p.m.) belongs to Mayhem Circus Electric and that ensemble features Pete Brunelli (electric bass), Jeff Cedrone (guitar), Bob Gorry (guitar), Paul McGuire (soprano and alto saxophone), Nate Trier (keyboards), John Venter (bass clarinet), Steve Zieminski (drums, percussion). One ticket gets you in to both sets and the adventurous music is worth exploring  For more information about these and other shows, go to www.firehouse12.com. To learn more about NHIC, go to www.nhic-music.org.  


Guitarist and NHIC leader Bob Gorry can be heard every Thursday from 6 - 8 a.m. on WNHU-FM, 88.7 in New Haven - the show is streamed live on http://wnhu.net. 


Reviews return next week in between getting ready for the Thanksgiving onslaught and other responsibilities.  Have a great holiday! Go dig some live music. 

O Mario and A Wonderful Discovery

Arc Suite T/Pi T/Po -  Mario Pavone Orange Double Tenor (Playscape Recordings) -This is a good time for composer/bassist Pavone.  He's just celebrated his 70th birthday, been feted by NPR (click here to check it out) and was the subject of an in-depth interview on Jason Crane's "The Jazz Session" (listen here.)
Those of us who live in Connecticut have had the good fortune of watching and listening to Pavone in various settings for over 4 decades, from his work with the late Bill Dixon and Thomas Chapin, his association with the Connecticut Music Improvisers Forum, and his numerous groups that have recorded on the Playscape label.  His music combines exciting rhythmic variations and compositions built from his bass outwards.  As a player, he's never been a slouch or showoff; as a leader, he surrounds himself with intelligent collaborators.
The sextet on this program is no exception -  what's interesting to me is various influences I've not noticed in his music before.  Michael Musillami's arrangements on the opening 2 tracks have an Ellingtonian feel in the sway of the horns and reeds.  "East Arc" combines the tambre of "East St Louis Toodle-oo" with the shuffle-cum-sway of many uptempo Duke Ellington works from the the 40s and 50s.  Pavone and drummer Gerald Cleaver set the tone for the soloists while pianist Peter Madsen moves in and around the ensemble (and he's such an impressive soloist.) The double tenors of Jimmy Greene and Tony Malaby each bring a different flavor to the songs, the former with his John Coltrane-like explorations, the latter with a thicker tone and more experimental side.  Greene unveils his handsome soprano work on "Poles" joining with Madsen and trumpeter Dave Ballou in the journey through Pavone's musical landscape.The title track has a slippery melody, nicely executed by Ballou (who doesn't even solo), as well as more strong work from Greene and Madsen. The challenging melody of "17 Note" moves from the piano to the guest Steven Bernstein's slide trumpet with ease while pieces of the rhythm are used by the tenor saxophonists to create their solos.
The Cd also contains 3 short pieces, the rhythmical "Nokimo", the angular, edgy, "Half Dome (for Bill Dixon)" and its companion "Dome." The brief works allow the composer and band to create unique worlds that pull the listener in the way a haiku attracts a reader.
Over the decades since he took up the bass (when he was in his mid-20s), Mario Pavone has continued to move forward, not slowed by the vagaries of the music business or lack of imagination.  His creative music marries rhythm and melody in original ways that make one sit up and pay attention.  For more information, go to www.mariopavone.com.

The Blue Mountain's Sun Drummer - Wadada Leo Smith and Ed Blackwell (Kabell) - This is an unqualified treat.  A live recording from 1986 pairing the splendid drum work of Ed Blackwell and the exciting brass, flute and voice of Wadada Leo Smith.  Originally recorded at Brandeis University, the duo are in sync from the opening moment through to the closing tones.  Blackwell, who passed in 1992, was born in New Orleans and, though he often played in "free" jazz settings, never lost his rhythmic propulsion. One can hear the influence of the "parade drums" on the opening track "Uprising" and the joy in the trumpet trills, splats, and riffs above him.  The duo creates an African dance on "Love", Blackwell riding his cymbals while bouncing between snare and toms as Smith roars triumphantly.
Several of the tracks include vocals by Smith, including the mbira-fueled tracks "Seeds of a Forgotten Flower" (dig the subtle cymbal work) and "Don't You Remember".   Smith sounds like a blues griot on the latter track with Blackwell's sticks creating subtle, provocative, dance rhythms.  The move to muted trumpet does not change the ageless rhythmic patterns. 
The mellower tone of the flugelhorn ushers in "Seven Arrows in the Garden of Light" while the drummer creates a "Bolero"-type rhythm but, instead of building up to a climax in the fashion of Ravel, Smith moves to flute and the piece becomes quieter and more intimate. Close to the end, he returns to trumpet but only for a moments of impressionistic phrases. There is a wonderful sense of swing amidst the raucous sounds and humid air of the Crescent City on "Buffalo People: A Blues Ritual Dance", a delightful musical jaunt.
"The Blue Mountain's Sun Drummer" can and should be listened to in one sitting. There are no weak moments, only the joyous dialogue of 2 musical equals. For more information, go to Wadada Leo Smith's homepage at http://adagio.calarts.edu/~wls/.

I had the joy of being able to see and hear Ed Blackwell play in various ensembles (some with faculty, others with students) many times at Wesleyan University where he taught for the last 2 decades of his life. Even in his later years as his kidney problems slowed him down, his drum work always danced. This CD is a real gift for those of us who still thrill to hear his unique approach to rhythm. 

'Tis the Season

Matt Wilson's Christmas Tree-o - Jeff Lederer/Paul Sikivie/Matt Wilson (Palmetto) - Recorded in May (undoubtedly a time "when treetops glisten and children listen" in the area near Maggie's Farm Studio), this is drummer Wilson's gift to the world of music.  "Winter Wonderland" goes from a New Orleans shuffle to a walking blues, led by Lederer's blowsy, bluesy, tenor sax aided and abetted by Sikivie's fat bass tones and the leader's solid drumming.  The soprano sax is the main voice on "The Chipmunk Song" (what? No Alvin?) - Lederer contributes a rollicking solo, the bass and drums get a noisy interlude and the piece ends in humorous disarray. There is an intriguing medley of Albert Ayler's "Angels" paired with "Angels We Have Heard On High" where the traditional tune is given the "free" treatment.
Other highlights include a soulful take on John & Yoko's "Happy Xmas (War is Over)" and a jaunty romp through the Bing Crosby classic "Mele Kalikimaki".  "Hark! The Herald Angels Sing" is taken as a march while the "Hallelujah Chorus" flies a wee bit off the Handel (love the drums role as the chorus.)  "Little Drummer Boy" has the feel of a Sonny Rollins hit (Lederer on soprano instead of tenor.) 
Even if Holiday music is not your "bag", this CD is the one gift that keeps on giving.  Indulge yourself and then give your friends this most joyous treat.  For more information, go to www.palmetto-jazz.com. 



  Now, for a little treat - here's the title track from the new CD by Henry Threadgill Zooid  (courtesy of IODA Promonet and Pi Recordings.)  Enjoy!
This Brings Us To (mp3)

Piano Up Front

Five Pedals Deep - Dan Tepfer Trio (Sunnyside Records) -Young Mr. Tepfer's playing is quite impressive, especially his work with Lee Konitz and on the Rob Garcia 4's "Perennial" (issued late last year on BJU Records.) He does not try and blow you away with technique; melody is his forte. On initial listening to this new release (his first with the rhythm section of drummer Ted Poor and bassist Thomas Morgan), the music sounded highly influenced by the Brad Mehldau and Radiohead but, as the music sunk in, I began to hear so much more. The interaction of the trio, the way Morgan holds the bottom allowing Poor to drive the faster pieces, the manner in which Tepfer inhabits the music, seemingly playing from the inside out. The fire of "Peal, Repeal" comes not only from the bustling rhythm section but also from the way the pianist builds the melody from the repetitive figures in his left hand. The drone in the piano figure on "All I Heard Was Nothing" tugs at the listener,  the long right-hand runs over Poor's rampaging drums makes you listen - you want to follow this journey.  The ballads are equally affecting; the Satie-like melody line on "The Distance", a piece that slows down as the rhythm gets jagged for a short but melodically generous bass solo, opens like a flower. The program also features 5 solo piano pieces.  The brief "Interludes" range from meditations to angular explorations - all were recorded at home and were conceived as exercises.  "Body and Soul" closes the program and Tepfer digs right in; the piece seems to become more contemplative as it moves forward, softening slowly on the way to the final chords.
"Five Pedals Deep" is thoughtful, playful, at times dark but never dull. This is music to play over and over, allowing the notes to gently rain down upon you.  For more information, go to www.dantepfer.com.

Simple Songs (For When the World Seems Strange) - Jeremy Siskind (BJU Records) - Siskind is another young pianist who is beginning to make people sit up and take notice.  His music is neither brash nor confrontational yet it's not as simple as the title of the program may lead one to believe.  As with Dan Tepfer's Trio, Ted Poor is here to incite riotous rhythmic adventures from his seat behind the trap set. Bassist Chris Lightcap is both melodic and forceful; his "swinging" solo on "The Fates" is impressive and his support is flawless.  Vocalist Jo Lawry appears on several tracks, from the prayerful "Hymn of Thanks" (sounding like a tune written by her 2010 employer, Sting, save for the bluesy piano solo in the middle) to her wordless vocal duo dance with Siskind on "Six Minute Tango" (that clocks in at under 4 minutes - go figure.) The latter track combines touches of Louis Moreau Gottschalk with Carla Bley and is pure joy. Lawry's lovely voice sounds waif-like and angelic on "Little Love Song", another duet with the richly melodic piano. After Lawry reads the melody, Siskind creates a world that mirrors her innocence and hope. The pianist goes it alone on "The Inevitable Letdown", displaying a left hand that would make Earl "Fatha" Hines sit up and applaud while creating a melody that struts and sashays.
The "bonus track" is a jazzy take on "The Candy Man" that is most "satisfying and delicious", a joyous romp with splashy cymbals, a short yet melodic bass solo and a "cool" final section with Poor holding court above the gentle piano chords until the final "zing."
I know there are a million-or-so piano trios but Jeremy Siskind (and Dan Tepfer above) proves there is always room for more.  A most impressive debut and one only hopes there are many more adventures to come.  For more information, go to www.jeremysiskind.com.
Enjoy a track from the CD courtesy of IODA Promonet and BJU Records.

The Inevitable Letdown (mp3)

Riffing Through the Disks (Take 1)

Economy of writing has never been my strong point but...here is a quick look at several new CDs that are worth your time.

"When Lights are Low" is vocalist Denise Donatelli's 2nd CD (first for the Savant label.)   Produced by pianist Geoff Keezer, the music is a blend of modern and traditional techniques, all held together by her facile voice. Keezer utilizes a fine rhythm section (bassist Hamilton Price and drummer Jon Wikan), creates intelligent arrangements that features guests such as guitarist Peter Sprague, the flugelhorn of Ingrid Jensen, the vocal arrangements of Julia Dollison and Kerry Marsh, an occasional string section, yet it's Ms. Donatelli's voice you'll remember.  Her passionate take of "Don't Explain", the tenderness and resilience in the delivery of Ms. Dollison's "Forward, Like So", and the bright joy of "It's You or No One."  After several listens, one begins to notice the subtleties of Keezer's arrangements and the many fine musical contributions.
Want to know more? Go to denisedonatelli.com.

Tarbaby is the collective trio of Orrin Evans (piano), Eric RevisNasheet Waits (bass) and (drums) and "The End of Fear" (Posi-Tone Records) is the their 2nd CD. They've invited 3 fine guests to join them, including J D Allen (tenor sax), Oliver Lake (alto sax) and Nicholas Payton (trumpet).  This is music that takes plenty of chances, throws the listener plenty of curves, yet never feels forced or contrived.  Blending original works by each member, collective improvs and a number of fascinating interpretations, the recording sticks in your mind.  There is a vocal sample from Duke Ellington (among others), hard-edged riffing (a la The Bad Plus), echoes of Thelonious Monk while the guests match the fire and invention of the hosts. Lake slams through his own piece, "November '80", his angular lines pushed by Waits' rampaging drums (the drummer has been part of many fine rhythm sections this year besides this one - he's a regular member of Jason Moran's Bandwagon and trumpeter Avishai Cohen's "Triveni.")
Allen, Lake and Payton add moody voices to the ominous take of Andrew Hill's "Tough Love" (which he recorded as a solo piano piece on the Palmetto release,  "Dusk") - here, it's Revis's rumbling bass and Evans' jagged piano riffs that open up the piece for the braying trumpet and sharp-edged saxophones. It's not all rampage - the trio plus Allen do a lovely take of Fats Waller's "Lonesome Me" with the tenor lines being smooth and blues-drenched.  Also, listen to the impressionistic piano of Evans. More impressionism on Paul Motian's "Abacus" where the lead voice is Revis and his melodic bass lines.
Tarbaby rocks and rumbles, sways and soothes, and makes one pay attention.  Take heed.
Here's a taste of "Brews" (courtesy of Posi-Tone and IODA Promonet.)
Brews (mp3)

The latest effort from trumpeter John McNeil and saxophonist Bill McHenry carries the fascinating name of "Chill Morn He Climb Jenny" and opens with a truly fine version of the old chestnut "Moonlight in Vermont."   Here, it's the trumpeter who makes an abstraction of the melody (though listen to him at the opening of his solo when he echoes his partner's last line) while the saxophonist approaches it like Lester Young, pushing the sound up in the tenor range.  Supported by bassist Joe Martin and drummer Jochen Rueckert, this version is anything but a "moldy oldie." The 4-some romps through pianist Russ Freeman's "Batter Up", a baseball-inspired hit, and, later in the program, dance through Freeman's "bebop rhumba" known as "Maid in Mexico" before high-stepping through his "Bea's Flat." Freeman is ripe for rediscovery and McNeil/McHenry do him proud.
Other highlights include the Brazilian-inspired "Carioca" during which the saxophonist takes off on a long, multi-faceted, solo.  The quartet also create a jaunty stroll for Wilbur Harden's "Wells Fargo",a bluesy hoot with lots of long notes over a pleasing walking bass line and skipping drums.
Delightful music; really, you can just sense that the band had a great time at this gig.  Recorded live at the Cornelia Street Cafe in NYC and released on Sunnyside (definitely the label of 2009-10), "Chill Morn He Climb Jenny" is sweet fun for adventurous listeners. For more information, go to www.sunnysiderecords.com.