Ross Hammond, guitarist, composer, entrepreneur, and family man, is based in Sacramento, CA. Much of what you really need to know about as a musician can be found by looking at his discography. He's recorded a slew of solo acoustic tracks, a good number of duo experiments, and earlier in the 2010s, several quartet and quintet albums. Hammond has recorded in coffeehouses, concert venues, studios, and on his front porch. Over the past few years, he's been switching between acoustic and steel-bodied guitars, creating music that obliterates borders in the manner of the late John Fahey and the very-present Duck Baker.
His latest sonic adventure, "Our Place On The Wheel" (self-released), finds him in the studio with Oliver Lake (alto saxophone) and Mike Pride (drums, percussion) – the program uses the acoustic blues of people like John Lee Hooker, Charlie Patton, Fred McDowell, and others as the stepping-off point for a series of improvisations. They hit the "record" button and 90 minutes later, an album was created. One might ask "how does this music sound so good when it was just a spontaneous concert"? Hammond had worked with both but never recorded together. Yet, his decision to place his love of the blues forms in this setting with these "big-eared" listeners, interpreters, and creators, is deeply impressive.
Press "play", sit back, and listen. Absorb the sounds. Don't worry about song titles or length of the performances, just pay attention. Find your favorites, listen again, listen to how the musicians interact, to how the ageless (77) Mr. Lake plus with verve, fire, and imagination, to how Pride not only pushes his friends but creates a powerful flow beneath them; he swings, pounds, whispers, and creates cushions of sound. Notice how Hammond not only creates a drone but weaves his way in and around the saxophone, responding to the power of the drums plus the language Mr. Lake creates. His slide work evokes artists such as Skip James, Ry Cooder, Muddy Waters, and more, without imitating any of them.
In these days of deceit, disease, and unease, lose yourself in the musical landscape of "Our Place On The Wheel" – this music reminds one how friendship and trust, listening and responding, as well as the deep emotions conjured up by the artists who serve as signposts for this adventure, can create magic. Listen to the title track below and see if you agree.
For more information, go to www.rosshammond.com. Also, you can listen and purchase his music by going to rosshammond.bandcamp.com.
Here is the title cut:
Guitarist, composer, and arranger Jeff Parker puts himself in so many fascinating musical situations. He's worked and recorded with Chicago Underground, Isotope 217, Tortoise, Dave Douglas, Nicole Mitchell, Meshell Ndegeocello, Brazilian conceptualist Tom Zé, Makaya McCraven, and many more. Spending many years in Chicago, he recorded for the Denmark, Atavastic, and Thrill Jockey labels plus has albums on Clean Feed, Eremite, Rogue Art, and International Anthem.
"Suite for Max Brown" is the first release through the partnership of International Anthem and Nonesuch Records. It's a delightful collection of solo pieces, collaborations, vocals, and instrumentals. There are through-composed pieces, studio "jams", and the smashing take on John Coltrane's "After The Rain". That last piece, featuring Paul Bryan (electric bass), Josh Johnson (electric piano), and Jamire Williams (drums), captures the dream-like atmosphere of the original, retaining the emotional power as well. The album opens with "Build a Nest", a funky duo with vocalist Ruby Parker (who is the guitarist's daughter) – the senior Parker builds a background with piano, drums, guitar, backing vocals, and a drum machine yet the simplicity of piece is striking.
This program changes directions on every track. There's the fiery, Tortoise-like funk of "Fusion Swirl" (another tune with Parker on all instruments), the 70s funk of "Gnarciss" featuring the trumpet of Rob Mazurek and the drumming of Makaya McCraven, and the fiery Brazilian-style fusion of "Go Away" with bassist Bryan, drummer McCraven, and the leader on guitars, sampler, and the occasional shouted song title. There are several other duos, two with Bryan, the afore-mentioned opening cut, and the slow drag of "3 For L" featuring drummer Jay Bellerose. That piece features a long and melodic guitar solo, a quiet yet effective synth bass line, a complimentary percussion from the studio vet Bellerose (who has worked closely with singer-songwriter-producer Joe Henry).
Photo: Lee-Anne Schmitt
The album closes with the title track which, at 10:38, is the longest piece. The song opens with the guitars and synths; soon, alto saxophonist Josh Johnson and trumpeter Nate Walcott take over the melody. Williams's drums enter during Johnson's fine solo. There's a trumpet solo followed by a short guitar interlude and then Johnson takes turns with Walcott in the solo space. Over 2/3rds of the way through, the piece moves into another section with the beat now modified under the guitar and synth. This section acts as a coda; the music takes on a trance-like feel and no one instrumental voice standing out, confining until the fade. Check out the video below and see how the music underscores the images.
"Suite for Max Brown" finds Jeff Parker continuing his creative search, changing the way he puts an album together, paying closer attention to detail and groove. His solos, as well as those by the various participants, move organically out of the mix, none overstaying their welcome or concerned with technical fanciness. This "Suite..." feels like a series of short (with a few notable exceptions) "sound poems" – open your ears let the music in.
Saxophonist, clarinetist, and composer Byron Asher moved to New Orleans a decade ago to attend college and earn his MMA (Masters of Musical Arts). The Maryland native became so engrossed in the sounds of the city that he has stayed. He currently co-leads several groups and is a member of several others. Like many transplants to the Crescent City, Asher has become absorbed in how the music, the city, and the citizens are all intertwined. Thanks to an Artist's Residency that the composer received from Tulane University, Asher not only had the time to write music but also create an Oral History project with the elders of New Orleans clarinet players. He created a 10-member ensemble including four reed players, three brass (including cornet, trombone, and sousaphone), piano, bass, and drums – see list below.
Asher and the ensemble went into the studio in winter of 2018 and the results can be heard on the album "Brian Asher's Skrontch Music" (Sinking City Records). The name "Skrontch" is not native to New Orleans but is the title of a 1938 piece by Duke Ellington that he used on his experiences working in Harlem's Cotton Club (check out Duke's version here). Asher's recording is composed of five original pieces, with most of them including pre-recorded voices, old recordings, excerpts from musician interviews, etc. The first track, "Blues Obligato", opens with the ensemble quietly in the background as recordings by Bessie Smith, King Oliver, Mamie Smith, and others weave together in a sound collage. Slowly the ensemble takes over with various instruments rising to the top of the mix. When that section is concluded, the three clarinet players play an unaccompanied somber melody for a moment before James Singleton's funky bass and Steve Glenn's sousaphone mesh with drummer James Thibodeaux to create a funky rhythm. The main melody, really one long line repeated over and over by different instruments with a touch of counterpoint, slowly opens up for a solo section that features a call-and-response featuring the clarinet of Aurora Nealand and the trombone of Emily Frederikson. The other front lines return and we hear a collective improvisation.
"Aural History" opens with a handsome ensemble melody before the music fades and is replaced by several different voices that belong to Crescent City clarinet stars of the early 20th Century. Listening to their stories, one gets a fascinating and compelling picture of life in the early 20th Century. Meanwhile, the music is respectful, bluesy, playing underneath as a celebration of these musicians. As the voices fade, the ensemble steps forward with the melody played by various sections. Near the end, there's lovely soprano saxophone playing from Reagan Mitchell.
Illustration: John Churchill, 1977
"Comité des Cityoens" is named for the New Orleans citizens activist group whose member Homer Plessy was arrested in 1892 for entering the "white-only" passenger car and refusing to move. His case was appealed to the US Supreme Court (Plessy v. Ferguson) which decided against Plessy therefore upholding the Jim Crow laws that kept African Americans "second-class citizens" until the 1960s. Plessy's actions set the stage for the protest tactics of the Civil Rights Movement. One might expect that the music Asher created for this section would be just as somber as previous cuts; instead, the music skips forward on short blasts of reeds over a raucous drum beat. The instrumental section of the track features a powerful statement from tenor saxophonist Ricardo Pascal followed a dazzling spin over the piano from Oscar Rossignoli. The song closes with more quotes from the Supreme Court's decision reminding modern listeners that there is still more work to do.
Image: YouTube
The album closes with "Elegy" and "After This, That", musical meditations on the present day with melodies and rhythms that have organically grown from the roots of the musical forefathers and mothers. The leader creates a long and passionate clarinet solo on the final track while the rhythm section kicks up a storm. Mitchell (soprano sax) and Ms. Nealand (alto sax) also make powerful statements while Singleton plays counterpoint (he also takes a wonderful arco bass solo) and Thibodeaux dances around his drum kit.
"Byron Asher's Skrontch Music" was issued in late October 2019; it's musical and emotional impact will last for years. Byron Asher did his homework and created this suite of music that encompasses the width and breadth of both the history and music of New Orleans (from the Jazz Age forward). Listen closely – there's much to be learned from all the voices that will move into your ears and your consciousness.
Byron Asher, clarinet and tenor saxophone, compositions Ricardo Pascal, clarinet and tenor saxophone Aurora Nealand, clarinet and alto saxophone Reagan Mitchell, soprano and alto saxophones Shaye Cohn, cornet Emily Frederickson, trombone Oscar Rossignoli, piano Steve Glenn, sousaphone James Singleton, upright bass Paul Thibodeaux, drumset
Nutria, the trio named for a Louisiana swamp rat that Asher formed with bassist Tim Boudreaux and drummer Shawn Myers in 2014, issues its third recording on Valentine's Day 2020. Titled "Meeting In Progress" (ears&eyes Records), the recording, made in the waning days of December 2018, presents a portrait of a group that is comfortable pushing each other forward, making music with an impressive dynamic range, a clean sound, and inviting the listener to enter into a sonic adventure that eschews labels and styles.
Each musician contributes, at least, two original compositions – still there is a unity in sound throughout the program. Asher contributed four pieces to the eight-song program including the title song that serves as the opening track. One can really hear the Air influence here especially in how the composer changes the melody and the rhythms throughout the piece. Asher's buzzing bass clarinet introduces "Once Annual Elegy" – his quiet solo is underscored by strong bass counterpoint and fine cymbal colors. The leader's other two contributions both bear names familiar to residents of Northern New England. The sublime ballad "Tremont ME" finds Asher on clarinet and Myers's brushes setting the pace while "Monadnock" (a mountain in New Hampshire bears that name) is a ballad for tenor saxophone yet notice how all three share the melody line. This is contemplative music that makes one listen closer.
Myers's drum work reminds this listener of New Orleans native Ed Blackwell as well as Chicago, IL, native Steve McCall (perhaps best known for his work with Trio Air). He also composed the exciting "Forth" which rumbles forward on impressive drum beats, throbbing bass, and the composer's . Myers is also responsible for the final track. "Lake Solitude" has a slow walking bass line, a melody line that contains echoes of Australian alto saxophonist Bernie McGann. Pay attention to the conversational drums and how Asher's tenor sax solo has such a "cool" feeling. Boudreaux's "The Mission" also alludes to Air, displaying a Henry Theadgill influence, especially in the quirky yet emotional melody. The bassist's solo is also fascinating, especially for its melodic lines and how Myers chooses to move beneath them.
"Meeting In Progress" is the work of three friends, musicians who listen and respond to each other without making a big deal about being technically impressive. No one voice is more important than any other – the trio's objective is to weave their life experiences into this music and see how it resonates with the listener. Nutria, the animal, lives on riverbanks, often congregates in large colonies, is mostly a herbivore, and can be dangerous to local landscapes. Nutria, the New Orleans-based trio, creates a musical environment hospitable to those willing to take the time to test the waters and then dive in!
Trumpeter and educator John Bailey has been impressing audiences since his high school years in the mid-1980s. He went on to play with such greats as Ray Charles, the Buddy Rich Orchestra, Woody Herman, Ray Barretto, and, most recently, with Arturo O'Farrill's Afro-Latin Jazz Orchestra and the Ed Palermo Big Band. Before moving to New York City, Bailey taught at the First School School of Music/ University of Miami and Florida International University. He now teaches private lessons.
Baileys second album as a leader, "Can You Imagine?", is also the inaugural release on his Freedom Road Records. The trumpeter's ensemble includes Stacy Dillard (tenor and soprano saxophones), Stafford Hunter (trombone), Edsel Gomez (piano), Mike Karn (bass), and Victor Lewis (drums, percussion) plus Janet Axelrod (flutes) and Earl McIntyre (bass trombone, tuba). The program features three original pieces from the leader, two from drummer Lewis, and one each from Chico O'Farrill, Chico Buarque & Francis Hime, saxophonist Dillard, and the venerable "People" (composed by Bob Merrill and Jules Styne).
The album is built around the 12+ minute "President Gillespie Suite", a three-part Bailey composition inspired by trumpeter Dizzy Gillespie's 1964 run for the Presidency. What began as a fundraiser in 1963 for CORE (the Congress of Racial Equality) and other Civil Rights organization grew into a semi-serious attempt to raise people's awareness of the struggle for equal rights, not escalating the Vietnam War, and more. Gillespie reworked his classic "Salt Peanuts" to replace the title phrase with "Vote Dizzy!" Bailey's piece celebrates the peaceful, improvisatory, nature of Gillesie's music, featuring excellent solos from McIntrye (trombone) and himself. Pay attention to the splendid work of the rhythm section and how each musician interacts and responds. Right after the trombonist 's fine solo, the front line breaks into a four-way conversation. The third movement, "President Gillespie's Birthday Song", is based on the changes of the classic "I Can Dream, Can't I" takes off into a rapid-fire bebop rhythm with a sly wink from pianist Gomez to the "Salt Peanuts" riff and delightful solos from Dillard (tenor sax) and Bailey as well as "trading 8s" section with drummer Lewis. Don't miss the fine trumpet coda at the close.
The suite is not the only reason to dig into the album. Lewis's "The Touch of Her Vibe" is a splendid Latin influenced ballad which opens with hand drumming leading into a fine melody line. Note how Bailey (flugelhorn), Dillard (tenor), and trombonist Hunter share the melody plus how Lewis ups the ante throughout the song by changing and mixing tempos, overdubbing tabla drums, and creating a sensuous flow. O'Farrill's "Ballad From Pro, Incienso Y Mirra" is a stunning work – originally composed for a Christmas Eve concert that features Dizzy Gillespie and Machito, the lovely piece rises on the fine melody and solos from the leader (trumpet), Gomez (right in the melody, the rhythm section doubles the tempo), and more great drumming. Ms. Axelrod's excellent bass and alto flute shines on Chico Buarque's "Valsa Rancho" with a shout out as well to Gomez's sympathetic piano accompaniment and Lewis's fine brush work.
"Can You Imagine?" covers a lot of musical territory; the music is lively, heartfelt, sweet, sensual, swinging, with excellent contributions from every involved. Not sure if John Bailey is hitting the campaign trail in this, arguably, most fractious of election year but his music and message deserves your attention.
Trombonist Audrey Ochoa is a multi-talented musicians and songwriter who is comfortable in a multitude of settings including jazz, rock, punk, ska, Latin – you can tell by listening to her broad tone and selection of material that she has no fear. She also has quite the sense of humor – her 2014 debut album, "Trombone and Other Delights", not only features songs such as "Zombie Apocalypse" and "Painting Rice in the Finland Woods" but also the cover is a tribute to Herb Alpert's "Whipped Cream & Other Delights" - see it here! Her 2017 followup, "Afterthought", is a trio date which also features contributions from electronica dj Battery Poacher.
Album #3 is "Frankenhorn" (Chronograph Records) and it's certainly moving in new directions. While bassist Mike Lent, who appeared on Ms. Ochoa's first two CDs, is here as is pianist/keyboards player Chris Andrew (album #1) and drummer Sandro Dominelli (album #2) plus the return of Battery Poacher, the album also features contributions from a three-piece string section, two percussionists, and electric bassist Rubim de Toledo. A gander at the album cover plus the album title give us the hint that this music is the result of many different ingredients and Ms. Ochoa's expansive imagination. The melodic string arrangement on the opening track, "Swamp Castles", gives the music a lift over the lively rhythm section. The trombone sound is creamy as it is on the following track, the handsome ballad "Bench Warning". Here, the music bounces along atop percussionist Luis Tovar's congas and Andrews's melody yet percussive piano work. The leader's solo is highly melodic and, again, the strings serve to frame her playing in a lighter mood.
Battery Poacher creates a "chill" mood for Ms. Ochoa and Andrews's synths on two tracks. "Huggy Dance" not only utilizes drum machines but also the trombone is overdubbed to create a harmonic choir. Poacher's other contributions can be heard on "Groundhog Day" – the blend of acoustic instruments (trombone, piano, and conga) with the droning synths create a handsome soundtrack. Again, the overdubbed trombones play harmony but also serve as a choir.
Two other tracks stand out. The hard-edged "Silver Linings", a trio cut with Lent and Dominelli, is quite powerful with a trombone solo that "rocks" pretty hard. The closing track, "My Reward", also has a harder edge this time with a deep bluesy feel. Just bass and trombone, the "conversational" quality of Ms. Ochoa's attack and the deep sound tha Lent produces, is a treat – listen below.
"Frankenhorn" is fun music; Audrey Ochoa is a serious musician who does not take herself too seriously. Yet, the album does not descend into mere frivolities. At 40 minutes, one can sit down and listen to the entire program. And you should – there's lots to absorb!
The Westerlies is a brass quartet (two trumpets, two trombones) that came together in 2011 in Seattle, WA. All four members are from the Pacific Northwest including new trumpeter Chloe Raymond (who replaced co-founder Zubin Hensler in 2018) while trumpeter Riley Mulherkar, trombonists Andy Clausen, and Willem de Koch fill out the ensemble. The group's repertoire covers a wide swath of musical territory and it's mission is education and community engagement plus reaching out to as many young musicians as possible. Their first album, "Wish The Children Would Come On Home", was dedicated to the music of pianist Wayne Horvitz and was issued in 2014. They followed that two years later with a self-titled recording that featured pieces by each member plus composers Sam Amidon, Charles Ives, and Duke Ellington.
"Wherein Lies The Good" (The Westerlies Music) reunites the band with producer Jesse Lewis (he produced the 2016 recording and their 2018 video recordings) – each member contributed, at least, one original composition, plus there are pieces by Robin Holcomb (the title track), folk singer Judee Sill, the 19th Century harpist John G. McCurry, experimental cellist Arthur Russell, a playful piece from Charles Ives as well as a traditional American tune adapted by that composer, and a medley of Gospel pieces from the repertoire of the Golden Gate Quartet. With the exception of Ms. Holcomb's 14+ minute piece and the three-part, 10+ minute "Entropy" (by Mulkerhar), the songs are fairly short.
One's initial impression of this album is that the Quartet is deeply invested in "Americana" music. You hear that on the earlier albums but the inclusion of the often-rousing five selections associated with the Golden Gate Quartet plus Ives's delightful "Memories" illuminates the ensemble's funkier and more fun side. The Gospel tunes have quite a groove with shouts and prayers mixed together, truly the bedrock of the blues. Here there is a connection to the Deep South of the United States, to the hopes and dreams of African Americans. Sam Amidon's arrangement of McCurry's "Weeping Mary" (listen below) is an evocative hymn based on the composer's Shape Note style while Charles Ives's adaption of the traditional spiritual "Give Me Jesus" (retitled "In The Mornin'") is sweet and gentle.
Ms. Rowland's contribution is the lovely ballad "Laurie" dedicated to her teacher Laurie Frink who died in 2013. Before her passing, her reputation as one of the finest teachers and practioners of the trumpet was legend. Her presence graced numerous large ensembles including the Maria Schneider Orchestra. De Koch's "From The Very First Time" was written with the experience of the ensemble's residency in Kenner, LA. It's a subtle work, with emotional melody lines amid a handsome background.
Photo: Peter Gannushkin
Ms. Holcomb's piece is an episodic work that features several of her short, often melancholic, melodies tied together by intelligent harmonies, changes in tempo, and ringing long tones. The sound of the recording reverberates at the end of each short section, giving the musicians and the listeners a short rest before moving on.
"Wherein Lies The Good" closes with Murkerhar's "Entropy", a piece that tells the story of a person dealing with the myriad changes to his/her world through his/her lifetime. The opening fanfare is uplifting but, as the piece progresses, the changes (to the world) become too much, the music and the sound becomes harsher and the person succumbs. The closing section, therefore, is an elegy, a remembrance, a prayer.
The Westerlies create a number of scenarios on "Wherein Lies The Good" and there are times that the program is dizzying in its scope. Take your time, enjoy the more accessible tunes but remember to return for the pieces that need deeper listening. If you have the opportunity, see the band in person; that written, sit quietly and listen for your soul will be moved!
When three world-class musicians come together, it can be for a "blowing" session or a serious project – Tabla master Zakir Hussain decided to create an ensemble to perform at SF Jazz, one than included bass master Dave Holland; the drummer also called several other people including saxophonist (soprano, alto, tenor) Chris Potter who has worked with the bassist in various projects for over two decades. Hussain's originally vision was for a septet which did do a pair of tours. Then, he, Holland, and Potter played a number of dates and Crosscurrents Trio was created.
With a repertoire of original works from each member, the trio went into Sear Studio in New York City in September of 2018 and the results can be heard on "Good Hope" (Edition Records). What a sonic treat! Hussain provides the fascinating rhythm while both Holland and Potter play melodies that lock into the rhythms and dance atop them. Holland's "Lucky Seven" finds Potter's soprano saxophone leading the way but pay attention to how the bassist plays both counterpoint and rhythm. Kudos to recording engineer Chris Allen for the clarity of the sound. Capturing how the bass and tablas creat the various rhythm tracks makes the listener feel as if he or she is sitting in the middle of the trio. Potter's "Island Sounds" is so easy-going you might miss the lovely bass tones and the burbling drums as you pay attention to the composer's hardy tenor solo.
"Suvarna", one of the two pieces penned by Hussain, opens with a long, lovely, bass solo. Holland's touch and melodic sense is on full display. When the tablas and saxophone enter, the bassist joins the drummer in pushing the music forward. Potter does not rush the melody or his solo, slowly building the intensity, his rich full tone adds an emotional touch to the piece. The saxophonist penned the title track – it opens with a tenor sax and tablas dialogue before moving into quite a dancing rhythm. Holland's bass acts, at times, as a rhythm guitar and his muscular solo is a highlight of the album.
Photo: Rungh Magazine
The album closes with Holland's "Mazad", a sweet tune that floats forward on the bassist's rhythm plus the lovely soprano sax melody. Listen to how Hussain holds back in the opening moments but then falls into dialogue with Holland during his solo. Potter's solo has an intensity and power that energizes his partners yet, near the conclusion, the trio plays with a beauty that is breathtaking.
"Good Hope", an apropos name for music that brings such joy in times of anguish and fear, is an album that will both excite and calm down the avid listener. Crosscurrents Trio – Dave Holland, Zakir Hussain, and Chris Potter – are recognized as masters on their instruments yet they came together to make music, not to show how technically they can play. Released in October of last year, the album made a large number of "Best of 2019" lists. Deservedly so, yet this music will still sound great decades from now!
Pianist James Hill is a rising star in his native Canada, playing in the Autobahn Trio and as a member of BABBADNOTGOOD (BBNG). Drummer Ian Wright is also a member of Autobahn. Bassist Rich Brown not only leads his own groups but is also a producer – he's also played with saxophonists Steve Lehman and Rudresh Mahanthappa plus keyboardist Andy Milne's Dapp Theory. Several years ago, Hill took a break from his various projects to visit Sáo Paulo, Brazil, to visit his partner's family who live in a section of the city known Higienópolis (translated as "healthy city"). While there, he wrote a lot of music and decided he wanted to record it with Wright and Brown. All three had played together in the bassist's Abeng group and Hill felt his new music would work with these musicians.
The trio, known as Local Talent, has just issued its debut recording, "Higienópolis" and it appears on the pianist's Project Whatever Recordings label. Hill plays an array of keyboards (acoustic piano, Fender Rhodes, synths) with Brown sticking to electric bass. The music blends ideas and sounds influenced by electric Chick Corea, Robert Glasper, Josef Zawinul, as well as British progressive rock of the 1970s and 80s, putting it all in a blender and coming up with music that is melodic, rhythmical, exciting, funky, and forward-thinking. Listen to the track below; the thick sounds of the Rhodes and Wright's drums are underpinned by Brown's fluid bass lines. His solo is quite melodic while the drums pound and Hill's various keyboards add color.
The album opens with the title track. There's a lot that goes on from the acoustic piano opening to the fluttering synths to the speedy mart drumming, stops and starts. That's followed by "....Intro To", a short piano, synth, and drum rubato piece that builds up to a loud synth loop that stops suddenly when "The Silent Cry" begins with a handsome, classically inspired, piano melody begins. The synth loop that closed the previous returns, the bass and drums enter. Hill moves into a piano solo with layers of synth adding colors.
The closing track, "Blue Rainbox", is a ballad that could have been influenced by Pink Floyd. Staring with what sounds like a mellotron, Brown has an impressive, richly melodic, solo that takes up a portion of the piece. The piece begins to build up but, instead of reaching a resolution, the sound becomes compressed until the music stops.
Local Talent is a fascinating project, full of promise and concepts to be built upon. These three fine musicians have the ability to "grow" their music by taking the show to an audience, playing with the material, adding new ideas, creating more of a group sound. "Hiegenópolis" is certainly a strong start and worth exploring.
Composer, arranger, and pianist Emilio Solla was born and raised in Argentina, has lived and worked in cities such as Buenos Aires, Barcelona, Spain, and, in 2006, relocated to New York City. He's has composed works for small ensembles, for symphony orchestras, and has worked with artists such as Paquito D'Rivera, Arturo O'Farrill, and Edmar Castañeda. Like many of his contemporaries, Solla's music has been influenced by Astor Piazzaolla but his travels have added many different layers to his music. His earlier albums came out on Fresh Sound New Talent; since 2014, he's been issuing his own recordings on his Avantango Records labels.
Solla's latest audio adventure is the first by his 17-piece Tango Jazz Orchestra. Titled "Puertos: Music From International Waters", the eight original compositions pay tribute to port cities around the world. They ranges from the dancing tribute to Havana, Cuba ("Sol La, al Sol" - to La Habana) to New York City ("Four For Miles") to the suave yet exciting "Chacafrik" (in honor of Benguela, Angola). Just about all the music is built from the drums up (kudos to Ferenc Nemeth for his creative contributions) and the section arrangements really favor long passages with fine harmonies and counterpoint. Pay attention to how Solla moves the different sections through melodies; an excellent example is "Andan Luces" (to Cádiz) where the melody lines are played by the piano, reeds, and accordion. The various solos jump off from the melodies – in the middle of the piece, the rhythm section gets to shine with solos from bassist Pablo Aslan and a long one from the leader.
The lovely ballad "La Novena" (to Buenos Aires) has a gentle, swaying, tango rhythm played by the piano and bass (Nemeth is quiet the first two minutes) while the melody is shared by soprano and baritone saxophones. The flute accompaniment rises above the soloist while the horns sit below; that leads into a fine solo from Labro (on bandoneon). That track is followed by "Buenos Aires Blues" but the rocking, hard-hitting, piece is actually dedicated to New Orleans, LA. Each one of the soloists gets a different feel beneath his solo; the rhythm section is somewhat below Noah Bless's trombone spot but picks up the intensity when trumpeter Alex Norris steps forward. After the sax section plays a boppish section, baritonist Terry Goss takes over and the music calms down. It's Aslan's bowed bass supporting Labro's delightful accordion solo. Piano and drums return while Labro dances on. Nemeth takes the piece back to the intro and on to the end.
Edmar Castaneda's harp leads the way on "Allegrón" (to Cartagena) sharing the lead lines with the soprano saxophone of Alejandro Aviles. The harpist's duet with Franco Pinna (bombo legüero) is highly rhythmical – note the interactions of the sections that lead the way to the splendid soprano solo.
"Puertos: Music From International Waters" shimmers with excitement, both melodic and rhythmical, as well as beauty. The songs that Emilio Solla created for the Tango Jazz Orchestra (several that have been recorded in smaller ensembles) have room for each musician to shine and for the arrangements that pique the listener's interest and make you return time and again. Do listen and listen closely – this album is definitely worth your time!
Alejandro Aviles: soprano and alto saxophones, flutes;
Todd Bashore: flutes and clarinet;
Tim Armacost: tenor saxophone, alto flute and clarinet;
John Ellis: tenor saxophone, soprano saxophone, clarinet and flute;
Terry Goss: baritone saxophone and bass clarinet;
Alex Norris: trumpet and flugelhorn;
Jim Seeley: trumpet and flugelhorn;
Jonathan Powell: trumpet and flugelhorn;
Noah Bless: trombone;
Mike Fahie: trombone;
Eric Miller: trombone;
James Rodgers: bass trombone;
Julien Labro: bandoneon and accordion;
Emilio Solla: piano and conducting;
Pablo Aslan: bass;
Ferenc Nemeth: drums.
Guests –
Samuel Torres: congas (“So La Al Sol”);
Arturo Prendez: percussion & Arturo O’Farrill: piano (“Llegara, Llegara, Llegara”);
Franco Pinna: bombo legüero & Edmar Castañeda: harp (“Allegron”).
Here's a track for your listening pleasure:
Two of the producers for Solla's album plus the one below are Kahbir Sehgal and Paul Averginos – they certainly have great ears!
Photo: Warren Le Fever
Joe McCarthy, drummer, educator, and band leader, organized the New York Afro Bop Alliance Big Band when he moved to the Big Apple in 2008. He has taught at schools around the United States plus played with the several ensembles associated with the United States Naval Academy Band. A graduate of the University of North Texas (famed for its large ensembles), McCarthy worked with numerous artists including Paquito D'Rivera, Slide Hampton, Arturo O'Farrill, and Linda May Han Oh. He's also published a book/DVD called "Joe McCarthy Afro Cuban Big Band Play-Along Series" that is used by several different University music programs.
The New York Alliance Afro Bop Big Band issued its debut album in 2008 on Heads Up Records with guest Dave Samuels (vibraphone, marimba) – at that time, the ensemble was known as the Afro Bop Alliance. They added "Big Band" to the name on the ensemble's 2016 release "Revelations" that came out on McCarthy's own label. ZOHO Records is the home of album #3 titled, simply "Upwards" and now they've added "New York" to the name. A glance below at the personnel and you'll see that the band is made up of first-call NYC musicians. The rhythm section is anchored by the leader, bassist Boris Kozlov (on electric much of the album), pianist Manuel Valera (who provided the two of the songs and several of the arrangements), and master percussionist Samuel Torres. It is noticeable from the start that those four musicians who set the band in motion.
Listen below to "Caravan." Torres and McCarthy create a dynamic opening in a call-and-response that sets the table for the delightful take on the Juan Tizol - Duke Ellington classic. If the rhythms don't move you, the excellent solos and intelligent arrangement will have you moving your feet. The band has great fun with Valera's arrangement of John Lewis's "Afternoon in Paris", the percussion pushing the band as they put a bop feel on the Latin rhythms.
As Torres and McCarthy dig into a heady groove, Valera's "Isabelita" has a lovely melody with excellent section writing. Strong solos from the composer, Kozlov, and trumpeter Dave Smith push the piece forward. "Five for Elvin", composed by vibraphonist Samuels for the large ensemble's first album, is a tour-de-force, effortlessly changing speeds and tempos, with more fine section work plus percussion that really moves along with Valera's dancing piano riffs.
The album closes with guitarist Vinny Valentino's emotional ballad "Positano." Note how the brass and horns provide a sweet cushion for the melody and the guitar solo that follows. Tenor saxophonist Ben Kono raises the intensity with a powerful yet still melodic solo followed by Kozlov's excellent acoustic bass solo. "Upwards" is proof that when you give excellent musicians strong material and fine arrangements, they can make music that sings, soars, caresses, and, yes, dances. Check out The New York Afro Bop Alliance Big Band – the name is quite a mouthful but the music is mighty tasty!
Saxophones: Matt Hong, Kristy Norter, Ben Kono, Dave Riekenberg, Eden Bareket
Trombones: Sara Jacovino, John Yao, Sam Blakeslee, Jen Hinkle
Trumpets: Nick Marchione, Raul Agraz, Bryan Davis, Dave Smith
Manuel Valera (piano) Vinny Valentino (guitar) Boris Kozlov (acoustic & electric bass)
Samuel Torres (percussion) Joe McCarthy (drums, leader) Here's "Caravan":
Pianist, composer, and arranger Satoko Fujii first convened the Orchestra New York in 1996. At that time, the ensemble contained 15 members including the pianist. For 2017's stunning "Fukushima", the group was pared down to 13 and Ms. Fujii replaced her piano with the guitar of Nels Cline. The 2020 edition welcomes back original member saxophonist Briggan Kraus and subtracts trombonist Joey Sellers (also an original member). What is always present on the Orchestra NY's recordings is the sense of adventure, the sounds that range from quiet contemplation to roaring madness but never collapsing into total anarchy.
The ONY's 11th release, "Entity" (Libra Records), features five originals from Ms. Fujii ranging in length from 10:08 to 16:17. The composer's style has always brought together disparate sounds composed for strengths of the individual members while achieving an often startling group sound. Ms. Fujii's pieces often feel like short stories, conversational, off-hand, more about the sound than the rhythm. That said, it's the chattering drums of Ches Smith that opens the album on the title song. Listen to how she paints around his solo, how the "skronky" sound of Nels Cline is the perfect accompaniment as Smith dances around the cymbals. The brass and reeds make quick appearances over the first four minutes, pushing and shouting at the guitar and drums until Smith kicks the piece into a funky beat picking up speed. That lasts less than a minute before the drummer and guitarist go off on another conversational jag – when their comrades come back in, the music picks up speed again and Cline goes dashing/squalling off over the roar. It all stops save for one trombone then both trombones moving around each other in slow motion. Yet, there's more; the trumpets, guitar, bass, and drums reenter then the reeds and the music explodes again, a roaring tenor saxophone attempting to be heard over the din.
"Flashback" opens with the entire ensemble at full volume (save for Cline who roars in and out), the brass and reeds sharing the theme for the first several minutes – then, the noise stops and is replaced by quiet sounds from muted trumpet and burbling bass. The group moves in and out of the picture, getting loud, then dropping back to two voices interacting. On first listen, one does not know what to expect. When you return to the music, you listen for how the different elements speak to the overall direction of the music. Yet, stop trying to make sense and just let the sounds enter you. For the first two pieces, that's not an easy experience – most listeners want order, logic, when they listen. Here, you have to create that order. The emotions are certainly here, you'll find them.
Photo: Peter Gannushkin
"Gounkaiku" is the album's longest track, a splendid sonic tour-de-force with a poetic opening section, fascinating interactions, strong solos, amazing work from bassist Stomu Takeishi and drummer Smith, with excellent section writing and execution. Like the other tracks, the song is episodic, moving from sections to full band to quiet sounds, to noise. Cline and Takeishi's guitar/ bass guitar noises and Smith's active percussion drive the final few minutes with separate voices stepping forward from the brass and reeds.
Photo: Bryan Murray
"Entity" invites the listener to dig in, to listen as Satoko Fujii moves the different pieces of her Orchestra New York through the mazes and open fields of the music. The various voices are often heard in duo, trio, quartet, settings, then full ensemble. Solos rise over and flit under the sections or stand alone. Written material and improvisation move effortlessly together, spin apart, come together again throughout the program. Iridescent melodies, such as the opening moments of the final track "Everlasting", collide with meanderings of different soloists, keeping the listener off-guard time and again. Like the world we all live, this music takes the beauty of a sunrise and mixes it with the chaos of human experiences, creating a musical experience that resonates long after the sounds have evaporated.
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