Trumpeter David Weiss leads two of the most dynamic bands playing these days and nights. As a player, he takes a bit of a back seat in The Cookers(the septet with Billy Hart, George Cables, Billy Harper, Eddie Henderson, Cecil McBee, and Donald Harrison) - Weiss is much more prominent in Point of Departure, a quintet (plus guests) that takes its name from an Andrew Hill composition (and album). This group mines music from the late 1960s and early 70s from composers like Hill, Tony Williams, Wayne Shorter, and two men closely associated with the Detroit music scene of that time, pianist Kenny Cox and trumpeter Charlie Moore. Those two musicians, who recorded as the Cox and The Contemporary Jazz Quintet, had a big effect of Weiss and he has recorded a number of their pieces with Point of Departure.
"Wake Up Call" (Ropeadope) is the ensemble's fourth CD. The 9-song program is broken into three sections, "I. Prologue", "II. Unfinished Business", and "III. New Beginning". Judging by the power of the music, I believe that Weiss is telling his audience that these songs, many of them from the raucous years of the late 1960s, are indicative of the turmoil in this country at that time and how they reflect these troubled times. Besides Weiss on trumpet (and Fender Rhodes on 2 tracks), Point of Departure is composed of Matt Clohesy (bass), Ben Eunson (guitar), Myron Walden (tenor sax on 6 tracks), J.D. Allen (tenor sax on 3 tracks), Nir Felder (guitar on 3 tracks), Travis Reuter (guitar on 6 tracks) and, for my money, the most important element in the group, drummer Kush Abadey. The drummer, who first came to critical notice at the age of 16 when he joined Wallace Roney's group, has worked with Terence Blanchard, Chris Potter, Tomasz Stanko and many others.
The album opens with "Sanctuary", a John McLaughlin songs from the Mahavishnu Orchestra'a 1973 album "Birds Of Fire." The music starts slowly but soon Abadey plus guitarists Eunson and Reuter are creating a roiling rhythm for Walden's intense solo. "..Unfinished Business" begins with Wayne Shorter's "Two Faced", a song first recorded by the Miles Davis Quintet in 1968, appearing on 1976's "Water Babies". At 12:22, it's the longest track and takes its time to build up steam - there are strong solos from Weiss and Allen, both fairly long and both feeding off the energy of the rhythm section. Two songs from Charles Moore follow, the funky uptempo "Multidirection"(reminiscent, at times, of "Theme from Shaft") and the delightful ballad "Noh Word." On the latter track, Allen's soulful solo rolls into Felder's, a more impressionistic take over the powerful drums.
The third, and longest, section, "New Beginning" opens with Joe Henderson's "Gazelle" (recorded in 1970) - the piece rides the rampaging drums (listen to Abadey under Walden's fiery tenor solo) and percussive guitar. Cox's "Sojourn" has an understated power, pushed by the rhythm section and the counterpoint of the guitars. Perhaps the most fascinating cut in the program is "Sonhos Esquecodos" from Brazilian composer Lelo Nazario (recorded in 1982 as a member of Grupo Um). Sandwiched between two pieces by Tony Williams, the song has a long rubato beginning (yet listen to the power of Abadey) with trumpet and saxophone playing the melody (actually sounds like a tune Weather Report may have produced in its early years). Once the piece settles into a groove, Reuter's hard-edged solo ratchets up the intensity.
"Wake Up Call" is intense music, so much so that even the quieter moments have great power. Listen to this music for its messages, for the solos, for the amazing work of Kush Abadey and Matt Clohesy, for the smart two-guitar work, and for its power. David Weiss & Point of Departure wants you to get off your feet and let the music created here push you to action.
Tenor and soprano saxophonist Jason Rigby, from Cleveland, Ohio, is a busy musician and educator. He leads or co-leads four groups and is currently an Assistant Professor of Jazz/Commercial Saxophone at Towson University in Maryland. His third album as a leader, "One: Detroit - Cleveland Trio" (Fresh Sound New Talent), features the rhythm section of bassist Cameron Brown and drummer Gerald Cleaver, both of whomhail from the Motor City and recorded with Rigby on his 2009 FSNT album "The Sage." In fact, Brown was also on Rigby's 2006 debut for Fresh Sound, "Translucent Space."
Right from the opening moments, "One" is a treat for lovers of saxophone trio music. "Dive Bar" is a duet for tenor and drums - Cleaver opens the piece with a short introduction, a thunderous setting for Rigby to enter with a melody not unlike the initial theme of Sonny Rollins's "Freedom Suite." The power of the drums and the writhing saxophone lines sink their hooks into the ears of the listener and do not let go for seven minutes. Brown leads the trio in on ""Dorian Gray" with a three-note bass line then joins Rigby to play the theme. The tension created by the rhythm section gives the tenor plenty of room to play around. Rigby is a strong player but not a "shouter" or ""screamer", there's a subtlety to his lines that give a song like "Live By The Sword" its focus yet his phrases hint at the work of Albert Ayler - listen to Brown and Cleaver as they freely navigate underneath. Both musicians stoke the fires of this music without losing control or direction.
Yet, there are quieter moments with strong melodic flourishes. The Richard Rodgers - Lorenz Hart standard "You are Too Beautiful" (composed in 1931 for Al Jolson) starts off quietly with Rigby emphasizing the melody and building his solo from the theme. Pay attention to the great counterpoint of Brown and the sweet brush work of Cleaver. The saxophonist goes solo on the Gershwin's "Embraceable You", creating a mini-symphony and taking his time to reference the melody. He breaks out the soprano sax for Herbie Hancock's "Speak Like a Child", playing the melody against Brown's excellent counterpoint and Cleaver's splendid cymbal playing. Rigby's solo is mesmerizing, short phrases repeated, bouncing off the low notes of the bass, twisting around the poly-rhythms of the drums, and slowly picking up in intensity but never boiling over.
"One" is a good title. Yes, this is a trio recording but the musicians approached the session of one mind; to play hard, smart, and together. One can hear plenty of "freedom", with the sax, drums, and bass seemingly going in three directions at the same time but never at cross purposes. Listen to the music of Jason Rigby: The Detroit - Cleveland Trio with open ears and you will be rewarded many times over.
Composer, arranger, and valve trombonist Bob Brookmeyer released his final album late in 2011. Titled "Standards", the recording featured the New Art Orchestra plus guest vocalist Fay Claassen. I had enthusiastically reviewed her 2010 release with the WDR Big Band Cologne ("Sing!"); Mr. Brookmeyer 's album came a year later and was even better (the version of "Love For Sale" is simply stunning).
"Luck Child" (Challenge Records) is her seventh release as a leader and the first time I have heard her sing with a small group (though not the first time she's recorded with one). The recording features pianist Olaf Polziehn, guitarist Peter Tiehuis, and bassist Ingmar Heller plus Ms. Claassen's husband Paul Heller (clarinet, bass clarinet, tenor saxophone on one track).
The repertoire is a smart mixture of standards, songs by contemporary songwriters, and a pair of tunes from her husband. Opening with the title track, a tune from guitarist Leni Stern with lyrics by Catriona O'Daly, it's a handsome melody (influenced by Jimmy Webb) with a stay-strong story. Ms. Claassen has a funky time with Paul Simon's "One Trick Pony" (excellent work from Tiehuis); good choice as it's one of the songwriter's least-covered tunes and is perfect for the vocalist's range. Paul McCartney's "Blackbird" has been covered dozens of times and Ms. Claassen's soulful version is one of the best. The musicians play it fairly straight yet it's the vocal that takes flight throughout.
Other highlights include Kenny Wheeler's "Fay" (written for the vocalist) with her splendid overdubbed vocals taking the parts of an instrumental front line and a deep blues-soaked reading of Duke Ellington's "In a Sentimental Mood" (her high notes are stunning, loud and clear). Her husband contributes "Miniature No. 7", a 60-second piece on which he overdubs a reed section which Ms. Claassen joins while the composer roars along on tenor sax. The other Heller song, "Finding You", is a contemporary love song with another soaring vocal and bright piano solo. Pianist Fred Hersch and vocalist Norma Winstone composed "Song of Life" for a duo album issued in 2003, recording it as a ballad. This version is faster with a rippling guitar solo that gives the piece a Bruce Hornsby feel (one hears that in the lovely choice of chords and releases).
Fay Claassen attempts to blend old and new, hard and soft, happy and sad, doing so in a trip setting that is both comfortable and challenging. There are musical surprises along the way (a sweet version of "Oh Shenandoah" and a good take of Burt Bacharach/ Hal David's melodramatic "A House Is Not a Home"); the vocalist is strong throughout and "Luck Child" succeeds on the strength of her performances, the musicians' interactions, and the variety of the material.
Saxophonist, bass clarinetist, educator, and composer Roxy Coss has a new album, her third as a leader and first for Posi-Tone Records. "Chasing the Unicorn" features six original pieces plus works by Joe Henderson, Wayne Shorter, Lionel Loueke, Lennon & McCartney, and Willie Nelson. With her regular band, composed of Alex Wintz (guitar), Glenn Zaleski (piano), Rick Rosato (bass), and Jimmy Macbride (drums), the sounds explode out of the speakers with great urgency and high spirits.
The title track opens the album with the leader on soprano sax but also overdubbed tenor sax and bass clarinet. That "full" sound plus strong solos from Ms. Coss, Wintz and Zaleski as well as the intelligent arrangement is rewarding for the listener. The tenor sax leads the way on another original "You're There", the music pushed along by Macbride's active drumming. Ms Coss's solo rides the percussive wave. Wintz and Zaleski offer good counterpoint as the solo continues. The melody of "Unwavering Optimism" moves upward throughout yet notice the step down as the band moves into the solo section.
As for the non-original pieces, Loueke's "Benny's Tune" brings back the bass clarinet in a supporting role as the band explores the rhythmic melody line. The interweaving of piano and tenor sax while Wintz joins the rhythm section catches the ear as does the guitarist's high-energy solo. When Ms. Coss re-enters for her tenor solo, she dances atop the bouncy rhythms. "Oh Darling" (from The Beatles "Abbey Road") maintains its bluesy feel but with a sophisticated touch, not unlike a David "Fathead" Newman approach to a "pop" tune. The Quintet darts through Joe Henderson's "A Shade of Jade" with Ms. Coss's tenor leading the way. Strong solos all around from the front line on the hard-bop track. Wayne Shorter's lovely ballad "Virgo" puts the bass clarinet up front, a classy move, and Ms. Coss's solo is quite impressive. But, pay close attention to the work of Zaleski, Rosato, and Macbride as they are quiet yet active in support. The album closes with Willie Nelson's "Crazy" - the tenor solo is reminiscent of both Coleman Hawkins and Ben Webster in tone and attack. Wintz's guitar solo stands out as well.
Photo by Anna Yatskevich
"Chasing The Unicorn" follows Ms. Coss's "Restless Idealism" (Origin Records) release by 15 months yet feels like a giant step in her career. One can hear in the maturity of the compositions, in her development on both the soprano sax and bass clarinet, and her work as a bandleader. This is a group you'll want to see and hear. Each member plays with strength and intelligence, adding to the songs in many different and often subtle ways. The faces of contemporary music are always changing, more young people are getting involved (even now, at a time when the business end of the "business" can be frustrating), and we are hearing news way to approach both tradition and change. Give a close listen to Roxy Coss and this ensemble.
I first met guitarist, composer, and educator Amanda Monaco when she played in my hometown early in the new Millenium as a member of The Lascivious Biddies, a quartet that combined witty lyrics, strong vocals, and sharp musicianship. Turned out that Ms. Monaco has grown up in nearby Wallingford CT and had been schoolmates with tenor saxophonist Wayne Escoffery and pianist Noah Baerman. After leaving the Biddies in the mid-2000s, she has led several ensembles, released four albums as a leader, and built upon her teaching career.
"Glitter" (Posi-Tone Records) is her fifth release and finds her leading an ensemble that features Lauren Sevian (baritone saxophone), Gary Versace (organ), and Matt Wilson (drums). Just looking at the lineup and several of the song titles ("Gremlin From the Kremlin", "Mimosa Blues", "The Mean Reds"), one gets the feeling the listener is in for a good time.
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And this truly is a good time. Opening with the swinging "Dry Clean Only", this band digs in and lets loose (yes, that's possible). Keeping the solos short, the song has an urgency that's hard to resist (plus, who swings harder than Matt Wilson?) Ms. Sevian is a versatile player whose solos really dance (as she does on "Mimosa Blues" and Tommy Flanagan's "Freight Trane"). Versace's roller-rink organ introduces "Gremlin..." (check out the martial drums as well) - the Eastern European-style melody and chord changes open up to playful solos sounding like a Lieber & Stoller tune from the late 1950s mixed with Micky Katz. "The Mean Reds" also could have come from the '50s, the organ splashes and "rocking" guitar riffs being pushed along by Wilson's splashy cymbals.
There is a serious side to this fun session. "Theme For Ernie", a Fred Lacey composition recorded by John Coltrane in his Prestige Records, is a lovely ballad (amazing how Wilson can play so softly and still be integral to the music) with lovely solos from baritone, guitar, and organ (although Versace does dance through his chorus).
Best advice about "Glitter" is to enjoy the ride - no doubt that these four musicians are having a blast. This is the best and "loosest" I have heard Amanda Monaco play. That's not a slam against her earlier work. This program works so well because of the temperament and talent of the ensemble as well as how the composer understands how to let her music "breathe." Play it loud and relax. Just maybe the world is not coming to an end.
Music and poetry are often intertwined; whether it's through the turn of the lyrical phrase or the message of the verse, poetry has a rhythm that speaks to many people. Trumpeter and composer Matt Holman was introduced to the Greek poet Sappho (630-550 B.C) by his wife in the early of their courtship and the poet's words fell on receptive ears. Historians believe that the poems were written to be sung with accompaniment of the lyre.
Holman, who has worked or is now working with large ensembles led by Darcy James Argue, John Hollenbeck Fred Hersch’s Leaves of Grass, Asphalt Orchestra, guitarist Joel Harrison, and the JC Sanford Orchestra (among others), also is a member of the SKETCHES quintet and is on the faculty of the Manhattan School of Music and Hunter College.
The poetry of Sappho is the inspiration for "The Tenth Muse" (New Focus Recordings), the trumpeter's second album. Working with Sam Sadigursky (soprano sax, clarinet, bass clarinet, flute, alto flute), Chris Dingman (vibraphone), and Bobby Avey (piano), Holman uses fragments of poems (many of them no more than a short sentence) to create 16 pieces that are minimalistic yet melodic, thoughtful, meditative, reflective, emotionally powerful, and sometimes verging on melancholy.
The Lilypad/Cambridge, MA
It's best to let the music do the talking. The clarity of the sound, the beauty of the individual instruments, how the composer and arranger mixes and matches the voices, how the poetic fragments become musical stories, the moments when the music transports the listener (literally) out of time, all this and more makes "The Tenth Muse" very special. There are moments when the Sadigursky's clarinet or soprano sax echoes or trails behind the trumpet, when the rolling piano chords build to a thundering climax, when Dingman's vibraphone peels like a church bell or the trumpet sustains a note that resonate long after the album ends.
Holman leaves space in the program for each member of the ensemble to have an unaccompanied solo. Those interludes are the shortest tracks in the 67-minute suite but do not feel extraneous (are titled as "Fragments"). And, while there is a classical chamber music feel to the proceedings (especially in Bobby Avey's piano work), the music defies categorization. The composer wisely leaves it up to each listener to find his or her way.
If you are a person who loves to get lost in music, who likes to be challenged and rewarded by a composer and his ensemble, then seek out "The Tenth Muse." The sounds, these abstract notes that coalesce into emotions, have great power and stand out from the standard fare. Matt Holman has given us a wonderful present; take notice.
Mike McGinnis (clarinet, soprano saxophone) is a musician who easily moves in an out of different musical styles without losing his voice. He has composed for large ensemble ("Road Trip" for 10 musicians), worked on Broadway (in "Fela"), performed with Anthony Braxton and Steve Coleman as well as with Yo Lo Tengo, plus is a founding member of The Four Bags, an eclectic group that combines accordion, trombone, guitar, and his woodwinds.
His new recording, "Recurring Dream" (Sunnyside), is a consummation of a desire to work with musicians he idealized growing up in Maine. The album finds him in the company of pianist Art Lande and bassist Steve Swallow, both with long careers, both connected with ECM in its early years (and, in the case of the bassist, to this day thanks to his association with Carla Bley), and both excellent composers as well as adventurous musicians.
McGinnis's liner notes make mention of the bassist's work with clarinetist Jimmy Giuffre, a big influence on the young reed player. This program does not follow Giuffre's experimental trio music (with Paul Bley as well as Swallow) of the early 1960s although "Circle Dance" (credited to McGinnis and Lande) is a short "free" excursion. Instead, the listener is treated to seven delightful melodies with originals for all three, one track by saxophonist Mel Martin (the album opener "Mel's Drive In"), and a Lande "derangement" of the standard "Darn That Dream" that the pianist titled "Drat Recurring Dream."
The opener is a rousing and funky piece with McGinnis on soprano sax dancing through the theme supported by the bass and piano. Listen to how Swallow not only supplies the rhythm but also counterpoint, especially beneath Lande's delightful solo. The bassist's subtle sound blends nicely with the piano throughout and, most notably, on McGinnis's handsome bluesy "Hearth." Another lovely ballad is "Amazing", composed by Swallow, that the trio takes its time to explore. Again, the piano solo is a delightful, a poetic take on the melody with impressionistic flourishes and lovely single-note runs. After the composer's melodic solo, McGinnis creates an emotionally rich clarinet excursion. Lande's "Constantinople" opens with an unaccompanied piano solo and it's fun to hear where the directions the pianist's mind goes. Swallow's tone is perfect for this ensemble, meshing well with the lower piano notes but also serving as a strong solo voice. Listen to his delightful lead-in to his piece "Bend Over Backwards" and how it sets the stage for the bluesy body of the song. Lande and McGinnis take a jaunty stroll through the theme and then the clarinetist digs in for a solo that may remind some of Benny Goodman or Artie Shaw. The pianist takes off into a solo that plays with the tempo, working with it or behind the beat, even jumping ahead on occasion.
One gets the feeling while listening to "Recurring Dream" that this trio had a lovely March day in the recording studio. They got to play, create lovely music, some playful music, and just enjoy the camaraderie. Art Lande or Steve Swallow, no matter the setting, are always "themselves", knowing when to lay back or step in. Over the past 15 years, Mike McGinnis has demonstrated he can play and compose in many different styles, creating a body of work is fun, funky, serious, and very much his own. Delightful music anytime of day, I bet they are a joy to watch in person as well.
One of the joys of contemporary music is how composers and musicians often go in unexpected directions (not talking about "pop" music here). Drummer and composer Harris Eisenstadt has several "working", ensembles that explore "free" music, through-composed pieces, jazz, Americana (Canadia, I suppose), and more. His new album, "Recent Developments" (Songlines Recordings), features a fascinating nonet - Anna Webber (flute), Sara Schoenbeck (bassoon), Nate Wooley (trumpet), Jeb Bishop (trombone), Dan Peck (tuba), Brandon Seabrook (banjo), Hank Roberts (cello), Eivind Opsvik (bass), and Eisenstadt (drums) - playing a suite that only displays a form on repeated listenings. That is not a criticism. The composer does not betray a theme by giving his pieces titles so it's up to the "active" listener to make sense of this work.
The music features a "Prologue", "Introduction", the six-part "Suite", five "Interludes", and an "Epilogue." Each part of the "Suite" contains intimate conversations between the musicians, whether it's Ms. Webber's flute interacting with Robert's cello to close "Part 4" or "Wooley's trumpet solo over bass and drums (with Bishop and Peck interjecting) on "Part 1" which then has a countermelody for flute, banjo, and bassoon before the trumpeter takes off over the drums. It's much more fun to listen than to dissect, more exciting to hear how structure is stretched, broken, reassembled, and changes. "Part 3" sounds like "modern jazz" yet is led in by the bassoon while the trombone solo is supported by bass, drums, and Seabrook's banjo as the rest of the ensemble move in and out of the mix. The composer adds a short counter-melody for reeds and brass that comes and goes like before you really notice. Ms. Schoenbeck's emotional solo on "Part 5" is stunning but note how the music evolves from various voices moving in and out with melodic fragments at the beginning and how the bassoon rises out of that to begin her statement over just bowed bass and drums.
Subtle, rewarding, and challenging, the album opens with just flute and bassoon on the "Prologue" and closes on a group "Epilogue", a piece that ends on a bass and banjo melody that makes you feel like there's more to come and that the music is not really over. "Recent Developments" is engrossing music, surprising at times, often quiet, with the various voices drawing the listener in. Let the musical vision of Harris Eisenstadt soak into your mind and enjoy how it unfolds, expands, and changes.
Whether you believe in a Supreme Being or not, some spiritual entity must have placed Anat Cohen on this earth to play clarinet in a joyous styles and to interpret, as well as to create, Brazilian music. It is impossible to sit still listening to "Rosa Dos Ventos", the second Anzic Records release to feature Ms. Cohen with Trio Brasileiro. The Trio - Douglas Lora (7-string guitar), his brother Alexandre (drums, pandeiro, percussion), and Dudu Maia (mandolin, bandolim) - have been making music together since 2011, creating original music that stretches the boundaries of Choro, a Brazilian art form that mixes dance rhythms with traditional folk melodies (read more here).
The Israeli-born Cohen first recorded and toured with Trio Brasileiro in 2013. Their debut album, "Alegria da Casa", (released in 2016 on Anzic), blended choro classics with originals. This time around, the songs are all originals. There is much to enjoy in this 12-song program, from the entrancing opening cut "Baião Da Esperança" to the percussive "Das Neves" (Luiz Ungarelli adds congas on this and one other track) to the clarinet-percussion duo on the title track. Pieces such as "Flamenco" and "O Ocidente Que Se Oriente" move in fascinating directions. The former is built off the lovely melody played by the 10-string bandolim and by Alexandre Lora on the hang (hand drum); when the clarinet enters, the piece takes on a melancholy tone. The latter track takes its title from a poem by Diego Petrarca. Opening with a drone created by the tambura, the melody is played by clarinet and guitar shadowed by the hand drums (tabla drums, I believe).
There is a touch of Lennon & McCartney in the melody and the feel of "Lulubia", the lovely ballad that closes the album. The Trio takes it slowly while the clarinet faces and whirls around them, the presence of a sprite in the calm and the quiet. "Rosa Dos Ventos" charms and thrills listeners from start to finish with lively percussion, fully realized melodies and harmonies as well as far-ranging solos. Anat Cohen & Trio Brasileiro have made a album that feels like Springtime, like the shackles and darkness of winter have been thrown off to be replaced by the gentle sun, cool breezes, and clean air. For more information, go to anzicstore.com/album/rosa-dos-ventos.
Here is the delightful opening track:
The second album Ms. Cohen is releasing this month features her in duo with Brazilian 7-string guitarist Marcello Gonçalves. "Outra Coisa" (Anzic Records) translates to "another thing" and finds the duo exploring the music of composer and multi-instrumentalist Moacir Santos (1926-2006). The guitarist chose the pieces from Santos's long career, rearranging the material, often recorded by larger ensembles, for the two instruments. Needless to say, the music works very well in this intimate setting for many reasons but especially because the melodies are so strong and tell stories.
The 12 tracks feature six "Coisas" (things), all of have different personalities ranging from the classically inspired "..No. 1" to the somber ballad "..No 6" to the sprightly "..No 10" to the handsome ballad "..No 9." That last tune, in Santos's recording, has the feel of a Billy Strayhorn ballad. You can hear that hear as well, the lovely and crystal clear guitar backing giving Ms. Cohen the foundation to play the sweet melody and male little musical comments on it. Meanwhile, "..10" is a romp for Gonçalves and listener will love how the the clarinet just slides in the middle of the opening verse. Two other tracks are "Coisas" including the playful title track in which there are moments where it seems the musicians are circling around each other. Listen to the "heavy" chords of "Nanã (Coisa No. 5)" - this inspired track gets so quiet at times you can almost see the musicians leaning into each other to listen.
There is a strong hint of Delta blues in the opening guitar statement on "Mae Iracema" (translates to "The Honey-lips"). The song opens up to another splendid dance for the duo. Pieces such as "Maracatutute" and "Amphibious" move at a delightful pace and give both musicians the opportunity to create smart solos. The album closes with two ballads, the George Gershwin-inspired "Paraiso" (the song would not feel out of place in "Porgy and Bess") which includes a lovely clarinet solo sans guitar followed by the short (1:08) and emotionally rich "Carrossel", a gentle coda to a delightful album.
Delightful is an excellent word to describe "Outra Coisa." Marcello Gonçalves did a masterful job on the arrangements (if you're curious, check out his duo work with soprano saxophonist Daniela Spellmann) while Anat Cohen is at the top of her form. She combines the joie de vivre of Paquito D'Rivera with the warmth of Jimmy Guiffre. All things considered, find a quiet corner and dive into this splendid album.
The Side Door Jazz Club in Old Lyme welcomes back saxophonist and composer Noah Preminger this coming Friday (4/14). Been a busy time for the Canton, CT, native with the release of "Meditations on Freedom" in January of this year, a response and reaction to the 2016 election in the United States. Recorded with his current Quartet - Jason Palmer (trumpet), Kim Cass (bass), and Ian Froman (drums) - the music is, at turns, reflective, angry, sad, resolute, and a call to action.
At times, the recording is reminiscent of the music Sonny Rollins created in the late 1950s, music that verges on exploding, that challenges the listener yet pulls one in on the power of the melodies and improvisations. Whether it's the solemnity of "A Change Is Gonna Come" or the deconstructed "The Way It Is" that seems to fight against the definition of the title or the gentle push and pull of "Women's March", Preminger and company are asking to rethink the way we interact with our community, the politicians in our district and in Washington, and the world. Is the joy of George Harrison's "Give Me Love" enough to get us through the day or the resolve of "We Have a Dream" going to get us out of our seats? There is power in Preminger's music and its messages.
The doors open at 7:30 p.m. and the band takes the stage for the first set an hour later. Sitting in for Jason Palmer (who is out of the country teaching) will be the impressive young trumpeter Billy Buss. For ticket information and reservations, call 860-434-2600.
On Saturday (4/15), the Side Door presents bassist and composer Linda May Han Oh and her Group as she celebrates the release of her new album "Walk Against Wind" (see below). Ms. Oh, born in Malaysia and raised in Australia, came to the United States in the mid-2000s to study at the Manhattan School of Music and has gone on to play with Joe Lovano, Dave Douglas, and is currently in guitarist Pat Methany's new Quartet. Her 2009 debut album, "Entry", recorded with trumpeter Ambrose Akinmusire and Obed Calvaire, was an auspicious one displaying her compositional talents and fine bass work.
Image by Shervin Lainez
In 2013, she introduced her new Quartet with saxophonist Ben Wendel and released "Sun Pictures" (Greenleaf Music). One could hear the growth in her compositions and arrangements which is continued on the new album. Mr.Wendel is on the recording and will be on The Side Door bandstand as will drummer Rudy Royston, guitarist Gilad Hekselman, and pianist Fabian Almazan. One should expect to hear music that defies expectations and ignores genres while valuing melody and interactions. The Linda May Han Oh Group commences playing at 8:30 p.m. To find out more, go to thesidedoorjazz.com.
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Inspired by the art of Marcel Marceau (and his brilliant piece "Walking Against The Wind"), Linda May Han Oh has titled her fourth album as a leader "Walk Against Wind." It's her first recording for Fabian Almazan's Biophilia Records and features Ben Wendel (tenor saxophone), Matthew Stevens (guitar), and Justin Brown (drums) with label head Almazan on piano and keyboards (three tracks) and Minji Park (percussion on "Mantis").
The album starts with "Lucid Lullaby", the bassist leading the melody in as Brown skitters and scrambles underneath. After sharing the theme with the tenor sax, Ms. Oh takes the first solo and the piece unfolds slowly, stopping and starting as the bass gives way to the guitar solo. Yet, listen to the rhythm section as they dance below Stevens's fluid lines.
The emotions and moods shift throughout the album. There's the joyous interactions on "Speech Impediment" replete with wordless vocals from the leader and Brown's powerful drumming. That song also features a fine slow blues section near the end. The rapid-pace melody of "Firedancer" is played by the bass and piano before the band takes off on an exciting journey. The entrancing ballad "Deepsea Dancers"(dedicated to Izumi Uchida, the bassist's manager who passed several years ago) is a lovely ballad and one can hear the influence of Malaysian and Japanese traditional music in the melody and supporting lines). There is beauty as well on "Midnight Reasons", a somber lead by the Stevens's guitar with counterpoint from Ms Oh over long notes held by the tenor sax. Wendel then steps out, adding a third melodic voice to the front line. There is give-and-take here normally reserved for uptempo pieces. The high-energy of "Midnight" follows powered by a strong bass line and Brown's explosive drums. Listen to the melody, how intelligently it plays with and against the rhythm section, the changes in tempo and how Almazan's distorted Fender Rhodes suggests the sounds of Keith Jarrett and Chick Corea when they worked with Miles Davis in 1970 and 71.
The album comes to a close on the M-Base influenced funky bop of "Western", whose thematic material grows from the percussive work of Brown and Ms. Oh's thick and active electric bass lines (it's one of several tracks that feature her electric work; check out the rapid-fire excitement of "Perpluzzle" below). The interaction of bass and drums gives the piece its propulsion and you should enjoy how all four members of the band take turns interpreting the melody.
Linda May Han Oh has made quite an impression since coming to the United States. The first thing many people noticed was her impressive bass playing but the quality and breadth of her compositions has emerged to equal that of her instrumental work. She certainly knows how to anchor a rhythm section but the melodic work she does as both a composer and performer is well worth paying attention to. "Walk Against Water" is a special recording, one that demands and deserves many close listens.
For more information, go to lindamayhanoh.com. The album package, like all the new releases on Biophilia this year, is a fanciful origami-like construction that is fun to play with, somewhat tough to read, and heck to fold back up. But, then again, I'm a klutz when it comes to puzzle-like packages.
Pianist Emmet Cohen, 27 years old, has been one busy musician over the last decade. He graduated from The University of Miami, did graduate work at the Manhattan School of Music, has worked with bassist Christian McBride, with drummer Ali Jackson, is the music conductor for Lea DeLaria, and has toured schools as part of Jazz at Lincoln Center's "Jazz for Young People" programs. He's recorded with drummer Herlin Riley, trumpeter Brian Lynch and has three CDs as a leader (the new one is reviewed below.)
On Friday night April 7, young Mr. Cohen brings his Trio to The Side Door Jazz Club in Old Lyme. Joining him for the two-set program will be bassist Yasushi Nakamura and drummer Joe Saylor. You'll hear that his music features both standards and originals plus he's one of the finer pianists playing today. Not just technically but with a deep emotional well that gives new life to the older material he chooses to play.
The Emmet Cohen Trio hits the stage at 8:30 p.m. For more information, go to thesidedoorjazz.com or call 860-434-2600.
Here's a track from Cohen's 2010 debut CD with bassist Joe Sanders and drummer Rodney Green:
On Saturday night, The Side Door welcomes the fine young harmonica player Grégoire Maret and his Quartet. A native of Geneva, Switzerland, Maret has worked with many artists, from Pat Metheny to Bebel Gilberto to Marcus Miller to David Sanborn to the late vocalist Jimmy Scott. He's issued two CDs as a leader, the latest being "Wanted", issued by Sunnyside Records in April of 2016.
Joining him in Old Lyme will be Romain Collin (piano, keyboards), Antoine Katz (bass), and John Davis (drums). Expect a mix of standards, originals, and the occasional "pop" tune. For reservations, call 860-434-2600.
Here's a funky take of Wayne Shorter's "Footprints" from the new recording:
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Emmet Cohen's latest release is the first in a series he's dubbed the "Masters Legacy Series" (which he explains in the video posted below.) "Volume 1" (Cellar Live Records) finds the pianist in the company of bassist Nakamura and special guest, drummer Jimmy Cobb. Although the drummer is 6 decades older than Cohen, they certainly speak the same musical language. Mr. Cobb, while not as prolific a session player as bassist Ron Carter, has played with scads of musicians and groups, from Miles Davis to Dizzy Gillespie to Dinah Washington, Billie Holiday, Sarah Vaughan, Nancy Wilson, George Coleman, and Dave Holland. The drummer has led his own bands and recorded, at least, six albums under his own name.
For this album, the band (augmented by alto saxophonist Godwin Lewis on two of the 11 tracks) recorded front of an invited audience in the DiMenna Center for Classical Music in New York City. The Trio romps through the opening three tracks starting with a fun take of Ferde Grofe's "On The Trail" then sliding right into "Tin Tin Deo" and "Two Bass Hit" before a gentle and generous reading of "When I Fall In Love."
Saxophonist Louis makes his first appearance on Cohen's uptempo "Folk Song", his warm tone blending sweetly with the Trio. The leader's rolling two-handed solo is a highlight as are the single-note runs he adds throughout. Louis also appears on the bluesy "Hard Times", a track that Mr. Cobb first recorded with David "Fathead" Newman - one cannot miss the gospel feel that both Louis and Cohen add to the swinging feel of the rhythm section.
photo by John Abbott
The program closes with Cohen's "Concerto for Cobb", a high-energy swing piece on which the drummer not only lays down a strong tempo but also adds smart fills and creates a powerful solo. His energy does not ebb at any time during the concert or on the recording. Bassist Nakamura does his usual excellent job of keeping the music moving forward, laying down a melodic or percussive foundation on every track. Cohen's solo are, more often than not, joyful, playful, and pleasing. He's played standards throughout his career and understands that songs familiar to a jazz audience need an imaginative touch yet he also makes the music accessible to those unfamiliar with the "canon."
Emmet Cohen is onto something really good with his "Masters Legacy Series" and his choice of Jimmy Cobb as his initial collaborator is quite inspired. You will be inspired as well by this delightful album. Let's see and hear where this goes from here.
For more information, visit Emmet Cohen's website (listed above) or go to www.cellarlive.com.
Here's a preview:
Over the past decade, pianist Matt Mitchell has made quite an impact on contemporary music. Not only does he lead his own groups but he is also a member of the Dave Douglas Quintet, Rudresh Mahanthappa's Bird Calls, Jonathan Finlayson's Sicilian Defense, Anna Webber's Simple Trio, and Tim Berne's Snakeoil (and there are many more).
For his new recording, "FØRAGE" (Screwgun Records), Mitchell turns to the music of Tim Berne and rearranges, reimagines, and a reworks a number of Berne works for solo piano. I have listened to Tim Berne for over three decades, since he came east and began to work with saxophonist and composer Julius Hemphill. His recording career began with quartet of self-released albums before going on to record for JMT, Soul Note, Winter & Winter, Columbia, Thirsty Ear, and others plus starting Screwgun Records in 1996. If you've listened to Berne's music, you know its a mashup of numerous styles and approaches, with long episodic compositions, raucous sounds, frenetic beats, and experiments with textures and sounds. While Snakeoil has issued three albums on ECM (and one on Screwgun), he has not tempered his approach.
Robert Lewis image
On their own in a solo setting, Berne's music and Mitchell's interpretations take myriad forms. There are moments, such as throughout"ŒRBS", when one can hear the influence of Keith Jarrett's more "open" improvisations. The heavy chords that lead into "TRÃÇĘŚ" give way to high-energy exploration of melody and improvisation. There's even a touch of "boogie-woogie" for just a few seconds in Mitchell's active left hand that catches the ear. The ballad feel at the onset of "RÄÅY" goes away but the piece picks up and loses speed over the course of seven minutes. "CLØÙDĒ" also begins as a ballad and stays for the first third of the 13-minute piece. The pianist starts pushing the tempo, there's a hypnotic flow in the rhythmic pace, and, soon, the piano begins to thunder, shards of melody flying off the right hand. But the bombast simmers down as the music slows and returns to the calm of the opening minutes.
photo by Peter Gannushkin
You need to play "FØRAGE" all the way through to understand the story Matt Mitchell is telling. The music of Tim Berne is often thorny yet a different kind of beauty also inhabits the music. Don't waste time attempting to categorize this music; to these ears and mind, the various shapes and melodies are in a class of their own. But, do listen. If you like a challenge and are willing to follow the lead of the composer and pianist, this is an amazing journey.
The Firehouse 12 Spring 2017 Concert Series is in full swing (no pun intended) but this coming weekend may be the most impressive in the New Haven venue's 12-year history. The first official performance was a concert on April 3 2005 titled "Solo Duo"; the show featured pianist Lisa Moore and violinist Tim Fain playing music by Bach, Rzewski, Bresnick, Puts, and Janáček. 10 days later, guitarist Greg Davis & Kranky played the venue followed in May by the duo of Matthew Shipp & William Parker. That fall, weekly concerts started in earnest with shows usually Thursday, Friday, Saturday, or Sunday. Friday became the "regular" performance night in 2006 and the performance space/recording studio has presented two 13-week series since then (with the occasional Thursday and Saturday concert).
This coming weekend (7th-9th) is, arguably, the most exciting weekend of music and seminars the venue has ever presented. Friday night, the trio of Anna Webber (saxophone, flute), Matt Mitchell (piano, keyboards), and John Hollenbeck (drums) will perform. Ms. Webber composes all the music for the ensemble known as Simple Trio and it's an exciting concoction of imaginative pieces that blend "free" elements with composed themes and sparkling improvisations. Skirl Records has issued the Trio's two albums, the latest "Binary" in Fall of 2016 (my review here).
The Trio plays two sets - the first at 8:30, the second at 10 p.m. - and tickets are available by going to firehouse12.com or calling 203-785-0468. To find out more about Ms. Webber's musical adventures, go to www.annakristinwebber.com.
Here's the opening track from "Binary":
On Saturday and Sunday, Firehouse 12 presents the CREATE Festival, four sessions of seminars and music curated by and featuring trumpeter, conceptualist, and composer Wadada Leo Smith. The daytime sessions commence at 1 p.m. and features the composer talking on day one about the music to be performed at the Festival and how he creates his unique compositions. His musical language, called "Ankhrasmation", is described by the composer as "an approach to conveying ideas to another musician that leaves a great deal of room for personal interpretation." Day 2, he will give a fuller description of his "systems", how these ideas have evolved over the past five decades, and much more. Both sessions include video images created by Jesse Gilbert who has worked with the composer since the "10 Freedom Summers" project. The price of admission also includes premium coffee brewed by Mr. Smith and Creole Gumbo prepared by Gianna Chachere, a film producer and director currently serving on the Board of Directors of the New Orleans Human Rights Festival and TheNew Quorum Artist Residency. Both these events take place in the apartment above Firehouse 12, the entrance at 47 Crown Street.
Villagevoice.com
The two evening sessions begin at 7 p.m. and are both chock-full of music. The Saturday session opens with the Lamar Smith Experiment, a three-guitar ensemble led by Wadada Leo Smith's grandson and featuring William Brennan and Bentley Lewis. They will be followed by the reunion of New Dalta Ahkri, the trumpeter's trio featuring vibraphonist Bobby Naughton and reed master Dwight Andrews. Mr. Smith created this group in the mid-1970s while living in New Haven and it featured many different musicians but especially Messrs. Naughton and Andrews. Another trio follows -Mbira is composed of Mr. Smith, Min Xiao Fen (pipa and voice) and Pheeroan akLaff (drums and percussion). The first half of the concert closes with excerpts from the "Rosa Parks Oratorio" performed by Mbira plus the RedKoral Quartet (Shalini Vijayan (violin), Mona Tian (violin), Lorenz Gamma (viola), and Ashley Walters (cello). Jesse Gilbert will supply the video images.
The second half of Saturday's concert includes "String Quartet No. 9 (Ma Rainey; Marian Anderson; Rosa Parks; Angela Davis)" and "String Quartet No. 10 (Ellingtonia / Reminiscing in Tempo (Movement No. 1)". Both works feature the RedKoral Quartet with pianist Anthony Davis joining them for "..No 10." Following that will be "New Orleans: The National Cultural Park USA 1718" and "Yellowstone: The First National Park and the Spirit of America - The Mountains, Super-Volcano Caldera and Its Ecosystem", both from 2016's "America's National Parks." This expansive music will be performed by Mr. Smith's Golden Quintet that features Ms. Walters, drummer akLaff, pianist Davis, and bassist John Lindberg plus video images from Mr. Gilbert.
Sunday evening at 7, Mr. Smith opens the proceedings with a solo performance of "A Thelonious Reflection" which includes "Crepuscule with Nellie", "Monk and his Five Point Ring at The Five Spot" (an original work), "Ruby, My Dear" and "Round About Midnight." Following that, the trumpeter is part of The Crystal Sextet - Stephanie Griffin (viola), Gwen Lester (viola), Tanya Kalmanovitch (viola), Jason Kao Hwang (viola), and Hardedge (electronics) - they will perform "Pacifica, Viola Quartet No 12". After intermission, the Golden Quintet and Jesse Gilbert return to perform more music from "America's National Parks." Read this program over and look at how much music will be performed. It helps one realize how important Wadada Leo Smith is to contemporary American music. Not just jazz or classical but many tributaries of American music. This is a good selection from a very impressive oeuvre that continues to grow. What a treat! For ticket information and discount packages, go to firehouse12.com. Here's a recorded version of "Yellowstone":
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"Wake Up Call" (Ropeadope) is the ensemble's fourth CD. The 9-song program is broken into three sections, "I. Prologue", "II. Unfinished Business", and "III. New Beginning". Judging by the power of the music, I believe that Weiss is telling his audience that these songs, many of them from the raucous years of the late 1960s, are indicative of the turmoil in this country at that time and how they reflect these troubled times. Besides Weiss on trumpet (and Fender Rhodes on 2 tracks), Point of Departure is composed of Matt Clohesy (bass), Ben Eunson (guitar), Myron Walden (tenor sax on 6 tracks), J.D. Allen (tenor sax on 3 tracks), Nir Felder (guitar on 3 tracks), Travis Reuter (guitar on 6 tracks) and, for my money, the most important element in the group, drummer Kush Abadey. The drummer, who first came to critical notice at the age of 16 when he joined Wallace Roney's group, has worked with Terence Blanchard, Chris Potter, Tomasz Stanko and many others. 
