Zacc Harris is a MInneapolis, MN-based guitarist and composer who is active as a leader, co-leader (Atlantic Quartet), sideman, and educator. His sextet, the Zacc Harris Group, has just issued its second album, "Small Wonders" for Shifting Paradigm Records. The ZHG consists of the leader (electric guitar, compositions), Brandon Wozniak (tenor sax), Bryan Nichols (piano), Chris Bates (bass), JT Bates (drums), and the newest member John Raymond (trumpet, flugelhorn) who joined some years after the debut album. On initial listenings, one can hear the influences of Pat Metheny and Lyle Mays; when one digs deeper, you can hear the "openness" of the late Kenny Wheeler's sound as well. Pieces such as "Sundials"(listen below) and "Civil Dawn" bear witness to those influences (splendid trumpet work on the latter plus a stunning unaccompanied piano solo) while "A Beautiful Life" with its tender melody, point to new directions. Nichols's piano work is integral to keeping the music flowing throughout the album. Raymond's flugelhorn stands out on "Glass Houses" as does Wozniak's tenor sax stroll through the gardens created by the rhythm section. Meanwhile, the rhythm section burns red-hot on the hard-bop romp "The Void" plus create a New Orleans-groove on "Apple Jacks". The latter tune opens up so the tenor and trumpet can have a sweet exchange and the guitarist have a series of playful interactions with the rhythm section.
The nine-song program closes with the lovely ballad "Maya's Song". Dedicated to Harris's daughter, the music feels as if it was composed while the guitarist was watching his daughter sleeping, imagining her dreams, and hoping for a peaceful future. The piano accompaniment is a perfect counterpoint to the leader's lines. Nichols's solo also has a dream-like quality accentuated by the quiet brushwork and simple yet effective bass lines.
"Small Wonders" is big on melody, intelligent arrangements, and powerful as well as thoughtful solos. Check out the Zacc Harris Group ––much to enjoy!
There is not a lot of information on the webpage of guitarist and composer Chris Olson, who along with bassist Chris Bates and drummer Jay Epstein make up the trio know as Framework. Their new album, "Cognitive Dissonances", is the trio's first for Shifting Paradigm and its first recording in over a decade. Featuring 11 Olson originals, the music covers a wide swath of musical territory. Opening and closing with two takes of "New Anthem", the attentive listener can hear how the trio develops material. Version one refers a bit to Jimi Hendrix in the opening seconds and then falls into the melody Americans sing at the ballparks, stadiums, hockey rinks, and elsewhere. Bowed bass and splashing percussion support the melody, played mostly using chords by the guitar. The "alternate take" that closes the program is fairly similar, not as noisy but still played somewhat like a dirge.
In between those two tracks is a fascinating collections that spotlight the excellent group communication, Olson's fine melodies, and his spirited guitar playing. Bates and Epstein are right in there with the guitarist, pushing and prodding him needs be or strictly building the foundation to frame his melodies and improvisations. "Hitchens" rolls forward with guitars coming out of both sides of the speakers while the melody is in the middle of the sound spectrum. "Dawkins" gives bassist Bates a chance to step out and he leads the group forward on the strength of his thick tone and melodic prowess. There's a wistful quality to the guitar work on the ballad "Changes We Can Believe In" but a bit of grunginess makes its way into Olson's guitar tone before the bass solo returns to the opening feel.
Framework can swing ("Bluetrois"), can deliver a delightfully melodic waltz ("Pre-Conceived Notion"), and they can create aural waterfalls ("Tortured Thoughts") –– some of the song titles don't necessarily easily fit the songs but the trio's musicality will win you over. "Cognitive Dissonance" does not describe how good and ultimately satisfying this music is (well, it does go a long way to describe the mood of "New Anthem"). Titles aside, this is quite an enjoyable album!
Many musicians used the pandemic to create new work, to hone new skills, and to find new ways to express themselves in a most uncomfortable. It's possible Scott Reeves (valve trombone, alto flugelhorn, electronics) did all those things but he also went through his archives. When he did, Reeves listened with fresh ears to a 2005 live gig he recorded at City of College of New York with Russ Spiegel (guitar), Mike Holober (piano, electric piano), Howard Britz (bass), and Andy Watson (drums). Now, pleased by the overall quality of the musicianship and sound, the musician/ composer passed
the tapes on to his label, Origin Records, and they released the album as "The Alchemist". The music does not at all sound dated –– in fact, the music feels fresh and often exciting. One can hear a link from several pieces to the music Miles Davis created for "Nefertiti" and "Filles de Kilimanjaro".
The Davis influence is evident on the opener, "New Bamboo". The ringing tones of the Fender Rhodes mixed with the electronically altered trombone also hearkens back to Herbie Hancock's later Blue Note recordings. Reeves switches to alto flugelhorn, Holober to acoustic piano, for "Shapeshifter", a medium tempo flowing piece that includes a potent drum solo. "Without a Trace" is a lovely ballad with a soft melody played by guitar and trombone. The leader's solo is wistful, as if you can hear him ruminating about a person who has gone. Spiegel produces a handsome solo but pay attention to howe Holober, on acoustic piano, responds. Britz, who is also an accomplished pianist, plays a short yet melodic solo. "Remembrances" is another fine ballad with fine solos from Reeves (flugelhorn), Spiegel, and Holober. "The title track grooves atop the percolating electric piano and the raucous drums. Trombone and guitar play the head that opens to Holober's playful solo and a hard-edged trombone spot.
That playfulness is also evident on the funky take of the standard "All or Nothing at All". The feel modulates from funk to straight-ahead and back to funk. It's a delight hearing the Quintet playing around. That's true throughout "The Alchemist" –– Scott Reeves and company sound like they having such a great time and the audience shows its appreciation for every solo and song!
Chuck Owen has had a long career as a jazz educator, composer, and arranger. In 1981, Owen left California where he had been attending school and free-lancing as a film composer: he and his family moved to Tampa, Florida, when he became the first full-time faculty of the Jazz Studies program at the University of South Florida. Over the decades, Owen helped to build a program that is one of the best in the United States –– he's also been involved in numerous educational events and workshops around the country and, in 2015, helped to create the International Association for Jazz Education. On top of that, in 1995, Owen organized the Jazz Surge, a 19-member ensemble, to be his primary creative outlet.
To celebrate the group's 25th Anniversary, Owen created "Within Us" (MAMA Records/Summit Records), a eight-song program that features six originals plus one composition each by Chick Corea and Miles Davis. The album opens with Corea's "Chelsea Shuffle", a piece that the late pianist created for his 2001 New Trio. Originally the pianist was scheduled to record with Owen's band but passed before he could join the Jazz Surge in the studio. The solos in the bluesy piece belong to soprano saxophonist Steve Wilson (who was part of Corea's Origin band), vibraphonist Warren Wolf, and bassist Mark Neuenschwander but do pay attention to the sections move in and around the soloists. Violinist Sara Caswell soars over the acoustic strumming on "Trails of the Ancients" –– when the band drops out and you hear guitarist Corey Christiansen's rhythm guitar, there's a strong hint of The Who's "Pinball Wizard" in that moment. But, the remainder of the piece includes splendid direction from drummer Danny Gottlieb and a powerful electric guitar spot for Larue Nickelson.
Pick a track, any track, and you will hear excellent writing, splendid musicianship, and memorable solos. The rhythm section creates a funky foundation for the band on Miles Davis's "Milestones": the herky-jerky conversation between Gottlieb and the sections right before his short solo is a treat as is how the ensemble moves out of that into a delightfully impressionistic reading of the melody. Meanwhile, soloists Jack Wilkins (tenor sax) and Clay Jenkins (trumpet) weave their lines around each other. Be sure to dig the fun and heroic bari sax work of Matt Vance! That's Vance's bass clarinet beneath the handsome melody of "Apalachicola", a ballad that puts Ms. Caswell's violin, Christiansen's bluesy (and roaring) guitar, and Tom Brantley's moaning, gutbucket trombone in the solo spotlight. Vibraphonist Wolf and trumpeter Jenkins lead the ensemble in on "The Better Claim", a piece that Owen created for his 2011 "River Runs: A Concerto for Jazz Guitar, Saxophone, & Orchestra". While Ms. Caswell's violin is prominent in the mix, the reeds and brass dance around the fine solos. Note how Owen blends a single sax with the trumpets, the trombones swirling underneath, all the while Gottlieb is piloting the musicians through the "rapids".
The final piece in the program, "Within Us (An Invincible Summer)", a lovely ballad inspired by Albert Camus's essay "Return to Tipasa". The beauty of the melody, the sparkling piano of Per Danielsson, the light tenor phrases of Rex Wertz, and the occasional violin phrases, are clear, harmonious, and, in the final analysis, soothing to the listener's soul.
25 years is a long time for any group to stay together much less a large ensemble. But the intelligence and musicality in the material that Chuck Owens composes and/ or arranges for the Jazz Surge keeps the ensemble on the edge of its creative seats. "Within Us" is a gem, well worth examining numerous times so that you can see its myriad facets.
For more information, go to www.chuckowen.com. The album is set to be released on September 17, 2021.
Check out this short video to see the Jazz Surge going to work:
Personnel:
GUEST SOLOIST
Warren Wolf (Vibes/Marimba)
WOODWINDS
Tami Danielsson
Steve Wilson
Jack Wilkins
Rex Wertz
Matt Vance
TRUMPETS
Frank Greene
Jay Coble
Mike Iapichino
Clay Jenkins
Composer, arranger, and Pittsburgh, PA, native David Sanford (pictured left) often blurs the lines between classical and jazz as well as composition and improvisation. Started his musical life young as an aspiring trombonist, loving r'n'b and "Soul" music, he discovered Charles Mingus and that helped turn his life towards composing. He did his undergraduate work at the University of Northern Colorado, went on to get a Masters of Music at the New England Conservatory and his M.F.A. and Ph. D at Princeton University. Dr. Sanford has won a slew of awards and fellowships plus became the conductor of the Pittsburgh Collective, a 20-member orchestra that also straddles genres. He currently is the Elizabeth T. Kennan Professor of Music at Mount Holyoke College in South Hadley, MA.
Greenleaf Music will release "A Prayer for Lester Bowie" by the David Sanford Big Band featuring Hugh Ragin on September 24, 2021. The eight-song program, composed and arranged by Dr. Sanford save for the title track which is the work of Dr. Ragin plus a rollicking reading of Dizzy Gillespie's "Dizzy Atmosphere". The band is composed of members of the Pittsburgh Collective and others (such as saxophonist Anna Webber and trumpeters Brad Goode plus Tony Kadleck). The music on the album is brash, brassy, bold, at times hard-rocking (guitarist Dave Fabris really wails on several tracks), and full of aural surprises. My initial reaction was that the music reminded me of the Muhal Richard Abrams Orchestra and that composer-arranger's ability get all sorts of sounds and moods out of the musicians.
The album opens with "Full Immersion" – the band, led in by conga player Theo Moore, drops into a funky beat piano, chunky guitar, funky bass line, and drummer Mark Raynes playing side of his snare. You can hear the influence of soul riffs on the sectional writing as the piece moves forward. It's fun to hear the lower brass (bass trombone and tuba) dueling over the Raynes thundering drum between the strong tenor sax solos from Ms. Webber and Geoff Vidal (the pair then trade phrases as the band thunders on before coming together to raise the roof).
Dr. Ragin takes center stage for the title track. Opening the piece with a plaintive solo trumpet spotlight, the Big Band enters playing loud chords with a touch of dissonance. The musicians then enter a "free" period as if they were all trying to get the listener's attention at the same time. After several minutes of various instruments carrying on the conversation, the brass and reed sections play powerful melodic passages –– suddenly, the music falls into a rapid-fire beat with Ragin leading the charge. Saxophonists Ted Levine (alto), Vidal (tenor), and Mark Phaneuf (tenor) join the solo fray until the rhythmic charge slows down. The entire trombone solo around each other until the music slows down to a crawl, the sections again play powerful phrases going from the trumpets to the reeds to the trombones. The spirit of experimentation and merriment that were two of the hallmarks of the musical experience of Lester Bowie (1941- 1999) shines through Dr. Ragin's composition and arrangement.
Photo: Joanna Chattman
Highlights abound throughout the program. The lovely ballad "Women in Shadows" suggests the photography of Roy DeCarava (1919-2009) and features a delightful alto sax solo from Levine while "Soldier and the CEO" enters on the rich tones of Kelly Hart-Jenkins's alto saxophone. After a powerful declarative statement from two trumpets, the drums kick in and guitarist Fabris roars forward to a thunderous climax. The quiet coda belongs to pianist Geoff Burleson and baritone saxophonist Brad Hubbard. The Band's take on Mr. Gillespie's "Dizzy Atmosphere" is reminiscent of the dance band music of the 1940s. Short and sweet solos statements from trumpeters Wayne J. du Maine and Brad Goode sets the stage for a dancing solo by tenor saxophonist Phaneuf and a happy-go-lucky bowed bass solo from Dave Phillips accompanied by the brass, Freddie Green-like comping (Fabris), and immaculate time-keeping.
The album closes on a muscular note with the high-energy "V-Reel." Pianist Burleson dances up and down the keyboard before the trumpets take on the melody. Levine rises, squalling, out of the musical commotion propelled forward by the rhythm section and the fiery section playing. Trombonist Ben Herrington enters next with his high-energy solo. The last two minutes of the track features a tumultuous conversation between the brass, reeds, and the rhythm section.
Although "A Prayer for Lester Bowie" was recorded over five years ago (June 2016), the music is fresh, relevant, and worth exploring. David Sanford has had his works played throughout the United States and Europe by both classical and jazz ensembles. Here's hoping that this album plus his 2019 "Black Noise" recording with the Boston Modern Orchestra Project (check it out here) brings him a much wider audience.
SAXOPHONES Ted Levine and Kelley Hart-Jenkins - alto saxophones Anna Webber (tracks 1, 2, 7, 8), Marc Phaneuf (tracks 3-6) and Geoff Vidal - tenor saxophones Brad Hubbard - baritone saxophone
BRASS Brad Goode (tracks 1-7), Tony Kadleck (track 8), Tim Leopold, Wayne J. du Maine, Thomas Bergeron and Hugh Ragin - trumpets Mike Christianson, Jim Messbauer, Ben Herrington (tracks 1, 2, 4, 6-8) and Mike Seltzer (tracks 3, 5) - tenor trombones Steven Gehring - bass trombone Raymond Stewart - tuba
RHYTHM SECTION Dave Fabris - electric guitar Geoff Burleson - piano Dave Phillips - electric and acoustic bass Mark Raynes - drums Theo Moore - percussion
CONDUCTORS David Sanford (tracks 1-4 and 6-8) Hugh Ragin (track 5)
Saxophonist, composer, arranger, conductor, and educator Bob Mintzer has had a long and varied career. He's been a member of the Yellowjackets for 30 years, has been the chief conductor for the WDR Big Band Cologne for six years, leads his own Big Band, and is currentlyBarbara and Buzz McCoy endowed chair at the Thornton School of Music at the University of Southern California. Mintzer has over 30 albums released as a leader or co-leader plus another 20 as a member of Yellowjackets. He's also recorded with Jaco Pastorious, Bobby McFerrin, New York Voices, Kurt Elling, and others. His sax work was featured in large ensembles like the Thad Jones-Mel Lewis Orchestra, the Buddy Rich Band, and bassist Sam Jones Big Band
As the Chief Conductor of the WDR Big Band, Mintzer has organized programs for the band that features guest artists from around the globe. Because of his position, he is allowed to create a program of his own music. The result is "Soundscapes" (MCG Jazz/WDR), an album that features 10 original pieces arranged for the 17 musicians that Mintzer has come to know well over the past half-decade. He even solos on seven of the tracks, four on tenor sax and three on EWI. To his credit, the composer has created pieces that build from the rhythm section up, featuring snappy writing for the brass and reeds and plenty of room for the soloists to dig. The spirit of Joe Zawinul inhabits the opening "A Reprieve", especially in the work of drummer Hans Decker and percussionist Marcio Doctor. The popping electric bass work of Stefan Rey percolates underneath giving the soloists Mintzer (EWI) and Paul Heller (tenor sax) a thick cushion to dance upon.
WDR's American connection –– tenor saxophonist Mintzer, trombonist Andy Hunter, and pianist Billy Test –– are the featured soloists on "The Conversation" but dig the excellent rhythm guitar of Paul Shigihara and his interactions with rhythm section. Alto saxophonist Karolina Strassmeyer shines on "Montuno" as she reaches the heights of his solo, the brass and reeds push her forward). The gentle Brazilian feel in the rhythm section permeates "New Look" plus the blend of the flutes with the trombones is ear catching as is the delightful piano solo from Test.
The final two tracks, "One Music" and "VM", take out the program in grand style. The former cut is an older Mintzer tune, one that he recorded with the Yellowjackets for a DMP release under his own name. The straight-ahead steams along on the power of the rhythm section, featuring a powerful tenor solo from the leader and yet another delightful turn from pianist Test. He jumps atop the rhythm section and pushes them forward with his dazzling lines. Listen closely to hear the playful guitar lines of Shigihara. The album closes with a sweet tribute to composer-arranger Vince Mendoza. Excellent blend of reeds and brass over the pulsating rhythm section brings the listener to a pleasing alto solo from Ms. Strassmeyer and, later on, introduce the trumpet spot from Ruud Breuls.
"Soundscapes" is such an enjoyable listening experience. Sound quality is excellent, each solo stands out, and the arrangements are really smart. Bob Mintzer and the WDR Big Band have created a very entertaining recording well worth exploring.
Julius Gubenko (pictured left) was born in Brooklyn, NY, on October 13, 1924 and grew up to be Terry Gibbs, vibraphonist, composer, and bandleader. Doing gigs into his early 90s, he had played with Sarah Vaughan, was Steve Allen's musical director on television and in clubs for 17, and had played, as a young drummer, with the great Klezmer clarinetist Naftule Brandwein. The young Gubenko came by his career naturally as his father was a bandleader in the Catskills. Perhaps his biggest thrill was playing with Benny Goodman. In the mid-1950s. he moved to Los Angeles, CA, where another world of opportunities opened for him (such as studio work) but his pride and joy was his Dream Band (a big band) and the dozens of small groups he worked with over the decades.
Terry begat Gerry. The younger Gibbs, a drummer and composer, was born in 1964 and has been a professional musician since the early 1980s, working with a plethora of artists from Alice Coltrane, Harold Land, Billy Childs, and Parliament Funkadelic (among many others). As a leader, Gerry Gibbs has lead the Thrasher Trio, a sextet, a big band, and an orchestra. As a leader or co-leader he's issued 13 albums but, up until now, he's never dedicated an album to his father. "Songs From My Father" (Whaling City Sound) is just that –– it's a 19-song, two-CD set, that features drummer Gibbs with four sets of partners (his Thrasher Dream Trios) plus his percussionist wife Kyeshie Gibbs. 18 of the songs are Terry Gibbs originals with the final track, "Tango for Terry", composed and performed by Chick Corea in what probably was his final time in the studio before his untimely passing in February of this year.
The program opens with "Kick Those Feet" featuring pianist Kenny Barron and bassist Buster Williams. Those two great musicians also appear on "Take It From Me", "T & S", "Lonely Dreams" and on "Hey Chick" (more about that track below). The album also features Gibbs with pianist Patrice Rushen and organist Larry Goldings on the funky "Smoke 'Em Up", the Latin-flavored and fiery "Townhouse 3", the bluesy romp "Hippie Twist" and on the lovely ballads "Lonely Days" and "Pretty Blue Eyes". Pianist Geoff Keezer and bassist Christian McBride join the drummer for the rollicking "Nutty Notes", the bluesy "The Fat Man" (not the song by Fats Domino), the bouncy "For Keeps", and the witty "Gibberish".
Piano Master Corea not only plays with Gibbs and bassist Ron Carter on his afore-mentioned "Tango for Terry" but also on the charming "Bopstacle Course", the sensual "Sweet Young Song of Love", and the handsome "Waltz for My Children". It's really fun to hear the bassist's intelligent choice of phrases and counterpoint complementing the pianist. Meanwhile, the drummer dances, colors, and swings in support.
The most fascinating track, "Hey Chick", closes CD One, and is a wonder of technology. Recorded after Mr. Corea's death, Gibbs took his Dad's tune, "Hey Jim", changed the title with his Father's permission, and all the musicians on the album (except Corea) appear. The opening solo is actually Father Gibbs' vibes solo from the original 1961 recording over the quartet of Goldings, Geoff Keezer, Ron Carter, and the drummer son! The transitions are seamless and the music is amazing!
"Songs From My Father", featuring Gerry Gibbs with the Thrasher Dream Trios, is not just a love letter to his Dad but also a recognition of his fine compositions, many of them with well-designed melodies. Terry Gibbs may have retired his vibraphone but he remains in good health – this fine tribute is well worth investing in!!
Here's a video that gives you a look at the participants and the person they are celebrating:
On our recent trip to Chicago, I had the opportunities to interview saxophonists/ composers Sam Pilnick (posted here) and Shawn Maxwell (pictured left). Up until the days before we had lunch and chatted over a leisurely two hours, I did not know much about Mr. Maxwell or his music. I have a friend who has played his music on the radio but I had not listened to an entire album. Before we left home, "Expectation & Experience" (CoraStreet Records/ Jazzline) arrived in my in-box. Our conversation began with a discussion of creating an album during lockdown, especially an album that spoke to the health of a nation and of the artists whose music chronicles everyday life.
17 songs, none longer than 4:18 with five below two minutes and four under three, each with a different lineup –– "Breathe" pairs Maxwell (alto sax) with pianist Brenda Earle Stokes and was inspired by the footage of George Floyd's murder while the following track, "A Change of Climate", finds the leader on soprano sax with Paul Abella on cajon and tambourine. The lockdown gave the saxophonist ample time to reflect on the world and help amplify the belief that a musician's role in society is not just to entertain but to inform, to help illuminate the road to change. "No Peace Without Justice" blends the wordless vocals of Keri Johnsrud and John Stafford with soprano sax and the acoustic guitar of Craig Elliot; the tune and the spirit of the music was inspired by the Black Lives Matter protests of 2020.
There are several songs relating to the loss of work for musicians. "The Show Can't Go On" features Maxwell conversing on alto sax (left and right channels) propelled forward by the drums of Ernie Adams while the following track "Empty Stage" is a short but powerful alto sax solo sans accompaniment.
The composer also wrote a pair of tributes to friends: "J.C.Jones" celebrates the life of a person who meant a lot to Maxwell over the years while "Quiet House" is a ballad honoring the memory of Evon House Thompson, a gospel-singing friend of the saxophonist. The latter tune has a "virtual strings" arrangement by guitarist Zvonmir Tot.
Every musician on "Expectation & Experience" (the album takes its name from the first and last tracks) was recorded alone at home or in a studio. Yet, the music does not sound disjointed –– instead, this group of musical haikus allows Shawn Maxwell to air his political and personal views while entertaining the listeners. Many of the albums released in the past few months were recorded either before or during the pandemic: pay attention to the ones in the latter category (like this one) and you'll hear musicians working and playing through the issues of the day.
While you are on Mr. Maxwell's Bandcamp page, you'll see "Millstream", an album with his band recorded before the pandemic and scheduled to be his debut release for Jazzline. Maxwell plays alto and soprano saxophones with Collin Clauson (Rhodes, acoustic piano, Wurlitzer), Jeremiah Hunt (bass), and Phil Beale (drums) plus, on two cuts, Chad McCullough (trumpet, flugelhorn). While the pandemic album was often an acoustic project, Clauson's keys and the dancing drums gives this music more of a "fusion" feel. Several tunes are quite funky such as the hard-hitting "Squared Circle" and "Sold Separately". McCullough's trumpet blends nicely with Maxwell's soprano sax on the smartly played "Front Walk Over"" note how the two musicians come together and then go int a call-and-response before soloing simultaneously.
Go to Shawn Maxwell's Bandcamp page, give a listen, and make up your own mind. What stands out for this listener is the witty melodies and fine musicianship.
I'd also like to thank Shawn Maxwell for taking the time to sit and talk to me –– we had never met but he was generous with his time and information and I look forward to catching up with his again the next time we're visiting.
Here's the Quartet in action on "Ravage Eject" with the album's bassist Hunt replaced by Michael Barton –– the performance was recorded just a few days before the world went into lockdown:
Pianist and composer Art Hirahara is a deft pianist, technically and emotionally strong, an excellent composer, and can traverse genres with ease and wit. Since moving to NewYork City in the early 2000s, the pianist has worked alongside vocalists Rosanna Vitro, Stacey Kent, and Freddie Cole, with the late saxophonist/conceptualist Fred Ho as well as drummer royal hartigan, and violinist Jenny Scheinman (among many). Over the course of five albums for Posi-Tone Records, Hirahara has audibly demonstrated his growth as a composer, telling stories through his melodies and use of rhythmic movement.
His sixth album for Posi-Tone, "Open Sky", features the dynamic rhythm section of bassist Boris Kozlov and drummer Rudy Royston plus contributions saxophonist (tenor and soprano) Nicole Glover and vibraphonist Behn Gilecce. The title track features Gilecce and sounds influenced by Charles Lloyd's "Forest Flower" and the percussive stylings of McCoy Tyner. The four musicians move as one, spurred on by the leader's rhapsodic and bell-like piano sound. Ms. Glover's tenor sax takes the lead on "Mia Bella", a lovely ballad, her tender phrases moving in and around the fine piano accompaniment. She returns on soprano for the Latin-esque "Weathered the Storm" –– the track dances forward on the delightful drumming (listen to how Royston pushes the piano to really "groove").
The bassist contributes "Não Tão Azul"; based on the changes to A.C. Jobim's "Triste", the melody feels Brazilian even as the rhythm section move in and out of a Tropicalia feel. Quite funky, thanks to Royston's sweet barrage. The drummer's contribution, the ballad "Sunday Morning", has a touch of Gospel, a tinge of Philly Soul, and impressive communication between the musicians. Kozlov blends melodic lines and deep notes underneath the melody until his handsome solo –– he has such a splendid tone!
Photo: Pablo Reyes
While the leader did pen nine of the 13 tracks on the disk, one should make note of the two "standards". "I'm Getting Sentimental Over You" gets a jaunty uptempo reading that hints at Earl "Fatha" Hines and Art Tatum. "Empathy", from the pen of Duke Pearson, jumps from the opening chordal construction that Hirahara returns to throughout the piece. The interaction of the trio is such a delight with the rhythm section responding to growing intensity of the piano solo. The other solo piece on the program, "Peony", is a Hirahara composition yet sounds might have been composed by Duke Ellington.
The sky's the limit with "Open Sky", yet one more exemplary display of the talent of Art Hirahara. His songs surround the listener, leading he/she in for an hour of delightful songs, fine musicianship, and, like the title, a sound that makes one to sit outdoors and let the breeze brush your shoulders as the music moves forward.
Here's the opening track, inspired by the protests in the wake of the killing of George Floyd, "Groundswell":
Photo: Dave Stapleton
I must admit to not hearing any of the albums of the group Slowly Rolling Camera before the trio's new recording "Where the Street Leads" (Edition Records) arrived. The brainchild of Dave Stapleton (Fender Rhodes, piano, Moog), Deri Roberts (electronics), and Elliot Bennett (drums), the music obliterates genres on each song. There are dance beats, swirling string sections, and excellent contributions from guests Mark Lockheart (soprano and tenor saxophones), Stuart McCallum (guitar), Jasper Høiby (double bass), Verneri Pojhola (trumpet), Chris Potter (tenor saxophone), and a stunning performance from vocalist Sachal Vasandani.
"You Are the Truth" opens the eight-song program with the melody first played by Stapleton then shared by the strings. Bennett really pushes the song forward, with his insistent "trip-hop" drums. When Stapleton steps out with a distorted Fender Rhodes reiteration of the melody, it might remind some of the Soft Machine's Mike Ratledge's Fender work. As you listen to the following tune, the title track, you realize the the pianist composes the material with short melodic phrases repeated throughout each piece until the soloists step forward. On "Where the Street Leads", McCallum goes first and steps aside for Lockheart's soprano solo which hearkens back to the work that Wayne Shorter did with Weather Report. The solos move easily over the swirling background.
Adding the voice of vocalist Vasandani is a stroke of genius. The medium-tempo ballad "Illuminate" puts his voice in the midst of the keyboards and Bennett's active drums. In the last 90 seconds, McCallum steps out with an emotional solo with the addition of the vocalists repeating "Who are you...who are you...can you do this?" over the middle of the guitar phrases.
Chris Potter is featured on "Feels Like Fiction", joining the song two minutes with a strong tenor spotlight. McCallum also solos with the strings shimmering all around him (Stapleton's string arrangements for the eight-member ensemble are often dazzling and alway supportive). Lockheart steps out on soprano for a short statement before the Morse-code like keyboard notes bring the piece to a close.
"Where the Streets Lead" closes with "A Force for Good" with Verneri Pojhola's breathy trumpet lines supported by the circular keyboard phrases and the rising lines of the strings that then begin to soar as Lockheart's soprano swoops and dives around them. The piece closes with gentle piano lines under the the trumpet which soon fades as the music slowly comes to its end.
Slowly Rolling Camera makes music that is too powerful to be called New Age, too funky to be Jazz, too jazzy to be Funk, and too acoustic to be called Electronica –– So, what is it? Who cares what you call it. Just sit and let the sounds flow over you, get lost in the repetitive keyboard phrases, move your feet to the often-dancing drums. And enjoy!
Earlier this year, AUM Fidelity released "Migrations of Silence Into and Out of the Tone World", a massive yet splendid 10-album set of original music composed and arranged by bassist-composer William Parker. 10 separate groups, 91 tracks, 594 minutes of music, which takes down to ingest, ruminate upon, and understand. Like the recent works of Wadada Leo Smith and Anthony Braxton (also multiple disk sets), Mr. Parker's music is telling stories, narratives that blend tradition, history, and are very much a reflection of the present day. In the weeks leading to the Pandemic shutdown, the bassist recorded two albums that continue the exploration that his earlier albums began.
Both new releases are trio dates. "Painter's Winter" features the leader on bass, trombonium, and shakuhachi, Daniel Carter (trumpet, alto sax, tenor sax, clarinet, and flute) and Hamid Drake (drums). The program opens with the hard-driving "Groove 77" led by Mr. Parker's thick bass lines, Drake's funky yet creative drumming, and Carter's muted trumpet lines. The rhythm section, mixed up high, is in sharp contrast to the thoughtful trumpet throughout. The title tracks opens with Mr. Parker on trombonium (a smaller, curved, trombone), Carter's flowing flute, and Drake's spare yet conversational drums. The intensity of the flute and brass interaction picks up and the music begins to bounce as the drummer gets into conversation. The listener can sit back and revel in the deep sounds.
Carter's smooth-toned alto leads the way on "Happiness" with the bassist, at times, playing counterpoint and Drake right/ tight in the groove. The music slows down for a frantic arco bass solo but afterwards picks up in speed. The introspective is in stark contrast to Drake's dance around the drum set and Mr. Parker's occasional walking bass line. "Painted Scarf" pairs clarinet and shakahuchi with, at the onset, very quiet or little percussion. Over the 10:49, Drake pushes his bandmates by creating a Native American rhythm which ratchets up the intensity. "A Curley Russell" closes the program; Mr. Parker dedicates the piece to the late "Curley" Russell, the "be-bop era" bassist who played with Tadd Dameron, Charlie Parker, Art Blakey, and Bud Powell (among others). Carter's lively alto sax leads the way with the bassist's thick tones helping to fill the bottom. Drake creates a rollicking drum solo which lights a fire under the saxophonist who then creates his most impassioned solo on the disk. After the delightful bass solo, the trio takes the song out in a spirited fashion.
"Painter's Winter" is an album to savor, to sit back and let the sound wash over you time and again. William Parker, Daniel Carter, and Hamid Drake have history, as they say, know each other well, and sound as if they are having a great time –– you will as well!
"Mayan Space Station" posits Mr. Parker in the studio with guitarist Ava Mendoza and drummer Gerald Cleaver. With Ms. Mendoza's highly amplified sound, one could easily call this group a "power trio". Mr. Parker's locks in with the drummer and this music often has an irrepressible groove. It's hard to sit still listening to "Domingo"; notice how the guitarist creates a sound and attack not unlike that of Nels Cline but one also hears traces of Tom Verlaine (Television) and blues great Michael Bloomfield (when he played with the Paul Butterfield Blues Band on "East-West"). Mr. Parker's infectious groove jumpstarts "Rocas Rojas" with Cleaver diving right in, moving about his drum kit in glee, Ms. Mendoza wailing and shredding above. The title track opens in the spirited fashion of Arthur Blythe's "Down San Diego Way" with Cleaver's drums (he's using brushes, no less) and percussion paired with Mr. Parker's solid four-note bass runs. Ms. Mendoza jumps in, roaring in musical approval until the 4 minute mark, slows down for a moment, and picks up her sonic attack. The guitarist steps out of the spotlight halfway through the 14:42 track to make way for the raucous bowed bass solo over Cleaver's crashing cymbals and snappy snare.
"Canyons of Light" is a rubato piece with tremendous cymbal and cowbell work, shimmering/ furious arco bass, and long tones and moans from the guitar. As Ms. Mendoza goes into "attack mode", the rhythm section continue to thrash around beneath. There is a hint of a steady rhythm as the piece fades down at the 10-minute mark. It's a challenging piece of music that stands out for its aural expressions and passionate musicianship.
Photo: Peter Drukker
The album closes with "The Wall Tumbles Down", another hard-edged piece with a irresistible groove. Ms. Mendoza's chordal romp over a guitar drone gives way to a solo that builds up from a simple riff into a bluesy wailing spotlight. One can hear the influence of Vernon Reid and Sonny Sharrock especially later in the piece when she loops police sirens. The loops don't disappear until the last minute of the piece. Perhaps, these are the walls of racism, sexism,, and intolerance: nevertheless, it's a powerful finish to an album of powerful moods and sounds.
"Mayan Space Station" is music that demands to be played loud, windows open to the world. William Parker wants to touch the world, wants to help people get out of the doldrums and away from the fears that come blasting out of our televisions, radios, and "smart" phones. Kudos to Ava Mendoza and Gerald Cleaver for their contributions to this most appealing recording.
Trumpeter Roy Hargrove (1969-2018) and pianist Mulgrew Miller (1955-2013) are both Southern musicians who died far too young. Hargrove, a native of Waco, TX, who came of musical age in Dallas, and Miller, a native of Greenwood, MI, who moved to Memphis, TN, to attend college, were both considered masters of their respective instruments. The trumpeter was still a teenager when he came to the attention of Wynton Marsalis who had him come onstage at a concert. He attended Berklee College of Music then transferred to the New School in New York City. He was soon signed to a recording contract with his debut album released on Novus in 1990. Like many creative jazz musicians, Hargrove's musical world spanned numerous genres including jazz, Latin jazz, r'n'b, Hip Hop, and more – he played on genre-bending albums by Common and D'Angelo plus led and recorded with the Rh Factor, whose funk albums were great for dancing.
Photo: Jean-Francois Laberine
Early in his career, Miller played in bands led by Mercer Ellington, Woody Shaw, Art Blakey, Tony Williams, and Betty Carter – talk about learning the history of Black Music from the inside and the innovators. He went to lead several different sized ensembles, from his Trio to Wingspan, a quintet that released several albums of original material, to his great duos with fellow pianist Kenny Barron and bassist Niels-Henning Ørsted Pedersen. Miller was also Director of Jazz Studies and Performance at William Paterson University in Wayne, New Jersey, a position he led up until his passing on May 29, 2013.
Now, the world is blessed with the arrival "Roy Hargrove Mulgrew Miller - In Harmony" (Resonance Records), a two-Lp, Two-CD, set that features selections from two duo concerts: the first, recorded in New York City on January 25, 2006, and the second at Lafayette College in Easton, PA in November 9, 2007. All but one of the 13 tracks are "standards" from composers and performers such as Dizzy Gillespie, Thelonious Monk, Benny Golson, Antonio Carlos Jobim, Blue Mitchell, plus five more that come from movies and Broadway. Both sets on the album were unrehearsed, the New York City show due to a blizzard that only left time for the musicians to reach the venue before stepping on stage. But, the duo's professionalism and love for playing stands out, making the set a true joy.
This music should be savored. Yes, I understand that many of these songs have been recorded hundreds, perhaps thousands, of time, yet Miller and Hargrove make them shiny and new. CD One opens with Cole Porter's "What Is This Thing Called Love" – taken at a brisk tempo, the duo brings the song onto the dance floor (go ahead, listen to the pianist's left hand and try to sit still). Same for Bronislaw Kaper's "Invitation"; there are so many versions of this song yet notice how the two musicians bring it to life with the dazzling rhythm work of Miller and Hargrove's far-ranging solo. Miller's Memphis roots show up best in his left hand. "Monk's Dream" opens in a "straight-ahead" vein but during the trumpet solo, the pianist momentarily moves into a stride mode which shows up again during the duo's give-and-take in the last two minutes.
The ballads really stand out. The Mack Gordon/Harry Warren-penned "This Is Always" finds Hargrove on flugelhorn. He absolutely caresses the melody and at the end, produces a show-stopping coda (how he utilizes silence to make the listener hang on every note is so impressive). He takes a similar approach on "I Remember Clifford" with a coda that's lovely not sappy, and just the right length.
The final two tracks, "Blues for Mr. Hill" (composed by Hargrove) and Dizzy Gillespie's "Ow!" close the program in a splendid fashion. On the former, the trumpeter gets "down" and raises back up again while the pianist's accompaniment is solid "Gospel". When Miller steps out on his own, one can hear traces of Otis Spann, Memphis Slim, and Phineas Newborn, Jr. Not surprisingly, the final track is a playful "bopper". Miller's piano beneath the trumpet solo (which is playful as can be) is a Jazz "history" lesson. And his solo – you will say "Ow!" as the pianist dances up and down the keys.
Resonance Records does its usual great job on the notes with a history of the two musicians written by Ted Panken plus appreciations from Sonny Rollins, Christian McBride, Common, Jon Batiste, Karriem
Riggins, Ambrose Akinmusire, Keyon Harrold, Chris Botti, Eddie Henderson, Robert Glasper, Victor Lewis, Sean Jones, Kenny Barron, and George Cables. Pull over a chair, dim the lights, turn up the volume (but don't blast it), and let this music transport you. "Roy Hargrove Mulgrew Miller - In Harmony" is a gem that shines with creativity and the sheer joy of playing music!
Drummer, composer, and conceptualist Roy Brooks (1938-2005) hailed from Detroit, MI, a city that produced numerous jazz greats. He had an career which, in his early days, found him on the bandstand with Yusef Lateef and Horace Silver. The drummer moved to New York City in his Silver days and once he left that group, freelanced with numerous artists such as Charles McPherson, Dexter Gordon, and Charles Mingus (among others). In the late 1960s, Brooks led several groups and recorded several albums; a few years later, he joined Max Roach's drum ensemble M'Boom, remaining a member until 1986. Due to erratic behavior caused by bi-polar disorder, Brook's career came to a standstill as he was arrested on several occasions, spending time in prison. Yet, at the height of his creative life, his music and vision pushed the envelope of creative music.
Reel-to-Real Recordings has just issued "Understanding", a two-CD recorded live at The Famous Ballroom in Baltimore, MD, on November 1, 1970. Besides the leader (drums, percussion, saw), the Quintet included Carlos Garnett (tenor saxophone), Harold Mabern (piano), Cecil McBee (bass), and the fiery trumpet of Woody Shaw. The two+ hours program includes two originals by Brooks plus one each by Shaw, Garnett, Miles Davis, and "Billie's Bounce" from Charlie Parker. The first things you'll notice while listening to "Prelude to Understanding" which is the second track on CD one (the first is a short "Introduction"), is Brook's percussive "toys" and Shaw's blistering trumpet. Shaw, seven weeks shy of his 26th birthday, is on fire throughout the program; the first time you hear his "sound", he's tearing the speakers apart. Brooks is spurred by Shaw's approach so, during the lengthy solo, he's keeping right up with the trumpeter. McBee holds down the fort while Mabern "comps" a la McCoy Tyner. Shaw's solo lasts over 11 minutes, has several climaxes, and is a stunning show of his creativity. Mabern follows with a delightful romp, very much influenced by the afore-mentioned Tyner with a few blues-influenced phrases that display his Memphis, TN, upbringing. Garnett sits this one out but both McBee and the leader solo, the latter beginning playing a bowed saw!
Photo: Tom Copi
After "Prelude..." comes Brooks's "Understanding", a tune whose rhythm and melody is comparable to that of Herbie Hancock's "Maiden Voyage". The first solo goes to Shaw (pictured left) and he starts as if he's aiming to blow the roof of the Ballroom off. He does take it down a notch or two for the majority of his spot. Garnett is next and one can't help but hear his sonic resemblance to John Coltrane (in the latter saxophonist's Impulse! days). The Panamanian-born saxophonist moves easily from flowing melodic lines to raucous roars. The band then tears into a fast-paced rendition of the Parker tune. Garnett's gets the first solo, proceeding like a getaway car as the drummer chases him around the bandstand. Shaw follows flying high over the crashing cymbals (Brooks keeps the time perfectly throughout on his ride cymbal). After Mabern's rollicking solo, the trumpet and sax "trade 4s" then "2s" with the leader for several minutes before everyone steps back and gives the drummer spotlight until the fiery close to the first set and disc.
Photo: H Nolan
CD 2 contains three tracks: the 23-minute Shaw composition "Zoltan", the 32:26 Garnett song "Taurus Woman", and Miles Davis "The Theme", the shortest song in the program at 4:32. The energy does not flag on these tracks and the music continues to jump out of the speakers. For those of you who love high-energy live music, "Understanding" will make you smile. You can hear the influence of Max Roach and Elvin Jones in leader Roy Brooks's thunderous performance. Kudos to co-producers Cory Weeds (Cellar Live Records) and Zev Feldman (Resonance Records) plus a standing ovation to Chris Gestrin for the sound restoration. You'll learn a lot from the 36-page booklet which features an overview of Roy Brooks story by the great Detroit journalist Mark Stryker plus interviews with Carlos Garnett, Cecil McBee, Reggie Workman, and Louis Hayes as well as remembrances written by Jahra Michelle McKinley, Executive Director of the Detroit Sound Conservancyandjournalist Herb Boyd, a lifetime friend of Roy Brooks. All proceeds from the sale of the albums will go to the Sound Conservancy in honor of the drummer.
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