4 By 3s (Part 2)

You need not know science to listen to 1032K (the temperature at which matter ceases to exist) only an open mind.  The trio - Ku-Umba Frank Lacy (trombone, flumpet, voice, percussion), Kevin Ray (acoustic bass) and Andrew Drury (drums, percussion) - comes at the listener with the powerful message of improvisation built from works by Albert Ayler, drummer Steve McCall, Henry Threadgill, Joe Ford, and Charles Mingus.

The group began its journey when Ray approached Lacy with the idea of starting an ensemble that would play all kinds of creative music.  Lacy had not led an ensemble since 1994 (the year he recoded his last album as a leader) but he's certainly been busy playing with the likes of the Fort Apache Band, the Mingus Big Band, Lester Bowie, Julius Hemphill and a score of others.  After many months of rehearsing with different combinations, they added Drury and decided to concentrate on the music that so moved Lacy as he was maturing as a musician.

The trio's self-titled debut CD, recorded live in Buffalo and Rochester, New York, and issued on Oliver Lake's Passing Thru label, opens with a fiery reading of Ayler's "Ghosts" (the one track recorded in Buffalo) - the musicians weave their sounds together with each one moving in and out of the spotlight, slowly building to the flag-waver of a melody.  Drury's parade-inspired drums and Ray's thick bass lines propel the piece forward as Lacy plays and then dissects the familiar theme.  Every one delivers a strong solo, with the trombonist playing open and muted. "Give It Some Thought", composed by Ford with whom Lacy played with in the Fort Apache Band, features excellent bass work as well as the trombonist moving to the flumpet (yes, a hybrid of the flugelhorn and trumpet).  Lacy's attacks the fine melody, delivering a powerful solo.  Ray's bass has a thicker sound on the Rochester recordings, allowing the listener to hear his intelligent counterpoint and splendid solo.  Drury, who I had seen play a number of times when he was student at Wesleyan University, studied with Ed Blackwell and it shows in his playful solo.

The remaining 3 tracks all have their pleasures. The Mingus tune (the back cover lists "Ecclusiastics" as 2 cuts - an "Intro" and the song) opens with just trombone before the rhythm section kicks and Lacy delivers a sermon, complete with words from Eccleasiastes.  Then, the right Reverend Lacy leads the band through its paces and they all get down and solo.  The final 2 tracks come from trio Air with the McCall tune, "BK", showing how this trio can swing.  Lacy returns to flumpet, Ray channels Air bassist Fred Hopkins' dynamic playing and Drury plays with abandon. His solo, filled with strange noises, is clever and  captivating.  Threadgill's "Midnight Sun" is one of his strongest melodies and Lacy does not mess around, getting right to the core of the piece with his assertive style. The bassist also has melody uppermost in his mind throughout the piece and Drury's support is essential (and his solo is inventive and fun).

1032K does not include compromise in its lexicon nor should the trio.  Raised in the lessons of Muhal Richard Abrams, Anthony Braxton, and Max Roach, "That Which Is Planted" is mature music, exploratory in nature and downright fun to listen to.  For more information, go to 1032k.com.  

"Alternating Current" is the work of Jeff Cosgrove (drums), Matthew Shipp (piano) and William Parker (bass), recorded by Jimmy Katz and released by the drummer.  Cosgrove, who also organized the trio and the sessions, was a student of drum master Andrew Cyrille and writes that the title track is "inspired by and dedicated to...Cyrille."

2 of the 3 pieces in the program are, in Cosgrove's words, "open spontaneous compositions" with the only "composed" work, Paul Motian's "Victoria" (not a surprise seeing that the drummer leads a group known as Motian Sickness, a quartet that plays music by the late drummer.)  The CD opens with the longest track, "Bridges of Tomorrow" (38:51), a tour de force that covers much musical territory. Shipp is such a "free" soloist, never getting bogged down in cliches. He sets the direction from the outset while the rhythm section pushes, supports, flows with him for most of the performance (only stopping for Parker's short bass solo).   The title track slips in on quiet drumming and keening bowed bass before Shipp creates a lovely melody.  The melody expands as Parker, still arco, plays counterpoint.  As the piece moves forward, the theme created by the pianist begins to fracture a bit but never loses its way.  Cosgrove's drums whisper beneath the conversation of the piano and bass; he never pushes the tempo, instead opts to "color" the music with his active brushes.  The Motian composition dates back to his second ECM Lp (from 1974), "Tribute", where its plaintive melody was played by alto saxophonist Carlos Ward with acoustic guitarist Sam Brown providing a flamenco-style backing.  Here, Shipp caresses the melody lines, allowing the handsome harmonies and the emotional clarity to shine through.

"Alternating Current" may surprise those expecting Matthew Shipp's feisty piano ideas or William Parker's passionate drive to dominate this music.  Instead, this recording swells and flows on the intuitive interaction of the 3 participants. Jeff Cosgrove neither takes a back seat to nor overpowers his musical companions and, in the end, the results will make one return to this disk many times.  For more information, go to www.jeffcosgrovemusic.com.

Here's the title track:

4 By 3s (Part 1)

"Boom Crane" is the name for the trio that includes Peter Van Huffel (alto saxophone), Michael Bates (bass) and Jeff Davis (drums) - it is also the name of the trio's debut CD on the Fresh Sound/New Talent label.  As someone brought up on great trio recordings such as "The Freedom Suite" by Sonny Rollins (with Max Roach and Oscar Pettiford) and "Air Time" (the cooperative trio of Henry Threadgill, Steve McCall and Fred Hopkins), I must admit to measuring every sax trio I have heard since then on those albums.

To my ears, Boom Crane rates high because their approach fuses the 2 styles heard on the albums and makes it sound new and quite.  The rhythms section plays with great verve throughout, offering the saxophonist not only a solid foundation but excellent sparring partners.  There are a flurry of tempo changes on Bates' "Automatic Vaudeville" and Van Huffel is right on top of each and every one. "More Room" is a group improv, flying in on Bates' percussive yet melodic bass solo (over sympathetic and playful drumming; when the sax enters, the piece makes a subtle shift, picks up in intensity and the driving rhythm section puts its pedal to the medal.  The title track, composed by Bates, is a blues shuffle, one that stops for short solos by each member save for the composer.  The melody has a strong feel of the blues, like an Ornette Coleman tune from his Atlantic years.  A dirge-like feel inhabits Davis's "Slipper Hero" until the piece splinters, opening up for a 3-way conversation that contains several tempo changes, a handsome overarching sax solo and splendid percussion from the composer. Davis's propulsive drums open the doors of "On Equilibrium", a Van Huffel piece that stops-and-starts, with several fine bass riffs and playful drums (at times, displaying a New Orleans feel.)

This music sound as if the trio of Peter Van Huffel, Michael Bates and Jeff Davis - Boom Crane - has a great time playing together.  They can all takes chances, all take the lead, all show a percussive side, giving the listener a thrill each time the music moves in a new direction or takes a solo jumps out of the speakers. There are a good many Trio CDs that lose their luster with the car windows - not this one.  Play it loud!  For more information, go to www.petervanhuffel.com.  

Bassist David Ambrosio has appeared on numerous recording through his career including 3 as a member of drummer George Schuller's Circle Wide, 5 as member of saxophonist Matt Renzi's group, and 4 with pianist Eri Yamamoto. He also has recorded with big bands led by Jamie Begian, JC Sanford/David Schumacher, and Asuka Akitani.  Ambrosio also has studied Afro-Cuban music and plays bata drum in different ensembles.

Since he's so busy, it probably should come as no surprise that "Gone" (Fresh Sound/New Talent is his debut recording as a leader.  With Loren Stillman (alto saxophone) and Russ Meissner (drums), the bassist creates a program that hews more to the Sonny Rollins model; the music swings, the band has great interaction, and songs are vehicles for solos.  Stillman contributes 4 of the 7 songs, Ambrosio 2 and Meissner 1.  The drummer's composition, "Brahmin", is the only true ballad on the CD, has a lovely melody, and features several strong solos. Meissner's cymbal work shines throughout the program, none more than on Ambrosio's "Matter of Fact" - the way he plays beneath the bass solo makes it stand out more.  Stillman's work here is exemplary, caressing the melody with short phrases or held notes.  Actually, he play gracefully throughout the recording, whether it's putting an Ornette Coleman spin on "The Proof Is In The Pudding" or more of a Lester Young sweetness to the title track.

"Gone" is more of a cool breeze than a hot wind but that does not mean you should ignore this music.  The songs have more of an intimate feel, the mix is neither hot nor loud, and one can tell these musicians really listen to each other (and are not just going the motions).  For more information, go to www.davidambrosio.com.

Early June Live in CT + Horvitz in Brass

The penultimate concert in the Spring 2014 series at Firehouse 12 takes place this Friday June 6 and features the Linda Oh Group: Sun Pictures.  Bassist/composer Oh, a native of Kuala Lampur who moved to Perth, Australia, with her family when she was 4 years, has become a mainstay on the creative music scene over the past 5 years.  Since arriving in the United States to stay in 2006, she has worked with Steve Wilson, Kenny Barron, Fabian Almazan, Pascal Le Bouef and Dave Douglas.  After self-releasing her splendid debut CD, "Entry", in 2009, she signed with Douglas's Greenleaf Music label, releasing "Initial Here" in 2012 and her latest "Sun Pictures" in September 2013.

Joining Ms. Oh in New Haven will be Ben Wendel (saxophones), Rudy Royston (drums) and Matt Stevens (guitar).  They'll not only play most of the songs from that fine release but also several pieces recently added to the band's book.  There are 2 sets - 8:3) and 10 p.m. - to find out more, go to firehouse12.org or call 203-785-0468.  To find out more about the bassist and her music, go to www.lindaohmusic.com.

Here's a piece from the CD:

The Side Door Jazz Club in Old Lyme has, as usual, quite an interesting pair of concerts this weekend.  On Friday, guitarist Chris Flory comes to the Club with his Quartet to play his convivial style of swing, blues and jazz.  As a teenager, he took lessons from Tiny Grimes, in his 20s recorded and toured with Scott Hamilton, and, from 1978 - 1983, played with the legendary Benny Goodman.  His inspirations on guitar range from Charlie Christian to Wes Montgomery to B.B. King.  Flory has recorded 5 CDs as a leader, the latest being 2008's "For You" on Arbors Records.

He'll be performing alongside Larry Ham (piano), Lee Hudson (bass) and Tom Mellito (drums).  Doors open at 7:30 p.m. with the first set commencing at 8:30.  Contact info is below.  To find out more about Chris Flory, go to www.chrisfloryjazz.com.

On Saturday, the Side Door welcomes trombonist Clifton Anderson.  The native of Harlem, New York, Anderson received his first trombone from his uncle Sonny Rollins and that gift has stood in good stead ever since.  While many jazz fans know him from his work on many Rollins' Lps and CDs, he's actually has quite an impressive career, playing with Frank Foster, in Slide Hampton's "World of Trombones", with Stevie Wonder, Wyclef Jean, Lester Bowie, Paul Simon and many, many others.

His Quartet includes Tadataka Unno (piano), Paul Beaudry (bass) and Steve Williams (drums).  For tickets and more, go to thesidedoojazz.com or call 860-434-0886.  You can ask purchase tickets to upcoming shows including the June 11th appearance of Diane Schuur.

Here's a nice track from Clifton Anderson's 2012 Daywood Drive CD titled "And So We Carry On."

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The Westerlies is a New York City-based brass quartet, all of whom grew up in Seattle, Washington but did not play as a unit until moving to New York City.  Composed of trumpeters Riley Mulherkar and Zubin Hensler plus trombonists Andy Clausen and Willem De Koch, the group came together in 2011 and, since then, have collaborated with Dave Douglas, Bill Frisell and Juilliard Dance.  Composer Wayne Horvitz (born in New York City, now living in Seattle) has worked with several members and approached the ensemble in early 2013 with the idea of adapting his music to be performed by brass quartet. In May of 2013, The Westerlies played the program at The Stone in New York City and, in August, retreated to Lopez Island in Puget Sound, Washington, and recorded "Wish The Children Would Come On Home: The Music of Wayne Horvitz", now released to the world by Songlines.

Though the project was the composer's idea, most of the tunes were picked and arranged by members of the ensemble.  Horvitz plays keyboards and electronics on the title track and on 3 "Interludes" (which are improvisations based on the song).  The pieces range from the Copland-esque "Please Keep That Train Away From My Door" that opens the program to the bright and bouncy "Home" to the gospel-tinged "Sweeter Than The Day" to the slow-movng blues "The Circus Prospered."  Most of the tracks are short with only 1 (the multi-sectioned "9/8" clocking in at over 5 minutes) yet there is so much to absorb.  Horvitz has produced so much music over the past 3 decades with so many different sized ensembles; why stands out here is his melodism and the harmonies the brass players find in their arrangements.  There are moments that are so quiet and others filled with playful interactions ("The Band With Muddy" is wonderfully schizoid with fine melodic moments amidst its stops-and-starts while the title track is awash with spooky noises).

The Westerlies are most certainly a fresh breeze in an often stagnant world.  "Wishing The Children Would Come On Home" is a delightful reminder of the wealth of fine music that Wayne Horvitz has created and continues to create.  For more information, go to www.westerliesmusic.com.

Here's a taste of the CD:

These Most Impressive "Views"

"Views From the Inside" (Whirlwind Recordings) is the debut CD of the JC Sanford Orchestra.  Sanford, a fine trombonist/arranger/composer, is well-represented on recordings having co-led the Schumacher/Sanford Sound Assembly, conducted the John Hollenbeck Large Ensemble, the Joel Harrison 19, the Alan Ferber Nonet with Strings, and the Alice Coltrane Orchestra.  He did his undergraduate work at the University of North Iowa and went on to study with Bob Brookmeyer at the New England Conservatory of Music.

Like his mentor Brookmeyer, his music for large ensemble blends brilliant section writing with highly intelligent melodies, advanced harmonies and, on the faster pieces, a brilliant use of percussion.  And, like most large ensembles/big bands, Sanford utilizes a very smart drummer/percussionist, in this instance the inventive Satoshi Takeishi.  Anyone who listens to contemporary music knows Takeishi's work with such artists as John Hebert, Shoko Nagai, Leslie Pintchik, Erik Friedlander and Anthony Braxton.  His partners in the rhythm section include Tom Beckham (vibraphone), Jacob Garchik (accordion), and Aidan O'Donnell (acoustic bass).   Reed players include Dan Willis (oboe, piccolo, flute, soprano), Ben Kono (Englsih horn, bass clarinet, clarinet, flute, alto saxophone), Chris Bacas (clarinet, soprano sax, tenor sax), Kenny Berger (contra-alto clarinet, bassoon, alto flute) while the brass section features Taylor Haskins (trumpet, flugelhorn, harmonizer), Matt Holman (trumpet, flugelhorn), Mark Patterson (tenor trombone), Jeff Nelson (tuba, bass trombone), Chris Komer (French horn) and the leader playing trombone solos on 2 tracks. Rounding the ensemble are Meg Okura (violin, electronics) and Will Martina (cello, electronics).

Sanford spreads 5 longer works through the recording, among them "An Attempt At Serenity." This piece opens the program with voices coming at the listener from all sides of the spectrum describing multiple "sufferings" (described by the composer as an "eight-layered cacophony of overlapping Buddhist recitations fear-based sufferings") out of which dark chords and instrumental cries begin to submerge the words leading to Berger's angry contra-alto clarinet taking the podium. After these "negative" sounds come to an abrupt halt, Holman's trumpet leads the band and listener into a more serene and assured aural-scape.

The title track, the longest cut at 15:12, stands out for its breadth and creative reach.  Created for Jill Echo and the Take Dance Company, the music goes through many sections, from chaos to serenity, dissonance to breath-taking melodic passages. Stravinsky, Copland, Stan Kenton, Steve Reich, myriad connections are made as the music unfolds; one feels as if the title refers to the composer as he works to make the sounds in his mind become reality, first onto paper then translated/interpreted by the musicians into what we hear (and begin to interpret from our life experiences.)

Included in the program are 5 of Sanford's "Brooklyn Vignettes", music inspired by the composer's residence. They range from the atmospheric "2nd & 7th" (as if the listener was walking down the street and came across a concert) to "Brownieland" (an ominous piece that pits Garchik's "wheezing" accordion against the intermittent brass, strings and Takeishi's imaginative percussion).  Later in the program, the listener joins the ensemble for an amble through "Sunset Park, Sunset Park", a composition that blends Takeishi's "whisking" percussion, a short melodic figure for vibes and accordion, Reich-like percussive phrases from the strings and dark chords that culminates in a gentle finale. The final "....Vignette", "Verrazano Bikeride", opens with an accordion figure that reminds this listener of works by Guy Klucevsek before morphing into a blues shuffle and setting for a fine Sanford solo that quotes from "A Love Supreme" as the percussionist engages him in a heated "conversation." There are also 3 pieces titled "Pre-Systems",  "Inter-Systems" and "Systems Two (Brooklyn Vignette # 6"); the first 2 are improvised duets for Haskins' trumpet/harmonizer and Takeishi with the final piece (dedicated to the studio where the sessions took place) starting with the duo and adding an orchestration for the full ensemble.

At nearly 70 minutes, "Views From the Inside" is truly a magnificent triumph but one that will take listeners time to appreciate. One hears a variety of melodies, imaginative arrangements, splendid musicianship, forceful and emotional solos, and ideas coming at one, seemingly, from all sides.  When all is said and done, I return to my initial response; "wow!"  For more information, go to www.whirlwindrecordings.com/views-from-the-inside/ or to www.jcsanford.com. Kudos also to Executive Producer Michael Janisch for making this music available to the world.

Listen to "Your Word Alone" for a sample of JC Sanford's musical visions:

Brooklyn Jazz Underground on Top

It's been 4 years since the debut CD by the Rob Garcia 4 and 2 since the band's 2nd effort.  "The Passion of Color" (Brooklyn Jazz Underground Records) is the 3rd release featuring Garcia (drums), Dan Tepfer (piano) and Noah Preminger (tenor saxophone) with bassist Joe Martin joining the band (Chris Lightcap was on the 1st and John Hebert on the 2nd).

What has always impressed about Garcia's music is how equally important melody and rhythm are (not one above the other.)  There's nothing radically changed on this date but, if anything, the ensemble is tighter.  Garcia pushes his soloists on the up-tempo pieces; the title cut drives with such intensity especially during the very tenor solo.  Preminger has often accentuated his "softer" side but here he delivers quite a forceful solo.  Tepfer takes a more impressionistic approach which allows the leader's sparkling cymbal work to stand out.  Dig how the 4-some transforms Max Roach's hard-edged "It's Time" into a medium-tempo ballad, imbuing the piece with more of a blues feel. Garcia's short drum solo is notable for his melodic sensibility and staying "in the mood."  As a composer, Garcia writes to the strengths of his band.  Preminger's tenor on "Purple Blush" explores the melody in the style of Archie Shepp, short shards of melody in sync with the rhythm section.  Meanwhile, Tepfer is both melodic and abstract, downright bluesy too.  The playful rhythms of "The Caterpillar Vs. The Butterfly" gives the quartet plenty of room to maneuver in and around the propulsive bass lines (Martin "runs" not "walks") and the skitter, jittery, drums.  The pianist channels Bud Powell as he slides around the bass and drums. Garcia's splendid brush work sets the proper mood on "The Garden's Poet", a short tune that shows that everyone in the group can play melodies in support of each others.

The disk comes to a close on 2 fascinating tracks.  Speaking of melody, Garcia gives himself the spotlight, going it alone on "The Painter", delivering a drum solo that both swings and sings.  Then, Martin's full-tone bass lines lead the band in on a first-rate reading of Jimi Hendrix's "Little Wing." No one holds back, each member of the group digs deep into the modern blues that the composer created nearly 5 decades  ago and, although the piece is fairly quiet, there is an intensity of emotion that is palpable throughout.

The Rob Garcia 4 uses an impressive musical palette to create "The Passion of Color." The trust that the members of the group have with each other and the material provides the listener with an aural experience that satisfies on many levels, continuing to do so on subsequent listens.  And, as good as the recording is, the RG4 are a great band to see in person.  For more information, go to www.robgarcia.com.  CT residents, be aware - the Rob Garcia 4 plays The Side Door Jazz Club in Old Lyme on Thursday July 10. Go to thesidedoorjazz.com for ticket information.

Pianist/composer John Chin, a native of Korea who was raised in Los Angeles, has just issued his 2nd CD as a leader (his debut, "Blackout Conception", was released in 2008 on Fresh Sound New Talent). "Undercover" is a self-produced disk from sessions held in May of 2010 and finds the pianist in the company of drummer Dan Rieser and bassist Orlando Le Fleming.   At the time of the taping, the trio had been playing together for some time and Chin wanted to document its progress.  The 3 musicians worked in one room with no preconceived arrangements; the results are quite impressive.  Juan Tizol and Duke Ellington's "Caravan" is given quite a funky backbeat, a cross between Ramsey Lewis and The Bad Plus.  The pianist's polyphonic improvisations (basically, the right and left hands playing several line at the same time) give the trio a full sound.  3 of the other "covers" on the recording were penned by saxophonists including 2 by Wayne Shorter ("Edda" and "Fall") plus John Coltrane's "Countdown." Shorter's "Fall", recorded by Miles Davis on the "Nefertiti" Lp, has great drive, rightfully capturing the mood that composer intended but giving more of a pronounced backbeat.   Rieser and Le Fleming lock in nicely, giving Chin the foundation he needs to explore the harmonic possibilities.  The counterpoint created by the interaction of the piano and bass on Charlie Chaplin's exquisite "Smile" as well as the drummer's playful exploration of the rhythm makes for excellent listening.

Chin supplies 3 original pieces including the sweetly melodic title track that, at times, has the sound and feel of a Bruce Hornsby composition.  Chiming piano chords introduce "If For No One", a tune that blends a Brazilian feel with a classically inspired melody.  After the introduction and theme, Chin's solo rises out of the lower end of the keyboard, building in intensity before the pianist steps aside for the bass solo. "Seemingly" is a imposing ballad and a piece where Le Fleming's strong feel for melody meshes well with that of the pianist.

Again, it's no secret that there are, seemingly, thousands of piano trio recordings released each year.  Don't miss hearing "Undercover", especially for the intense group interactions and the impressive choice of material.  John Chin may have waited 4 years to release this CD; his patience and belief in his musical vision makes this project stand out. For more information, go to www.johnchin.com. Give the music a listen by clicking on the Bandcamp link below.

Tenor saxophonist/composer Gianni Gagliardi, born in Barcelona, Spain and now living in Brooklyn, opens his debut CD "Nomadic Nature" with the sound of rain and thunder.  The song, "Paris", rises out of those sounds with a haunting circular melody that is pushed forward by the drive of Mark Ferber's drums, the throbbing bass lines of Alexis Cuadrado, the 2-handed chords of pianist Luke Marantz and hypnotic guitar work of Gilad Hekselman.   The youthful leader (25 at the time of these sessions) pushes forward with a solo that stays in the middle of his range, displaying the influence of Mark Turner.  He takes a more playful approach on "L'ironie D'une Jolie Prisse De Tete" (roughly translated as "the irony of a pretty headache") with the melody have a smattering of Iberian colors resting atop the electric piano chords.  "Macanudo Man" opens in a style reminiscent of Weather Report in its "Mysterious Traveler" phase, the major difference being Hekselman's probing guitar lines. The "grungy" guitar and distorted electric piano sounds give "Varicela Patagonia" a harder edge and the leader takes advantage of the "heaviness" of the chords to heft to his solo.

Perhaps, the most impressive piece is the handsome ballad "Margolinda" that opens with an impressionistic unaccompanied piano solo that leads to the finely constructed saxophone melody. Marantz takes a solo that moves away from that melody line  while Gagliardi sticks fairly closely to the chord structure.  The strength of the piece lies both in the strong melody but also in the propulsive work of Ferber and Cuadrado (the guitarist sits out for this performance).

"Nomadic Nature" speaks to the fact that young Gianni Gagliardi has already traveled far and wide.   He's well on his way to discovering his "sound", aided greatly on this project by an excellent ensemble.  As he continues to mature, one hopes he does not lose that inquisitive side of his song creation and lyrical nature to his saxophone playing.  For more information, go to giannigagliardi.com.

Music For Remembrance & For Healing

Life is filled with mishaps, missteps and dangers.  Some we can anticipate, some that come as shocks.  Every day, we read of people dying in accidents, shootings, terrorist attacks and, unless we know someone involved in the event, our day continues.

How does one react when the tragedy hits close to home? There is certainly an immediate reaction (anger, sorrow, silence, tears) yet we try and move on.

"When Words Fail" (Motema Music), the new recording from trumpeter/composer/arranger David Weiss, is one artist's attempt to deal with loss (losses). In the year leading up to the sessions for this CD, there was the Sandy Hook massacre (where his friend and fellow musician Jimmy Greene and wife Nelba lost their daughter Ana) and a long-time acquaintance was pushed onto the subway tracks by a person who thought he was a Muslim.  Add to that the number of musicians who passed away; Weiss was often distraught and torn.  He channeled his emotions into this music.

To play these compositions (6 originals and 1 each by John Taylor and Karl Jenkins), Weiss reconvened his sextet, an ensemble that had not worked together in nearly a decade. Saxophonists Myron Walden (alto) and Marcus Strickland (tenor), pianist Xavier Davis, drummer E J Strickland and bassist Dwayne Burno make up the group with guitarist Ben Eunson (misspelled "Eunsen" on the CD cover) appearing on 2 tracks. Just 2 weeks after the session, bassist Burno passed away after a long battle with kidney disease.

This music does not wallow in pity or melancholy. Yes, there are moments of introspection on the title track and elsewhere in the program but, mostly, this music looks forward.  In fact, "The Intrepid Hub", the first track on the disk, burns with an intensity that Weiss picked up from his years working with Freddie Hubbard. E J Strickland really pushes the group while Burno keeps the rhythm flowing. Weiss dedicates the title track to the bassist, not only because of his loss but also because the bassist complimented him on the piece.  Walden's alto work stands out because of how he enters into the rhythm of the piece, reacting in melody to the force of the piano chords, the drive of the drums and the thick bass lines.  The leader builds his solo logically and with growing intensity.  Walden takes center stage on "Wayward", a piece that has a long introductory theme played by all that gives way to the alto solo. After his wailing notes fade, Davis steps out for a solo that pushes back against the waves created by his partners in the rhythm section.  The handsome melody and performance of "Loss" is dedicated to Motema label head Jana Herzen whose father passed in the months before the recording.

"White Magic" is a piece composed by British pianist John Taylor for a 1973 trio Lp; here, it's a hard-swinging piece that features strong solos from Strickland (tenor sax), Weiss, Walden, and Davis.  Karl Jenkins, who many remember as a member of the British "progressive jazz" ensemble Soft Machine, composed "Lullaby For a Lonely Child" in 1969 as a member of bassist Graham Collier's Sextet - the piece sounds influenced by Herbie Hancock and Horace Silver.  The theme section is long and Weiss's group takes its time getting to the solo section.  Walden's solo builds to a mighty crescendo, not so much a lullaby as a lament.

The closing track, "Passage into Eternity", comes from a missive that Ana Marquez-Greene's family wrote soon after her death. Instead of a dirge, the piece seems to take the strong faith that the family has and creates a shout against the darkness - not a scream but a defiant stand against the evil that wears so many guises.

"When Words Fail" is when music can stand in as a salve for those of us who stand by and feel hopeless.  This music is filled with hope, with sorrow, even with joy.  David Weiss has created music to remind us that pain, like joy, is fleeting, that we must cling to good memories and that imagination can be a powerful emancipator.  The musicianship throughout is impressive and impactful.  For more information, go to www.davidweissmusic.com.

The country of Haiti is one that has suffered much over the past 2 centuries.  The most successful slave revolt in the history of mankind (1791-1804) made the country the first Black republic in the world; they have paid for the freedom with a series of reprisals from the European and American monarchies and governments as well as a series of natural disasters and corrupt leaders that continue to wreak havoc on its economy.

In 2012, pianist/composer Bobby Avey, a native of the Poconos Region of Pennsylvania, traveled to Haiti to study its culture and, specifically, the Vodou traditions.  After a period of deep listening and analysis of several drumming ensembles, Avey created "Authority Melts From Me" (Whirlwind Recordings).  Instead of organizing his own drum ensemble and recreating the sounds he had heard on the journey, the pianist recruited Miguel Zenon (alto saxophone), Ben Monder (guitar, acoustic guitar, effects), Thomson Kneeland (bass) and Jordan Perlson (drums) to play his music based on his studies and celebrating the revolution.

The results are quite impressive. The 5 compositions include 3 long works plus a short piano interlude (hushed, rippling, phrases) and short drum interlude (forceful).  Everyone plays wonderfully throughout but extra special kudos go to Perlson.  His authoritative work on the trap set and assorted percussion drives the longer works, setting the pace, signaling changes and representing the force of the will of the people.  Avey's piano work is often quite percussive but also richly melodic.  He leads the ensemble in on the opening track, "Kalfou" (translates to "intersections" or "crossroads"), then  sitting out for Monder's raucous spot before offering thick chords for Zenon's high-flying solo.  In the meantime, the rhythm section are raising the intensity level. "Louverture" (dedicated to the leader of the revolt), creeps in on percussive figures played high up on the keyboard.  Perlson and Kneeland advance the melody line before Zenon enters with his own melody - his solo starts quietly, short melodic fragments that soon give way to longer phrases, like declarations of intent as the drummer stokes the fire.  After the alto solo reaches its climax, the rumbling piano combines with looped guitar feedback to create a dream-like state.  Several minutes later, the rhythm section enters with a martial beat before the rhythm takes on a "vodou" feel.   The final long track, "Cost", begins at the end of the "Drum Interlude"; the melody, as played by alto sax and piano, has a formal feel while the guitar, bass and drums swirl like a hot wind below it. The piano solo rises out of the melody and above the swirling drums and forceful bass lines.  Monder picks his way through the piano lines as a quiet interlude before Zenon enters.  His solo starts with short, percussive, phrases that soon take off on the power of the rhythm section.  After a long crescendo (Monder on electric here), the piece fades out on finger-picked acoustic guitar and piano.

"Authority Melts From Me" is, indeed, powerful music with a message about the costs of freedom and the perils of foreign neglect and/or intervention.  In his liner notes, Bobby Avey reminds us that the United States is not innocent when it comes to the current state of affairs in Haiti, supporting the dictators Duvalier (father and son) as well as helping to overthrow the popularly elected government of Jean-Bertrand Aristide in 1991 and, again in 2004.  Then, the earthquake of 2010, the outpouring of support and money, much of which did not reach the people who needed it the most and another long, slow, recovery.   The music does not sweep away the misery but acts as a reminder of the power of native traditions in the time of upheaval. For more information, go to www.whirlwindrecordings.com/authority-melts-from-me/ and/or www.bobbyavey.com.


Here's a taste of Avey's "Authority.."

Trumpets + Guitar + Voice Live + 2 CD Picks

The Side Door Jazz Club in Old Lyme opens its door this Friday and Saturday nights to 2 fine trumpeters.  First up is Jeremy Pelt (pictured left) and his Face Forward ensemble.  Pelt, who is on the faculty of the Jackie McLean Institute at the Hartt School, is a fine player who blends numerous styles into his original music.  The California native studied at the Berklee School of Music and went on to work with groups led by Roy Hargrove, Greg Osby, and Ravi Coltrane as well as the Mingus Big Band. Since his 2002 debut CD, Pelt has produced 11 recordings for labels such as MaxJazz, Criss Cross, Smalls Live and, most recently, HighNote.  The Face Forward ensemble, named for his latest release, mixes electronic and acoustic instruments plus elements of jazz, r'n'b, soul music and more into a highly listenable stew.  To find out more and the talented trumpeter/composer, go to www.jeremypelt.net.

On Saturday, Etienne Charles returns to The Side Door (he was  member of Rene Marie's band that appeared just a few weeks ago). Born in Trinidad and raised in Florida, Charles, who is still in his 20s, studied with Marcus Roberts and has worked with saxophonist Benny Golson, Roberta Flack, Wynton Marsalis, and Maria Schneider.  He has created 3 CDs for his own Culture Shock label, the latest being 2013's "Creole Soul".

Charles possesses a bright tone, a sound which serves his music, a delicious gumbo of Caribbean, New Orleans, blues and jazz, so well.  He's now on the faculty of Michigan State University while maintaining a busy performance schedule. To learn more about the musician, go to www.etiennecharles.com.

For tickets to either one or both of these shows, go to thesidedoorjazz.com or call 860-434-0886.

Firehouse 12 in New Haven presents the duo of Brandon Ross (guitars, banjo) and Stomu Takeishi (acoustic bass guitar) in concert this Friday May 30. They are touring under the name of For Living Lovers and in support of their debut CD "Revealing Essence" (Sunnyside Records).  The album, much of which was recorded in the Firehouse 12 studios by Nick Lloyd, is filled with haunting melodies, quiet solos, fine supportive work from Takeishi and intriguing ideas from Ross. The music is dream-like, rarely forceful but emotionally powerful.  Ross, who has worked with Henry Threadgill and Cassandra Wilson (among others), plays acoustic guitar in ways that suggest both Derek Bailey and James Emery without sounding like either one. Takeishi, who played alongside Ross in Mr. Threadgill's ensemble, has also worked with pianist Myra Melford and cellist Erik Friedlander.  His bass lines are clear and clean, with round tones that fill the tunes.

For Living Lovers plays 2 sets - 8:30 and 10 p.m. - for more information, go to firehouse12.com or call 203-785-0468.

Vocalist Karen Frisk, a native of Cromwell, CT, brings her fine Quartet to The Buttonwood Tree, 605 Main Street in Middletown this Saturday (5/31) for an 8 p.m. performance.   Ms. Frisk, who possesses a 5-octave range, started singing at a young age in her church choir and in community theater productions. She went on to study both piano and voice, moving to Cape Cod, MA, performing there and in Boston.  She's living in Connecticut again and performing throughout the Northeast.  Her excellent band includes pianist Kent Hewitt, the great bassist Brian Torff, and drummer Rich Tortorigi.  To find out more about Ms. Frisk, go to www.karenfrisk.com.  For reservations and ticket information, go to www.buttonwood.org or call 860-347-4957.

Bassist Jeff Denson, who has worked and recorded with Lee Konitz plus is 1/3rd of the trio Minsarah (with pianist Florian Weber and drummer Ziv Ravitz, has issued a most uplifting duo recording with pianist Joshua White.  "I'll Fly Away" (pfMENTUM Records) is a album of gospel tunes, several of which the bassist  played at the funerals of his grandmother and father.  The title tracks - 3 versions of the Alfred Brumley tune - range from  the opening Fats Waller meets Charles Ives version to the deep blues of the second reading to the manic all-out swing version that closes the CD.   It's not that White or Denson are being facetious but more that they are celebrating the joy that the music brings and the good memories of the people who passed.  Denson's bowed bass reading of "Amazing Grace" stresses the beauty of the melody while going on to give the tune the feel of an Appalachian folk tune. His other solo piece, "Crying In The Chapel", is wonderfully melodic, getting quite bluesy at times.  The duo is pensive on "What A Friend We Have In Jesus" and take "When The Saints Go Marching In" on a jaunt that runs the gamut from hard-bop to traditional.

Joshua White, a native of Southern California, is a splendid pianist who has worked with bassist Mark Dresser, trumpeter Ambrose Akinmusire and guitarist Anthony Wilson - he currently leads a quartet that features saxophonist David Binney as well as drummer Mark Ferber.  He and Jeff Denson have an excellent rapport, supporting each other and sometimes playing independently.  "I'll Fly Away" is filled with fine religious music but should appeal to music lovers of all faiths.  For more information, go to www.jeffdenson.com.    

Saxophonist Rich Halley lives in Oregon and enjoys hiking through the mountains in the central part of the state, understanding the majesty of nature and man's role in both destroying and protecting his environment.  He also leads the Rich Halley 4, a group that features Michael Vlatkovich (trombone), Clyde Reed (bass) and his son Carson (drums). "The Wisdom of Rocks" (Pine Eagle Music) is the quartet's 4th CD in 4 years and may be the best of a very strong bunch of recordings.  There are 2 short group improvisations, a duo for tenor and drums, and some of the strongest rhythms you'll hear this or any year.  The band comes blasting out for the chute with "The Atoll" that has the drive of the music created by the Vandermark 5, a hearty tenor solo and a forceful trombone solo.  The rhythm section pushes with great intensity without losing its focus.  The title track has a "cool" feel and a wonderful blowsy 'bone solo.  One can see the band contemplating the heavens on "Faint Scattered Lights", a short ballad with an insistent throbbing beat and moaning sounds from the sax, 'bone and bowed bass.  There's a ton of funk on "The Get-Go" and a deep sense of the blues on "Heat In May", featuring a subdued tenor sax solo.  More blues can be felt and heard on "Radial Symmetry" but this time it burns with a fever; the saxophonist  certainly can stoke the fire while the trombonist gets pretty hot himself. The program closes with the group composition "Conversation In Blue", a short piece that reminds this listener of the mid-50s work of Jimmy Guiffre and Bob Brookmeyer but with a bit of an edge.

The music on "The Wisdom of Rocks" feels both new and familiar.  The  has worked together long enough now to know each other's strengths, understand how to support and egg each other on, and feel that that the music does not need to be complicated to be creative.  The music of the Rich Halley 4 does satisfy the soul - to find out more, go to www.richhalley.com.