Matt Shipp 2020 (Pt 1, with Ivo Perelman)

Every year in January, a package from pianist Matthew Shipp arrives in my mailbox.  2020 is no exception other than two packages have shown up this year.  The first mailing included two new albums (see below) that feature Shipp with longtime associate, saxophonist Ivo Perelman.  The two have recorded numerous albums as a duo and in a trio and quartet setting.

Photo: Peter Gannushkin

In 2017, Perelman and Shipp put together a session for Leo Records (the saxophonist's "home" for releases) featuring bassist William Parker and drummer Bobby Kapp.  That recording, "Heptagon", included seven spontaneous musical conversations pushed forward by the inclusion of the (then 75-year old) drummer who Perelman first heard on Argentinean-born saxophonist Gato Barbieri's 1967 debut on ESP-Disk "In Search of The Mystery." The Brazilian native Perelman was greatly inspired by Barbieri's fiery tenor sax tone and headlong rushes into "free" music and, for his own recording, wanted to mine the expertise and imagination of the American drummer.

In April of 2018, the quartet came together again in Brooklyn, NY, and the results of their collaboration can be heard on "Ineffable Joy."  This time, it's ESP-Disk that has released the album, the label that Perelman first heard Barbieri, the one Kapp had also recorded with saxophonist Noah Howard, the label on which bassist Parker recorded in 1973 with saxophonist Frank Lowe, and where Shiop has releasing albums since 2015.  With song titles such as "Ecstasy", "Ebullience", "Bliss", "Elation", and "Exuberance", one can certainly tell the moods that permeate the music.  Yes, these pieces are all improvised and that freedom opens the door for the musicians to let the music go in multiple directions.

Photo: Mark Sheldon

My suggestion to the listener is just sit and listen; let the music flow around you, listen to the conversations between the rhythm section and the front line, notice how crisp and articulate Shipp's piano playing is, and how Perelman's sound can go from a. ferocious shout to a sweet, Ben Webster-style crooning.  There are moments on each track that stand out.  For instance, right after Perelman enters on "Jubilation", the rhythm section picks up in intensity, giving the saxophonist a push into a dynamic interaction – pay attention to how Shipp responds, to how he joins the bass and drums to raise the intensity level.  Yet, this music breathes so many times the dynamics change on a dime.  The beauty of the opening moments of "Elation", the quiet intro suggesting a 1940s Duke Ellington ballad which Perelman underscores with his melodic work.  The delight that jumps out of the speakers when the quartet is dancing through "Rejoicing" is palpable and soul-satisfying (listen below).

One may remember how, in the 1960s, music as free and adventurous as "Ineffable Joy" was just considered "noise", "emotionless", and "alien".  But, if life was all one emotion, one energy level, one voice above all, it would be dull.  Five+ decades later, the energy, emotion, and melodic strength that Ivo Perelman, Matthew Shipp, William Parker, and Bobby Kapp bring to this project is reason to celebrate.

For more information, go to www.ivoperelman.com or www.akamu.net/shipp.htm.

Here's music that to replenish your soul:

Photo: Peter Gannushkin

As I stated above, Matthew Shipp and Ivo Perelman have a recorded a slew of albums especially in duo settings.  Listen to any one of them and you hear how the two musicians play off each other, inspire each other, push, pull, and dance together.  They first connected in 1996 but it was not until 2011 that the duo began a journey that has produced many recorded conversations – the musicians as well as the audience do not feel as if these musical adventures has reached its zenith.  Is it because they are the same age (the saxophonist is five weeks older than the pianist) or that they have often mined similar veins (duos of saxophone and piano)?  Whatever the connections, the music they create is exciting, emotionally strong, adventurous, and beyond categorization.

In June of 2019, as the duo were in the midst of a tour celebrating Perelman's thirty-year career, they appeared at "The Art of Improvisation", one of a series of music festivals held throughout Germany.  The duo's one-hour June 26 concert can be heard on "Live In Nuremberg" (SMP Records) – it's a delight to sit and listen as the music tumbles out of the speakers, the many changes in direction, the passion of the conversation so handsomely captured by recording engineer Gerhard Grell.

This music moves in many directions throughout its hour on the stage so the best way to "hear" the music is to let it flow.  You will find moments that soothe you, that excite, that are furious, that are deeply melodic (almost lullaby-like at times) – it's not music for the faint-hearted but for the adventurous listener, one who will hear something different each time he or she listens, how both musicians follow and lead, how they inspire each other, how they anticipate, and how they sing.

Yes, there are many recordings of the Ivo Perelman/ Matthew Shipp duo and each one has its own magic, mysteries, and rewards.   The album only has two tracks; "Part 1" is 55:45 long followed by the four minute "Encore", the delightful epilogue.  "Live in Nuremberg" is the latest document of the musicians' conversations and well worth exploring.


Here's the duo in concert the day before (thanks to somethingelsereviews.com for leading me to this concert):

Two by Fours (January '20)

Toronto, Canada-based guitarist Ted Quinlan has had a successful and busy career spanning almost four decades.  A graduate of Berklee College of Music in Boston, MA, the guitarist, composer, and educator has played with Chet Baker, Freddie Hubbard. organist Jimmy Smith, Dave Holland, and a slew of Canadian musicians. He's the longtime head of the Guitar Department at Humber College in Toronto.  His debut album was issued in 1998 and followed that 11 years later with a trio recording.  In 2010, he co-led a recording date with pianist Brian Dickinson; for the most part, Quinlan takes his time to plan his recordings.  His discography shows a baker's dozen or more sideman dates over the past 20 years.

Late in Fall 2019, ADDO Records issued "Absolutely Dreaming", a nine-song program that features Quinlan's longtime friends and associates Kieran Overs (bass), Ted Warren (drums), and pianist Dickinson. On initial listen, it may remind some of the music John Abercrombie made on ECM with his quartets featuring pianists Richie Bierach and Marc Copland. Quinlan, like Abercrombie, has a warm electric sound and is very melodic.  But, listen harder. Listen to how the other musicians support and move the music forward, how they engage in conversation with the leader and each other.  Pieces like the opening "Cheticamp" (named for a town on Cape Breton) and the title track pull the listener along. This music is a soundtrack for colorful dreams, for long walks into the woods and back again, along the banks of rivers and lakes. It's far from soporific. Listen to the harder beat and thicker guitar tones of "X Marks The Spot", goosed higher by the raucous drumming.  Dig the bluesy feel of "Twilight Sky" – the opening guitar tones bring Larry Carlton's sound to mind plus do not ignore the fine bass work, the splendid cymbal work, and Dickinson's rippling piano phrases. Even on the handsome ballad "Babylon" (named for the town on Long Island), the musicianship keeps one alert throughout,

Photo: Bill Beard

Quinlan strums an acoustic guitar to lead in the final track "La Bionda", a really lovely way to close an excellent program. "Absolutely Dreaming" is 62 minutes+ of music that will excite you, calm you, warm you, and make your day better. Intelligent, charming, and very musical, the album shows Ted Quinlan not only to be a fine guitarist but also an excellent composer and bandleader.

For more information, go to tedquinlan.com.

Here's the title track:

Bassist and composer Massimo Biolcati may be best known for his work with guitarist Lionel Loueke and drummer Ferenc Nemeth in the trio Gilfema (which morphed into the Lionel Loueke Trio when the guitarist signed with Blue Note Records).  Biolcati met the other two musicians when all were in attendance at The Berklee College of Music; all three went to the Thelonious Monk Institute of Jazz in Los Angeles. By then, they are a working trio landing a contract in 2004 with ObliqSound Records where they recorded two albums (and Loueke issued his first solo album on which the other two appeared). Gilfema will issue a new album later this year. In the meantime, Biolcati has been busy as a sideman and producer.  He's worked with the Hornē Electric Band, drummer Matt Slocum, and Luciana Souza (among others).  

"Incontre" (Sounderscore) is Biolcati's first album as a leader since 2008's "Persona" (ObliqSound) and features Dayna Stephens (tenor and soprano saxophones), Sam Yahel (piano, organ), and Jongkuk Kim (drums).  The nine-song program features four originals by the leader, four standards, and Dave Holland's "How's Never" (which the composer first recorded in 1995 with the Gateway trio). The album opens with Biolcati's "Hello, I Lied" which the composer with a circular bass line – the snap of Kim's drums, the melody "sung" by the tenor sax, and the sharp funk of Yahel's piano solo moves forward with delight.  Stephens steps out into his solo with the bassist egging him on before the piano and drums kick back in.  The saxophonist breaks down the melody into short, rhythmical, phrases before heading back to the main melody. The bassist takes the song out the way it began.

The next four tracks are the "standards."  First up is Thelonious Monk's "Boo Boo's Birthday" which dances along on the bassist's active "walking" lines and Kim's delightful dancing snare drum.  Charlie Chaplin's oft-recorded "Smile" finds Stephens on soprano sax and Yahel on organ.  The piece has a funky feel with interactions between the front line and the rhythm section that keeps one alert.  The quartet then moves into "Everybody Wants to Rule The World" (from Tears For Fears) and really have a great time playing around with the changing tempos. Listen to the dancing drums and bass beneath Yahel's piano solo; Kim then engages in a dialogues with Stephens during the sax solo while the pianist and bassist keep the song moving. Yahel goes back to organ for Charles Mingus's "Duke Ellington's Sound of Love" – the inherent blueness of the piece shines right through the slow shuffle beat while the organist moves through the melody.  Stephens's muscular tenor solo brings Coleman Hawkins to mind.

Photo: Esther Cidoncha

The balance of the recording has three tunes from the bassist and the Holland piece.  The title song is  a handsome ballad with an emotionally rich melody and excellent solos from Stephens, Yahel, and Biolcati.  "How's Never" rides forward on the snappy drums and bass with Yahel's organ sounds meshing nicely with Stephens's singing soprano sax.  "Fellini" is another fine ballad piece with a nicely-sculpted melody line (first played by the tenor saxophonist).  Yahel's acoustic piano solo creates a short yet finely painted portrait before Stephens takes over and creates his own strong audio painting.  The album closes with "Birthday Song, Almost" – this melody is also well-formed, allowing the soloists to build intelligent solos and the rhythm section to take chances with the tempo, the accents, and the intensity.  After Stephens's fine tenor solo, Kim takes over for a solo that raises the heat without over-baking the song. In fact, the tune and the album end on a high note.

"Incontre" is a delight from start to finish. All the musicians ask is that you listen with open ears and open minds. The material Massimo Biolcati chose for this session covers a lot of territory without getting mired in one genre.  The intelligent musicianship and the bright sound quality both serve to remind the listener that creative music can be fun, exciting, contemplative, and rewarding for all involved.

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

Here's the Charlie Chaplin classic:

Trio Joys!

Trumpeter, educator, and artist Jamie Breiwick has made a name for himself over the past two decades in each of his chosen fields.  His artwork adorns many albums by Mid-Western artists including those on Shifting Paradigm Records (as well as the cover of the Lesser Lakes Trio of which he is a member).  He has worked with numerous artists in the Milwaukee area including Matt Wilson, saxophonist Ralph Bowen, and pianist David Hazeltine.  Breiwick has taught and directed ensembles in several different schools and is  currently on the faculty of the Prairie School in Racine, WI.

His new release for Shifting Paradigm is "Awake/The Music of Don Cherry" and features the trumpeter in the company of bassist Tim Ipsen and drummer/engineer Devin Drobka (also a member of Lesser Lakes). The tribute to the great pocket trumpeter, member of the Ornate Coleman Quartet that recorded for Atlantic Records, and a world traveler, features six songs (plus two "alternate" takes) from Cherry's repertoire.  Breiwick doesn't attempt to "mimic" the elder trumpeter's style; instead, he and his rhythm section move inside the music with passion and excitement, making it their own.  Check out the trio's journey through "Awake Nu" (composed for Cherry's 1966 Blue Note Lp "Where Is Brooklyn?"). The trumpeter romps throughout as the bass and drums roil and rumble.

Before joining Colin Wolcott and Nana Vasconcelos in 1978 to record and tour as CODONA, Cherry recorded "Hear & Now" for Atlantic Records.  Breiwick and company take one tune from that album, "Mahakali", remove the South Indian sounds and replace them with a funky backbeat, making it feel like a dance tune.  There are two versions of "Art Deco" from the 1989 album of the same name for A&M – that album paired with the rhythm section from several of Ornette's Atlantic Lps, bassist Charlie Haden and drummer Billy Higgins.

"Awake/The Music of Don Cherry" hopefully will push younger listeners to discover the work of Don Cherry (1936-1995) as well as discover the impressive recordings of Jamie Breiwick.  This album s short – with the two alternate takes, it's just under 33 minutes – and it certainly leaves the involved listener wanting more. That said, listening to this music will be time well spent!

For more information, go to jamiebreiwick.net.

Here's "Brown Rice":

Photo: Omid Zoufonoun

Bassist, educator, and composer Jeff Denson first came to critical notice in the early 2000s as a member of a trio with Berklee classmates Florian Weber (piano) and Ziv Ravitz (drums). The threesome toured and recorded with alto sax legend Lee Konitz.  Denson went to earn his graduate degrees at Florida State University and the University of California/San Diego where he studied with and befriended fellow bassist Mark Dresser. The bassist is currently on the faculty of the California Jazz Conservatory. He has recorded a slew of albums as a leader, co-leader, and sideman plus started his own Ridgeway Records in 2015 – the label's initial release featured Denson's trio backing Lee Konitz.

The label's latest release is "Between Two Worlds" credited to the trio of Denson (acoustic bass), Romain Pilon (guitar), and Brian Blade (drums).  Pilon, a native of France, and Denson have been friends for over two decades, working together on ideas that led to bringing Blade, who is one busy musician and first met the bassist in 2017 when they were the rhythm section for guitarist Joel Harrison's "Spirit House", into the mix to record the 10 songs – five each composed by Denson and Pilon – that make up the album.  At first glance, one might wish to compare this trio with the one that recorded with Pat Metheny on 1976's "Bright Size Life" but the newer recording is quieter, more contemplative, but no less interesting.

While each track is unique, it's best to first listen to the program without trying to pull it apart.  Listen to how melodic both Pilon and Denson are as composers and soloists as well as how Blade easily, often quietly, moves the music forward.  You'll notice how these songs are three-way conversations, how supportive each person is underneath the solos, and how no one person hogs the spotlight.  When you go back on further listens, moments begin to stand out.  one has Blade's unaccompanied opening to Denson's "Listen Up" sets the pace for what follows and never loses its forward motion when the bass and guitar enter.  Dig the playing of the drums and guitar beneath Denson's solo. Pilon's "Generation" opens in ballad setting yet picks up in intensity during the guitar solo.

The title track, composed by Denson, is a spotlight for the bassist's impressive arco playing, his solo rising above the guitars (Pilon overdubbed) and Blade's melodic drumming.  The musicians don't rush through the ballad, allowing the contemplative mood to spread gently through the sound spectrum.  Listen to the song posted below to hear how the trio interact, how they change direction naturally, and always pay attention to the overall sound and mood.

"Between Two Worlds" will grow on you.  The music does not explode one's ears as much as it expands in the mind.  Give the music the attention it deserves and you will be rewarded!  Kudos to Jeff Denson, Romain Pilon, and Brian Blade!

For more information, go to www.jeffdenson.com and/or www.romainpilonguitarist.com.

Here's a cut for your edification and enjoyment:



Check out the video below for even more information (and to enjoy Brian Blade's delightful smile):

Hope In These Often-Crazy Times!

There are artists who use their music as a platform for their politics, for their emotions, for their hedonistic tendencies, and more.  Then there are artists who use their music to heal, to soothe, to fire imaginations with all the possibilities of what good can come out of interaction and working together.  Noah Baerman, pianist, composer, educator, author, ad the founder of Resonant Motion, is one person whose actions speak louder than words, whose music goes to the core of his humanity, and who never fails to impress old cynics (such as the author) with his ability to move forward, even in times of personal, physical, and political times of crisis. The music he creates challenges his listeners to be better people, to understand that life, like creative endeavors, is always moving forwards on the shoulders of those who came before us.

His latest recorded project for Resonant Motion Records is the six-person Envisage Collective. In existence since 2012, the sextet now features Baerman (piano), Kris Allen (alto saxophone), Chris Dingman (vibraphone), Nadje Noordhuis (trumpet), Ike Sturm (bass), and Allan Mednard (drums).  The ensemble's debut album features eight original pieces (two each from Baerman, Dingman, and Allen plus one each from Sturm and Ms. Noordhuis) – while the drummer does not have a composer credit, his playing is often the spark plug for this music, most of which jumps out of the speakers with joy and robust forward motion. Listen to his support of the vibraphone solo on Baerman's "The Omnivore's Dilemma" to get a better understanding of Mednard's importance to this band's sound. Click on the track below, the album opener, to hear how his "snap and pop" makes the music dance.

It's a delight throughout the program to hear how the lead voices mix and mingle, how they step back for solos, how the melodies expand into solos and return.  Allen's "Habitat" moves from the opening melody into a lively three-way dialogue with his alto plus bass and drums.  Dingman rides in on on the last note of the alto solo to create his own dance – here, Sturm and Mednard use Baerman's full chordal support to step out before the lively piano solo joins in.  All that in the first four minutes of the song before the sax and trumpet reenter to restate the song's theme.  One of the prettiest pieces on the album is Dingman's "Wish". a medium tempo ballad, that has quiet but powerful contributions from the "front line" while the rhythm section keeps a steady, martial, rhythm.  The weaving lines of vibes, piano, sax, and trumpet build with intention to a unison melody before everyone drops out for the bass and drums; then, the swirling melody of the vibes leads the unison line back in. It's easy lose one's self in the hypnotic lines and, as time drops away, be transported into a musical "new" world.  The "soulful" closing minute of the piece leaves one satisfied but wanting more.  That "more" comes in the form of Baerman's bluesy piano intro to his piece "Step On A Crack" - the "Memphis" tinge gives way to a bopping rhythm with a melody sung by trumpet and alto sax while Baerman responds at the end of each phrase with a riff of his own.

Photo: YouTube

"Reach Out" does exactly what the title says it will – this music, created by six friends who have created a collective voice,  "reaches out" to every listener and asks you to open your mind and your heart to the possibilities of good all around us. Can music change the world?  Noah Baerman, Resonant Motion, and the Envisage Collective believe so; this album just might convince you as well!

For more information, go to resonantmotion.org/artists/envisage/.

Here's the opening track:

The music that Brian Charette can caress out of his keyboards is always a joy to dig into.  Whether he is playing organ with his Sextette or piano in a trio or delving into electronics (as he does with his Kürrent trio), he does so with a sense of exploration, respect, and a playfulness that keeps the listeners on their toes or sitting back with a satisfied smile.  He can be heard on numerous Posi-tone Records disks (as both a leader and sideman) plus on numerous albums for the Danish SteepleChase label.

His latest sonic adventure is a solo Hammond organ album "Beyond Borderline" (SteepleChase), a follow-up to 2013's "Borderline" for the same label.  Like the previous recording, the program is a mix of standards and originals but no "pop" songs like on the earlier endeavor.  That's fine – Charette's explorations of "classics" such as "Chelsea Bridge" and "Prelude to a Kiss" not only show his respect for the masters (in this instance Billy Strayhorn and Duke Ellington) are delightful.  On the latter tune, one can imagine him playing the song in between innings at a Yankees game as much as in the wee hours of the morning in a basement club.  Charette's bass lines (a combination of feet and left hand) really keep the music on an even keel.

Photo: C. Andrew Hovan

Not surprising that the 12 tracks are all "first takes" – Charette's creativity comes to the fore every time. There is a tinge of Larry Young's exciting style on the album opener "Yolk."  The rhythm line he creates is persistent and insistent while the melody on top of that jumps forward.  Listen as he dances through "Public Transportation" like a subway train careering through the underground.  Another original "Hungarian Bolero" creates a sensual sound world with melodic phrases that curl around the rhythm. At seven minutes, it's the longest track on the program but you'll like how it continues to move forward.  "Aligned Arpeggio" is a soulful delight, the whispery bass lines supporting a sweet melody line and the powerful solo that follows. The piece picks up in intensity as the bass lines become more forceful allowing Charette to move out and in with an ear towards both timbre and emotional strength.

Put on "Beyond Borderline" first thing in the morning and the music will ease you into the day. Listen to this music during a leisurely dinner and it will add spice to the conversation.  End the day with the sweet burbling tones of the Hammond B-3 echoing in your ears and mind; the sounds just might make your dreams a bit sweeter.  Brian Charette continues to impress with his musicianship, his boundless energy, his creativity, and his sheer joy for music.  Make the effort to find this album and you'll be rewarded each time you listen!

 For more information, go to www.briancharette.com.  The album is available at Charette's website plus iTunes and Amazon.com as well – the latter two are good places to go for sound clips.

Moving Into a New Year While Playing Catch-Up (Pt 1)

Life has a way of throwing big curveballs into one's best-made plans.  Started out 2019 in the local hospital and am ending the year trying to catch up with all the fine music that came my way in the past 11 months.  What's got me far behind my projected writing was the end of a busy semester and then the joyous onslaught of grandchildren into our quiet domicile. Calendar aside, here are two 2019 recordings that deserve your attention.

Photo: Erain Ribeiro

Earlier this year, I had the opportunity to interview bass clarinetist Todd Marcus (pictured left) and then hear him in concert at our local library (playing alongside his long-time associate Eric Kennedy (drums), pianist Noah Baerman, and bassist Henry Lugo. Marcus lives in Baltimore and works hard to make his adopted hometown a better place for all.  He does not do this all through music (although that's a good part of it) but also through the various non-profits he works with.  Marcus is straight-forward, pulls no punches, is filled with empathy at how his city has been maligned by politicians and people around the country but also sees how hard his neighbors work to keep their part of Baltimore (the Sandtown-Winchester/Upton communities) clean and livable.

While Marcus's 2018 album "On These Streets (a Baltimore Story)"  dealt with the issues of his city, late this past Summer the clarinetist issued "Trio+" (Stricker Street Records). Nine of the 12 tracks feature the rhythm section of Ralph Peterson (drums) and Ameen Saleem (bass on seven of those cuts replaced by Jeff Reed for one who also appears on five others). The album opens with the 14-minute, four-movement, "Something Suite"; inspired by Sonny Rollins classic "Freedom Suite", the music rises and falls on the powerful work of Peterson and Saleem while the leader creates a strong thematic message.  With the exception of one track, Marcus plays bass clarinet throughout the program. He's found his "voice"on the instrument as he moves, often glides, through the octaves.  Note the "sweetness" of his melody and tone on the "3rd Movement" – the lower tones resonate while the higher ones have a singing quality.

The "+" on four of the tracks is trumpeter Sean Jones.  He and Marcus danced and dive their way through "Amy Pookie" with Peterson pushing them hard during the solos sections.  The front line caresses the melody on Victor Young's "My Foolish Heart", a ballad that features fine counterpoint from Reed, excellent brushes work from Peterson, and lovely solos.

Reed and Marcus blend their voices (the bassist playing arco most of the way) on "How Deep Is The Ocean (intro)" before drummer Eric Kennedy enters to push the song forward.  Again, the bass counterpoint stands out throughout the track.  The clarinetist, Peterson, and the two bassists dance their way through a short but powerful take on Bennie Maupin's "Neophilia."  The piece really builds off the "bounce" that Reed and Saleem supply as well as Peterson's majestic drum work.

"Trio+" closes with "Plummeting", an original piece that Marcus first recorded on his 2005 debut for Hipnotic Records "In Pursuit of the Ninth Man" –  that album featured Marcus's Jazz Orchestra while here it's played as a quartet with Jones as the other voice.  The power of the playing hearkens right back to the opening track with Ralph Peterson leading the way with his energetic and joyous playing.

The more one listens to "Trio+", the more one wants to see this band in person.  They possess the power to pick the listener right out of his/her seat as well as make them lean in to really "hear" the softer pieces.  Todd Marcus continues to tell important stories in his music, this time making musical testaments on the importance of working together as a unit while still maintaining one's unique voice.   Dig in and play it loud!!

For more information, go to toddmarcusjazz.com.

Here's "Cantata" featuring bassist Reed and drummer Kennedy plus the leader on B-flat clarinet:

Pianist and composer Greg Reitan, a native of Seattle, WA, who has been in living in Los Angles, CA, for nearly three decades, has recorded exclusively for Sunnyside Records since his late 2008 debut "Some Other Time."  Each of his albums features the rhythm section of bassist Jack Daro and drummer Dean Koba who have been his steady musical partners for 25 years.  There is nothing stale or dull about this relationship – in fact, the music breathes with creativity and honesty.  Reitan is also busy with composing for film and television as well as for advertising plus has  composed several classical works.

"West 60th" is his fifth album and does not stray from the pattern set by the previous four other than there are more originals among the 11 tracks than usual (eight plus one each from Bobby Hutcherson, Herbie Hancock, and Aaron Copland).  But, it's five years since Reitan issued his previous album "Post No Bills" and, perhaps it's that fact that accounts for the urgency in many of the pieces.  The program opens with "Hindemith", a piece that jumps out of the speakers. Reitan dances over the rapid-fire "walking" bass lines and insistent cymbal work.  The breakneck pace does not let up even as Koba jumps into his solo.  The title track is next, a handsome waltz inspired by the Trio's 2017 "playdate" at Dizzy's Club Coca-Cola in NYC's Lincoln Center.  The bluesy swing from the leader builds upon the energy produced by his partners.

The pace slows down with a lovely take on "When You Are Near", a Bobby Hutcherson piece from his 1967 Blue Note Lp "Happenings."  The melody, as played by Reitan, has a classical feel – Daro's "singing" bass work is also a highlight both when he's playoff counterpoint plus during his solo.  The Aaron Copland composition is "Movement No. Three" from "Four Piano Blues."  Performed solo, one cannot help to hear the influence the older composer had on the work of Randy Newman.  To his credit, Reitan does not take liberties with the music allowing the plaintive melody to stand out.  If one goes back two tracks on the disc, the pianist's ballad "Luminosity" has a touch of the Copland influence in the chordal structure.

The best way to listen to "West 60th" is to start at the beginning and go right through to the melodious "Epilogue".  The music, at times exciting, always melodic, contemplative, and filled with intelligent musicianship, demands and deserves your attention.  Others have compared Greg Reitan and his music to that of Bill Evans and Keith Jarrett; there are hints on several tracks but what one always hears on this album is creative songs, excellent arrangements, intelligent interactions, and a trio that loves to play together.  Works for this listener.

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

Here's the opening track:

2019: Rough & Tough But Musically Blessed

Okay, no political screes or rants against the Government in this column. Plain and simple, what follows is the list of my favorite recordings from the past 12 months.  The first 10 are the ones I chose for the NPR Jazz Critics Poll, the next 30 are albums that could have gone into the poll, and the last five are the Reissues or Historical Documents with the last one listed, the Kenny Barron & Mulgrew Miller Sunnyside masterpiece that actually could have been in the New Releases (the third concert of the three on the recording comes from 2011). Twelve of the New Releases are large ensembles (that's 30%) and any one of those choices could have led off the list. You'll notice Jonathan Blake - "Trion" at the top of the list – there was a month after I was released from my January hospital visit that that album and Jason Palmer - "Rhyme & Reason" were among the only albums I listened to. Both albums come from the debut of Deena & Jimmy Katz's Giant Step Arts label and both are infused with the interplay and excitement that makes contemporary music so enjoyable.

First, the list:

Jonathan Blake - "Trion" (Giant Step Arts)

Brian Lynch Big Band - "The Omni-Americans Book Club: My JourneyThrough Literature in Music" (Holistic MusicWorks)

Remy Le Boeuf's Assembly of Shadows - Self-Titled (SoundSpore Records)

The Art Ensemble of Chicago - "We Are On The Edge" (Pi Recordings)

Alex LoRe & Weirdear - "Karol" (Challenge Records)

Fabian Almazan Trio - "The Land Abounds With Life" (Biophilia Records)

Wadada Leo Smith - "Rosa Parks: Pure Love" (TUM Records)

Camila Meza & The Nectar Orchestra -"Ámbar" (Sony Masterworks)

Zach Brock/Matt Ulery/Jon Deitmeyer - "Wonderment" (Woolgathering Records)

Nature Work - Self-Titled (Sunnyside Records)

Mike Holober & The Gotham Jazz Orchestra – Hiding Out (ZOHO Records

Los Guachos – Cristal (Sunnyside Records)

Swiss Jazz Orchestra & Guillermo Klein (Sunnyside Records)

Miho Hazama m_unit – Dancer in Nowhere (Sunnyside Records)

Sara Gazarek – Thirsty Ghost (self-released)

Miguel Zenón – Sonero: The Music of Ismael Rivera (Miel Music)

Jason Palmer – Rhyme and Reason (Giant Step Arts)

Greg Ward Presents Rogue Parade – Stompin’ Off From Greenwood (Greenleaf Music)

Lucas Gillan’s Many Blessings – Chit-Chatting With Herbie (JeruJazz Records)

Paul Dietrich Jazz Ensemble – Forward (self-released)

Samuel Torres – Alegria (Blue Conga)

Blood Drum Spirit – Time Changes (self-released)

Branford Marsalis Quartet – The Secret Between the Shadow and the Soul (OKEH Records)

Linda May Han Oh – Aventurine (Biophilia Records)

Tomeka Reid Quartet – Old New (Cuneiform Records)

Melissa Aldana – Visions (Motéma Music)

Remy Le Boeuf - Light as a Word (Outside In Music)

Fred Hersch & the WDR Big Band – Begin Again (Palmetto Records)

Denny Zeitlin – Remembering Miles (Sunnyside Records)

Ben Kono Group – Don’t Blink (self-released)

Garzone, Erskine, Oles, & Pasqua – Three Nights in LA (Fuzzy Music) 

Steve Lehman Trio + Craig Taborn – The People I Love (Pi Recordings)

Jason Yeager – New Songs of Resistance (Outside In Music)

Yes! Trio – Groove du Jour (Jazz and People)

Florian Hoefner Trio – First Spring (ALMA Records)

Brenda Earle Stokes – Solo Sessions Vol.1 (AllSheNeeds Music)

Ashley Daneman – People Are Fragile (self-released)

Dave Douglas – Engage (Greenleaf Music)

Marta Sánchez Quintet – El Rayo de Luz (Fresh Sound New Talent)

Ola Onabule – Point Less (Rugged Ram Records)

Ralph Peterson & The Messenger Legacy Band – Legacy Live Volume 6, Live at The Side Door (Onyx Productions)

HISTORICAL or REISSUES

Jeanne Lee and Ran Blake - "The Newest Sound You Never Heard (1966-67 European Recordings)" (A-Side Records)

Bill Evans - "Evans In England" (Resonance Records)

Nat "King" Cole - "Hittin' The Ramp: The Early Years (1936-1943)" (Resonance Records)

Johnny Griffin & Eddie “Lockjaw” Davis – Ow! Live at The Penthouse (Reel to Real)

Kenny Barron & Mulgrew Miller ­– The Art of the Piano Duo: Live (Sunnyside Records)

********************************************************

I have been lax in reporting the October 31st passing of Gerry Teekens from CrissCross Records. The Netherlands-based 83 year-old was one of the more fascinating "hands-off" producers and rarely, if ever, produced a dull album. Musicians and listeners around the world mourn his passing.

Speaking of labels, kudos go to Sunnyside Records: they always issue great albums but seemed to outdo themselves the year!  ECM and Blue Note often win the Critics and Readers Polls (deservedly so) but Sunnyside deserves more attention!

Let's not forget the slew of fine releases from Pi Recordings and Whirlwind Recordings as well as Biophilia Records.

I have to say it's a pleasure to see my long-distance writing buddy Ralph Miriello back writing again after a long hiatus.  Check him out at notesonjazz.blogspot.com. 

Another long-distance friend, Jason Crane, continues to do great work with his interview show "The Jazz Session" – Just posted episode #501 and you can help him keep going by clicking on www.patreon.com/thejazzsession.

Don't forget the great podcast of Dave Douglas "A Noise From the Deep" – always informative.

I always enjoy who Leo Sidran chats with on "The Third Story" podcast – you just might as well. I recommend a subscription also through Patreon. 

In the next few weeks, I'll try and catch up on my backlog of reviews – in the meantime, have a Great Holiday (whichever one you celebrate), a very Happy New Year, and on to 2020! Thanks for reading!

Richard

Ten Years & "Ten", the Album

In the Autumn of 2009, The Hartford Courant, the newspaper where I had been free-lancing for 13 years, moved in to the next phase of an endless time of layoffs.  My blog was closed down and, like many contemporary writers, critics, and reviewers, searched for a new outlet where I could write about the music and artists that caught my attention.  

Step Tempest was born on December 14, 2009, and has been closely following the contemporary music scene which, despite the economic hardships that many musicians deal with on a daily basis, continues to respond and predict the many moods of our often-crazy world. The posts have moved away (mostly) from posting live concerts close to where I live in Connecticut – there is a lively creative music scene with the continued successes of Firehouse 12 in New Haven (both as a recording studio and performance venue) plus the development of The Side Door in Old Lyme and The State House, also in New Haven.   

Much changed for me in my seventh decade.  I am now a grandfather (twice!), I have been adjunct faculty at Quinnipiac University since 2010. Our daughters have grown up and are now active members of their respective communities. Like many people, I have had my share of physical issues but most have disappeared.  I remain excited by the music I hear on a daily basis and am buoyed by the many friends I have made in the past decade. 

Thank you for reading!

Saxophonist-educator-radio show host Tom Tallitsch, both in Illinois and raised in Ohio, has been on the contemporary for two decades.  Currently living in Princeton, New Jersey, he maintains a busy schedule of private teaching as well as teaching piano to young people on the autism spectrum at the Princeton Child Development Institute.  His four CDs on Posi-Tone (2014, 14, 16, and 18) were, mostly, quintet affairs with excellent rhythm sections and songs that emphasized Tallitsch's melodic side.  He can "blow" with the best but has a bluesy, soulful, tone, especially on ballads, that stands out.  

His new album, "Ten", is his second release in 12 months to appear on his newly-revived personal label.  It's a quartet setting with guitarist Mike Kennedy, bassist Jason Fraticelli, and drummer Dan Monaghan, musicians who are all based in the Philadelphia, PA, area and all very busy.  All six pieces are composed by Tallitsch and each one is worth exploring.  The album opens with "Traveler", which prominently features Kennedy's guitar and the leader on soprano sax.  There's an open quality to the rhythm section but everyone digs in and the music becomes more intense as it scuttles forward.  Monaghan, in particular, really pushes the soloists but pay attention to the guitar underneath the sax solo responding to the energy his partners put out.  The rhythm section plus Kennedy leads the listener into the handsome ballad "Orange, Yellow, and Red" –  the mood is intensely bluesy and Tallitsch's tenor sax has a plaintive sound as he wends his way through the melody.  His solo pushes the band to push back yet the piece never boils over. Kennedy solos next, a blend of Bill Frisell-style "country" licks and blues riffs; never imitative but truly in line with the mood of the piece.  Fraticelli's short, powerful, solo precedes the move back to the theme for a final chorus.

What stands out through this program, whether the music is burning ("Ya Might Feel a Little Pressure") or soaring over a steady persistent beat ("North Shore") or pushing hard with rock overtones ("Lemmings"), is the urgency and interactions of the musicians. When Tom Tallitsch is soloing, the band is not only supporting him but also pushing him forward while creating intriguing backgrounds.  The use of guitar instead of piano in this band frees the composer-arranger to create compositions that give the quartet a broad audioscape to create the colors and moods that permeate the music: also, the music often escapes any definable genre. Let the sounds of "Ten" flow over and through you – satisfaction guaranteed!!

For more information about the saxophonist plus links to "The Modern Jazz Radio Show" (which originates on WWFM-Jazz on 2 from Trenton, New Jersey), go to www.tomtallitsch.com.  

Here's the opening track of "Ten":