Friday, August 5, 2022

They Play Ms. Bley

I have been impressed by a number of new albums released this Summer that are soft in volume but musically and emotionally strong.  

The trio of Steve Cardenas (guitar), Ted Nash (tenor + soprano saxophones, clarinet), and Ben Allison (bass) have played on each other's albums and in live concerts for more than two decades. Nash and Allison were connected as founding members of the New York City-based Jazz Composers Collective (very active in the 1990s) while Cardenas began recording as a member of the bassist's group around the turn of the century.  As an ensemble, they've recorded three albums, 2018's "Quiet Revolution" (Sonic Camera, Allison's label), 2019s "Somewhere Else – West Side Story Songs" (Plastic Sax, Nash's label), and the recently released (July 2022) "Healing Power – The Music of Carla Bley" (Sunnyside Records, the label Cardenas records for). Their 2018 debut was dedicated to the music of reed master Jimmy Guiffre and his work with guitarist Jim Hall–the shape and sound of the lineup was perfect for an exploration of that composer's music and also worked really well for the Bernstein/Sondheim songs on the second recording..

For the trio's third release, they turn to Carla Bley whose unique musical stylings has kept listeners and critics entranced and guessing for over five decades.  She has led numerous ensembles including both a small and large big band as well as, most recently, a trio with bassist Steve Swallow and saxophonist Andy Sheppard.  Her music reveals all sorts of influence but Ms. Bley has always a penchant for smartly-crafted melodies. The songs on "Healing Power" come from throughout the composer's career; not only do Messrs. Cardenas, Nash, & Allison do the music justice, they make the songs their own.  The nine-song program opens with one of her most famous pieces "Ida Lupino".  Composed in 1964 and first recorded by her-then husband Paul Bley, the music is quite introspective and has a lovely melody.  Allison's quiet bass lines creates a perfect foundation for the solos.

Photo: Ludovico Granvassu
The second track, "Donkey", is even older (1962) and swings nicely with a be-bop line worthy of Charlie Parker. With the exception of "Lawns" and the title track (both from 1987), all the tracks are from the mid-1960s.  The music shows both the composer's versatility and her willingness to carve out her own compositional space in the fertile Creative Music scene.  The listener should be thrilled by the mysterious and emotional "Olhos de Gato" (listen below) as well as the playful "King Korn" (both pieces that feature Nash on clarinet).  The former has a Spanish "tinge"(a hint of flamenco) plus splendid short  solos from all three musicians. Meanwhile, the latter track has a sweet bluesy feel–the main "body" of the piece is a three-way conversation that is bright, musical, with a touch of humor.

The program closes with the blues-drenched title track; note the interaction of the bass and guitar on Cardenas's sweet solo plus how Nash "gets down" over the sympathetic background.  Yes, "Healing Power" just might cure what ails the world (ah, we can dream) but this soft yet dynamic session will make you smile as it reminds you just how impressive a composer Carla Bley has been through her long and continuing career.  Kudos to Steve Cardenas, Ben Allison, and Ted Nash!!

For more information about the trio, go to  To hear more and purchase the album, go to

Hear them play "Olhos de Gato":

Here's the title track:

Tuesday, August 2, 2022

Charles Mingus at 100: Just as Contemporary, Just as Meaningful

Plenty of attention being paid to bassist, composer, activist, author, and bandleader Charles Mingus (1922-1979) in this year, the 100th anniversary of his birth.  Those of us who followed Mingus when he was alive knew how important he was as a link from the bebop generation  to the new Black Music of the late 1960s and into the 1970s. If you listen closely to the music of The Art Ensemble of Chicago, Dave Holland, Vijay Iyer, Tyshawn Sorey, Dave Douglas, you can, at times, hear the Mingusian approach. 

Into the mix steps bassist Ethan Philion.  The Chicago-based musician has made a name for himself working alongside saxophonist Greg Ward, violinist Mark Feldman, saxophonists Gary Bartz and Ernest Dawkins plus many others. He was chosen in 2015 to take part in the Betty Carter Jazz Residency at Lincoln Center where he worked/studied with pianist Jason Moran, bassist Eric Revis, vocalist Carmen Lundy, saxophonist JD Allen, and others. Currently, Philion leads three ensembles including a piano trio, a piano-less quartet, and a 10-piece ensemble dubbed Meditations on Mingus––it's that last group whose new recording, released August 26 on Sunnyside Records, that we're concerned with in this post. Arranged and produced by the bassist, "Meditations on Mingus" features Russ Johnson and Victor Garcia (trumpets), Rajiv Halim, Geof Bradfield, and Max Bessessen (saxes, bass clarinet, flutes), Norman Palm and Brendan Whalen (trombones), Alex Lombre (piano) and Dana Hall (drums).

The eight-song, 76-minute, program features pieces Mingus fans will recognize plus a few surprises.  The album opens with "Once Upon a Times, There was a Holding Corporation called Old America" which was composed for "Mingus at Monterey 1965" but not heard until a 1966 live recording at UCLA.  It's an episodic adventure that plays to the strengths of both the collective and individual soloists. "Meditation for a Pair of Wirecutters" also showed up in 1966 ––at 15:11, it's the longest track on the disk and, as most of these pieces, goes in several directions, from a piano solo over arco bass to a lovely bass clarinet solo (Bradfield) over shifting rhythms to powerful ensemble work.  Philion's arrangement allows all the instruments to be heard even when the music gets cluttered. Hall's drum playing is exemplary throughout but especially on "...Wirecutters".  

Longtime favorites such as "Haitian Fight Song" and the rip-roaring "Better Get It In Your Soul" sparkle with splendid playing, the ensemble joyously dancing through the melodies before the solos.  The former track opens with a powerful bass statement leading into the familiar intro before melody comes rolling in. The buildup to the full ensemble is great fun with trumpets blaring, bluesy trombones, and thick piano chords. Powerful solos from Palm (trombone), pianist Lombre, and the leader stand out. "Better Get It...", with its delectable soul-gospel melody, features fire in the rhythm section, delightful "shouts" from the brass and reeds during the piano solo, a powerful alto sax solo (Bessessen), and a "stomping" drum spot for Hall. The music is so infectious you'll want to press "repeat"! Dig the coda!!

There's a lovely take of "Self-Portrait in Three Colors" with a long and powerful trumpet solo from Johnson over different ensemble backgrounds. Also, check out the bluesy, playful "Prayer for Passive Resistance" with a smashing alto solo from Rajiv Halim.  "Remember Rockefeller at Attica" from 1975's "Changes One" gets a sparkling arrangement (with a little hint of "Fables of Faubus" thrown in to enforce the fact how stupid Governors can be)––the pace is powerful led by the throbbing bass and dancing drums.  

Thanks to Ethan Philion and to "Meditations on Mingus" for reminding us that there are many ways to interpret the music of a Master and how rewarding it can be to dive right in. Play it loud! 

For more information, go to To preorder the album, go to

Here's the band in action on "Haitian Fight Song":