I have to admit that the current state of American politics is dizzying; accusations of "lies", "human scum", and worse pass from the lips of politicians and their followers each and every day. It seems so melodramatic and would be quite silly – in the fashion of a Three Stooges short film – if peoples lives weren't being held in the balance. Empathy is gone; hail the gods of "fake news"! "Spin" doctors have been a way of life for time immemorial yet seem to be ubiquitous today, "he said – she said" taken to the nth degree.
Still, time to take stock. Election season is upon us, a season that won't come to its conclusion until three weeks and two days before next Thanksgiving. How does live through the next year? I will read my share of articles from all sides of the political spectrum – I do have my own leanings but I need to know what other people in the United States and elsewhere think about the issues that affect us the most. An informed electorate is what we should be: not just the "educated" class but everyone. Not easy. People do not like to think; they react to the voice or face or opinions that most appeal to them and act on that. Or don't. In the 2016 Presidential election, 61.4% of the electorate voted, up from 2012's 58.7% and below the benchmark set in 2008 of 64.6%. Less than two out of every three possible overs ventured to the polls or cast absentee ballots. With all the freedoms one has in the United States, the freedom "not" to vote is just as important.
My fallback has always been music. In the Sumer of 1968 as the United States was reeling from assassinations, the violence at the Democratic Convention, and the ongoing escalation of the War in Vietnam, it was the music that helped me through Through recessions, the loss of parents and close friends, the birth of children and grandchildren, music has been my constant guide and companion. My best friend, my wife, tolerates that relationship and has done so for five decades. Music is so much a part of who I am.
Thanks for reading – I hope you have a warm and enjoyable Thanksgiving plus a contemplative Holiday Season.
There is not a lot of biographical information online about saxophonist-composer Kevin Sun's early years (other than he was born in New Jersey) but one can find out he's been involved with contemporary music as a blogger ("The Horizontal Search", since 2012), formed a trio (since 2016) and a quintet. He has been the editor of The Jazz Gallery's in-house blog "Jazz Speaks" and, since 2018, the Artistic Director of the Blue Note Beijing Jazz Orchestra. While at Harvard, Sun served as a teaching assistant to Vijay Iyer and also helps musicians by offering grant-writing services. He's also a founding member of the creative collectives Great on Paper, Mute, and Earprint (see review below) plus the founder of Endectomorph Music, the home for the majority of his recordings as a leader or co-leader.
His new recording, a two-cd set titled "The Sustain of Memory", is a fascinating swerve in direction. The program is composed of three multi-sectioned original works, one each for trio, quartet, and quintet. The album opens with the six-part "The Middle of Tensions", a 36+ minute work for the quartet of Sun (tenor saxophone), Dana Saul (piano), Walter Stinson (bass), and Matt Honor (drums). The sections illustrate the musicians versatilities, with rhapsodic piano flourishes, strong melodic work from the saxophone, and an "open" feel from the rhythm section. Every person solos at one point or another plus the presence of the chordal instrument helps define the various structures. Stinson is a powerful soloist while Honor has great artistic sensibilities, especially with his use of cymbals as color. Saul's piano work verges on the introspective tending more towards poetical phrases than powerful percussive runs. Sun created this music to have many possibilities, not as a solo vehicle for his saxophone. Therefore, every member of the quartet has multiple roles throughout.
Photo: Jessica Carlton Thomas
"Circle, Line", a 12-part and 29+ minute suite, features Sun's trio of Stinson and Honor. In essence, it's a musical haiku with the shortest tracks at under two minutes, the two longest at over three, and the rest in the middle. There are several moments that may remind listeners of the music created by Henry Threadgill, Fred Hopkins, and Steve McCall (the trio Air) – like the best trio music, the pieces are conversations, a push-pull of melody and percussive tension with Stinson serving as "foundation", counterpoint, and soloist. Each setting the saxophonist creates, each "voice" he writes and plays, makes the music stand out again not for his solo work but for the interplay and "collective" sound. Still, both Stinson and Honor get solo sections ("IV" for bass with drums, "VIII" just for bass, and "X" plus "XI" for drums); "XII" closes the suite with just Sun and his tenor.
The third suite takes up all of CD II. At 48+ minutes and in three distinct sections, "The Rigors of Love" covers even more musical territory than the other suites. Sun plays both tenor sax and clarinet, the second "voice" is trumpeter Adam O'Farrill (pictured above left), Dana Saul on piano, with the rhythm section of Simón Willson (bass, a member of Earprint) and Dayeon Seok (drums). There is one element that you hear on each suite; Sun writes a melody built off a stop-start melody and rhythmic structure, choosing to move away from that into short solos and then back. Here, that technique shows up in section "II" and, because the piece is longer than any of the other instances, the soloists get to stretch out. The pianist goes first and romps through several choruses – the front line interjects in the middle and Saul plays over them before taking off on an even more power-filled tangent. Halfway through the 13-minutes, he cedes the solo space to a conversation between the tenor sax and trumpet. Underneath, the rhythm section states the "theme" while Sun and O'Farrill continue to spar, come together, and break apart. Soon, the pace slows down, Sun returns to clarinet, O'Farrill to muted trumpet, Saul playing flourishes in the background and the rhythm section sitting out. Soon, the rhythm section reenters to give the music foundation before a quick trumpet-clarinet rondo brings the section to a close. The final section is nearly 26 minutes in duration with plenty of group interactions, tempo and mood changes, plus solos from every musician with kudos to the bright attack of the trumpeter and Ms. Seok's poly-rhythmic attack (and short, delightful, solo). The piece closes with unaccompanied music-box tinkling piano.
Kevin Sun displays his compositional and arranging maturity throughout "The Sustain of Memory" – his instrumental voice remains strong and true plus he makes sure to leave room for the others voices in the featured ensembles to come through loud and clear. This recording is an excellent musical adventure that is worth exploring over and over.
Here's one of the tracks (the full album can be purchased through the Bandcamp website):
Photo: Jonas Tarm
Earprint, in existence since 2016, is composed of four friends who met while attending the New England Conservatory of Music in Boston, MA. Composed of Kevin Sun (tenor saxophone, clarinet), Tree Palmedo (trumpet), Dor Herskovits (drums), and Simón Willson (bass), the quartet released its delightful self-titled debut (my review is here) mere months after the group was formed. Each member composes and they play with a joy that is hard to ignore – why would you want to ignore such timeless sounds?
Yes, the setup is like that of Ornette Coleman's classic Atlantic Records quartet. Just as that ensemble used blues and bebop as its initial influence, one can hear the influences of blues, hip hop and composers such as Julius Hemphill, Steve Coleman, and Dave Holland in Earprint's root sounds. "Easy Listening" (Endectomorph Music) shows the band in good form, using the lessons learned from its earlier album and the subsequent live dates to create an impressive 11-song program. Each musical voice is distinctive, from the clear-toned trumpet to the angular and sometimes raucous tenor sax to the melodic bass work and delightful percussion.
Photo: Jonas Tarm
Note how composer Palmedo uses unison melody and counterpoint for the theme on the album opener "Sink Song." Listen to the subtle change of the rhythm section under Sun's solo. That's followed by a delightful drummer solo over bass ostinato before heading back to the main theme (with some subtle changes there as well). Willson's "Volume" follows with contributions from all including strong drummer and soloists interactions. Just from the first two tracks, you can hear that this is a band that follows no trend other than making good music to listen to.
And, music to groove to as well. Herskovits lays down a wicked beat on Palmedo's "Hey Wanna Dance." The drummer does the same on his own piece "Big Bear" – Both the tenor sax and trumpeter push the tempo during their solos and, of course, Herskovits responds in kind during his own spot at the end of the track. The drummer sets an on again-off again pace over the bass obstinate on Sun's "Silo", carrying on a musical conversation with Palmedo (muted trumpet) while Willson does his own dance moves beneath them. The composer uses his clarinet for color but not to solo.
The album closes with two more fascinating tracks. First is the title cut; composed by the bassist, the piece dances along on a funky beat with a melody line reminiscent of the sound of the Daniel Bennett Group. The drummer's "Tú" (my downloaded version titled the track "Trump University"!) is the final track, filled with sing-song melody line, the occasional discordant note and chords, tempo changes, and no overt reference to the now defunct educational institution that may have been the piece's original monicker. Nevertheless, it's a fun way to close a delightful album.
"Easy Listening", as the title of this album, may lead you to expect much different music than what Earprint produces. There is nothing "easy" about this program but there is a lot good about it. If you enjoy music that challenges you to be less complacent, pokes you in the ribs, and makes you smile, acquiring "Easy Listening" is a must!
John Yao (pictured left) is one busy person. Besides leading both a big band and a quintet, the Illinois native has worked and continues to work in several large ensembles including the Vanguard Jazz Orchestra and the Afro-Latin Jazz Orchestra. Yao has arranged for numerous groups and college ensembles plus now teaches in the greater New York City area. He also gives workshops and currently has a monthly residence at Terraza 7 in Jackson Heights, New York.
Yao's quintet, now dubbed "Triceratops" (you'll understand why in a moment) has a new recording. "How We Do" (See Tao Records). The long-extinct beast that gives the band its name is known for its three big horns; the "front line" includes Yao with Billy Drewes (alto saxophone, soprano saxophone) and long-time associate Jon Irabagon (tenor saxophone - he's appeared on each one of the trombonist's four albums). The solid and exciting "back line" features bassist Peter Brendler and drummer Mark Ferber.
The eight-song program is a delight from beginning to end. Yao composed seven of the tracks, Irabagon contributes the the swinging "Tea for T" that closes the album, and, throughout, one can hear how much fun this group has playing together. The opener, "Three Parts As One", features a melody and harmonies that the three horns share. Once the rhythm section lays down the pulsating rhythms, Drewes (on alto) solos first, supported by Irabagon and Yao before getting a chorus by himself over the bass and drums. Irabagon is up next, maneuvering around the slinky beats. Drewes and Yao reenter to lead him back to the theme before the trombonist rises out of the mix. The music has the feel of Dave Holland's Quintet with Chris Potter and Robin Eubanks, an ensemble which at its best could bring a crowd to its feet with their great interactions.
Photo: Peter Koloff
After that track, the band digs into "Triceratops Blues", a tune whose title tells a lot of what you need to know. The leader's smooth-as-butter tone gives his solo a delightful sound; that leads into a fine spotlight for Ferber support only by Brendler's melodic and foundational bass lines. The title track is a episodic and playful set of interactions in which the rhythm section leads the way through melodic changes and tempo shifts.
For my money, there's not a weak moment to be heard in the 49-minute program. The music swings, saunters then struts (dig "Doin' The Thing"), soothes (the lovely "Circular Path", a track that features an emotional soprano sax solo with counterpoint from trombone), and closes with sly pizazz of the afore-mentioned "Tea for T." John Yao's Triceratops makes the kind of music that will never go extinct – it's fun, interactive, and crackles with creativity!
Over the past five+ years, trombonist, composer, and educator Michael Dease has built up a fine discography at Posi-Tone Records. His seventh album for the label, "Never More Here", takes its title from the fact the jazz Dease and his fine cohorts make is always "in the moment"; even if the majority of the program comes from people whose physical lives may have come to a close, their music lives on. Nine of the 10 tracks feature the core group of Renee Rosnes (piano) and Lewis Nash (drums) with bassist Gerald Cannon (replaced on three of the nine cuts by Rufus Reid), adding the talents of Steve Wilson (alto sax, soprano sax, or flute on five cuts), Jocelyn Gould (guitar on three tracks), and trumpeter Randy Brecker on one song. The Dr. Billy Taylor classic "I Wish I Knew (How It Would Feel To Be Free)" finds the trombonist in the company of pianist Luther Allison, alto saxophonist Markus Howell, bassist Endea Owens, tenor saxophonist Diego Rivera, drummer Jason Tiemann, and arranger David Gibson.
The program includes pieces by Dr. Taylor, Jackie McLean, Jimmy Heath, John Lewis, Eddie Daniels, Eric Alexander (the barn-burning "Frenzy"), two by Dease's inspiration JJ Johnson, plus an original each from Ms. Rosnes and the leader. The pianist's "Mirror Image" leads off the album, a classy work where the front line works as one then independently. Dease takes the first solo supported delightfully by the rhythm section, especially Mr. Nash's splendid dancing cymbals. The composer follows with a fine spot followed by Wilson, on alto sax, who swings with great delight. Mr. Heath's "Harmonic Future" (a tune that he debuted in the 1990s) swings with a passion as does Wilson on soprano and Dease on tenor sax!
Photo: Sara Pettinella
There's lot to dig into here. The sweet medium-tempo ballad, "For Hofsa", composed by Mr. Mclean has a lilting feel while Mr. Daniels's "Slow Dance" moves with grace of a slow Bossa-nova. Here, the gentle rhythm guitar blends well with the Ms. Rosnes's light touch. Look for the fine alto flute work of Wilson and more smooth trombone from the leader. Dease leads the way of Mr. Johnson's bluesy "Shortcake" – without Wilson, guest artist Rufus Reid contributes a delightfully melodic solo. The trombonist gets a long spotlight in the middle of the tune before Ms. Rosnes dances in front. The other JJ Johnson tune, the classic "Lament", is a lovely ballad with Dease leading the way playing with such emotion and love for this music.
John Lewis's bebop masterwork "Milestones", composed for Miles Davis's All-Stars with Charlie Parker, brings the program to a close on a springy set of steps. The composer played on the 1947 version; the original is not played at that frantic pace that other bebop tunes of the day were. It certainly fits Miles style of playing and there is no solo from Bird. On the Dease album, the pace is similar but the beat is a bit looser, more buoyant. Delightful solos all around from Ms Rosnes, the trombonist, Wilson (alto sax), Brendler, and Ferber. It's certainly a sweet take on a classic.
"Never More Here" is a fine edition to the discography of Michael Dease. It feels just right on a cold Autumn evening – check it out!
JC Sanford is a trombonist, composer, arranger, conductor, and a native of Minnesota. Not only does he lead several different-sized ensembles, he conducts a number of large ensembles for people such as Andrew Rathbun, John Hollenbeck, Alan Ferber, and others. Sanford studied with the legendary Bob Brookmeyer and is currently on the faculty of Gustavus Aldophus College in Saint Peter, Minnesota.
In April 2019, Shifting Paradigm Records released the trombonist's "Triocracy", a 2014 session with reed players Andy Laster and Chris Bacas. Now, the label presents the JC Sanford Quartet and its debut recording, recording in February of this year. Perhaps the first album named for a disorder of the eye, "Keratoconus" features the leader on trombone and seven of the eight compositions as well as Zacc Harris (guitar), Chris Bates (electric and acoustic bass), and JT Bates (drums, percussion). The title track opens the CD in a heavy-metal fashion, a thundering 93 seconds of distortion and all pedals-to-the-metal. Sanford, who loves a good transition/ joke as much as any person, follows that with "Umm, Yeah", a lovely reduction for a large ensemble piece. The handsome melody is introduced by Chris Bates (on arco bass) supported by gentle guitar lines and soft drumming. Sanford also plays the melody through before Harris steps out for a handsome solo. The music is always moving, fairly gently, pushed forward by the rhythm section (listen to JT Bates pushing the leader forward on his solo ratcheting up the energy before the sounds calm down to a handsome bass solo.
The Quartet plays in and with many different styles throughout the album. The funky opening of "Bates Brothers Boy Band" leads into a romp that is part Bossa Nova and part Motown. Notice how the tune and the time dissolves on several occasions, leading to fine solos from the leader, bassist, and drummer. "JT-Rex" is a showcase for the drummer with Sanford adding melodic fragments. The bass and guitar join in on those snippets but this is JT Bates time to shine – dig the crazy and stomping last 10 seconds coda. "Zaccfarben" is the guitarist's piece; the title blends his first name with the German word for "colors." The performance lives up to its name with numerous shifts in melody, going in and out of rhythm, various dialogues between the musicians usually with Harris leading the way.
"Selfish Shellfish" takes the program out in a quirky and quite thumping fashion. The Bates Brothers rhythm section set the pace, one that leads to a rapid-fire bass solo and a John Bonham-style drum solo. The song ends with the Quartet vocally riffing on the title and a bit more.
Keratonus, the progressive eye disease, is not contagious but "Keratonus", the JC Sanford Quartet album, is often quite infectious. Much of the music is filled with humor plus the feeling that these four musicians are having a great time making music. Even the one "standard", "All The Things You Are", moves in a jaunty manner. Life is short, why not have fun? Umm, Yeah!
Guitarist and composer Miles Okazaki has proven to be quite an adept person in the Contemporary Music scene. His 2018 recording of "Work (the Complete Compositions of Thelonious Monk"), which is a solo guitar exploration of the man's oeuvre, was fascinating and still reveals new layers each time one returns to it. Now, he's back with his Trickster quartet – Matt Mitchell (piano, Fender Rhodes, Prophet-6), Anthony Tidd (electric bass), and Sean Rickman (drums) – his "electric" adventure into and out of inner worlds and myths (if you want to understand the music's back story, go to www.milesokazaki.com/albums/the-sky-below-2019/ and read the "liner notes.")
Listening to this group's second recording "The Sky Below" (Pi Recordings), even without the notes, is a fascinating experience. There are links to the "jazz-fusion" of the 1970s, e.g. Chick Corea's electric Return To Forever as well as to the sounds saxophonist-conceptualist Steve Coleman has been making with the M-Base Collective for the past three+ decades. The Coleman connection also includes his current rhythm section of Tidd and Rickman, chosen for its ability to lay down the foundations plus be part of the melodic explorations. Listen to the three-way dialogue on the opening cut "Rise and Shine" between Okazaki, Mitchell (who replaces Craig Taborn from the first album), and Tidd, how each musicians has a complimentary melody to what the other is playing. When Rickman's expressive drums are added, the piece takes off in a different direction. Notice how Tidd sets the pace on "Dog Star", how the melody is built off his bass line, and how the different keyboards of Mitchell move in and around Okazaki.
The blend of acoustic guitar and drums at the onset of "Seven Sisters", with the leader handling the melody (and the bassist the foundation) while Rickman s the "lead" voice is impressive. The piece picks up intensity when the drums fall into the beat and Mitchell engages in a dialogue with Okazaki's electric guitar (note the acoustic piano is locked in with the bass while it's the Prophet-6 interacting with the leader). The subtlety in the arrangements, even as the music moves from a roar to a whisper, stands out.
There is so much to take in as you listen to "The Sky Below"; note the use of layering keys and guitars and how the activities of the rhythm section add so much to how the music stands out. Miles Okazaki, who has been touring Europe with his "Works" music as well as being part of Mary Halvorson's Quartet playing the music of John Zorn, produces music with Trickster that will not only challenge the listener but make them move their feet!
Pianist and composer Marta Sánchez, born and raised in Madrid, Spain nonliving in New York City, is, like many of her contemporaries, a very busy musician. She first came to the US and to New York in 2011 on a Fulbright Scholarship – she studied at New York University and soon formed her Quintet. Ms. Sánchez had led a trio and quartet while living in Spain, recording several albums as well as working as a sideman for numerous projects. Her US group included the rhythm section of bassist Sam Anning and drummer Jason Burger plus saxophonists Roman Filiu (alto) and Jerome Sabbagh (tenor). They released their first album in early 2015 on Fresh Sound New Talent. By 2017 when the second album was issued (also on FSNT), the rhythm section now included bassist Rick Rosato and drummer Daniel Dor.
The Quintet, now with tenor saxophonist Chris Cheek instead on Sabbagh, now has its third album. "El Rayo de Luz" (FSNT). On the second album, "Danza Impossible", Ms. Sanchez created much of the program to have the feel of dancing, swaying, and that trend is continued on the new recording. Thete is also a touch of mystery to the stories the band tells on these eight songs. The mix of Filiu's alto and Cheek's tenor also gives the music, especially on the opening "Cascadas", a sense of urgency. Pay attention to how easily the rhythm section moves as well as to how Ms. Sánchez "colors" in the background. Her solo starts quietly and, while it does pick up in intensity, it's also a pleasure to hear how she expands the melody and her thoughts throughout the improvisation. The next track, "Parmesano", continues in that same vein but now Dor is responding to the soloists and pushing them forward.
Photo: Tayla Nebesky
"Nenufar" is a handsome ballad that on which Ms. Sánchez creates a lovely long solo. Cheek continues along a similar road that the pianist created until Filiu reenters and the song moves to its close. The combination of the saxes on the circular phrase that opens the title track is so seductive that the pianist and bassist pay a version of it. As the piece expands, the saxes move in and around each other, coming to together for unison and harmony lines. As the dogs moves into the solo section, note the work of Rosato and Dor, the simple bass patterns (simple in that there are few notes) and the dancing cymbal work over the insistent piano creating a rhythm cushion for Fillies exploratory solo. The bassist gets a short spotlight that is so melodic that it adda to the music rather than slows it down.
By the time the band and the listener reach the final track, one realizes how special this music is. Though the cut is titled "Unchanged", one cannot help but be changed by the music Marta Sánchez and the Quintet play here. There's traces of Wayne Shorter and Guillermo Klein in the rhythms and melodies but neither the composer nor the musicians imitate anyone. The Quintet are familiar with the material that Ms. Sánchez created for them; one can tell they truly listen to each other and are comfortable taking chances. Try and see this ensemble live!
Since first coming to critical notice in 1990, Avram Fefer (alto, tenor, soprano, and baritone saxophones, clarinet, bass clarinet, flute, alto flute) has created music that can melt your speakers as well as pieces the can melt your heart. Fefer studied at Harvard, Berklee College, and the New England Conservatory of Music. In his 20s, he moved to Paris, France, playing with numerous US ex-patriates such as Archie Shepp and Sunny Murray as well as groups from Senegal and the Arab world. He has worked with David Murray's Big Band, Go: Organic Orchestra, Greg Tate's Burnt Sugar, and bassist Michael Bisio. His debut as a leader was issued by Cadence Jazz Recordings and featured bassist Eric Revis who has graced a number of his bands and recordings.
His new recording, "Testament" (Clean Feed Records), is his 15 or 16th album was a leader. It's credited to the Avram Fefer Quartet and features Revis, drummer Chad Taylor (who's been a member of Fefer's trio for over a decade), and guitarist Marc Ribot. The eight tracks from the swinging "Dean St. Hustle" that opens to the album to drummer Taylor's prayer-like tribute to the late African bassist "Song For Dyani" (the only track on the album not composed by Fefer). A West African feel permeates "Wishful Thinking", a piece that features splendid drumming by Taylor and foundational bass work from Revis. The Quartet takes its time to get through the melody but then Fefer take off on a lengthy and playful solo, pushed forward and higher by the rhythm section. Ribot takes over and digs right into a loud solo that rides over the powerful beats. Fefer reenters for a wild moment dropping back to the bass and drums and the opening theme.
The title track roars forward on the interaction of the sax and guitar while Taylor thunders under them and Revis gets in on the melody. The music never gets into a rhythmic flow which allows everyone to "attack" the piece. After the tenor sax solo, Ribot tears the speakers to shreds while Revis and Taylor go on a sonic rampage (the drummer must be in great shape as he never lets down through the entire song and that includes his interactions with the bassist that leads to the final moments of the song). The final piece, "Essaouria", is named for the Moroccan coastal city on the Atlantic Ocean. Taylor and Ribot set the sensual mood with Revis's insistent bass line moving the piece forward. Fefer's handsome melody sings out, not forced with the guitar chords ringing alongside. The intensity picks up during the sax solo yet the rhythm section takes its time. Ribot's solo is quite rhythmical, having fun interacting with Taylor and Ribot. The music flows, often floats, and keeps its cool throughout.
"Testament" is an excellent collaboration between the four masters who make up the Avram Fefer Quartet. Fefer, Marc Ribot, Eric Revis, and Chad Taylor play with fire, conviction, and plenty of joy. This, too, is a band worth seeing live but the album truly captures the essence of this powerful music. Play it loud!!
You'll note that all three of the music samples above come from Bandcamp.com. You can buy the music and be assured that the artist gets a higher share of the profit than from other streaming services (especially if you use Spotify).
Pianist-composer Michele Rosewoman, born in Oakland, California, has been active on the contemporary music scene since the mid-1970s. After moving to New York City in 1978, she became even busier working in the bands of Jimmy Heath, Julius Hemphill, Billy Hart, Butch Morris, Oliver lake, and many others. Ms. Rosewoman also worked in Afro-Cuban and Afro-Caribbean bands led by Paquito D'Rivera, Celia Cruz, Román Diaz, and others. Her 1984 debut album, "The Source" (Soul Note), featured trumpeter Bakaida Carroll and was in a more exploratory vein. Subsequent recordings introduced her Quintessence band that's been in existence since 1986 and has featured over saxophonists Greg Osby, Miguel Zenon, Steve Wilson, Mark Shim, and Gary Thomas plus drummers Terri Lyne Carrington, Gene Jackson, and Cecil Brooks. At the same time, she began to work with a trio as well as with New Yor-Uba, a larger ensemble inspired by the Yoruba tribe of Nigeria, Benin, and Togo.
To celebrate the 35th anniversary (!) of New Yor-Uba, Ms. Rosewoman has recorded and released "Hallowed (featuring "Oru de Oro")" (Advanced Disques Music). The program spotlight her 10-movement rhythmic suite "Oru de Oro" (roughly translated as "room of gold") that features the 10-member ensemble plus percussionist Román Diaz taking sacred rhythms and beats from the study of Yoruba deities. The leader's arrangements keep the focus on the various drums while leaving room for her colorful horn voicing and powerful piano work. Each song is dedicated to a different diety (often more than one) – still the music allows in all listeners to follow the melodies and ride the waves provided by the rhythm section. Quite notable is the work of Chris Washburne, most especially his amazing tuba work on "Flowers That Bloom In The Dark." Check out his mighty trombone solo on "Mountain Sky, Healthy High" as well as the strong solo of the leader. There is an delightful blend of saxophone and brass on "Forest of Secrets" that opens to a splendid flute spot from Román Filiú and a short trumpet solo from Alex Norris.
Percussionist Diaz's declamatory poem over Ms. Rosewoman's sweet Fender Rhodes and bassist Gregg August's fine bass work leads the listener into "The World is The First To Know", the first of the two tracks that close the album (but are not part of the suite). Vocalist Nina Rodriguez shows up 1/3rd of the way into the track, singing sweetly over the Rhodes before breaking into a "folkloric" chant over hand drums and joined by a chorus of Ms. Rosewoman, Mr. Diaz, and percussionist Mauricio Herrera. When the ensemble reenters, there are powerful solos from saxophonists Filiú and Stacy Dillard as well as the leader. As the piano fades, the drums, Ms. Rodriguez, and chorus return to sing the band out.
"Hallowed" closes with "Alabanza", one final rhythmic treat that is not only the longest track on the album bot one that spotlights the solo work of many of the ensemble members. Halfway through the piece, the tempo changes, becoming more energetic and, if possible, even more exciting (Robby Ameen's drum solo absolutely shakes the walls). The vitality of the music, the splendid instrumental work, the continuous drums, and more, illustrates that Michele Rosewoman's New Yor-Uba is quite a force to be reckoned with. Don't be surprised if you just want to get and dance.
Alex Norris--trumpet, flugel horn Román Filiú--alto & soprano saxophones, flute Stacy Dillard--tenor saxophone Chris Washburne--trombone, bass trombone, tuba Andrew Gutauskas--baritone saxophone (on the final two tracks) Michele Rosewoman--piano, fender rhodes, vocals Gregg August--bass Robby Ameen--drums Román Diaz--batá, congas, vocals Mauricio Herrera--batá, congas, vocals Rafael Monteagudo--batá, congas Nina Rodríguez--lead vocals (on "The Wind Is the First To Know")
Saxophonist and composer Joel Miller first came to critical notice in1997 when he won theGrand Prix of the Montreal International Jazz Festival. That was also the year he released his debut album. Since then, he's released a dozen or so albums as a leader and/or co-leader, married composer and bandleader Christine Jensen, traveled all around the world, performing music that touches so many different genres and styles. And Miller is a avid listener therefore he has no fear of putting different elements into his music.
"Unstoppable" (Multiple Chord Music) is his latest and features a unique large ensemble. The 15-member group features 2 flutists, three clarinetists plus a bass clarinet player, two saxophonists, two trumpets, a horn player, a percussion, and rhythm section of piano, guitar, bass, and drums. Five of the 14 tracks feature an additional percussionists (three of those tracks add one more percussionist). The program, all composed and arranged by Miller, features three suites plus one stand-alone piece "Dance of the Nude Fishes", a rocking, good-time, tune that makes one want to dance all over the house. First suite is "Song Story", a three-movement work whose opening section "Gyre" leans towards a mix of Aaron Copland, Maria Schneider, and Miller's wife Ms. Jensen (who leads an award-winning orchestra in Canada). Percussionist Erin Donovan adds vibraphone which often shadows David Ryshpan's piano. Part 2, "A Party", opens like a flat-out rocker a la Abba with a lovely coda at the end of each playing of the theme. Miller's gutsy, gusty, tenor sax solo blasts out over the band – the piece picks up speed and the reeds and brass blow short phrases at each other. Miller turns to soprano sax for a solo over a rubato rhythm and near the close of the movement, the plays alongside him. Part 3, "A Change of Scenery", opens as a soulful ballad that, at ties, reminds this listener of Procol Harum's "A Whiter Shade of Pale", itself a mixture of JS Bach and Stax/Volt. Miller's tenor solo has great emotion and power and leads the band into a closing explosion a la Steve Reich. Really – that's what I hear.
The other two suites are just as engaging. The six-movement "What You Can't Stop" has a dark opening section but that changes quickly as the music takes on a lighter mode led by flutes and glockenspiel. This piece also has a panoramic sound in the fashion of Copland's majestic suites of the 1930s and 40s. As the music moves forward, the piece changes for light to introspective to a brisk Latin beat (dig the cajón and cabasa) to a short, romp, led by the saxophones to a final movement that begins softly, layering the various voices and looking at previous thematic material before scurrying and slowing back down to a gentle close.
The third Suite, and the final four tracks on the CD, "Deerhead Hoof Suite", opens with tolling guitar chords and a Americana-style melody from the brass. As the "Intro" rolls along, it drops into a "rock and roll" beat still with the trumpets taking the lead. "2: Pachamama" opens as a handsome ballad; no one voice or section takes the lead as it is shared across the sound spectrum. Then, Miller's tenor sax steps out for the mix and into the spotlight. Listen to the different voices swirling around his lead. "3: How Do You Breathe" has an appealing forward motion and several lyrical themes shared among the instrumental voices. As befitting the final movement, aptly titled "Finale", the music has a dancing feel, steady 4/4 drums, and, once again, the brass voices stand out. Miller's tenor solo has a wild streak running through it leading to a handsome fade and a return to the tolling guitar sound.
"Unstoppable" is a delightful look inside the creative mind of saxophonist Joel Miller. While it rarely sounds like a "big band" album, his arrangements utilize the instrumentation in enchanting and, often, powerful ways. Sit back and soak in the sounds!!
Joel Miller - tenor & soprano saxophones, conductor Billy Kerr - flute Nadia Sparrow - flute Mark Simmons - clarinet Luc Jackman - clarinet Jennifer Bell - bass clarinet Bruno Lamarche - tenor saxophone & clarinet Jocelyn Veilleux - horn Lex French - trumpet Bill Mahar - trumpet David Ryshpan - piano Erin Donovan - percussion Steve Raegele - guitar Fraser Hollins - bass Kevin Warren - drums Sacha Daoud - percussion (tracks 2, 4, 6, 7, 8, 9) Kullak Viger Rojas - percussion (tracks 2, 7, 8) Christine Jensen - guest conductor (tracks 1, 2, 3, 10)
Saxophonist, composer, and arranger Chelsea McBride (a resident of Toronto, Ontario, Canada) made quite a delightful splash in 2017 with the release of the debut album of her Socialist Night School large ensemble. The 19-member group is conversant in many different styles – they can rock, they can push forward a blues and caress a ballad, and the solos that rise out of the ensemble are often impressive. Vocalist Alex Samaras has a supple voice, a tenor with a broad range but not a belter. When you mix that with the intelligent arrangements and how they frame his voice, it's an excellent listening experience.
The SNS's second album (it's debut recording in 2014 was an EP) is here; "Aftermath" (self-released) is a panoply of sounds and moods filled with fine melodies, mostly held together by Samara's voice. Nine of the 10 tracks have lyrics and tells stories that deal with conflict, personal issues, reflection, and resolution. Opening with "Revolution Blues", a song that takes a cynical look at street demonstrations and the commitment for change, one is introduced to a full sounding band. Powered by drummer Geoff Bruce and the baritone sax of Conrad Gluch, the piece has a kick but also a softer side plus a fine tenor sax-trombone dialogue between the leader and Aidan Sibley. "Say You Love Me" is about commitment as well, one that has dissipated into lies and broken hearts. One of the more powerful lines is "I thought I'd be hurt forever/But I turned you into art." Alison Young creates a heart-wrenching solo, filled with cries and screams.
When you pay attention, it's easy to be caught into the twin webs of the lyrics and the music. "House on Fire" speaks to the rape of the world's natural resources ("I can take your dirt and make it gold/ Turn your trees to goods that can be sold") while the music refers to Blood, Sweat, and Tears bouncy lines on "And When I Die." Gluch and Bruce are again quite impressive but the time both get to solo. The high-energy "Fly By Night" begins with a short solo from guitarist David Riddel before Samaras tells the story living by his wits and his fists. "Niagara" is a love song about a person so much in love that he/she cannot live alone and wishes to be covered with the waters from the famous Falls. The performance is a vocal tour-de-force yet pay attention to the different sections layered around the voice.
The final two tracks begin with the bluesy, sassy, "Porcelain", a swinger that could easily move into Michael Buble's repertoire. Again, it's the baritone that leads the arrangement giving the saxophones plenty of space to swing. Naomi Higgins and Colleen Allen step to the fore with their alto sax interactions – the rhythm section picks up the power and they respond in kind. The album moves out on "Love Is On The Line", a quiet ballad that speaks to a relationship that could either way. The narrator is looking for commitment and is willing to stay but "All I want to know is: Will you stay? ,,,,,,All I have to say/All my love is on the line." There's a lovely trombone solo from William Carn and fine acoustic guitar work by Riddel but the finest moments belong to Samaras's voice and the fine arrangement in the final minute.
Chelsea McBride's Socialist Night School makes music that involves the listener, making one pay attention to the words, the solos, and the arrangements; this is not background music. You can hum along with some tunes, see yourself in the stories the leader creates, and appreciate the musicianship as well as the fine vocal work of Alex Samaras. Take your time in entering into this sonic world – give it your mind and your soul and you will be richly rewarded.
Colleen Allen – soprano and alto saxophones, piccolo, flute, alto flute Naomi Higgins – soprano and alto saxophones, flute, alto flute Alison Young – tenor saxophone, flute, clarinet Patrick Smith – tenor and soprano saxophones, flute, clarinet Conrad Gluch – baritone saxophone, bass clarinet, contrabass clarinet, alto flute
James Rhodes, Justin See, Tom Upjohn, Kaelin Murphy – trumpets/flugelhorns
William Carn, Aidan Sibley, Jill Richards – trombones Nicholas Sieber – bass trombone, tuba
Alex Samaras – voice Chris Bruder – piano David Riddel – guitar Steven Falk – acoustic and electric basses Geoff Bruce – drums
Alto saxophonist Lee Konitz (born 1927) first encountered Ohad Talmor (1970) in Switzerland in 1990; the young saxophonist, composer, and arranger began to work with Konitz three years later. After the younger man moved to New York City in 1995, he began a relationship that continues to this day. In 2002, with the aid of bass clarinetist Denis Lee, Konitz and Talmor revived the elder musician's nonet. Along the way, Talmor arranged an album that appeared on OmniTone Records in 2006 but also two albums with two different string quartets (Palmetto and OmniTone) and with a big band (also on OmniTone from 2007).
Sunnyside Records is the home for the new Lee Konitz Nonet album "Old Songs New" – Talmor organized a group that has no brass instruments but features a string trio (violist Judith Insell plus cellists Mariel Roberts and Dimos Goudarolis) plus a reed section composed on Caroline Davis (flutes), Christof Knoche (clarinet), and the afore-mentioned bass clarinetist Lee. Bassist Christopher Tordini and drummer George Schuller (who also helped with the mixing and editing) round out the ensemble. The program features seven standards plus two Konitz originals "Kary's Trance" and "Trio Blues." The former track, first recorded in 1956 by Konitz in a quartet setting, is a delightful swing piece with a handsome solo from the leader and an excellent arrangement. The latter track, the final cut on the album, is what the title intimates, a tune for Konitz and the rhythm section to "blow"over. All three players solo but nothing is hurried and the music unfurls in a delightful fashion from beginning to end.
The bulk of the material are "standards", many of which the a lot saxophonist has played over six decades. They range from the moody "Goodbye" (Gordon Jenkins) to the lovely ballad "In The Wee Small Hours of the Morning" to the introspective "You Go To My Head". Each track stands out for the way the arrangements add multiple colors, some times echoing the melody, other times providing counterpoint. The lightness of the alto is matched by the gentle flute and clarinets while the strings provide depth to the atmosphere. There are moments in Konitz's solos (such as "...My Head" and "I Cover The Waterfront") when one can really hear him relishing the melody and having a delightful time playing. Note the delight in the spicy arrangement of "This Is Always" (composed by Harry Warren and Mack Gordon) plus the bluesy solo from Konitz.
Considering he had turned 90 the week before the 2017 recording, Lee Konitz sounds fine throughout "Old Songs New". Even though these are works that he had played many times, his improvisations are a delight, displaying wit, wisdom, and a playful quality that brings a smile to the listener's face. Be sure to listen to the fine, creative, arrangements of Ohad Talmor who must revel in the joy of placing his friend in such musical settings. Sit back, relax, and soak in the sounds.
Even without a new release from the Maria Schneider Orchestra (coming in 2020), 2018 and 2019 have been banner years for large ensemble music. Over the next two posts, we'll explore eight albums released in the last several months or coming out in the next few weeks.
Born in Urbana, Illinois, and raised in Milwaukee, WI, trumpeter Brian Lynch began playing at a young age and apprenticed in the band of pianist Buddy Montgomery. Before moving to New York City from San Diego, CA, in late 1981, Lynch also played with saxophonist Charles McPherson. Once he got to the Big Apple, he started to work in groups led by Horace Silver and Toshiko Akiyoshi and in the final edition of Art Blakey's Jazz Messengers as well as spending 20+ years as a member of the Phil Woods Quintet. Lynch has a simultaneous career playing Latin Music, starting in 1982 with Angel Canales, with vocalist Hector LaVoe, and a long-standing gig with Eddie Palmieri. He's conducted workshops throughout the world plus has been on the faculties of NYU, Long Island University, and currently serves on the faculty of the Frost School of Music at the University of Miami.
Lynch has recorded numerous albums for labels such as Criss Cross, Sharp Nine, Venus Records, Cellar Live, and since 2009, has released six albums on his own Holistic MusicWorks label. His new albums combines his love of Latin music, big band jazz, and, especially, reading. "The Omni-American Book Club: My Journey Through Literature In Music" (HMW) takes its name from a 1970 essay by Albert Murray (1916-2013) and features a 19-piece band plus guests (see "Personnel" below) playing nine pieces (plus two "extended version") composed and arranged by Lynch. Each song is dedicated to two writers, activists, and/or educators – the extensive liner notes talk about each dedicatee and the particular book or books that inspired Lynch.)
Photo: Andrea Canter
It is nearly impossible to choose which songs to focus on since each one stands out. Drummer Dafnis Prieto is in the "driver's seat" for the opener "Crucible For Crisis" (for David Levering Lewis and W.E.B. DuBois) – the music will make you jump out of your chair (or just shake the windows of the car as you speed down the highway. There are powerful solos from Prieto, flutist "Maraca" Valle, and Lynch over the delightful rhythm section plus pay close attention to how the drummer pushes his fellow musicians to the boiling point as they bring the song to a close. "The Trouble With Elysium" (for Naomi Klein and Mike Davis) turns the spotlight on David Liebman and his expressive soprano saxophone. Kyle Swan is the drummer here and he keeps the rhythms percolating as does pianist Alex Brown; Liebman gets into a musical conversation with tenor saxophonist Gary Keller that nearly steals the show. Regina Carter and Lynch take the lead on "Affective Affinities" (for Ned Sublette and Eric Hobshawn), the only true ballad on the album. Especially delightful is when the two mesh their musical voices and then, as the rhythm section kicks the music up a notch or two, the violinist and trumpeter start trading quick solo lines. As baritone saxophonist Mike Brignola leads the reeds back in, Ms. Carter flies above the band, dancing all the way.
There's so much music (nearly two hours over two CDs) on "The Omni-American Book Club", such a good ensemble, impressive writing, first-class soloists, and a reminder American music has deep roots in the numerous communities around the country and the world. The blend of blues, jazz, funk, Latin, Afro-Cuban, and more is so attractive plus the distinctive trumpet sounds and attack of Brian Lynch is powerful and so alive. Highly recommended!!
Brian Lynch Leader, Trumpet, Compositions and Arrangements
Tom Kelley: Alto Sax (lead), Soprano Sax, Flute David Leon: Alto Sax, Flute, Clarinet Gary Keller: Tenor Sax, Soprano Sax, Flute, Clarinet Chris Thompson-Taylor: Tenor Sax, Clarinet Mike Brignola: Baritone Sax, Bass Clarinet
Dante Luciani: Lead Trombone Carter Key: Trombone Steven Robinson: Trombone John Kricker: Bass Trombone
Michael Dudley: Lead Trumpet Jean Caze: Trumpet Jason Charos: Trumpet Alec Aldred: Trumpet
Alex Brown: piano Lowell Ringel: bass Boris Kozlov: electric bass (three tracks) Kyle Swan: drums (six tracks) Hilario Bell: drums (four tracks) Murph Aucamp: percussion Little Johnny Rivero: percussion (two tracks)
Dafnis Prieto: drums ("Crucible for Crisis")
Orlando "Maraca" Valle: flute ("Crucible for Crisis")
Donald Harrison: alto saxophone ("The Struggle Is In Your Name" - two versions)
Regina Carter: violin ("Affective Affinities")
David Liebman: soprano saxophone ("The Trouble With Elysium")
Jim Snidero: alto saxophone ("Tribute To Blue (Mitchell)")
Saxophonist and composer Remy Le Boeuf is having a particularly productive 2019. In May, Outside In Music issued his debut album as a leader "Light as a Word" (a quintet date) and five months (November 1), SoundSpore Records is releasing "Remy Le Boeuf's Assemble of Shadows", his first venture into large ensemble writing and arranging. If you are a fan of Maria Schneider's elegant melodies and intellectual as well as emotional arrangements, this is an album for you. With 18 "regular" band members plus two special guests (see "personnel" below), the music draws you in and does not let go, in fact resonates long after the final track fades away.
The seven-song program opens with two longer pieces, "Strata" and "Honeymooners" before launching into the "Assembly of Shadows Suite", a five-part, 28-minute, story in sound. When you spend time with this music, several elements stand out. First, the melodies are excellently constructed, with themes and counterpoint shared by various members of the ensemble. Even the "I: Introduction" to the "Assembly of Shadows Suite", which clocks in at 83 seconds, the entire band, with the exception of the drums, plays melody lines. There are moments throughout the Suite that hearken back to the music of Aaron Copland. Like Maria Schneider's music, the solos grow out of the melody and do not overstay their welcome. While Le Bouef is the leader, his voice is often just part of the ensemble. Play special attention to the work of guitarist Alex Goodman; note his solo on the title track and he is supported first by just the rhythm section the by the delightful splay of colors from the reeds and brass. Trumpeter Phillip Dizack steps out of the brass section for the next solo and his clear times and well-articulated notes stay out against the background.
Make sure to pay attention to the lovely cover photo (Levi Mandel) – to these eyes and ears, it's the visual interpretation of the music. The stunning intensity of "IV: Transfiguration", a striking piece of music, has the mood of sitting on the top of a hill and watching the sun rise. The light tone of the leader's alto sax paired with the thicker sound of the baritone sax (Carl Maraghi) plus the section arrangements hearken back to Claude Debussy and Duke Ellington. That mood is carries over to "V: A Light Through the Leaves" most certainly inspired by standing at a distance away from the stand of trees and watching the morning (or evening) sun move through the trees.
If you're looking for a big band "blowing" session, "Remy Le Boeuf's Assemble of Shadows" is not for you. However, if it is music with heart, soul, emotion, sensitivity, and delightful melodies, listen here. That's not to say there aren't impressive solos (check out Le Boeuf's soprano spotlight on "Honeymooners" – don't miss the section near the end that sounds like Wayne Shorter's solo on Steely Dan's "Aja"). It's important to note that two of the three producers are composer and arranger Mike Holober plus author/Navy veteran/bassist/investment banker Kabir Sehgal (who is the co-producer of the Brian Lynch Big Band and the Samuel Torres album). Brilliant sound, brilliant music, this album will delight you over many listens.
Conductor: Gregory Robbins Woodwinds: Remy Le Boeuf (Alto Sax, Soprano Sax, Flute, Alto Flute), Anna Webber (Flute on one track), Ben Kono (Tenor Sax/Clarinet), Vito Chiavuzzo (Flute, Alto Sax), John Lowery (Tenor Sax/Clarinet), Carl Maraghi (Bari Sax/Bass Clarinet) Trumpets: John Lake, Tony Glausi, Philip Dizack, Matt Holman Trombones: Eric Miller, Natalie Cressman, Isaac Kaplan, Jennifer Wharton, and Nick Depinna (trombone overdubs on three tracks) Guitar: Alex Goodman Piano: Martha Kato Bass: Matt Aronoff Drums: Peter Kronreif Percussion: James Shipp
"Alegria" is the Spanish word for joy and happiness – it can also mean recklessness. It is also the title of the fourth album by master percussionist Samuel Torres and, judging by the music, the first two meanings are most apropos. 10 musicians, most of whom live and perform in New York City, make up the band. Sounds like they're having the time of their lives. Right out of the gate, "Salsa, Jazz Y Choke" dances forward on the power of Torres and drummer Pablo Bencid. "Choke" is modern take on salsa that became famous in 2008, a mix of traditional rhythms with the more modern sound of house music and reggaeton. The rhythm is so infectious throughout the song which features strong solos from trombonist Marshall Gilkes and pianist Luis Perdomo plus a short but powerful break from the leader.
Photo: Diego Almanza
The rhythmic adventure rarely lets up throughout the album. "Barretto Power"; this track, a blend of Latin and "boogaloo"influences (from New York City). explodes out of the speakers with great excitement, egged on by the electric bass of Ruben Rodriguez and the two percussionists. Ivan Renta's baritone solo is a fiery statement and Bencid's thundering drums helps take the tune out. The one exception to the rhythmic adventures is "Bolero Para Raquel", a lovely ballad with shivering sax fills, long trumpet lines, and a handsome solo from tenor saxophonist Joel Frahm. Back to the rhythm as the title tune bounces forward, has a hummable melody, and truly makes you want to dance. A fleet yet sweet alto solo from Will Vinson precedes a delightfully exploratory solo from Perdomo. The pianist feeds off the rhythm section and rolls along above the brass and reeds interjections.
The album closes with "Anga", another lively dance tune set to a fiery Afro-Cuban rhythm. The trumpets ride above the reeds on the theme leading the way for trumpeter Alex Norris to take the first solo followed by the raucous baritone sax of Renta who trades phrases with trombonist Gilkes. Not surprisingly, after their impassioned dialogue, the leader gets the final solo over the dancing piano and electric bass, adding a call-and-response with the brass and reeds before Torres brings the piece to a rousing close.
Looking for party music, sophisticated party music? Enjoy lively solos amid intelligent and creative arrangements? Grab a copy of "Alegria" and let Samuel Torres and his nine associates rock the house. The neighbors might complain but the dancers understand!
Michael Rodriguez + Alex Norris (trumpet, flugelhorn)
Marshall Gilkes (trombone)
Will Vinson (alto and soprano saxophones)
Joel Frahm (tenor and soprano saxophones)
Ivan Renta (baritone saxophone, bass clarinet, flute)
Luis Perdomo (piano, Fender Rhodes)
Ruben Rodriguez (electric bass)
Pablo Bencid (drums)
Samuel Torres (congas, bongos, kalimba, log drum, cajon, maracas, djembes, talking drums, güiro, timbal, tambourine, clave, shaker,shakes, EFX, all compositions and arrangements)
Here's the band playing the title track (recorded live this week – 10/29/19 – at Dizzy's Coca-Cola in NYC):
"Ragmala" (Meta Records/BRM) is a sprawling, entertaining, and fascinating three LPs/ two CD set that combines the talents of two large ensembles, Go: Organic Orchestra and Brooklyn Raga Massive. The album, a hair under two hours long, is the brainchild of percussionist/conductor and composer (he composed 18 of the tracks and co-wrote the other two) Adam Rudolph. His 20-song program unites 38 musicians plus two guests to play music that peacefully obliterates the borders between American music, North and South Indian musics, and North African music. There are moments that blend sitar and tanpura (an Indian stringed instrument used to create a drone) with the driving drums of Hamid Drake plus tablas, mrdangam, and African drums. Add to that trumpets, trombone, French horn, saxophones, bassoon, clarinet, a string section, harp, guitars, electric bass, flutes, and voice and the music suddenly becomes indescribable. Classical? Jazz? World Music? yes, and more.
Photo: Adrien Tillman
What Rudolph and company have created is a world symphony, one that reminds listeners the blues and jazz that grew out of New Orleans and other Southern regions as well as the Carnatic music of India have its roots in the emotional interactions of religions, worship, and families. Also, the rhythms that percolate throughout the album, whether they be thunderous drums or the flow of the voices, bring us together no matter our race, beliefs, and politics.
There are so many amazing moments on this recording, moments when the ensembles loud as if they are channeling Miles Davis music post "Bitches Brew", long, hypnotic drones interrupted by swatches of brass, reeds, violins, and drums of all shapes and sizes. There are moments that hearken back to discovering Ravi Shankar and ragas in the 1960s or Terry Riley in the 1970s. Start at the beginning of "Ragmala" and let it flow. Enjoy the interruptions when the vocal music changes the mood, when all the voices rise to a fever pitch then dissipate down to a whisper. Kudos to Adam Rudolph who makes the collaboration come alive, offering so many possibilities for further musical and cultural opportunities. You'll not hear a large ensemble like Go: Organic Orchestra & Brooklyn Raga Massive many times in your life – this music must make for an amazing aural adventure in a concert hall. It certainly makes for a fascinating album/ CD experience.
Jay Ghandi - bansuri Arun Ramamurthy - violin Trina Basu - violin Samarth Nagarkar - vocal Neel Murgai - rhythm sitar, overtone singing Sameer Gupta - tabla David Ellenbogen - electric rhythm guitar Abhik Mukherjee - sitar Bala Skandan - mridangam Mari Tanaka - tampura
Kaoru Watanabe - c flute, fue, noh kan Michel Gentile - c flute Sylvain Leroux - chromatic tambin, tambin, c flute Ze Luis - c and alto flute Mariano Gil - bass flute
Avram Fefer - tenor saxophone, bass clarinet Sean Sonderegger - bass and contrabass clarinet, soprano saxophone Sara Schoenbeck - bassoon Ivan Barenboim - b flat clarinet
Charles Burnham - violin Julianne Carney-Chung - violin Sana Nagano - violin Gwen Laster - violin Richard Carr - violin Stephanie Griffin - viola Leco Reis - contrabass
Graham Haynes - cornet, flugelhorn, kudu horn, bamboo vaccine Stephen Haynes - cornet, flugelhorn, solo alto, pocket trumpet, didgeridoo, conch, kudu horn Peter Zummo - trombone, didgeridoo, conch, kudu horn Libby Schwartz - french horn
Mia Theodoratus - harp Marco Cappelli - electric and acoustic guitars Alexis Marcelo - keyboards Damon Banks - electric bass