tag:blogger.com,1999:blog-71533694346109191282024-03-16T14:51:45.537-04:00Step TempestCreative music should challenge us, make us think and move us forward. Music can make one's life better and fuller, one of life's greatest pleasures.Richard B. Kaminshttp://www.blogger.com/profile/16253213687754435676noreply@blogger.comBlogger1248125tag:blogger.com,1999:blog-7153369434610919128.post-89260579400270070942024-03-13T15:58:00.000-04:002024-03-13T15:58:32.801-04:00Large Ensemble 2024 (Part 2): Melody Stands Out + Monk Inspires<p>Three more large ensemble recordings, each with its own outstanding qualities. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii0cYnrMdH2_TX7AAzFZFqV0YzZIHGALUIlSddhEUqP9V-pQEurjJ3DpNE2VzAvBZ62oDwrWX42pnSAdivnPlKjUe8vtxpLZlORdxxepiaeLRzXt4DEUC8o3cQE-3uoiJUiI7JOipo3y270S5bgDWOBUNqeAl6V20zcK6xc7LiURfglWfOo-4dr0qjft4/s7500/MarshallGilkes4.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="7500" data-original-width="5112" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii0cYnrMdH2_TX7AAzFZFqV0YzZIHGALUIlSddhEUqP9V-pQEurjJ3DpNE2VzAvBZ62oDwrWX42pnSAdivnPlKjUe8vtxpLZlORdxxepiaeLRzXt4DEUC8o3cQE-3uoiJUiI7JOipo3y270S5bgDWOBUNqeAl6V20zcK6xc7LiURfglWfOo-4dr0qjft4/w183-h268/MarshallGilkes4.jpg" width="183" /></a></div>Several years ago, I interviewed trombonist and composer <b>Marshall Gilkes</b> upon the release of his 2022 album, "<b><i>Cyclic Matters</i></b>". In the midst of the discussion, he mentioned he had back in Germany to record a new album with the WDR Big Band, the 17-piece ensemble in Cologne Germany. He had spent four years (2010-13) in the trombone section –– the month after his stint was up, the Band invited him back for a "farewell concert" which resulted in the 2015 album, "<b><i>Köln</i></b>", a 10-song program that soared from the opening moment. The album won a GRAMMY nomination and led to the 2018 follow-up, "<i><b>Always Forward"</b></i>. Gilkes told me that he writes to the strength of each member of the band and that they love how his arrangements make them sound. Upon receiving the invitation to create a third program for the WDR, Gilkes thought about all that had happened in the world since his 2017 trip that produced the second album. The Pandemic, wars, democracies under siege, yet music and the arts still manages to thrive, to grow, to bring people together, to bend into new shapes for people to explore.<div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGr96usGPcE9VC49fKWryX2QXsu5xR9PI-AbzTOGtXJJK0Zgb81ywbeMhNzXzGrcf_lxh5OEKDNxVQ1BKEMxsDlPfeadlt7joWlvO8c1cfTcCs5L06zrQwAa7S43QSpskiFer6pkRa0Ppg1MYZiRkgKy1Fl91LlIVs_LzzHAHJ0oou7I5czOrQJShMw_I/s700/a0313531933_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGr96usGPcE9VC49fKWryX2QXsu5xR9PI-AbzTOGtXJJK0Zgb81ywbeMhNzXzGrcf_lxh5OEKDNxVQ1BKEMxsDlPfeadlt7joWlvO8c1cfTcCs5L06zrQwAa7S43QSpskiFer6pkRa0Ppg1MYZiRkgKy1Fl91LlIVs_LzzHAHJ0oou7I5czOrQJShMw_I/w248-h248/a0313531933_16.jpg" width="248" /></a></div><div>The results of Gilkes' thinking and writing can be heard on "<b><i>LifeSongs</i></b>" (WDR/ Alternate Side Records). To these ears, it's the high point of the composer/ arranger's work with the Big Band. The music is rich with melody and possibilities, the section arrangements often sing brightly, and the soloists are on the top of their game. This music has soul, has heart, and imagination at its center. The opening "<b><i>Fresh Start</i></b>" is just that! A rollicking, Gospel-like melody and arrangement, with the leader's trombone in front but the real joy can be found in the interaction of soloists and the various sections. "<b><i>Back in the Groove</i></b>" follows, a healthy portion of latge 60s-early 70s soul music in the melody and response over a thunderous rhythm section. Alto saxophonist <b>Jonas Hörlen</b> builds his solo off the main melody, riding the powerful piano of <b>Billy Test</b>, the solid bass of <b>John Goldsby</b>, and the slamming drums of <b>Hans Dekker</b>. The proceedings cool down for the piano solo but Test moves quickly into overdrive with a joyous romp with the brass and reeds "testifying" right alongside him.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrktH-csZkdVxEKI9IeIkFN6UPCugwP4wQ2UJbSDOdL2wfZPzOiVSZmCXPUiofqYIT3GrV_rviCrOkH7yJ5g4ggZlgBKZmzcKBkpamvV2hM6WMH7YOcGobWV26Ot64okwicbm_UTX7-kOhD02WDY7mmix-necO8RITgBzsWX5FamVUYo23LgoDTGOUN0I/s1280/maxresdefault.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrktH-csZkdVxEKI9IeIkFN6UPCugwP4wQ2UJbSDOdL2wfZPzOiVSZmCXPUiofqYIT3GrV_rviCrOkH7yJ5g4ggZlgBKZmzcKBkpamvV2hM6WMH7YOcGobWV26Ot64okwicbm_UTX7-kOhD02WDY7mmix-necO8RITgBzsWX5FamVUYo23LgoDTGOUN0I/w265-h149/maxresdefault.jpg" width="265" /></a></div>Listen to "<b><i>Cora's Tune</i></b>" below. Pay attention to how Gilkes structures the melody, creates his fine solo, and how he utilizes the WDR sections to add excitement, and then creates a lovely trombone chorale in the midst of the piece. Yet the music does not sit still, it changes, evolves, swings, and soars to its conclusion. Several tracks later, vocalist <b>Sabeth Pérez</b> joins the Band for a sweet take on the traditional lullaby "<b><i>All The Pretty Horses</i></b>". One can hear the influence of Maria Schneider (Gilkes is a long-time member of the MSO) in the arrangement. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqZdsga_zVyVbApA046x9xqKqgXN_-Frdpvmiz2-zUVTIzcJKaLVaeZYM_LtmjQlJHziAalDD5WCpZqFUOotZuYM7q9P8II4SUssaI-98mMWdnVR4gzd6i9W1IOevKdvAfcqhzT6u4C7LCJgFva0V2OE-bhTOX_FZLCFX1zGpguIhUoBPibN2N9HYMsKw/s1400/20150320_wdrbb14_foto_wdr_kaiser.webp" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="933" data-original-width="1400" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqZdsga_zVyVbApA046x9xqKqgXN_-Frdpvmiz2-zUVTIzcJKaLVaeZYM_LtmjQlJHziAalDD5WCpZqFUOotZuYM7q9P8II4SUssaI-98mMWdnVR4gzd6i9W1IOevKdvAfcqhzT6u4C7LCJgFva0V2OE-bhTOX_FZLCFX1zGpguIhUoBPibN2N9HYMsKw/w248-h165/20150320_wdrbb14_foto_wdr_kaiser.webp" width="248" /></a></div>Delights abound in this program. "<b><i>Middle Ground</i></b>" follows, opening with a Brass chorale b efore picking up steam. The influences of Blues and Gospel can be hear in the melody lines as well as the section writing. In the middle of the piece, the trombones take off into an exciting Latin rhythm, the sound splayting across the spectrum. The band kicks in and the 'bones trade 4s until the entire ensemble dances back into the melody, fading intoi the background for a return to Brass chorale. Then, it's into "<b><i>San Filtro</i></b>", a multi-sectioned piece that, at times, reminds this listener of Chick Corea's "<b><i>My Spanish Heart</i></b>". The leader's trombone is front-and-center throughout whether playing the main melody, soloing, or leading yet another splendid brass chorale. You'll want to shout "hurrah" at the bravura closing section.</div><div><br /></div><div>And there's more. I would be remiss not to mention the lovely version of Rodgers & Hammerstein's "<b><i>This Nearly Was Mine</i></b>" (from "<b><i>South Pacific</i></b>"). The song serves as a vehicle for an exquisite flugelhorn solo from <b>Andy Haderer</b>. Those of you who buy the digital version (link below) get two more tracks, an extra 14 minutes of music (including the stomping "<b><i>Taconic Turns</i></b>"). No matter which version you purchase, "<b><i>LifeSongs</i></b>" is a soul satisfying, emotionally rich, and musically delightful program. <b>Marshall Gilkes</b> truly shines in this setting as do his friends in the <b>WDR Big Band</b> –– if you dig Big Band, jump on this!</div><div><br /></div><div><div>For more information, go to <b><a href="http://www.marshallgilkes.com">www.marshallgilkes.com</a></b>. To hear more and to purchase the album, go to <b><a href="https://marshallgilkes.bandcamp.com/album/lifesongs">https://marshallgilkes.bandcamp.com/album/lifesongs</a></b>.</div><div><br /></div><div>Personnel:</div><div><br /></div><div><span style="font-family: inherit;"><span style="background-color: #fcfcfd;">Marshall Gilkes composer, arranger, trombone, conductor</span></span></div><div><span style="font-family: inherit;"><br style="background-color: #fcfcfd;" /><span style="background-color: #fcfcfd;">Johan Hörlén • alto saxophone, flute, clarinet Pascal Bartoszak • alto saxophone, flute, clarinet,</span></span></div><div><span style="font-family: inherit;"><span style="background-color: #fcfcfd;">Ben Fitzpatrick • tenor saxophone, clarinet, </span><span style="background-color: #fcfcfd;">Paul Heller • tenor saxophone, clarinet</span><br style="background-color: #fcfcfd;" /><span style="background-color: #fcfcfd;">Jens Neufang • baritone saxophone, bass clarinet</span><br style="background-color: #fcfcfd;" /><span style="background-color: #fcfcfd;">Andy Haderer • trumpet, piccolo trumpet, flugelhorn, Wim Both • trumpet, flugelhorn</span><br style="background-color: #fcfcfd;" /><span style="background-color: #fcfcfd;">Rob Bruynen • trumpet, flugelhorn, </span><span style="background-color: #fcfcfd;">Ruud Breuls • trumpet, flugelhorn</span><br style="background-color: #fcfcfd;" /><span style="background-color: #fcfcfd;">Ludwig Nuss • trombone, </span><span style="background-color: #fcfcfd;">Raphael Klemm • trombone, </span><span style="background-color: #fcfcfd;">Peter Hedrich • trombone</span><br style="background-color: #fcfcfd;" /><span style="background-color: #fcfcfd;">Andy Hunter • trombone (one track)</span><br style="background-color: #fcfcfd;" /><span style="background-color: #fcfcfd;">Mattis Cederberg • bass trombone, tuba</span><br style="background-color: #fcfcfd;" /><span style="background-color: #fcfcfd;">John Goldsby • bass </span></span></div><div><span style="font-family: inherit;"><span style="background-color: #fcfcfd;">Billy Test • piano </span></span></div><div><span style="font-family: inherit;"><span style="background-color: #fcfcfd;">Hans Dekker • drums</span><br style="background-color: #fcfcfd;" /><span style="background-color: #fcfcfd;">Sabeth Pérez • vocals on "<b><i>All the Pretty Horses</i></b>"</span></span><br style="background-color: #fcfcfd; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 12px;" /></div><div><br /></div>Give a listen to "<b><i>Cora's Tune</i></b>":<div><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2397524271/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2008593862/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://marshallgilkes.bandcamp.com/album/lifesongs">LifeSongs by Marshall Gilkes & WDR Big Band</a></iframe></div><div><br /></div><div>As a special treat, here's the video for "<b><i>Sugar Rush</i></b>", the final track on the CD:</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="355" src="https://www.youtube.com/embed/jg7UJtSx7E0" width="427" youtube-src-id="jg7UJtSx7E0"></iframe></div><br /><div><br /></div><div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUDFWVomxBMX7HR55B-cv8Z2K6u3Z-escGnyQRIYiIi9vdXlrAbu4vQYsFfGY4cZPZQhp_BIhQw9ZTIzxkEPG61R_dddp6lh1FQJw-id84ndMw7NMwoRhWVWmJAoiob680AWkyesfPM_HtFlBsujJyWBlPOK4ehhQDEQv6I8d624RlTT4cS2Ix1Y7zrdY/s1000/DSC_4852+medium.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="667" data-original-width="1000" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUDFWVomxBMX7HR55B-cv8Z2K6u3Z-escGnyQRIYiIi9vdXlrAbu4vQYsFfGY4cZPZQhp_BIhQw9ZTIzxkEPG61R_dddp6lh1FQJw-id84ndMw7NMwoRhWVWmJAoiob680AWkyesfPM_HtFlBsujJyWBlPOK4ehhQDEQv6I8d624RlTT4cS2Ix1Y7zrdY/w263-h175/DSC_4852+medium.jpg" width="263" /></a></div><div>On his first two Big Band recordings (2019's "<b><i>Assembly of Shadows</i></b>" and 2021's "<b><i>Architecture of Storms</i></b>"), saxophonist, composer, and arranger Remy Le Boeuf showed a pleasing knack for well-defined melodies, smart arrangements, and for creating space for soloists to interact with the music and the musicians. There were moments, especially on the second release, that the music had a "pop music" sensibility, with melodies that cried out for lyrics (one song did have a guest vocalist) –– nothing seemed "dumbed down" for mass consumption but the songs sounded like they could have fit easily into contemporary radio airplay.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGbRNFLLoFfyPcDuk5NdsrY2BbF5uhyGBPHJnRnCHFSEGPRUGuTodsEUqhTaAXZLnzrTinJfMxKf7h_vbprYO3eXISFHICIAy72kcHhrwWTh0sL1ydmOTx5-k6tPPEa33XvqMgHHemkkKzOD3Cvp4o2GJAAQU0R-y9q2WY8wcd1PQDlJTQyk2oicDP3Q4/s700/a1921100349_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGbRNFLLoFfyPcDuk5NdsrY2BbF5uhyGBPHJnRnCHFSEGPRUGuTodsEUqhTaAXZLnzrTinJfMxKf7h_vbprYO3eXISFHICIAy72kcHhrwWTh0sL1ydmOTx5-k6tPPEa33XvqMgHHemkkKzOD3Cvp4o2GJAAQU0R-y9q2WY8wcd1PQDlJTQyk2oicDP3Q4/w243-h243/a1921100349_16.jpg" width="243" /></a></div>On his third Big Band effort (the ensemble has taken on the name of its first album: <b>Assembly of Shadows</b>), "<b><i>Heartland Radio</i></b>" (SoundSpore Records), the title track opens the album with a decided backbeat and a hummable melody (ah, but the glorious section harmonies!). Listen below to "<b><i>Stop & Go</i></b>" –– the rhythm section plays beats reminiscent of the work by the British band <a href="https://www.neworder.com/" target="_blank">New Order</a> but the main melody and chorus would not sound out of place on a <a href="https://www.gamble-huffmusic.com/" target="_blank">Gamble & Huff </a>production of the 1970s. The music also sounds great pouring out of car speakers when one is driving down the road (this writer's prerogative), especially guest guitarist Max Light's solo. "<b><i>New Beginnings</i></b>" bears traces of the work of Burt Bacharach; one can his influence on the handsome melody and arrangements, in the tempo changes, and in the great trumpet solo (uncredited). </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjENSzahHa9-r9bgrQAhfkEZFiAjmaCVGYNxMCw6yfJmYffJ44xc3QscvwQZRDQ0LOS_L0BH4KuQX8vVIrNzmzMMwmwlGas9_sJ84WcN7Vz-n7AkK28226jel5XO87Q5s5g4b_R7LH3OsHdQgA6_2Pdu_EtClzzfO950mq87-dmCquEI_5R_mpWCPwQoao/s2000/IMG_9287-Full-Band-small-1-2000x1428.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1428" data-original-width="2000" height="186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjENSzahHa9-r9bgrQAhfkEZFiAjmaCVGYNxMCw6yfJmYffJ44xc3QscvwQZRDQ0LOS_L0BH4KuQX8vVIrNzmzMMwmwlGas9_sJ84WcN7Vz-n7AkK28226jel5XO87Q5s5g4b_R7LH3OsHdQgA6_2Pdu_EtClzzfO950mq87-dmCquEI_5R_mpWCPwQoao/w261-h186/IMG_9287-Full-Band-small-1-2000x1428.jpg" width="261" /></a></div>Vocalist <b>Julia Easterlin</b> joins the group for "<b><i>Barbara</i></b>" (lyrics by poet Sara Pirkle). The Bacharach influence can be felt a bit here as well but Le Boeuf's arrangement is all his own (his section writing is splendid). The leader also created an arrangement for "<b><i>Little Song</i></b>"; composed by trumpeter Nadje Noordhuis for her Newvelle Records album "<b><i>Full Circle</i></b>", the melody is a rich blend of sadness and longing that is emphasized here by the sweeping brass lines and gueat <b>Danielle Wertz</b>'s wordless vocal. The leader's alto saxophine is out in front through the middle of the track, his solo soaring like a bird freed in the wild. <div><br /></div><div>"<b><i>Heartland Radio</i></b>" (so named for the leader's journey across the United States to Denver, Colorado, where he is now on the music faculty of the University of Denver) comes to a close with "<b><i>Walking on Water</i></b>". There's a gospel feel to the both the melody and arrangements as well as a powerful saxophone solo with the gentle alto sax coda bringing the listener to the final long chord. <b>Remy LeBoeuf </b>said that the music on the album was inspired by the sounds he heard driving to his destination. These excellent sounds attest to the fact that the composer/ arranger had a fertile and thriving imagination. <div><div><br /></div><div>For more information, go to <b><a href="http://www.remyleboeuf.com">www.remyleboeuf.com</a></b>. To purchase the album, go to <a href="https://remyleboeuf.bandcamp.com/album/heartland-radio"><b>https://remyleboeuf.bandcamp.com/album/heartland-radio</b></a>.</div><div><br /></div><div>Personnel:</div><div><br /></div><div><span style="font-family: inherit;"><span style="background-color: white; color: #363636;">Gregory Robbins – conductor</span><br style="background-color: white; color: #363636;" /><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Vocals</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Julia Easterlin (vocal on one track)</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Danielle Wertz (vocal on one track)</span></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><span style="background-color: white; color: #363636;">Remy Le Boeuf / Alto Sax, Flute, Alto Flute</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Alejandro Aviles / Flute, Alto Sax</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Lucas Pino / Tenor Sax, Clarinet</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">John Lowery / Tenor Sax, Clarinet</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Carl Maraghi / Bari Sax, Bass Clarinet</span></span></div><div><span style="background-color: white; color: #363636;"><span style="font-family: inherit;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="background-color: white; color: #363636;">Trumpets</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Tony Kadleck, </span><span style="background-color: white; color: #363636;">Tony Glausi, </span><span style="background-color: white; color: #363636;">Philip Dizack, </span><span style="background-color: white; color: #363636;">Mike Rodriguez</span><br style="background-color: white; color: #363636;" /><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Trombones</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Mike Fahie, </span><span style="background-color: white; color: #363636;">Alan Ferber, </span><span style="background-color: white; color: #363636;">Javier Nero</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Jennifer Wharton (bass trombone)</span><br style="background-color: white; color: #363636;" /><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Guitar</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Alex Goodman</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Max Light (one track)</span><br style="background-color: white; color: #363636;" /><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Piano</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Martha Kato</span><br style="background-color: white; color: #363636;" /><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Bass</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Dan Montgomery</span></span><br style="background-color: white; color: #363636; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 12px;" /><br style="background-color: white; color: #363636; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 12px;" /><span style="font-family: inherit;"><span style="background-color: white; color: #363636;">Drums</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Peter Kronreif</span><br style="background-color: white; color: #363636;" /><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Keyboards</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Pascal Le Boeuf (first two tracks)</span></span></div><div><span style="font-family: inherit;"><span style="background-color: white; color: #363636;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="background-color: white; color: #363636;">Get into the groove with "<b><i>Stop & Go</i></b>":</span></span></div><div><br /></div><div><div id="name-section" style="background-color: white; color: #363636; float: left; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 12px;"><h2 class="trackTitle" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 28px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; font-weight: normal; line-height: 1em; margin: -4px 30px 8px 0px; max-width: 726px; overflow-wrap: break-word;"><iframe allowfullscreen="" class="BLOG_video_class" height="368" src="https://www.youtube.com/embed/uMHSYFcTlLU" width="443" youtube-src-id="uMHSYFcTlLU"></iframe></h2></div></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYCK6wctyab_MylJ-ivmnRjDD5rqbvWG77Ncrgm-pMatDew2g5lFe3F5fOZz9a6beX4NcbtImlI8ZzCO3gQdmh2TysJfHXOdG6DTTu4h4j16tOzz93nDnO7JF1on8Zr_Rkf2xUzZ2BGiN7f0kJcjiDrN2ZNQ0YjQYd8qRe03TaHX-wTISwHA6NB89HwSM/s599/A-6091130-1509048605-4307.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="599" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYCK6wctyab_MylJ-ivmnRjDD5rqbvWG77Ncrgm-pMatDew2g5lFe3F5fOZz9a6beX4NcbtImlI8ZzCO3gQdmh2TysJfHXOdG6DTTu4h4j16tOzz93nDnO7JF1on8Zr_Rkf2xUzZ2BGiN7f0kJcjiDrN2ZNQ0YjQYd8qRe03TaHX-wTISwHA6NB89HwSM/w259-h173/A-6091130-1509048605-4307.jpg" width="259" /></a></div><div>Pianist, composer, arranger, and now conductor <b>Frank Carlberg</b> has spent the better part of his life engrossed in and studying the music and recordings of Thelonious Monk. Many of his recordings are inspired by and feature music of the composer –– in 2019, Carlberg put together his <b>Large Ensemble</b> to record and issue "<b><i>Monk Dreams, Hallucinations and Nightmares</i></b>" on his Red Piano Records label. I loved that album and love it even more now. Carlberg has the knack of making Monk's music sound fresh and contemporary while still shoeing respect for the composer.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgyU6oyxLs16AbGNkf-RiiwyjnkjhISMJBcTST_frdT-5BT-FyaZsC3UBrRFxQ2JYM-amM0OFxIZXM00P5D9a0QCdW9tUUkNRYKVG0hPOVBKjuYcFLjazl9AJooJnFcAEoq3vvHzxD7BznAAC2wXPy8siLU6_9McgPF9wd-SiilMwURlQ0fSCxrRYvscU/s700/a1910087893_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgyU6oyxLs16AbGNkf-RiiwyjnkjhISMJBcTST_frdT-5BT-FyaZsC3UBrRFxQ2JYM-amM0OFxIZXM00P5D9a0QCdW9tUUkNRYKVG0hPOVBKjuYcFLjazl9AJooJnFcAEoq3vvHzxD7BznAAC2wXPy8siLU6_9McgPF9wd-SiilMwURlQ0fSCxrRYvscU/w266-h266/a1910087893_16.jpg" width="266" /></a></div>Now we have "<b><i>Elegy for Thelonious</i></b>" (Sunnyside Records). I have an image of Carlberg in his room slicing up pieces of Monk tunes, pinning particular phrases to the wall, and creating original arrangements around. In the recording studio, he places the fragments, his arrangements, and some sections he composed in front of the musicians and says "Let's play!" And they do. That's not to say that recording is unfocused or cacophonous. Not at all. What it is is fun, creative adventures taking on the guise of fun. What a band Carlberg has in front of him. Besides the impressive arrangements and re-arrangements, the secret weapon in this music is drummer <b>Michael Sarin</b>. Throughout the seven-song program, he's the linchpin as well as the glue that keeps the Ensemble from descending into chaos. Listen below to "<b style="font-style: italic;">Spooky Rift We Pat"</b>, an engaging mashup of "<b><i>Tea For Two</i></b>" and Monk's "<b><i>Skippy</i></b>". <b>Christine Correa </b>leads off with a deconstruction of a verse from the standard; then the ensemble enters and we're off to the races. After a playful solo from tenor saxophonist <b>Adam Kolker</b> and a lively diversion with trumpeter <b>David Adewumi</b>, the whole ensemble returns and different voices rise out of the din. All the while, Sarin is driving the bus, making sure no one loses their way.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLktKbY9dyCxHcqffEcJjH6aNjeYhJEuwxcE-pd6LsUysDf-Nwu2wCDwWFJuA9vDCCkHparJwjWcdsZ6q25VpRgcomPBD7Kk0JjhwMLR46UEj9zgnnn5CClevI3NbysVE73rrl5lzDUHT8Xs1Y7DoWFdQBxgAagytNviiPXPvBxIbooO7d0hlAmDPGIGE/s1250/Frank-Carlberg-Large-Ensemble-Continues-To-Investigate-Thelonious-Monk-On-Elegy-For-Thelonious--1701163544.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="625" data-original-width="1250" height="124" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLktKbY9dyCxHcqffEcJjH6aNjeYhJEuwxcE-pd6LsUysDf-Nwu2wCDwWFJuA9vDCCkHparJwjWcdsZ6q25VpRgcomPBD7Kk0JjhwMLR46UEj9zgnnn5CClevI3NbysVE73rrl5lzDUHT8Xs1Y7DoWFdQBxgAagytNviiPXPvBxIbooO7d0hlAmDPGIGE/w248-h124/Frank-Carlberg-Large-Ensemble-Continues-To-Investigate-Thelonious-Monk-On-Elegy-For-Thelonious--1701163544.jpg" width="248" /></a></div>The fun continues on "<b><i>Out of Steam</i></b>", a funky tune replete with synth washes from <b>Leo Genovese </b>and vocals from the leader's daughter <b><a href="https://www.priyacarlberg.com/aboutpriya" target="_blank">Priya Carlberg</a></b>. The different figures the leader has the reeds and brass play behind the powerful alto sax solo from <b>Nathan Reising</b> stand out because they are often brash and bratty. </div><div><br /></div><div>The centerpiece of the recording is the title track. The music is not so solemn as there's muted trumpet squawks and clarinet trills behind Ms. Correa's recitation of poet Yusef Komunyakaa's "<b><i><a href="https://www.mesaartscenter.com/download.php/engagement/jazz-a-to-z/resources/archive/2016-2017/teacher-resources-2016-2017-season-new-orleans-los-angeles-and-paris/komunyakaa-elegy-for-thelonious" target="_blank">Elegy for Thelonious</a></i></b>". A few moments later, the two vocalists sing the chorus from the hymn "<b><i>Abide with Me</i></b>" (a piece – composed by 19th Century English church organist <b>William H. Monk</b>, no relation, which the American Mr. Monk recorded on 1957's "<b><i>Monk's Music</i></b>"). Along the way, there are fine solos from trombonist <b>Brian Drye</b>, cornettist <b>Kirk Knuffke</b>, and <b>Jeremy Udden</b> on lyricon. The music gets cluttered by the end of the vocals but the brass exclamations and solid drumming keeps the music on keel. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1SsURJvXWBQJYiemTSc9Hk4tg_C0KH8pfsECA0L3iMgG_UlSyxTE1C_S30K-N_8yb8bDnDO9yjiesWRB3_qD3RrEJrsElCHlL9reJvZlT_ES4FTElqFWsZnU6KT0VAKHZBhFRG_70JuD36TDEN5RtcS2vPlOdo2zgW5gMinxfGwiZbHsRBc4y0t0gnms/s1200/Frank-Carlberg-C-Watson_MACD-23-110_034_SEO.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="141" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1SsURJvXWBQJYiemTSc9Hk4tg_C0KH8pfsECA0L3iMgG_UlSyxTE1C_S30K-N_8yb8bDnDO9yjiesWRB3_qD3RrEJrsElCHlL9reJvZlT_ES4FTElqFWsZnU6KT0VAKHZBhFRG_70JuD36TDEN5RtcS2vPlOdo2zgW5gMinxfGwiZbHsRBc4y0t0gnms/w251-h141/Frank-Carlberg-C-Watson_MACD-23-110_034_SEO.jpg" width="251" /></a></div>Every one of the seven tracks on "<b><i>Elegy for Thelonious</i></b>" is worth writing about – for instance, <b>Hery Paz</b>'s solo on "<b><i>Brake Tune</i></b>" is stunning as is trumpeter <b>John Carlson'</b>s smoking take on "<b><i>Wrinkle on Trinkle</i></b>". The <b>Frank Carlberg Ensemble</b> is filled with great musicians, great soloists, and Carlberg gives them plenty of room to shine while his section writing is exemplary throughout. I mentioned drummer <b>Michael Sarin</b> earlier but his rhythm section partner, bassist <b>Kim Cass</b>, deserves similar kudos. What a treat!!<br /><div><br /><div>For more information, go to <b><a href="http://www.macdowell.org/artists/frank-carlberg">www.macdowell.org/artists/frank-carlberg</a></b>. To hear more and to purchase the album, go to <b><a href="https://sunnysiderecords.bandcamp.com/album/elegy-for-thelonious">https://sunnysiderecords.bandcamp.com/album/elegy-for-thelonious</a></b>.<div><br /></div><div>Personnel:</div><div><span style="background-color: white;"><span style="font-family: inherit;"><br /></span></span></div><div><span style="background-color: white;"><span style="font-family: inherit;">Frank Carlberg - conductor, composer<br />Sam Hoyt, John Carlson, David Adewumi - trumpet</span></span></div><div><span style="background-color: white;"><span style="font-family: inherit;">Kirk Knuffke – cornet<br />Brian Drye, Chris Washburne, Tyler Bonilla, Max Seigel - trombone<br />Nathan Reising, Jeremy Udden, Adam Tolker, Hery Paz, Andrew Hadro - woodwinds<br />Leo Genovese - piano, keyboards<br />Kim Cass - bass<br />Michael Sarin - drums<br />Christine Correa, Priya Carlberg - voice</span></span></div><div><br /></div><div><br /></div><div>Take a listen to "<b><i>Spooky Rift We Pat</i></b>":</div><br /></div></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2639355367/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=800488738/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://sunnysiderecords.bandcamp.com/album/elegy-for-thelonious">Elegy for Thelonious by Frank Carlberg Large Ensemble</a></iframe>Richard B. Kaminshttp://www.blogger.com/profile/16253213687754435676noreply@blogger.com0tag:blogger.com,1999:blog-7153369434610919128.post-73520440269651360372024-03-03T08:01:00.000-05:002024-03-03T08:01:36.042-05:00Three for All, All for Three (Piano Trios)<p> There are weeks when all I want is music that challenges me, confronts my belief systems, and pushes at my expectations. Then, there are times I want my music that comforts, wraps its warm sound around me, has rhythms that make my feet move, and makes me laugh. Here are two trio albums that fit easily into the latter description with a little bit of the former.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnH3BRUTBF9kB9eh665z97ZdxAUNhK_1PbogphaZqDsJk1NRjY_p4rZZ9yrtlJWJNJtDjy9Sn73lYMRih2YEkRAyhca1JS0mpmZJYUDaDn_ns-TY76VH_rAp5Cpkwylt6o6ItuNIparLnI4VbJAshKOSMQIzYn7IPyEAnPYxhGse0x7Tr0qC_as6t9StU/s1920/Yes_Trio_1920x1280_Web.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1920" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnH3BRUTBF9kB9eh665z97ZdxAUNhK_1PbogphaZqDsJk1NRjY_p4rZZ9yrtlJWJNJtDjy9Sn73lYMRih2YEkRAyhca1JS0mpmZJYUDaDn_ns-TY76VH_rAp5Cpkwylt6o6ItuNIparLnI4VbJAshKOSMQIzYn7IPyEAnPYxhGse0x7Tr0qC_as6t9StU/w259-h172/Yes_Trio_1920x1280_Web.jpg" width="259" /></a></div><b>Yes! Trio</b> –– <b>Ali Jackson</b> (drums), <b>Omer Avital</b> (bass), and <b>Aaron Goldberg</b> (drums) –– has been a working band for nearly two decades. Yet, each member is so busy with his own group or as sidemen that they rarely get together. When they do, creative sparks fly! Their debut album, released as "<b><i>Yes</i></b>" under all three names on Sunnyside Records in 2012, lays out their modus operandi. The songs are often blues-based, usually quite melodic as well as rhythmical, and their repertoire blends originals and standards. The sound quality on the recordings is such that no one instrument is mixed above any other and the listener feels as if he or she is the middle of the band.<div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMmjjkoWHA8Df4HAsHPOx_4X630kgeXPhvfW__YyYy2yqAysrJ1eOMKShlEoEX0SrULWBqIa9NB6gm9fQzbb_bIYXl9ebxpsVpjHzfEA0x8iL6iEO80BCB3I90lZPzFc0dp0JVINTpaojAUCQRqm37nnjh8HeweNcHgNoJqa_bYr2tO1gd1sas5vPzn0c/s700/a1754000261_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMmjjkoWHA8Df4HAsHPOx_4X630kgeXPhvfW__YyYy2yqAysrJ1eOMKShlEoEX0SrULWBqIa9NB6gm9fQzbb_bIYXl9ebxpsVpjHzfEA0x8iL6iEO80BCB3I90lZPzFc0dp0JVINTpaojAUCQRqm37nnjh8HeweNcHgNoJqa_bYr2tO1gd1sas5vPzn0c/w243-h243/a1754000261_16.jpg" width="243" /></a></div><div>In 2019, the ensemble, now known as Yes! Trio, move to the French Jazz & People label to release "<b><i>Groove du Jour</i></b>", a delightful collection that often made one feel like dancing. Just in time for the change of seasons, here's the band's third album "<b><i>Spring Sings</i></b>" (Jazz & People) –– if at first and second, the formula works really well, why change it? Drummer Jackson composed six of the 10 songs on the program while bassist Avital added two plus plus there are two engaging takes on two recognizable standards. "<b><i>The Best is Yet to Come</i></b>" (from Carolyn Leigh and Cy Coleman) swings with glee propelled by the thumping bass and dancing drums. Goldberg's solo is as irrepressible as Jackson's "groove". Irving Berlin's "<b><i>How Deep is the Ocean</i></b>" has a Caribbean "<b><i>St. Thomas</i></b>" feel in the playful drumming. Goldberg and Avital engage in a pleasing give-and-take before the the drummer heads off on a 4/4 rhythm with the bass. The bass solo is so deliciously melodic using the melody to jump into various adventures. There's also an engaging "marching band" solo from the drummer before the song comes to its eventul conclusion.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhurKbY9JF7ZaM0rJMrpFbdZWxAEZoYu8ozixde2NY_WFHpMTD7qSKW-SorIdRrHxLEMehTNZUvveheHamZVfGTQ07VECVSl9bxKrtgyEfqDxXwXskY0HR9Ud8dOjfM8Hclj_AbBUaTY9EEu8xGJIgp_t2-WKqgLHVDl_Dnf-iLPF85laj_nrzwwJEsv00/s936/4188a2b6ecca8c0cc1a4989760e0d8c7.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="562" data-original-width="936" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhurKbY9JF7ZaM0rJMrpFbdZWxAEZoYu8ozixde2NY_WFHpMTD7qSKW-SorIdRrHxLEMehTNZUvveheHamZVfGTQ07VECVSl9bxKrtgyEfqDxXwXskY0HR9Ud8dOjfM8Hclj_AbBUaTY9EEu8xGJIgp_t2-WKqgLHVDl_Dnf-iLPF85laj_nrzwwJEsv00/w260-h156/4188a2b6ecca8c0cc1a4989760e0d8c7.png" width="260" /></a></div>The title track (composed by Jackson) opens the album. Quietly, the piece moves forward on strummed bass chords and martial drums while the pianist plays the sweet melody. Goldberg then joins with Avital's bowed bass to present a second melody; the powerful bass solo alludes to Igor Stravinky's "<b><i>The Rite of Spring</i></b>". Listen below to Avital's "<b><i>Sheikh Ali</i></b>" (a play on words celebrating his rhythm section partner) to hear how well this Trio support and respond, how their conversation is so musical. The drummer returns the compliment on his "<b><i>Omeration</i></b>" –– all three play the theme before the pianist dances away on a lively solo. Of course, Avital gets the spotlight as well. He is so articulate in the bass's higher register not unlike a cellist. Then, the group "trades 4s" so that Jasckson gets to "play" as well. The program closes with Jackson's "<b><i>Fivin</i></b>" with its generous New Orleans rhythms (such funky tambourine), dancing melody lines, and, for a special treat for close listeners, the pianist's nod to John Coltrane's "A Love Supreme" 40 second before the song ends.<br /><div><br /></div><div>I am mightily tempted to play <b>Yes! Trio</b>'s three albums back-to-back; after all, one can truly not get enough of this band's splendid interplay, charming sense of playfulness, and its embrace of melody and rhythm. <b>Ali Jackson, Aaron Goldberg</b>, and <b>Omer Avital </b>are good friends, great musicians, and the music they make can charm a listener in so many ways. Put on this album and listen deeply –– I dare you to sit still and not crack a smile. </div><div><br /></div><div>To find out more and to purchase the album, go to <b><a href="https://jazzandpeople.bandcamp.com/album/yes-trio-spring-sings">https://jazzandpeople.bandcamp.com/album/yes-trio-spring-sings</a></b>. </div><div><br /></div>Take a listen to "<b><i>Sheikh Ali"</i></b>:<div><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2925695331/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2684518388/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://jazzandpeople.bandcamp.com/album/yes-trio-spring-sings">Yes! Trio "Spring Sings" by Ali Jackson/Aaron Goldberg/Omer Avital</a></iframe><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic6haZZxDNityUS3ub3NH1oJxl0g6JT99rMSCPwn4N1LRoAIgs75qcnS_87K_smS3PbkTKuI-moXxrmtHVPKuRj5gjTWCydYP_GlCFH564bvARFdbXb5i31pvg8glU-ZwdyhWLRNiA-ZskyA6xbyH986Xq0cq962WwgH-hKjXV6JVU6mT169S6OJgiYOs/s768/0034714565_28.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="432" data-original-width="768" height="147" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic6haZZxDNityUS3ub3NH1oJxl0g6JT99rMSCPwn4N1LRoAIgs75qcnS_87K_smS3PbkTKuI-moXxrmtHVPKuRj5gjTWCydYP_GlCFH564bvARFdbXb5i31pvg8glU-ZwdyhWLRNiA-ZskyA6xbyH986Xq0cq962WwgH-hKjXV6JVU6mT169S6OJgiYOs/w261-h147/0034714565_28.jpg" width="261" /></a></div><div>The trio of <b>Rodrigo Recabarren</b> (drums), <b>Pablo Menares</b> (bass), and <b>Yago Yazquez </b>(piano) consists of two natives of Chile and one from Galicia, Spain. The music on their second album "<b><i>Familia</i></b>" (Greenleaf Music–– the trio's 2017 album "<b><i>Desde la Lluvia</i></b>" was recorded and initially released in Chile)</div><div>reflects not only the musicians' roots but also their immersion into Black American music. The nine tracks, all originals, often uses rhythms that "dance" rather than "swing" with melodies that suggest folk tunes. The music is conversational and, on occasion, fiery but articulate and emotionally rich.</div><br /><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmBKdsWyXb6dtTJ2XjjD3JbNqDQHXwFp_13hqhilE8HOGOr0IqkymizrYmikQev9LXyrJcX5NRo4ep-OFKx9hOJ9j0qP065eazYoy6o6o3c9yPnRjDjHyUefM9szCPfxL3Tkpzgp2DTOxRptlZzHVf9KMrmEoZL0fkU6gNWgObnR9-4S54BrM8-DyyyNM/s700/a0600956824_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmBKdsWyXb6dtTJ2XjjD3JbNqDQHXwFp_13hqhilE8HOGOr0IqkymizrYmikQev9LXyrJcX5NRo4ep-OFKx9hOJ9j0qP065eazYoy6o6o3c9yPnRjDjHyUefM9szCPfxL3Tkpzgp2DTOxRptlZzHVf9KMrmEoZL0fkU6gNWgObnR9-4S54BrM8-DyyyNM/w249-h249/a0600956824_16.jpg" width="249" /></a></div>The program opens with "<b><i>Santiago</i></b>"; composed by the drummer, the music salutes his (and Menares's hometown) in melody and especially in rhythm. Listen below to how Vazquez caresses the melody supported by the warm bass sounds and the composer's martial drums (not unlike Brazilian "parade" drumming). With the rhythm section churning below, the piano solo is richly melodic. Vazguez's lovely "<b><i>Terra"</i></b> follows. The interaction between piano and bass is often stunning. Menares has a melodic streak a mile wide –– it shows in his works with vocalists Claudia Acuna and Camila Meza as well as with saxophonist Melissa Aldana. The bassist contributes "<b><i>Viaje</i></b>"; the opening melody suggests Milton Nascimento's "<b><i>Ponta de Areia</i></b>" plus there's a nod to that song's melody early in the piano solo. Recabarren's haunting ballad "<b><i>Lazo</i></b>" finds him on brushes at the onset as Vazquez explores the melody. The drummer switches to sticks during the opening piano solo and back to brushes for the final verse. <br /><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC4BAADBqb02vGOE1va3h9LaOit_CSsmgSP-d_EYBtunlXea_Ftb9K-QXTTcRL7xRtC2hE2Gw0UlvaW6hJPBhOd0OCDggwcVVaqazi2YUFdqsOaiaXF_1d-UPphVKiEZhtNmGyn4INpZMYIBhu-Zo8aUSrAvyY28ioo0p9gaYWNhLxf7VnetQWPpeNyr4/s1024/unnamed-76-1024x683.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="683" data-original-width="1024" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC4BAADBqb02vGOE1va3h9LaOit_CSsmgSP-d_EYBtunlXea_Ftb9K-QXTTcRL7xRtC2hE2Gw0UlvaW6hJPBhOd0OCDggwcVVaqazi2YUFdqsOaiaXF_1d-UPphVKiEZhtNmGyn4INpZMYIBhu-Zo8aUSrAvyY28ioo0p9gaYWNhLxf7VnetQWPpeNyr4/w264-h176/unnamed-76-1024x683.jpg" width="264" /></a></div>Vazquez's "<b><i>Anninovo</i></b>" moves seductively atop the rippling bass lines and the dancing drums. The piano solo not only dances but also rings with short melodic phrases. Menares solos as well; he, too, is a wealth of melody but also reflects the rhythmic elements of the pianist's original melody. The pianist's "<b><i>Minho</i></b>" is a ballad with a touch of Cole Porter in the melody and chords. His solo reflects a feeling of melancholy as well as a nod to Duke Ellington's "<b><i>(In My) Solitude</i></b>". <div><br /></div><div>"<b><i>Familia</i></b>" closes with the bassist's "<b><i>Después De Todo</i></b>". The slower tempo allows for the listener to appreciate the handsome melody. The piano solo ripples forward, a blend of long single-note runs and short chordal inserts. The music slows down with 95 seconds remaining for a coda that blends blues, longing, and a touch of sadness. Sweet yet also haunting.<br /><div><br /></div><div><b>Rodrigo Recabarren, Pablo Menares</b>, and <b>Yago Vazquez </b>have taken their myriad influences and experiences creating a program that not only reminds us how international Black American music is but also how that music benefits from the addition of elements from other cultures. Isn't that how the music first came to be, a fusion of African, European, and South American elements. The trio certainly sounds like a "<b><i>Familia</i></b>" and their sophomore album is quite the positive listening experience.. </div><div><br /></div><div>For more information, go to <b><a href="https://greenleafmusic.com/out-now-familia-by-rodrigo-recabarren-pablo-menares-yago-vazquez/">https://greenleafmusic.com/out-now-familia-by-rodrigo-recabarren-pablo-menares-yago-vazquez/</a></b>. To hear more and to purchase the album, go to <b><a href="https://recabarrenmenaresvazquez.bandcamp.com/album/familia">https://recabarrenmenaresvazquez.bandcamp.com/album/familia</a></b> (where you will also see a link to their debut release). </div><div><br /></div><div>Hear the opening track "<b><i>Santiago</i></b>":</div><div><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=468743850/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2271771396/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://recabarrenmenaresvazquez.com/album/familia">Familia by Recabarren Menares Vazquez</a></iframe></div></div>Richard B. Kaminshttp://www.blogger.com/profile/16253213687754435676noreply@blogger.com0tag:blogger.com,1999:blog-7153369434610919128.post-79624831011151690972024-02-19T16:25:00.000-05:002024-02-19T16:25:04.724-05:00Large Ensembles 2024 (Pt 1)<p>There are a slew of new Big Band albums coming in the next few months, a prospect that thrills me greatly –– here are two of the bests. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj_bDGR4OqAuWa0QfLWGE3ZXA5vkTg-i9jZrKM8vmjG9iBMT8hNJSOs2cofWbWZHHSBslFvkZEItWUr9DKkNDLSMDgkxm-6gZRytY8ePWQQ4tVLAWPOps7yi-rFkwDykUkdWWpyFfokpvjBg5rNUuZu9BearYkE7sOkPllCQf_zHmD5gqxQObcYhRiBII/s1500/TheEarshiftOrchestra_LiveRecording_BW_Credit_cassandraHannagan-3.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1500" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj_bDGR4OqAuWa0QfLWGE3ZXA5vkTg-i9jZrKM8vmjG9iBMT8hNJSOs2cofWbWZHHSBslFvkZEItWUr9DKkNDLSMDgkxm-6gZRytY8ePWQQ4tVLAWPOps7yi-rFkwDykUkdWWpyFfokpvjBg5rNUuZu9BearYkE7sOkPllCQf_zHmD5gqxQObcYhRiBII/w291-h194/TheEarshiftOrchestra_LiveRecording_BW_Credit_cassandraHannagan-3.jpg" width="291" /></a></div>Saxophonist, composer, and arranger <b>Jeremy Rose,</b> a native of Sydney, Australia, is creating quite a sound down under. He leads or co-leads numerous groups but first came to critical notice as a member of The Vampires, a quartet he started in 2005 and that has released seven albums to date. Rose also leads a Quartet, a cooperative trio, Vazesh, that plays Persian-influenced music, another cooperative, Visions of Nar, that has Indian influences, Project Infinity, a fusion-music quartet, The Compass Quartet (four saxophones), has been a member of The Strides, a Reggae band, plus has composed for string quartets and chamber ensembles. Many of the recordings are released on the saxophonist's Earshift Music label. <div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvb4BfpsmwtoTnvbLcLVk8XJP5FaPr1vn_wpjDq-83SZJkiP9gtTSA8fZG8ZZeHsGuNgoBbmUG_d_1ZOnqHXf0Ty-3I-wu2C3TlJbG4BQPfTDbSa34k2FsbcuMgweITTais5EoJdlHaawxb_8NPyZOZjAJGInjxqddgY3jaMs3NSzpb27Vt-ESQWjLORI/s700/a4080628478_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvb4BfpsmwtoTnvbLcLVk8XJP5FaPr1vn_wpjDq-83SZJkiP9gtTSA8fZG8ZZeHsGuNgoBbmUG_d_1ZOnqHXf0Ty-3I-wu2C3TlJbG4BQPfTDbSa34k2FsbcuMgweITTais5EoJdlHaawxb_8NPyZOZjAJGInjxqddgY3jaMs3NSzpb27Vt-ESQWjLORI/w256-h256/a4080628478_16.jpg" width="256" /></a></div><div>In 2016, Rose formed the 17-member <b>Earshift Orchestra</b>. Its debut release, 2020's "<b><i>Iron in the Blood</i></b>", was based on Robert Hughes' "<b><i>The Fatal Shore</i></b>", a book that explored Australia's colonial history. The Orchestra was pared down to eight members for 2022's "<b><i>Disruption! The Voice of Drums</i></b>", a splendid project that posited drums as a force for change and healing. Now, the composer turns his attention to "misinformation", "alternate facts", and the proliferation of "<a href="https://www.sas.upenn.edu/~cavitch/pdf-library/Davies_Truth_and_Consequence.pdf" target="_blank">discordant truths</a>", a sad fact about the world in the 21st Century. "<b><i>Discordia</i></b>" finds the EO back to 17-members plus the leader (soprano sax, bass clarinet) working nine Rose originals. Pushing and prodding the ensemble is the fine young Korean-Australian drummer <b>Chloe Kim</b>. In fact, the first sounds one hears in the program's opening minute is Ms. Kim's powerful rhythm setting the pace for "<b><i>Vera Discordia (Part 1)</i></b>"–– Watch and listen below to the thundering drums blending with the languid brass and reeds as they all combine to raise the temperature. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6BlXwQk_X2HaKmuVshDCBDEktxhjxlsr73vYxAqs-I0l4Zfr2dHEZCZ_rpGnU1tqgXUiLzANdlzg02z8q9ScvEEvurg64i-4Ae5_EMtqIMtc7jEmJkHj6TzOlRt1AQQPRH3SrkTSSIzrrrzlgcGhAvGVTDPsyCq6IqcdVtJF2kNA7G4wuS-AH5RdJ8m8/s1500/TheEarshiftOrchestra_LiveRecording_BW_Credit_cassandraHannagan-111.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1500" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6BlXwQk_X2HaKmuVshDCBDEktxhjxlsr73vYxAqs-I0l4Zfr2dHEZCZ_rpGnU1tqgXUiLzANdlzg02z8q9ScvEEvurg64i-4Ae5_EMtqIMtc7jEmJkHj6TzOlRt1AQQPRH3SrkTSSIzrrrzlgcGhAvGVTDPsyCq6IqcdVtJF2kNA7G4wuS-AH5RdJ8m8/w260-h173/TheEarshiftOrchestra_LiveRecording_BW_Credit_cassandraHannagan-111.jpg" width="260" /></a></div>As one settles in to the album, the composer's intentions become clearer. Even as certain moments promise tranquility (listen to the piano solo on "<b><i>Vera Discordia Pt. 2)</i></b>"), the reeds and brass bark back or during the trumpet solo that follows, guitarist <b>Hilary Geddes</b> is chattering underneath. The interactions are clear throughout even on the "freer" moments of "<b><i>Floating Just Beyond Reach</i></b>" or on the "pop music" sounds of "<b><i>Bring Back The Nineties</i></b>". The slow ballad "<b><i>Unverified Persona</i></b>" features a powerful bass clarinet solo from Rose and his soprano spotlight on "<b><i>Just For Laughs</i></b>" displays the influence of Wayne Shorter. The program closes with the very funky "<b><i>Echo Chamber</i></b>", a piece that shines the spotlight on the rhythm section with a delightful turn from guitarist Geddes, the electric piano work of <b>Novak Manojlovic</b>, the thumping electric bass of <b>Jacques Emery</b>, and Ms. Kim's "dancing" drums. There's also a fine give-and-take from tenor saxophone and trombone plus a stunning buildup that leads to the final fade. <br /><div><br /></div><div>It's a shame that the liner notes don't credit the reed and brass soloists but other than that, "<b><i>Discordia</i></b>" is a commanding work. This is music that feels "alive", even in the studio, with an original approach to the "traditional" Big Band sound. Listen closely; you might hear tinges of the Thad Jones-Mel Lewis Orchestra and the work of Bob Brookmeyer and Jim McNeely. No fake news here –– <b>Jeremy Rose & the Earshift Orchestra </b>is a force to be reckoned with. </div><div><br /></div><div>For more information, go to <b><a href="http://www.jeremyrose.com.au/">www.jeremyrose.com.au/</a></b>. To purchase this album anc check out more of Mr. Rose's fine discography, go to <b><a href="https://jeremyrose.bandcamp.com/album/discordia">https://jeremyrose.bandcamp.com/album/discordia</a></b>. Release date is Friday, March 1, 2024. </div><div><br /></div><div><span style="font-family: inherit;">Personnel:</span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="background-color: white; font-family: inherit;">TESSIE OVERMEYER, alto sax, HINANO FUJISAKI, alto sax, MICHAEL AVGENICOS, tenor sax, LACHLAN HAMILTON, tenor sax, </span><span style="background-color: white; font-family: inherit;">NICK BOWD, baritone sax</span></div><div><span style="background-color: white; font-family: inherit;"><br /></span></div><div><span style="background-color: white;"><span style="font-family: inherit;">JAMES POWERS, THOMAS AVGENICOS, SIMON FERENCI, ELLEN KIRKWOOD, trumpets</span></span></div><div><span style="background-color: white;"><span style="font-family: inherit;"><br />JAMES MACAULAY, JACOB PARKS, CAILEY MEI SOON, NICK BARNARD, trombones</span></span></div><div><span style="background-color: white;"><span style="font-family: inherit;"><br />HILARY GEDDES, guitar,</span></span></div><div><span style="background-color: white;"><span style="font-family: inherit;">NOVAK MANOJLOVIC, keyboard, </span></span></div><div><span style="background-color: white;"><span style="font-family: inherit;">JACQUES EMERY, bass, </span></span></div><div><span style="background-color: white;"><span style="font-family: inherit;">CHLOE KIM, drums<br /><br />JEREMY ROSE, conductor, soprano saxophone (track 6) and bass clarinet (track 3 and 8)<br /><br /></span></span></div><div>Watch the Band on "<b><i>Vera Discordia (Pt 1)</i></b>":</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="315" src="https://www.youtube.com/embed/pBMgjtWwkc8" width="379" youtube-src-id="pBMgjtWwkc8"></iframe></div><br /><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG0wcX0vJ_rzT5axB0s34yOIcaEesSHozCs6L4b00mXV4iS_E-mJL98CPtNg21SFEl9usHM2jc7gtqRQGcQfmb3QkOk31iht5V5zMbE27R9ji399Ls1inRTSXFrDb-IfzAyet2cI80uCYHzgXVP8bQSQ_mW6x0Dz7LkwWkBi0GdqHRGN48LB6ViL7OYUE/s936/f30b7f14c4c795cd0e270de337b96292.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="562" data-original-width="936" height="162" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG0wcX0vJ_rzT5axB0s34yOIcaEesSHozCs6L4b00mXV4iS_E-mJL98CPtNg21SFEl9usHM2jc7gtqRQGcQfmb3QkOk31iht5V5zMbE27R9ji399Ls1inRTSXFrDb-IfzAyet2cI80uCYHzgXVP8bQSQ_mW6x0Dz7LkwWkBi0GdqHRGN48LB6ViL7OYUE/w270-h162/f30b7f14c4c795cd0e270de337b96292.png" width="270" /></a></div><div>I first heard pianist, composer, arranger, and bandleader <b>Neal Kirkwood</b> in the 1990s on a series of releases (2 quartet, one octet) for the now-defunct Timescraper Records. Since moving to New York City from California in the early 1990s, he's worked with drummer Bobby Previte, bassist Lindsay Horner, the late saxophonist Pony Poindexter (1926-1988), and also accompanying vocalists Chris Connor, Abbey Lincoln, and Bobby McFerrin. Besides his multiple teaching gigs, Mr. Kirkwood also leads a number of various sized ensembles but currently his focus is on his 17-member <b>Big Band</b>.</div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLWgEb-RWiHEkn2PwnjPXKZcGYw6e824HAeWfKgXg5YzLxmZT4kffmQX0UrwqqJdCn0kzG4xYanZQgcs22gFImkILU-uaq1h6VnkfVHqRwjQPY5SuGrhjy_T6T2IIxoUAhmk80DdX8TPdQ3zRC8h3jUK6ThwTsEfk2JV83sIK9C6gjE8wUDsua4UpIXrc/s500/51zKzbMcslL._UXNaN_FMjpg_QL85_.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLWgEb-RWiHEkn2PwnjPXKZcGYw6e824HAeWfKgXg5YzLxmZT4kffmQX0UrwqqJdCn0kzG4xYanZQgcs22gFImkILU-uaq1h6VnkfVHqRwjQPY5SuGrhjy_T6T2IIxoUAhmk80DdX8TPdQ3zRC8h3jUK6ThwTsEfk2JV83sIK9C6gjE8wUDsua4UpIXrc/w275-h275/51zKzbMcslL._UXNaN_FMjpg_QL85_.jpg" width="275" /></a></div>The NKBB's debut recording is dubbed "<b><i>Night City</i></b>" (Brooklyn Jazz Underground Records) –– if you look at the personnel list below, you should recognize many of the names. While the 12-song program does not have an over-arching theme, the music may remind some of walking through the "club district" of a big city and hearing all types of music spilling out into the street. There's the playful nod to Fletcher Henderson and early Duke Ellington on "<b><i>Paddy Harmon's Dreamland Ballroom</i></b>", the handsome danceable melody dropping into a ballad for evocative solos from <b>David Smith</b> (trumpet) and <b>Dan Block</b> (clarinet). Bassist Jennifer Vincent's walking bass line leads the band into "<b><i>Jim Knew</i></b>"; listen below to all the textures the arranger supplies to the ensemble, from <b>Diana Herold</b>'s vibraphone fills to the delightful drum work from <b>Rob Garcia</b> (a stalwart throughout) to the deep trombone lines to the frolicking solos from <b>Andy Gravish</b> (trumpet) and <b>Bruce Williamson</b> (alto saxophone). <br /><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiprjdNm89EXcBq-2LC9lRWoZNenNZFdnEb-NoozHAgJK5HrPJQOTq4HAi0eF0CkjDeI8av5gaPEjMQA-_GhGhcVbCpwzhRUgHP7p-UQUANvKhi53hcSnpEapyfyNpXAQCoOUBWP2ycadbaGiUyUUE4V0P41yIAsHI1lZ3rD_dNNz36NnVEIDMQzj3UXqs/s700/0021993956_25.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="636" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiprjdNm89EXcBq-2LC9lRWoZNenNZFdnEb-NoozHAgJK5HrPJQOTq4HAi0eF0CkjDeI8av5gaPEjMQA-_GhGhcVbCpwzhRUgHP7p-UQUANvKhi53hcSnpEapyfyNpXAQCoOUBWP2ycadbaGiUyUUE4V0P41yIAsHI1lZ3rD_dNNz36NnVEIDMQzj3UXqs/w230-h253/0021993956_25.jpg" width="230" /></a></div>The title of the album comes from the handsome cover painting, the work of California-based artist <b>Maurice Lapp</b> (1925-2014). The title track features trombonists <b>Ed Neumeister</b> and <b>James Rogers</b> (bass 'bone) as they travel through the urban night. In some ways, the music is reminiscent of the "Circe" chapter of James Joyce's "<b><i>Ulysses</i></b>" as the characters Stephen Daedalus and Leopold Bloom wander through "Nighttown". The music is certainly not as thick as Joyce's language and the characters here are friends but the piece is quite evocative. Trombonist <b>Art Baron</b> is the featured soloist on the following track, "<b><i>Alaskan Serenade</i></b>", a work that the leader composed for Duke Ellington Orchestra trombonist Britt Woodman. The sounds are redolent of Mr. Ellington's music from the 1930s and 40s. Ms. Herold overdubs marimba and vibraphone to introduce "<b><i>Monolithic Attitude</i></b>", the slowly unwinding melody giving way to a fast-paced interaction between the brass and reeds with the rhythm section. Several melodies are introduced along the way before soprano saxophonist <b>Matt Hong</b> is off to the races with a delightful solo. The different background voices adds into the background are great fun as well. Soon, various players to weave their solo lines around each other before the leader steps out for a raucous solo.<br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY0-5GPfoqybI2Cx4EQEbLVbUhSFt_29VyukWrn_AmDqGlQRczkv3gZ_5cSdFZaOycfBMOmOubMWNyGmbXEwL9_k_kFBwu13s1pt6mdUUz-uxUXAqO6kvIG7PArhGJ_6O7R2aoeWlYDHtdKzU36eBuIJQJ1xsldZTGdozrTLdj5c6DM95vBLX4egr9DEQ/s1280/maxresdefault.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="137" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY0-5GPfoqybI2Cx4EQEbLVbUhSFt_29VyukWrn_AmDqGlQRczkv3gZ_5cSdFZaOycfBMOmOubMWNyGmbXEwL9_k_kFBwu13s1pt6mdUUz-uxUXAqO6kvIG7PArhGJ_6O7R2aoeWlYDHtdKzU36eBuIJQJ1xsldZTGdozrTLdj5c6DM95vBLX4egr9DEQ/w244-h137/maxresdefault.jpg" width="244" /></a></div>The program closes with "<b><i>The Light of Birds</i></b>", perhaps a tribute to the many species that sing through the year in Central Park (the song title is the last line of the poem "<i>Birds, at Random</i>" by <b>Jacques Prévert</b> –– read it <b><a href="https://whatnotpoetry.com/2021/02/24/lawrence-ferlinghetti-jacques-prevert/" target="_blank">here</a></b>). The flute playing of Matt Hong and Adam Kolker stands out as does the "bird-song" arrangement of the song's opening and closing moments plus there is a fine piano solo from Mr. Kirkwood. <br /><div><br /></div><div>There is an abundance for those listeners who choose to dive into the sounds of "<b><i>Night City</i></b>". Composer and arranger <b>Neal Kirkwood</b> has been working on these songs and arrangements for many years but the recorded results sound fresh and alive. The seductive arrangements, the intelligent melodies, the excellent solo work, all add up to a wonder-filled listening experience. Dig in!</div><p>For more information, go to <b><a href="http://www.bjurecords.com/neal-kirkwood">www.bjurecords.com/neal-kirkwood</a></b>. You can purchase the album there! Release date is 2/23/24.</p><div><div><br /></div><div>Personnel:</div><div><br /></div><div><div style="background-color: white; border-width: 0px; box-sizing: inherit;"><span style="font-family: inherit;">Saxes and Woodwinds:</span></div><div style="background-color: white; border-width: 0px; box-sizing: inherit;"><span style="font-family: inherit;">Matt Hong</span></div><div style="background-color: white; border-width: 0px; box-sizing: inherit;"><span style="font-family: inherit;">Bruce Williamson</span></div><div style="background-color: white; border-width: 0px; box-sizing: inherit;"><span style="font-family: inherit;">Dan Block</span></div><div style="background-color: white; border-width: 0px; box-sizing: inherit;"><span style="font-family: inherit;">Adam Kolker</span></div><div style="background-color: white; border-width: 0px; box-sizing: inherit;"><span style="font-family: inherit;">Patience Higgins</span></div><div style="background-color: white; border-width: 0px; box-sizing: inherit;"><span style="font-family: inherit;"><br style="border-width: 0px; box-sizing: inherit;" /></span></div><div style="background-color: white; border-width: 0px; box-sizing: inherit;"><span style="font-family: inherit;">Trumpets:</span></div><div style="background-color: white; border-width: 0px; box-sizing: inherit;"><span style="font-family: inherit;">Andy Gravish</span></div><div style="background-color: white; border-width: 0px; box-sizing: inherit;"><span style="font-family: inherit;">Ron Horton</span></div><div style="background-color: white; border-width: 0px; box-sizing: inherit;"><span style="font-family: inherit;">David Smith</span></div><div style="background-color: white; border-width: 0px; box-sizing: inherit;"><span style="font-family: inherit;">James Zollar</span></div><div style="background-color: white; border-width: 0px; box-sizing: inherit;"><span style="font-family: inherit;"><br style="border-width: 0px; box-sizing: inherit;" /></span></div><div style="background-color: white; border-width: 0px; box-sizing: inherit;"><span style="font-family: inherit;">Trombones:</span></div><div style="background-color: white; border-width: 0px; box-sizing: inherit;"><span style="font-family: inherit;">Art Baron</span></div><div style="background-color: white; border-width: 0px; box-sizing: inherit;"><span style="font-family: inherit;">Curtis Fowlkes</span></div><div style="background-color: white; border-width: 0px; box-sizing: inherit;"><span style="font-family: inherit;">Ed Neumeister</span></div><div style="background-color: white; border-width: 0px; box-sizing: inherit;"><span style="font-family: inherit;">James Rogers</span></div><div style="background-color: white; border-width: 0px; box-sizing: inherit;"><span style="font-family: inherit;"><br style="border-width: 0px; box-sizing: inherit;" /></span></div><div style="background-color: white; border-width: 0px; box-sizing: inherit;"><span style="font-family: inherit;">Rhythm Section:</span></div><div style="background-color: white; border-width: 0px; box-sizing: inherit;"><span style="font-family: inherit;">Neal Kirkwood, piano</span></div><div style="background-color: white; border-width: 0px; box-sizing: inherit;"><span style="font-family: inherit;">Rob Garcia, drums</span></div><div style="background-color: white; border-width: 0px; box-sizing: inherit;"><span style="font-family: inherit;">Jennifer Vincent, bass</span></div><div style="background-color: white; border-width: 0px; box-sizing: inherit;"><span style="font-family: inherit;">Diana Herold, vibraphone</span></div></div><div style="background-color: white; border-width: 0px; box-sizing: inherit;"><span style="font-family: inherit;"><br /></span></div><div style="background-color: white; border-width: 0px; box-sizing: inherit;">Hear the NK Big Band play "<b><i>Jim Knew</i></b>":</div><div style="background-color: white; border-width: 0px; box-sizing: inherit;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="331" src="https://www.youtube.com/embed/9MsQKiUq9K4" width="398" youtube-src-id="9MsQKiUq9K4"></iframe></div><br /><div style="background-color: white; border-width: 0px; box-sizing: inherit;"><br /></div><div><br /></div></div>Richard B. Kaminshttp://www.blogger.com/profile/16253213687754435676noreply@blogger.com0tag:blogger.com,1999:blog-7153369434610919128.post-80286322334752206322024-02-02T17:45:00.000-05:002024-02-02T17:45:31.141-05:00Piano Stories<p> Here are two very different albums from pianists yet they share the need to tell stories through music. Most if not all of the stories are personal but, then again, for some of the us, the finest music is the mlost personal.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXogo7Y6O1Qhzo3frXdJ-D4Fs42IFlQvSX00Z3TPXvvg-EC4_Vr50F5gD5jZLX5H4jC728fcnJ-KNqXMBKL-_7TxV-1SoYLCK5d_vlw1Aw2ShJpQNcrrOJzYmvTXwvNgifULNFJkiQHbvyqQ4idP50Ix7ZhTI8jBCBli9EHz6-4r2SZ2OTFyXhqXDP0gg/s700/a0772657972_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXogo7Y6O1Qhzo3frXdJ-D4Fs42IFlQvSX00Z3TPXvvg-EC4_Vr50F5gD5jZLX5H4jC728fcnJ-KNqXMBKL-_7TxV-1SoYLCK5d_vlw1Aw2ShJpQNcrrOJzYmvTXwvNgifULNFJkiQHbvyqQ4idP50Ix7ZhTI8jBCBli9EHz6-4r2SZ2OTFyXhqXDP0gg/w264-h264/a0772657972_16.jpg" width="264" /></a></div><b>Elan Mehler</b> may be best-known for his groundbreaking work with Newvelle Records as the creative head and co-producer. Mehler is also a fine pianist and has recorded 10 albums as a leader or co-leader, some released on Newvelle, others on Challenge Records, and Brownswood Records. His newest release, "<b><i>Trouble in Mind</i></b>" (Sunnyside Records), is a solo recording made a month before the COVID-19 panic closed down the world in March 2020. There's quite a story behind the album's existence (which you can read on the Bandcamp page linked below) but you should be able to tell from the first three tracks that the music was created in New Orleans. The rhythms that either permeate or are suggested on "<b><i>In A Sentimental Way</i></b>", "<b><i>Esplanade Blues</i></b>" (named for the recording studio), and "<b><i>Alice's Wonderland</i></b>" should lead your mind back to the work of Ferdinand "Jelly Roll" Morton or recordings by Dr. John and Allen Toussaint. Listen below to the Duke Ellington song and you can't help but hear in the pianist's left hand the sound of the Crescent City.<br /><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgItcJqfdTerqTOs_J1PQjR7gVjCTjSgPHhQRxLHnqCHLRvW-nIwQ7_cI-6kZImw13UR5EuLKafr0qRZICl1nCjnfR1U48F8Wa3VH8Ds38C9alvlhqy1ymIiESpY_SVryl9XiElEr9dbGLksXuUCVLpQSNUp1eB4GUz2cOiCyeMN71SlI6HVYFVELoCsgk/s1000/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==.webp" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="1000" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgItcJqfdTerqTOs_J1PQjR7gVjCTjSgPHhQRxLHnqCHLRvW-nIwQ7_cI-6kZImw13UR5EuLKafr0qRZICl1nCjnfR1U48F8Wa3VH8Ds38C9alvlhqy1ymIiESpY_SVryl9XiElEr9dbGLksXuUCVLpQSNUp1eB4GUz2cOiCyeMN71SlI6HVYFVELoCsgk/w264-h198/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==.webp" width="264" /></a></div>The 12-song program consists of four originals, three pieces by Duke Ellington, and one each from Richard Jones (the title track), Bill Frisell, Johnny Green & Edward Heyman, Richard Rodgers & Lorenz Hart, and Charles Mingus ("<b><i>Alice's Wonderland</i></b>", first recorded by its composer in 1959). The album has the sound and feel of a light-night/early morning set at a piano bar; the only thing is the audience reaction and clinking of glasses. Much of this music is based in the blues and by design it's a melancholy program. Still there are moments where the joy of music overtakes the more wistful sounds; on the title track, Mehler pushes the "trouble" out. The original "<b><i>Esplanade Blues"</i></b> is a sly dance while another Mehler, "There at the Heart" is suffused with love.<br /><p>"<b><i>Trouble in Mind</i></b>" has graced my CD player for several months and I never tire of sweet rhythms, rich melodies, and fine improvisations that<b> Elan Mehler</b> has created 53-minute program. Sit yourself down, let the music play, and enjoy. </p><p>Here's the album opener, "<b><i>n a Sentimental Mood</i></b>":</p><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2437623900/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=165997080/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://sunnysiderecords.bandcamp.com/album/trouble-in-mind">Trouble In Mind by Elan Mehler</a></iframe><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaDBtGZeEQJvfd8O1CwFynM2zHQk9OsPtVPqkyufuFH_T0OnX7cGHo-4l2yb2Z7YkDcIQ1USQVfKEKzmIrVPls6j4vDr9JIXFH4tabNPyZoDI14l5xjLhMm_i3euuKV9P8cbTs1DKoikrxmrYqepHr-RiyrMMQxmlm1CgobimJoMmNKj-EqaA2X26Uioo/s700/a1108622008_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaDBtGZeEQJvfd8O1CwFynM2zHQk9OsPtVPqkyufuFH_T0OnX7cGHo-4l2yb2Z7YkDcIQ1USQVfKEKzmIrVPls6j4vDr9JIXFH4tabNPyZoDI14l5xjLhMm_i3euuKV9P8cbTs1DKoikrxmrYqepHr-RiyrMMQxmlm1CgobimJoMmNKj-EqaA2X26Uioo/w249-h249/a1108622008_16.jpg" width="249" /></a></div><div>Pianist and composer <b>Lawrence Fields</b> may be best-known for his work with saxophonist Joe Lovano in his Quartet or with Sound Prints, the Wayne Shorter-inspired Quintet co-led by Mr. Lovano and trumpeter Dave Douglas. The St. Louis native has also worked and recorded with trumpeter Christian Scott, drummers Terri Lyne Carrington and Jeff "Tain" Watts, and trumpeter Nicolas Payton (among many others). One listen to Fields' debut album "<b><i>To The Surface</i></b>" (also the debut for the Wesseling, Germany-based Rhythm 'N' Flow Records) and you can hear why he's a great addition to any ensemble. He plays with wit, joy, power, plus he's quite melodic and quite percussive. There are a number of moments when his music brings the sound and feel of the late McCoy Tyner to mind. Listen to the title track below, especially how the excellent rhythm section of drummer <b>Corey Fonville</b> (Nicolas Payton, Butcher Brown) and bassist <b>Yasushi Nakamura </b>(Joe Lovano, Cecile McLorin-Salvant) follow the pianist's every move and mood shift. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuX9t-hiS6WcWX6vAenyjZUw7e2txizxCVKLk257QilOZveaYsGL0cbVhLWdnC51dWlHleaH1R58f8hjwv6wvTzWZ9P4jNrY4Swr-Dw-kljsx_xChDmtnNuwS5Q1-KSFl0x9c9aNuJtkoJQtJNF9nm9y7g7CNAHvA3_7RT_qJMaMSxveOWU8nU2H5r6ZQ/s1000/me-garage-closer.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1000" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuX9t-hiS6WcWX6vAenyjZUw7e2txizxCVKLk257QilOZveaYsGL0cbVhLWdnC51dWlHleaH1R58f8hjwv6wvTzWZ9P4jNrY4Swr-Dw-kljsx_xChDmtnNuwS5Q1-KSFl0x9c9aNuJtkoJQtJNF9nm9y7g7CNAHvA3_7RT_qJMaMSxveOWU8nU2H5r6ZQ/w252-h181/me-garage-closer.jpg" width="252" /></a></div>It can be so much fun to hear a trio explore the ins-and-outs of material. The program opener, "<b><i>Parachute</i></b>" (all but one of the eight tracks are Fields' originals), take its to open up but when it does, the music has such great urgency. The following "<b><i>New Season Blues</i></b>" includes a stunning unaccompanied piano solo in the middle of a rollicking performance. I love the little nod to "<b><i>When You Wish Upon a Star</i></b>" in the opening and closing piano riff. Later in the hour-long program, the trio creates a lovely ballad setting for Jules Styne/ Sammy Cahn classic "<b><i>I Fall In Love Too Easily</i></b>"; Nakamura's sweetly melodic bass solo opens the door to a handsome piano spot that displays Fields' generous melodicism. <br /></div><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-xajSx4jwoBsabQLAfk-WKuOXW1l2SzcpABj65AhuRXxyE01O71psxCoyhFw746Zgv7VCCC8aoEYbNqc115r1oTy3oxh91XSeT3nNmK7jSoSvKyrYj7_CquJd1yaVNSCfd-oEXlY04NvUkLTeSOQvBQF9JVXK5yVVsVNQ5CvhRLlcNsatMuZJSh2vZeo/s2500/Lawrence+Fields+by+SfS_25.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1667" data-original-width="2500" height="164" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-xajSx4jwoBsabQLAfk-WKuOXW1l2SzcpABj65AhuRXxyE01O71psxCoyhFw746Zgv7VCCC8aoEYbNqc115r1oTy3oxh91XSeT3nNmK7jSoSvKyrYj7_CquJd1yaVNSCfd-oEXlY04NvUkLTeSOQvBQF9JVXK5yVVsVNQ5CvhRLlcNsatMuZJSh2vZeo/w247-h164/Lawrence+Fields+by+SfS_25.jpg" width="247" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photo: Sofia Hussein</td></tr></tbody></table>The album closes with the hard-swinging "<b><i>The Lookout</i></b>"––all three musicians shine brightly throughout with creative takes on the rhythm and melody. This is "can't sit still" creative music at its best, the powerful drums and thundering bass clearing a path for the pianist's flying fingers, the blend of muscular chords and rapid-fire single note lines shining brightly. </div><div><br /></div><div>"<b><i>To The Surface</i></b>" shines from the opening note to the closing seconds. <b>Lawrence Fields</b> proves with his musicianship and mature compositions that he is a fresh voice on the music scene. With the assistance of the first-class rhythm section work of <b>Corey Fonville</b> and <b>Yasushi Namamura</b>, this recording should open many eyes and ears. </div><div><br /></div><div>For more information, go to <b><a href="http://www.lawrencefields.com/">www.lawrencefields.com/</a></b>. To hear more and to purchase the album, go to <b><a href="https://lawrencefields.bandcamp.com/album/to-the-surface">https://lawrencefields.bandcamp.com/album/to-the-surface</a></b>.</div><div><br /></div>Here's the title track:<div><div><br /></div></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1154508443/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=4214346678/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://lawrencefields.bandcamp.com/album/to-the-surface">To the Surface by Lawrence Fields</a></iframe>Richard B. Kaminshttp://www.blogger.com/profile/16253213687754435676noreply@blogger.com0tag:blogger.com,1999:blog-7153369434610919128.post-9407825253190754432024-01-26T16:08:00.001-05:002024-01-26T16:08:32.371-05:00Confluence of the Basses<p> Here we have three relatively new releases from three fine bassists and songwriters. This is powerful music that jumps out of the speakers and pulls the listener in.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjozGSQnfvYhS1dFYFmTDV9KQfCS3SVno0TErT2q365x_Rcxoq97WWNWvbeVXwhZ0bkEoxKDenJeqZHp_2TBi-RVU2x8kmHvisdlq3Pc91Qjg0Cu5DHHBra4WdsXO3e94AeoQdCWq7KyGdpMBzYq9x-4D6xJqlB076BV86zZpQFonYNgo591vQuD1mJVsU/s700/a0878219583_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjozGSQnfvYhS1dFYFmTDV9KQfCS3SVno0TErT2q365x_Rcxoq97WWNWvbeVXwhZ0bkEoxKDenJeqZHp_2TBi-RVU2x8kmHvisdlq3Pc91Qjg0Cu5DHHBra4WdsXO3e94AeoQdCWq7KyGdpMBzYq9x-4D6xJqlB076BV86zZpQFonYNgo591vQuD1mJVsU/w242-h242/a0878219583_16.jpg" width="242" /></a></div>"<b><i>Ultraviolet</i></b>" (Contagious Music) is the third album by the quartet of <b>Billy Mohler</b> (bass, compositions), <b>Chris Speed</b> (tenor sax, clarinet),<b> Shane Endsley</b> (trumpet), and <b>Nate Wood</b> (drums). Like the previous two, the music is built upon the hardy interplay of bass and drums while the sax and trumpet often weave melodies around each other. While this ensemble's shape is based on the classic Ornette Coleman lineup on the Atlantic Records he made with Don Cherry, Charlie Haden, and either Billy Higgins or Ed Blackwell, the short opening track "<b>Matador</b>" leads one to believe that the real influence in the music is Dave Holland's 1973 classic ECM recording "<b><i>Conference of the Birds</i></b>" (with Sam Rivers, Anthony Braxton, and Barry Altshul). You can hear it in the interactions on tracks such as "<b><i>The Wait</i></b>" and "<b><i>Aberdeen</i></b>" as well as in the short, free-form, "<b><i>Disorder II</i></b>" and "<b><i>I</i></b>". Only one track exceeds five minutes and that's the closing "<b><i>Reconstruction</i></b>" (7:57) –– after an excellent bass intro, the well-designed melody opens to strong solos from Speed and Endsley. Even though Wood does not solo, his drums are upfront in the mix and you hear how he listens to and prods the soloists.<br /><p></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQNCYUunBbIdOaw8HEI9FtVFT-ed_J5tWYtSA_srJ6kMVrdG0XZMRZS2QAhJ1hGPTlMdyjH43P0NrSFczfnV4Ujxej8xGILmsZIk_fPsiRiQORbFktAsnPMrV3Ir7E3QYbmiorwnTwo_6YmgdxcIIE-idThwSO2FABmFABFGfnMJJv7GLZipOiuczUmBI/s2500/Billy+Mohler+PR+02+JENNY+ROLAPP.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1667" data-original-width="2500" height="140" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQNCYUunBbIdOaw8HEI9FtVFT-ed_J5tWYtSA_srJ6kMVrdG0XZMRZS2QAhJ1hGPTlMdyjH43P0NrSFczfnV4Ujxej8xGILmsZIk_fPsiRiQORbFktAsnPMrV3Ir7E3QYbmiorwnTwo_6YmgdxcIIE-idThwSO2FABmFABFGfnMJJv7GLZipOiuczUmBI/w210-h140/Billy+Mohler+PR+02+JENNY+ROLAPP.jpg" width="210" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photo: Jenny Rolapp</td></tr></tbody></table>"<b><i>Ultraviolet</i></b>" stands out for numerous reasons (compositions, musicianship, great sound quality) but especially because the music sounds so alive. Released in October 2023, it's one of the better releases of that year or any year!<p></p><p>For more information, go to <b><a href="http://www.billymohler.com">www.billymohler.com</a></b>. To hear more of the bassist's fine music and to purchase the albums, go to <b><a href="https://billymohler.bandcamp.com/album/ultraviolet">https://billymohler.bandcamp.com/album/ultraviolet</a></b>.</p><p>Here's the title track:</p><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=638019088/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=4114182670/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://billymohler.bandcamp.com/album/ultraviolet">Ultraviolet by Billy Mohler</a></iframe><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7dtJKwNJU5aS9wnhowwZJCnVWw8ImbQeT2UzLVOAzbOmDAPgENeQR6afaU10Mrzu-cezMlVPAvTXeOOVeJ7iU8V7GQ58r6lgFyH889wzoRz8oy9elxAUDdfTFfqroRMxBuOqGb8RdpdZg-n9ghjrlNfgAGjGrA3qH1PIa6WjA6YsZXZoCP80lh6aJq7E/s700/a3936320602_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7dtJKwNJU5aS9wnhowwZJCnVWw8ImbQeT2UzLVOAzbOmDAPgENeQR6afaU10Mrzu-cezMlVPAvTXeOOVeJ7iU8V7GQ58r6lgFyH889wzoRz8oy9elxAUDdfTFfqroRMxBuOqGb8RdpdZg-n9ghjrlNfgAGjGrA3qH1PIa6WjA6YsZXZoCP80lh6aJq7E/w263-h263/a3936320602_16.jpg" width="263" /></a></div><div>Bassist <b>Ethan Philion</b> released his second album "<b><i>Gnosis</i></b>" (Sunnyside Records) in October of 2023, just 13 months after his powerful debut "<b><i>Meditations on Mingus</i></b>". The earlier album featured a wonderful 10-person ensemble playing the bassist's rearrangements of eight classic Charles Mingus compositions. The new album features three stalwarts of the Chicago Creative Music scene including <b>Greg Ward</b> (alto saxophone), <b>Dana Hall</b> (drums), and <b>Russ Johnson</b> (trumpet). The six-song program features five Philion originals and one Charles Mingus but what a track! The quartet swings, soars, roars, and explores its way through "<b><i>What Love</i></b>", the older bassist's musical contraction of "<b><i>What Is This Thing Called Love</i></b>" and "<b style="font-style: italic;">You Don't Know What Love Is". </b>First recorded on "<b><i>Charles Mingus Presents Mingus</i></b>" in 1960 with trumpeter Ted Curson, multi-reed artist Eric Dolphy, and drummer Danny Richmond, the free-wheeling performance set the tone for a number of jazz artists of the early-to-mid 60s.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1Oc8jaEe0iZ7hz2R6DX-4_oHLdimbvehg04awv4u5ibNRWZ9S0LNVidlYjQ9WzN6Fad64kVSJzcEpRavlEdZlRbWSosDHQAyALvhHEZPPNmUM_F19iR56Ywoxy2K99VibM_yl5n052SyXbIkWX34WCM9aWgzHae-cG_4OUzvG8-cIitHE4VqaXvy8F7o/s903/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==.webp" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="903" data-original-width="600" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1Oc8jaEe0iZ7hz2R6DX-4_oHLdimbvehg04awv4u5ibNRWZ9S0LNVidlYjQ9WzN6Fad64kVSJzcEpRavlEdZlRbWSosDHQAyALvhHEZPPNmUM_F19iR56Ywoxy2K99VibM_yl5n052SyXbIkWX34WCM9aWgzHae-cG_4OUzvG8-cIitHE4VqaXvy8F7o/w162-h243/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==.webp" width="162" /></a></div>If the classic Mingus Quartet is the influence for the shape and sound of Philion's ensemble, his original compositions stand out for how he writes pieces to the strength of his group, how the music music builds on tradition without sounding stuffy or imitative, and how the power in the rhythm section (Hall and Philion are a muscular duo!) gives the front line music to work with. There are "kick butt" pieces such as the rollicking opener "<b><i>The Boot</i></b>" plus "<b><i>Sheep Shank</i></b>" and the exploratory "<b><i>Comment Section</i></b>". For a much different feel, listen below to "<b><i>Nostalgia</i></b>". Philion's bass opening sounds like rain falling on the windows which leads to Johnson's somber melody line. Ward warbles in the background while Hall adds percussion sounds. When the trumpet and sax complete the opening theme in unison, the music takes on the feel of its title. The pure tone of the alto sax blends with high, finely-etched trumpet before Ward takes off on an excellent wide-ranging solo. The rhythm section picks on his energy and really pushes the music higher.<div><br /></div><div>The title track closes the program. Starting slowly, the music agains gains power as as it struts fowards with the rhythm section feediong off the interwoven lines created by the sax and trumpet. This is the kind of music that sounds so alive and you want to be in the room as it is being created. "<b><i>Gnosis</i></b>" should warm the hearts of listeners who love adventurous music, excellent soloists, and musicians who really listen and create! With his first two albums, Ethan Philion has shown he is a musical force to be reckoned with.<br /><div><br /></div><div>To learn more and to purchase the album, go to <b><a href="https://sunnysiderecords.bandcamp.com/album/gnosis">https://sunnysiderecords.bandcamp.com/album/gnosis</a></b>. </div><div><br /></div><div>Here's "<b><i>Nostalgia</i></b>":</div><div><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=638019088/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=4114182670/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://billymohler.bandcamp.com/album/ultraviolet">Ultraviolet by Billy Mohler</a></iframe><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbxQgMSLPiApeQpH2pEl6LVieMskcQu8-NQTGjxUUVMa1JG4hcsLt1dJclsC5kMLO6tFBxyDFZ60QwJ8U6tRCgM4RrQ4e6Vr6RATSUw30dByPRZqBjmE0aJrQohCzDN5DyZUfh-IBegtSPay1kpb8Da6iBq2RfinNrhe95P3mhSbTo-wtDPMAobh9iqIs/s700/a2622878611_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbxQgMSLPiApeQpH2pEl6LVieMskcQu8-NQTGjxUUVMa1JG4hcsLt1dJclsC5kMLO6tFBxyDFZ60QwJ8U6tRCgM4RrQ4e6Vr6RATSUw30dByPRZqBjmE0aJrQohCzDN5DyZUfh-IBegtSPay1kpb8Da6iBq2RfinNrhe95P3mhSbTo-wtDPMAobh9iqIs/w271-h271/a2622878611_16.jpg" width="271" /></a></div><div>For his fourth album (and third for Sunnyside Records) as a leader, bassist and composer <b>Gui Duvignau </b>pared his group down to a trio and decided to record live. "<b><i>Live in Red Hook</i></b>" finds him in the company of pianist <b>Jacob Sacks</b> and drummer <b>Nathan Ellman-Bell</b> performing a program and nine originals plus one tune each by Ron Carter ("<b><i>Eighty-One</i></b>") and Baden Powell ("<b><i>Deixa</i></b>"). The trio deconstructs the Carter piece before diving into the recognizable melody while the lovely ballad by Powell gets the gentle touch. The album opener "<b><i>Idee Fixe</i></b>" illustrates how the three musicians listen closely and interact and how comfortable they are with "opening up" the music. Ellman-Bell really pushes Sacks' playful solo forward while the leader holds the center. Listen below to "<b><i>Right? Wow!</i></b>" for another example of the trio's playfulness and cat-like ability to instantly change directions.</div><div><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2gUWCfttw4h8FKRtcBairVPFtuFOFV0ib2AO9AsoOYcIAHARv3qJxRdoT1hihD1gNKUxWKA74CS48In1YF6PXkS6P__dSoWjiJWg2Y_oom6k9NIadd0ayPUaUYClV1XbzimOGFoD3geFxw0nkG3zN-oBXW3lM4B_GLlv0oRxMHWTyS4FoG7g-yocjiIM/s1600/1-Duvignau---photo-by-Tatiana-Kahvegian_1600_c.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1074" data-original-width="1600" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2gUWCfttw4h8FKRtcBairVPFtuFOFV0ib2AO9AsoOYcIAHARv3qJxRdoT1hihD1gNKUxWKA74CS48In1YF6PXkS6P__dSoWjiJWg2Y_oom6k9NIadd0ayPUaUYClV1XbzimOGFoD3geFxw0nkG3zN-oBXW3lM4B_GLlv0oRxMHWTyS4FoG7g-yocjiIM/w256-h172/1-Duvignau---photo-by-Tatiana-Kahvegian_1600_c.jpg" width="256" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photo: Tatiana Kahvegian</td></tr></tbody></table>Duvignau's composition are not only witty but also well-constructed. "<b><i>Miniature for Drums</i></b>" has a gentle melody line that bass and piano keep repeating Ellman-Bell plays his cymbals and floor toms. "<b><i>One at a Time</i></b>" has a Herbie Nichols-feel in the rising melody line –– the bassist is also quite melodic through the thematic sections, moving to a strong "walking" bass line while Sacks dances on piano. The pianist also stands out on "<b><i>Still Untitled</i></b>" stating the melody with classical precision (with a slight sense of anarchy in the two-handed dance at times). The bass and drums happily play around through the solo, stopping, starting, bouncing, whispering, anything but playing it safe. <div><br /></div><div>The album closes with "<b><i>Scriabingus</i></b>" which reads like a skin ailment or what it really is, a piece influenced by two very different composers. It gives the listener the opportunity to hear the leader create an impressive solo. But, note how Sacks and Ellman-Bell acquit themselves in the service of the far-ranging composition. "<b><i>Live in Red Hook</i></b>" was recorded over two nights in the Coffey Street Studios in Brooklyn –– if you are a fan of adventurous but not "free" music, you should dig into this new release from Guy Duvignau. It will bring a smile to your face and mind!</div><div><br /></div><div>For more information and to purchase the album, go to <b><a href="https://guiduvignau.bandcamp.com/album/live-in-red-hook">https://guiduvignau.bandcamp.com/album/live-in-red-hook</a></b>. </div><div><br /></div><div>Give a listen to "<b><i>Right? Wow!</i></b>":</div><div><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3411844996/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1962256989/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://guiduvignau.bandcamp.com/album/live-in-red-hook">Live In Red Hook by Gui Duvignau</a></iframe></div>Richard B. Kaminshttp://www.blogger.com/profile/16253213687754435676noreply@blogger.com0tag:blogger.com,1999:blog-7153369434610919128.post-58949200840842526752024-01-04T15:32:00.003-05:002024-01-04T15:32:56.265-05:00The Music That Made 2023 Special (Pt 2) – Let's Hear it for the Ladies<p> My original plan was not to isolate the recordings made by women into a separate post but these albums are so good that I could not resist. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPv5Ux_SA1F0To3nO76oUntDtm8GRG0q_ALOowKq-qUE0v_s443F5F_LdG5befMQ2P8VygwvwDl0vMmQe5mkC4pADLva0hpG37ovwCD6lS8YYPJ8u4Zpnnms6VICfefBbd4I8_gxkG-Gm_-h5IDgulA3lzDHR8uU-myTmyY8cfuvzBZmbGt9c_EQJMZiU/s700/a0893088159_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPv5Ux_SA1F0To3nO76oUntDtm8GRG0q_ALOowKq-qUE0v_s443F5F_LdG5befMQ2P8VygwvwDl0vMmQe5mkC4pADLva0hpG37ovwCD6lS8YYPJ8u4Zpnnms6VICfefBbd4I8_gxkG-Gm_-h5IDgulA3lzDHR8uU-myTmyY8cfuvzBZmbGt9c_EQJMZiU/w216-h216/a0893088159_16.jpg" width="216" /></a></div><b>Jo Lawry – "<i>Acrobats</i></b><i>"</i> (Whirlwind Recordings) – What a real treat is this most delightful of Trio albums. Here, Ms. Lawry's voice is supported, pushed, prodded, cushioned by the excellent playing of bassist <b>Linda May Han Oh</b> and drummer <b>Allison Miller.</b> The title track, composed by fellow Australian <b><a href="https://www.gianslater.com/" target="_blank">Gian Slater</a></b>, perfectly describes not only the lives of musicians in the 21st Century but also the exploratory nature of this program. The majority of the program is made of "standards" but there is absolutely nothing standard about this album. This listener found himself exclusively listening to the album over the course of a full week. Never too late to take the leap into this album!!<p></p><p>For more information, go to <b><a href="https://www.jolawry.net/">https://www.jolawry.net/</a></b>. Check out and/ or purchase the album by going to <b><a href="https://jolawry-whirlwind.bandcamp.com/album/acrobats">https://jolawry-whirlwind.bandcamp.com/album/acrobats</a></b>. </p><p>Here's the Trio "<b><i>Taking a Chance on Love</i></b>":</p><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1521110749/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1076774333/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://jolawry-whirlwind.bandcamp.com/album/acrobats">Acrobats by Jo Lawry</a></iframe><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJbfjyVQ0_n1CwsP-LOaYrthCQOXf7bSvq1gvQWxAbtDOQdffeoinbi-F7Wz-3naf2AYU4JOYWmCUYUqdZi_qqQB36RlVpBjHNE2G758CTYqVYaX01vHzQu7P2gzouCc97G1FikfnAW2PL6-DiArnSmscJEOxCN1LbxK473yTDcNi4qcGNgzlIZ7hOySo/s700/a1568611939_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJbfjyVQ0_n1CwsP-LOaYrthCQOXf7bSvq1gvQWxAbtDOQdffeoinbi-F7Wz-3naf2AYU4JOYWmCUYUqdZi_qqQB36RlVpBjHNE2G758CTYqVYaX01vHzQu7P2gzouCc97G1FikfnAW2PL6-DiArnSmscJEOxCN1LbxK473yTDcNi4qcGNgzlIZ7hOySo/w229-h229/a1568611939_16.jpg" width="229" /></a></div><b>Nicole Zuraitis – "<i>How Love Begins</i></b>" (OutsideIn Music) – The genesis of singer, songwriter, and pianist Zuratis's fifth album as a leader was a meeting with bassist <b>Christian McBride</b> in 2018 who heard her playing in a New York City piano bar and said "we should do something together". The results of the duo working out the details amidst the Pandemic slowdown are a pure delight. Ms. Zuraitis's vocal work is the most assured of her career and co-Producer McBride makes sure we also hear what a fine pianist she is. With her husband <b>Dan Pugach</b> on drums, the sound is filled out by guitarist <b>Gilad Hekselman</b>, <b>Maya Kronfeld</b> on keys, and Mr. McBride's bass pushing the proceedings forward, this program is quite strong and quite listenable.<div><br /></div><div>For more information, go to <b><a href="http://www.nicolezmusic.com/">www.nicolezmusic.com/</a></b>. Give a listen at <a href="https://outsideinmusic.bandcamp.com/album/how-love-begins"><b>https://outsideinmusic.bandcamp.com/album/how-love-begins</b></a>. </div><div><br /></div><div>Listen to "<b><i>Let Me Love You</i></b>":</div><div><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1286084232/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1103516821/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://outsideinmusic.bandcamp.com/album/how-love-begins">How Love Begins by Nicole Zuraitis</a></iframe><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKeLF_POPkxDzs3M12siEITHa0FW0ftSgVmaZNyID7bUSUsn0wWdSj7EnJfVjEjxlWEKQuHM_EL3BknHtZoA-v9amyUgyWs3dp77PtEhp9FMmUk0J_YgqmSgkdElMH4U3JD-abkI53koVeEDr_P3b8-neFxrHr30VgaGowrFe5V-8Bs1M0oRqamrkeUxc/s700/a1001071147_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKeLF_POPkxDzs3M12siEITHa0FW0ftSgVmaZNyID7bUSUsn0wWdSj7EnJfVjEjxlWEKQuHM_EL3BknHtZoA-v9amyUgyWs3dp77PtEhp9FMmUk0J_YgqmSgkdElMH4U3JD-abkI53koVeEDr_P3b8-neFxrHr30VgaGowrFe5V-8Bs1M0oRqamrkeUxc/w236-h236/a1001071147_16.jpg" width="236" /></a></div><div><b>Magos Herrera – "<i>Aire</i></b>" (Sunnyside Records) – 2023 was the year this listener truly discovered the brilliant and adventurous Mexican-born vocalist <b>Magos Herrera</b>. I had heard of her before but this year, a deeper dive was called for. What a supple, emotional, and often stunning voice –– when she inhabits the song, you may not understand the words but, pay attention, you'll get the message. Surrounded by her "working" trio of guitarist <b>Vinicius Gomes</b>, bassist <b>Sam Minaie</b>, and drummer <b>Alex Kautz </b>plus a slew of guests (including an "orchestra" conducted by Eric and Colin Jacobsen), this music sounds alive, full of possibility, aware of the sufferings of the heart but open to hope. The 12-song program includes classic songs, originals, brilliant arrangements, and that marvelous voice.</div><div><br /></div><div>For more information, go to <b><a href="http://www.magosherrera.com">www.magosherrera.com</a></b>. To hear more and to purchase the album, go to <b><a href="https://magosherrera.bandcamp.com/album/aire">https://magosherrera.bandcamp.com/album/aire</a></b>. </div><div><br /></div>Here's the title track:<div><div><br /></div></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1275358784/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3514210532/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://magosherrera.bandcamp.com/album/aire">Aire by Magos Herrera</a></iframe><div><br /><div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQEzdexUScXRnE5ZQOBV01b_mYTINnU501lqjkluKtbBiHwY3FxuEu6sqhIO6OUFk5s7icuN1V4gBQyhw8328KzmkkWlyqnCR55RVZ-hnxOE_VxJGGqC6qHDi_7khw3MzcIeEjiiqDbbOZtKIX5UCbF7agHL4x_OzkT8ua89ZGQhfX469ZslnewsPblVg/s600/Edward-Simon-Femeninas-web.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQEzdexUScXRnE5ZQOBV01b_mYTINnU501lqjkluKtbBiHwY3FxuEu6sqhIO6OUFk5s7icuN1V4gBQyhw8328KzmkkWlyqnCR55RVZ-hnxOE_VxJGGqC6qHDi_7khw3MzcIeEjiiqDbbOZtKIX5UCbF7agHL4x_OzkT8ua89ZGQhfX469ZslnewsPblVg/w232-h232/Edward-Simon-Femeninas-web.jpg" width="232" /></a></div></div><div><b>Edward Simon, Featuring Magos Herrera – "<i>Femeninas</i></b>" (ArtistShare) – Right around the same date "<b><i>Aire</i></b>" was issued came the new ArtistShare project from pianist Edward Simon. Subtitled "<b><i>Songs of Latin American Women</i></b>", the program is that and more. Ms. Herrera joins Simon, bassist <b>Reuben Rogers</b>, drummer <b>Adam Cruz</b>, and percussionist <b>Luis Quintero</b> (plus guest<b> Romero Lubambo</b> playing guitar on several tracks) performing a 11-song program of works associated with<span style="font-family: inherit;"> <span style="background-color: white; color: #333333;">Joyce Moreno (Brazil), Elizabeth (Chile), Chabuca Granda (Perú), Violetta Parra (Chile), Marta Valdés (Cuba), Rosa Passos (Brazil), and Georgina Hassan (Argentina). The excellent arrangements, the splendid musicianship, and the wonderful vocals makes this a "project for the ages". </span></span></div><div><span style="font-family: inherit;"><span style="background-color: white; color: #333333;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="background-color: white; color: #333333;">For more information, go to </span></span><span style="color: #333333;"><b><a href="http://www.edwardsimon.com/projects/femeninas">www.edwardsimon.com/projects/femeninas</a></b>. </span></div><div><br /></div><div>Watch Mr. Simon and Ms. Herrera perform two pieces from the "<b><i>Femeninas</i></b>" project:</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="309" src="https://www.youtube.com/embed/lRE-Mg8FuY4" width="372" youtube-src-id="lRE-Mg8FuY4"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh36CmWqEy034T3mpzD8esDEH8F7QDxTSAXW96wlNjB7LzN106kiAMviHAsuv_xEOmbDijJNoTdj5886WtMz8tUg_T_w_-pbTsF70fb_OnOqqKAHAWaLY39CFHo3cO0KXWdHxAscRLhHIUHE2KThyphenhyphenszqhznpEiBb6B8Z3_WxXvuefZ3LUPv-jMUDo3s6T8/s700/a3368305330_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh36CmWqEy034T3mpzD8esDEH8F7QDxTSAXW96wlNjB7LzN106kiAMviHAsuv_xEOmbDijJNoTdj5886WtMz8tUg_T_w_-pbTsF70fb_OnOqqKAHAWaLY39CFHo3cO0KXWdHxAscRLhHIUHE2KThyphenhyphenszqhznpEiBb6B8Z3_WxXvuefZ3LUPv-jMUDo3s6T8/w238-h238/a3368305330_16.jpg" width="238" /></a></div><b>Gretchen Parlato & Lionel Loueke – "<i>Lean In</i></b>" (Edition Records) – This is an intimate collection of songs from two fine musicians who have known each other several decades. Basically a duo album (there are several guest contributors) but the focus of the music is on the interplay of the voice and guitar. Both leaders brought music to the sessions yet the program feels and sounds organic. Mr. Loueke's guitar work is superlative throughout as are Ms. Parlato's vocals –– it's amazing how rhythmical this music is, how percussive the guitar work can be, and how sweet the results are. Let's hope this is just the first Editions Recording of this splendid duo.</div><div><br /></div><div>For more information, go to <b><a href="https://gretchenparlato.bandcamp.com/album/lean-in">https://gretchenparlato.bandcamp.com/album/lean-in</a></b>. <br /><div class="separator" style="clear: both; text-align: left;"> </div><div class="separator" style="clear: both; text-align: left;"><br /></div></div><div class="separator" style="clear: both; text-align: left;">Listen to the delightfully sweet "<b><i>Nonvignon</i></b>":</div><div class="separator" style="clear: both; text-align: left;"><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1675712886/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1328689083/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://gretchenparlato.bandcamp.com/album/lean-in">Lean In by Gretchen Parlato & Lionel Loueke</a></iframe><div><br /></div><div>Pt. 3 will include the rest of the list but, for now, there's much to explore here.</div>Richard B. Kaminshttp://www.blogger.com/profile/16253213687754435676noreply@blogger.com0tag:blogger.com,1999:blog-7153369434610919128.post-22649138833883217342024-01-03T16:02:00.003-05:002024-01-03T16:02:47.819-05:00The Music that Made 2023 Special (Part 1)<p> Last year was, overall, a great year for music and a stressful one for this writer. No need to go into details as my paucity of postings since the summer speaks volumes. Nevertheless, there were numerous recordings that absolutely captivated my brain; the best of them are listed below (and in a subsequent posting).</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd54SxKdjc1o-0IFyHbysdp71ubdQeFYF4fU11LQ_MpxmCuIyn1U7E0x1M4zaXg4d4O4LdWPNtcYMkHTR1KZFgneIF98e4pa8jWoc2N5oj1pfVY6mkQOI88cS6mEsNJEpvAd97BJxhuvTlDORNuUnKTWNh9QVQukAWA5g_uoq36BGWYQl9W1PdNxMjCK8/s1140/The-Gennett-Suite-Front-Cover-Final-1.webp" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1131" data-original-width="1140" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd54SxKdjc1o-0IFyHbysdp71ubdQeFYF4fU11LQ_MpxmCuIyn1U7E0x1M4zaXg4d4O4LdWPNtcYMkHTR1KZFgneIF98e4pa8jWoc2N5oj1pfVY6mkQOI88cS6mEsNJEpvAd97BJxhuvTlDORNuUnKTWNh9QVQukAWA5g_uoq36BGWYQl9W1PdNxMjCK8/w224-h222/The-Gennett-Suite-Front-Cover-Final-1.webp" width="224" /></a></div><b>Buselli-Wallarab Jazz Orchestra</b> – "<b><i>The Gennett Suite"</i></b> (Patois Records) – Have to say this album captivated me from the opening notes to the final fade. The BWJO tells the story of Bloomington, Indiana-based Gennett Records that, in the 1920s, was the first label to record King Oliver with Louis Armstrong, Hoagy Carmichael, Bix Beiderbecke plus Ferdinand "Jelly Roll" Morton. Arranger <b>Mark Wallarab</b> does a splendid job making the music sound fresh (Carmichael's "<b><i>Stardust</i></b>" is a real gem) and the band, made up mostly of musicians from the Midwest, in particular Indianapolis and Chicago, plays with fervor, joy, and love. Listen closely and you'll hear echoes of Duke Ellington, Chick Webb, Thad Jones-Mel Lewis Orchestra, and more; that makes sense as those artists and many others built their music around any and all of the artists featured on this album.<div><br /></div><div>For more information, go to <b><a href="https://bwjazzorchestra.com">https://bwjazzorchestra.com</a></b>. </div><div><br /></div><div>Here's Joseph "King" Oliver's "<b><i>Davenport Blues</i></b>":</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="297" src="https://www.youtube.com/embed/xEGDlcJWhkA" width="357" youtube-src-id="xEGDlcJWhkA"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3cwbuho9Xq4QVhhqYLdcJQ9wsXVT7rRd-lmyfT_LwfPC8ntKh2lGucR1-9NELp88zQf1IrNXkT8PtCbw0gTTo6GSZKePM01lkM5L_ATwxLbbL_fRmx3W69blA46nf7zlCCMlImGVJHnqxF2ECvImSf2rSQk_s_CJWvwtKlcL13Wde9M5J6S_SRqqlLOQ/s700/a2103606331_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3cwbuho9Xq4QVhhqYLdcJQ9wsXVT7rRd-lmyfT_LwfPC8ntKh2lGucR1-9NELp88zQf1IrNXkT8PtCbw0gTTo6GSZKePM01lkM5L_ATwxLbbL_fRmx3W69blA46nf7zlCCMlImGVJHnqxF2ECvImSf2rSQk_s_CJWvwtKlcL13Wde9M5J6S_SRqqlLOQ/w264-h264/a2103606331_16.jpg" width="264" /></a></div><b>Anthony Branker & Imagine – "<i>What Place Can Be For Us</i>"</b> (Origin Records) – As I wrote when the album was released "<span style="background-color: white; color: #333333;"><span style="font-family: inherit;"><i>As you should be able to tell by the title, the themes of this new collection are inclusion, immigration, belonging, citizenship, and the never-ending racism that permeates the United States.</i>" Dr. Branker, currently on the Music Faculty of Rutgers University, continues to impress with his ability to blend music and story to illuminate the Black experience in America. With a cracking band including <b>Fabian Almazan</b> (piano), <b>Linda May Han Oh</b> (bass), <b>Pete McCann</b> (guitars), <b>Philip Dizack</b> (trumpet), <b>Walter Smith III</b> (tenor sax), <b>Remy Le Boeuf </b>(alto and soprano saxes), <b>Donald Edwards</b> (drums), and the voice of <b>Alison Crockett</b>, Dr. Branker's music sparkles, shivers, roars, soothes, and shines throughout. What he and the musicians should keep the involved listeners on their toes in this election. </span></span><div><span style="color: #333333;"><br /></span></div><div><span style="color: #333333;">For more information, go to www.anthonybranker.com. To hear and to purchase the album, go to <b><a href="https://anthonybranker1.bandcamp.com/album/what-place-can-be-for-us-a-suite-in-ten-movements">https://anthonybranker1.bandcamp.com/album/what-place-can-be-for-us-a-suite-in-ten-movements</a></b>. </span></div><div><span style="color: #333333;"><br /></span></div><div><span style="color: #333333;">Here is "<b><i>Sundown Town</i></b>":</span></div><div><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1353513390/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=71869599/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://anthonybranker1.bandcamp.com/album/what-place-can-be-for-us-a-suite-in-ten-movements">What Place Can Be For Us? A Suite in Ten Movements by Anthony Branker</a></iframe><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWUJYAQJnCxUSzdiT372HEYePR5c970CWkGyPBDgawCBxkHpz0mo816AnDtGfnlhDo1jmeKEhjyO72h7SRozYp3KF_z3rqKUEFjoim73bDL9c8yM8HWiAIzZNSM4pUD13V6N7qbQ-xIi_v801cQJIYz12alnj-dG_IaabOayrOweHToWVRIPW-WRWxTpU/s700/a2845957738_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWUJYAQJnCxUSzdiT372HEYePR5c970CWkGyPBDgawCBxkHpz0mo816AnDtGfnlhDo1jmeKEhjyO72h7SRozYp3KF_z3rqKUEFjoim73bDL9c8yM8HWiAIzZNSM4pUD13V6N7qbQ-xIi_v801cQJIYz12alnj-dG_IaabOayrOweHToWVRIPW-WRWxTpU/w272-h272/a2845957738_16.jpg" width="272" /></a></div><b>James Brandon Lewis Red Lily Quintet – "<i>For Mahalia, With Love</i>" </b>(Tao Forms) – Tenor saxophonist Lewis returns to the <b>Red Lily Quinte</b>t –– <b>Kirk Knuffke</b> (cornet), <b>Chris Hoffman</b> (cello), <b>William Parker</b> (bass), and <b>Chad Taylor</b> (drums) –– the same group that recorded "<b><i>Jesup Wagon</i></b>", his tribute to <b>Dr. George Washington Carver</b>. For this brilliant recording, Lewis not only pays tribute to the great 20th Century gospel artist but also to his grandmother who instilled the love of music into the young boy who was amazed by her love of the music. Lewis and the RLQ do not play it safe, taking inspiration not only from the gospel material but from the power of improvisation as well as the work of Archie Shepp, John Coltrane, Albert Ayler, and other great tenor players who felt the fire emanating from the church music. <div><br /></div><div>For more information and to purchase the album, go to <b><a href="https://jamesbrandonlewis.bandcamp.com/album/for-mahalia-with-love">https://jamesbrandonlewis.bandcamp.com/album/for-mahalia-with-love</a></b>. </div><div><br /></div><div>Here's "<b><i>Swing Low</i></b>":</div><div><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3624473248/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=107541907/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://jamesbrandonlewis.bandcamp.com/album/for-mahalia-with-love">For Mahalia, With Love by James Brandon Lewis / Red Lily Quintet</a></iframe><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK4i7A7yutHwkznOtt4_d6Q8ezb4cH7lPxq10Evtj8bo3j0skR3LVqE8jPvsLssYrROChKq-86tv_chEapvjzCPBn1xPXyucM0Ks5ZcBXAhR1mIgaPy9YSo55KeI3WD0MH2hnoA5mqz7GqsGhWJeYp2IZDTU-c6CH_XrIzFBN6pZeesC7f9cgoWAp9nQU/s700/a0029329960_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK4i7A7yutHwkznOtt4_d6Q8ezb4cH7lPxq10Evtj8bo3j0skR3LVqE8jPvsLssYrROChKq-86tv_chEapvjzCPBn1xPXyucM0Ks5ZcBXAhR1mIgaPy9YSo55KeI3WD0MH2hnoA5mqz7GqsGhWJeYp2IZDTU-c6CH_XrIzFBN6pZeesC7f9cgoWAp9nQU/w262-h262/a0029329960_16.jpg" width="262" /></a></div><b>Rudy Royston Flatbed Buggy – "<i>Day</i></b><i>"</i> (Greeenleaf Music) – The second gem to be recorded by drummer/ composer Royston and his simpatico ensemble composed of <b>John Ellis</b> (bass clarinet and clarinet), <b>Hank Roberts </b>(cello), <b>Gary Versace</b> (accordion), and <b>Joe Martin</b> (bass), the 10-song album is more of an "interior" album than the Quintet's 2018 debut. While still inspired by his childhood in Texas, the new album is built upon compositions that the drummer created during the pandemic with these musicians in mind. Whi]lew the music is quite impressive, the sound of this ensemble really stands out. Each instrument is distinct in the mix, each musician contributes to the success of the music, and it's a true joy to listen to these people play! <div><br /></div><div>For more information, go to <b><a href="https://rudyroyston.bandcamp.com/">https://rudyroyston.bandcamp.com/</a></b> . </div><div><br /></div><div>Listen to "<b><i>Thank You for This Day</i></b>":</div><div><div><br /></div></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=783376702/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2915536301/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://rudyroyston.bandcamp.com/album/day">DAY by Rudy Royston</a></iframe><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJjK4FPgSEYNBg3BjsgxQfxssLdZ2gcfXP-7TcSZApEKxNYJR552qrKvReuj4ktI-XBV0MqVvH7gedJtpMptt68jXsrwMHf5jVGg7AJyA2PokuA_kwzuJsyD45bFqkg9nGHW59bcOq_ziwvwtLXg_BDYa0kcyWfm158Rccd37DCMi38QpCyqeZsBI201M/s700/a1804453726_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJjK4FPgSEYNBg3BjsgxQfxssLdZ2gcfXP-7TcSZApEKxNYJR552qrKvReuj4ktI-XBV0MqVvH7gedJtpMptt68jXsrwMHf5jVGg7AJyA2PokuA_kwzuJsyD45bFqkg9nGHW59bcOq_ziwvwtLXg_BDYa0kcyWfm158Rccd37DCMi38QpCyqeZsBI201M/w231-h231/a1804453726_16.jpg" width="231" /></a></div><b>Tyshawn Sorey Trio</b> – "<b><i>Continuing</i></b>" (Pi Recordings) – Jazz piano trio fans, take notice –– here's an ensemble that has much to offer. Drummer and conceptualist Sorey plays in so many types of settings that one might consider his albums with pianist <b>Aaron Diehl</b> and bassist <b>Matt Brewer</b> as a move back toward the mainstream. Who cares? This is a fascinating program; four long performances of pieces by Ahmad Jamal, Harold Mabern, Wayne Shorter, and the classic standard "<b><i>Angel Eyes</i></b>" by Matt Dennis, each one with standout performances. Diehl shines throughout (gives this person a MacArthur Genius Grant so he can realize his full potential –– it certainly worked for Sorey) while Brewer and drummer are solid without being intrusive. In fact, Sorey gives his bandmates plenty of solo space, rarely stepping out but always keeping the music moving forward. The Mabern piece, "<b><i>In What Direction Are You Headed</i></b>", seriously kicks and is an excellent tribute to one of Sorey's mentors. <div><br /></div><div>For more information go to <b><a href="https://tyshawn-sorey.bandcamp.com/album/continuing">https://tyshawn-sorey.bandcamp.com/album/continuing</a></b>. </div><div><br /></div><div>Here's Mr. Shorter's "<b><i>Reincarnation Blues</i></b>":</div><div><div><br /></div></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=4136019918/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2245876899/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://tyshawn-sorey.bandcamp.com/album/continuing">Continuing by Tyshawn Sorey</a></iframe><div><br /></div><div><br /></div><div>More to follow!</div>Richard B. Kaminshttp://www.blogger.com/profile/16253213687754435676noreply@blogger.com0tag:blogger.com,1999:blog-7153369434610919128.post-85134604727608549352023-12-18T16:59:00.000-05:002023-12-18T16:59:09.427-05:00Gift Ideas of the Digital Variety<p>Not a very clever headline but both these new recordings are worth sharing with friends and fans of creative music!</p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7jry9z20h0nG8C9R58kLSn4aKO9zzcOonl1VNnuY0mnn-ezb6WyYFu5D3cbSHzOUDYpuZ_JZSnYTnaGUwU367XQp34p3gm2-6n5II14ikHEz7UN7-mHiTwzZ-akjNF6SmkdXBSEDee05HFgSlLRIqN_kmtpFy8L7v9WWKjsTXEX_jXVXFEpoYhTgaSQ4/s749/11-ron-horton.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="749" data-original-width="500" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7jry9z20h0nG8C9R58kLSn4aKO9zzcOonl1VNnuY0mnn-ezb6WyYFu5D3cbSHzOUDYpuZ_JZSnYTnaGUwU367XQp34p3gm2-6n5II14ikHEz7UN7-mHiTwzZ-akjNF6SmkdXBSEDee05HFgSlLRIqN_kmtpFy8L7v9WWKjsTXEX_jXVXFEpoYhTgaSQ4/w172-h257/11-ron-horton.jpg" width="172" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photo: Clara Pereira</td></tr></tbody></table>Truth be told, I've known trumpeter, composer, and arranger <b>Ron Horton</b> for nearly three decades. I first heard his playing as a member of the Jazz Composer's Collective and absolutely loved his 2002 Fresh Sound New Talent recording "<b><i>Subtextures</i></b>" (still do––check it out, the sounds are timeless, exciting, and quite adventurous). We've chatted a few times, most recently in 2021 upon the release of the Newvelle Records collection "<b><i><a href="https://newvellerecords.bandcamp.com/album/kimbrough" target="_blank">Kimbrough</a></i></b>", organized by label co-head <b>Elan Mehler</b> upon the death of his former teacher and friend, the pianist <b>Frank Kimbrough</b>. Horton and Kimbrough were both charter members of the JCC as well as great friends. Both musicians were aficionados of the music of Andrew Hill (1931-2007)––in fact, Horton helped the older man put together a sextet and material for "<b><i>Dusk</i></b>" which was released by Palmetto Records in 2000 as well as 2002's Big Band recording "<b><i>A Beautiful Day</i></b>", also on Palmetto. After Andrew Hill passed, Horton continued to play the composer's music in his various groups, including a Dectet and Sextet.<div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjTSV9an6jxyvb3ODkyVQ13_LDcwkElmd2B_c_N_TITOCdjXXplE5Ti-mPGJ3m4cQCDpKHV6eso_YZcDBRiUsTlCHPN8BLNXud9iMVsM23a8fETQtAU273pc-1cGjWRTTs4tRPS4hahs_BLPbIY-Q7ENH7ixveNvNydz-2MusQ7n2RzCJdGP0aOtlFBVw/s700/a0525442697_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjTSV9an6jxyvb3ODkyVQ13_LDcwkElmd2B_c_N_TITOCdjXXplE5Ti-mPGJ3m4cQCDpKHV6eso_YZcDBRiUsTlCHPN8BLNXud9iMVsM23a8fETQtAU273pc-1cGjWRTTs4tRPS4hahs_BLPbIY-Q7ENH7ixveNvNydz-2MusQ7n2RzCJdGP0aOtlFBVw/w232-h232/a0525442697_16.jpg" width="232" /></a></div><div>In 2016, the trumpeter brought the Sextet––pianist Kimbrough, alto saxophonist <b>John O'Gallagher</b>, tenor saxophonist <b>Marc Mommaas</b>, bassist <b>Dean Johnson</b>, and drummer <b>Tim Horner</b> (alto saxophoniust and bass clarinetist <b>Marty Ehrlich</b> replaces O'Gallagher on five of the 13 tracks)––into Systems Two studios in Brooklyn, NY. Newvelle Records usually only releases albums that they record but after hearing this music, Mehler said </div><div>he most definitely release this music. "<b><i>A Prayer for Andrew</i></b>" is a two Lp-set (also available as a digital download) that features seven Hill pieces and six Horton originals. If you love music that pushes at borders, that roils from the inside out at times or can gently put you in a positive frame of mind, this recording is for you. It's so good to hear more music from Kimbrough who died suddenly on December 30, 2020. Listen to how he rolls his solo on Horton's "<b><i>Home</i></b>" or how he sets such a torrid pace on Hill's "<b><i>15-8</i></b>". </div><div><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIUYrilmRxJMVgzPQ_KZxxAzGT71c5uLgs2D6JnsbQurdf1wdLjZFLyUHCCwNU2SDLCJxZtL6Gkg7NTLgRJYpyzVQyCzzKx_8TFwVV0wr04XCP6NtFJItw63lzVoUa51isXsQZApBI-vkbdjEdur-x7729HqpWSp1HqdaHmw1ulLtGBjUVpYtTDvxKbD8/s821/hill-2419cf6c458457cd30acd0d393afb00fa28fbb9a-s1100-c50.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="616" data-original-width="821" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIUYrilmRxJMVgzPQ_KZxxAzGT71c5uLgs2D6JnsbQurdf1wdLjZFLyUHCCwNU2SDLCJxZtL6Gkg7NTLgRJYpyzVQyCzzKx_8TFwVV0wr04XCP6NtFJItw63lzVoUa51isXsQZApBI-vkbdjEdur-x7729HqpWSp1HqdaHmw1ulLtGBjUVpYtTDvxKbD8/w265-h199/hill-2419cf6c458457cd30acd0d393afb00fa28fbb9a-s1100-c50.jpg" width="265" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photo: Jimmy Katz</td></tr></tbody></table>Scroll down and listen to the band drive through "<b><i>Venture Inward</i></b>", first recorded in 1968 by Hill for his "<b><i>Grass Roots</i></b>" album (Blue Note). The solos, while short, have such power without losing direction. Andrew Hill's music often flirted with free tempi yet kept moving forward, looking ahead, seeking. Check out "<b><i>Dusk</i></b>", a tune with an irresistible bounce to hear how the composer (in this instance, Mr. Hill), plays with the listener's expectations, blending melody and solos in such a whimsical fashion. The program closes with "<b><i>Belleza #1</i></b>" (off of Hill's 2002 Big Band date, a lovely ballad that opens with a fine bass solo that opens up to Marty Ehrlich's handsome bass clarinet spot followed by a lovely piano solo (much of it unaccompanied). Mommaas leads the rhythm section back in with a breathy, emotional, tenor solo. He continues to improvise while the rest of the group play the theme. Such a gentle finish to a splendid album.</div><div><br /></div><div>"<b><i>A Prayer For Andrew</i></b>" is not considered a "tribute album" by <b>Ron Horton</b> or his collaborators. His various groups have not only played this music for many years, they also have lived inside it. The spirit of Andrew Hill can be felt strongly when the band plays these songs––it is music that defies genres whie it sings to all of us.</div><div><br /></div><div>For more information and to purchase the album, go to <b><a href="https://www.newvelle-records.com/collections/shop-newvelle/products/ron-horton-a-prayer-for-andrew">https://www.newvelle-records.com/collections/shop-newvelle/products/ron-horton-a-prayer-for-andrew</a></b> for vinyl and/or to <b><a href="https://newvellerecords.bandcamp.com/album/a-prayer-for-andrew">https://newvellerecords.bandcamp.com/album/a-prayer-for-andrew</a></b> for digital.<div><br /></div>Listen to "<b><i>Venture Inward</i></b>":<div><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=733274485/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2397113850/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://newvellerecords.bandcamp.com/album/a-prayer-for-andrew">A Prayer for Andrew by Ron Horton</a></iframe><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhprk3ho7CWpC4Grt-OqCGXtZV04cJxmgvKR6L7JTcfQpX5y0vQWygbrBrnQ98GTECGWNGbIGBOAewQRuS6Adz0jGSfMlT0_ktYvT_9e3ynUl6RFqI4HEIcXHbKa8hUZ8JQbY2xhohIjTEt5pq7HDyNCN8u9vGQ-t4-0iR2RBK1WNWbngczQnhDTqBDq-s/s1000/Anthony-Pirog.webp" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhprk3ho7CWpC4Grt-OqCGXtZV04cJxmgvKR6L7JTcfQpX5y0vQWygbrBrnQ98GTECGWNGbIGBOAewQRuS6Adz0jGSfMlT0_ktYvT_9e3ynUl6RFqI4HEIcXHbKa8hUZ8JQbY2xhohIjTEt5pq7HDyNCN8u9vGQ-t4-0iR2RBK1WNWbngczQnhDTqBDq-s/w244-h244/Anthony-Pirog.webp" width="244" /></a></div><div>Guitarist and composer <b>Anthony Pirog</b> is an ambitious musician who is one of the more adventurous musicians on the modern scene. He rarely if ever repeats himself and sets a new challenge with each project. Several years ago, the guitarist reached out to fellow players and asked them to create an "ambient" track that he would then improvise over. Many he asked were friends but he also "reached" for and received music from <b>Andy Summers</b> (The Police) and <b>Brandon Ross</b>. The results can be heard on "<b><i>The Nepenthe Series: Volume I</i></b>" (Otherly Love Records). Even if you are familiar with the guitarist's earlier recordings, chances are good you'll be surprised by these nine tracks. Because this is an ambient setting, the music is not concerned with "shredding" or technical proficiency; instead, Pirog and partners have created a soundtrack that stands apart from any you may have encountered.</div><br /><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK0ljAYuKxAKeu5uU_ruiOlC2wUxZBcu8o1PAAcl1IrG3vOlB_K3ehi_eu88gYVcwOoekKg3TrZ7fXe7QAB22Cp7vwQWxg2FAACxWDcM2y-kzTMCEPBrDcGWfaLG4DK-Sx2qSbP3DrXp7chyphenhyphen-83DM3zQVWMm5tJqH4iSzs16o6vJ4tZ6hTo8DyOuC_ykk/s700/a0883033379_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK0ljAYuKxAKeu5uU_ruiOlC2wUxZBcu8o1PAAcl1IrG3vOlB_K3ehi_eu88gYVcwOoekKg3TrZ7fXe7QAB22Cp7vwQWxg2FAACxWDcM2y-kzTMCEPBrDcGWfaLG4DK-Sx2qSbP3DrXp7chyphenhyphen-83DM3zQVWMm5tJqH4iSzs16o6vJ4tZ6hTo8DyOuC_ykk/w230-h230/a0883033379_16.jpg" width="230" /></a></div>Webster's Dictionary defines <b>nepenthe</b> as <span style="font-family: inherit;">"<span style="background-color: white; color: #212529; font-variant-ligatures: no-common-ligatures;">a potion used by the ancients to induce forgetfulness of pain or sorrow" and "</span></span><span style="background-color: white; color: #212529; font-variant-ligatures: no-common-ligatures;"><span style="font-family: inherit;">something capable of causing oblivion of grief or suffering"––still, this music challenges both the creators and the listener to pay attention and to get lost in the sounds. The program opens with "<b><i>Aurora</i></b>" created by <b>John Frusciante</b> (of The Red Hot Chili Peppers); the music floats atop a low-note drone with tones that swell and shrink and electronic "raindrops" back in the mix. Summers contributes "Inflorescence". The handsome melody Pirog creates over the shimmering guitars and quiet chords has an emotional pull unlike anything else on the album. In comparison, "<b><i>Night Winds</i></b>" (created by <b>Wendy Eisenberg</b>) has a thunderstorm of white noise and static plus a chilling melody line that never resolves. Pirog adds distorted guitar that maintains the mood.</span></span><br /><div><br /></div><div>Listen below "<b><i>Ripples of Light</i></b>", the track that closes the album. <b>Nels Cline'</b>s drones serve as an antithesis to Ms. Eisenberg's darker music. In fact, this music often floats and you can't really separate what each guitarist brings to the music. Why should you? Just sit back, close your eyes, be surprised, be calmed, and forget the craziness of the world around you. Creativity takes many shapes on "<b><i>The Nepenthe Series: Vol. I</i></b>" so grab your headphones, dim the lights, and explore the possibilities.</div><div><br /></div><div>For more information and to purchase the recording, go to <b><a href="https://anthony-pirog.bandcamp.com/album/anthony-pirog-the-nepenthe-series-vol-1">https://anthony-pirog.bandcamp.com/album/anthony-pirog-the-nepenthe-series-vol-1</a></b>.</div><div><br /></div><div>Hear Anthony Pirog with Nels Cline on "<b><i>Ripples of Light</i></b>":</div><div><br /></div><div><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2375446629/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=992415637/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://anthony-pirog.bandcamp.com/album/anthony-pirog-the-nepenthe-series-vol-1">Anthony Pirog - The Nepenthe Series Vol. 1 by Anthony Pirog</a></iframe></div>Richard B. Kaminshttp://www.blogger.com/profile/16253213687754435676noreply@blogger.com0tag:blogger.com,1999:blog-7153369434610919128.post-68341823067551598942023-11-23T17:45:00.000-05:002023-11-23T17:45:02.531-05:00Thanksgiving Day 2024; Two Alto sax-Piano duos + One Quartet<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHfgL908oOHwkEpBjlOdHAveuwZAxshWIrcNnD8mnqxOXObk7yaHEvpcbZGvMiodzMbzV4EX-w8t_5nwqpro402DOZ6mgDOAFFylSneyvkmt4-mMk2-Kocou9u3C8CQd0_TMwdX5yGozhA0arXc2Fdt7si04HoNzWFQgLoQJJeZE2fHNrJ2dX71pOQl4E/s4032/IMG_0752.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHfgL908oOHwkEpBjlOdHAveuwZAxshWIrcNnD8mnqxOXObk7yaHEvpcbZGvMiodzMbzV4EX-w8t_5nwqpro402DOZ6mgDOAFFylSneyvkmt4-mMk2-Kocou9u3C8CQd0_TMwdX5yGozhA0arXc2Fdt7si04HoNzWFQgLoQJJeZE2fHNrJ2dX71pOQl4E/w205-h273/IMG_0752.jpeg" width="205" /></a></div>Been absent from this blog for two months but not for a lack of great new albums but more so for being much too busy. Teaching coillege freshmen as I do is more fun than work; when you add to that the stresses of Middle East War and the horrors perpetrated in the name of freedom, music becomes a much-needed escape but writing does not seem to be enough.<div><br /></div><div>Still, it's Thanksgiving Day in the United States, a day for remembering how lucky many of us are. We have a roof over our heads, food to eat, time to read, the ability to walk most streets without fear, heat in our domiciles, lights in our living areas, and, for some, vehicles to take us out into the country. Today is a good day to get away from the bluster of candidates, especially who treat democracy as a toy to throw in the trash when it displeases, people who flaunt their wealth, shoot off their mouth, point fingers, and make promises to sweep personal freedoms under a big rug. </div><div><br /></div><div>Tomorrow, the news will still be bad, the bluster will return yet we have the power to make the world less of a scary place by celebrating and protecting our freedoms, by staring hate in the eyes until it blinks and slinks away. Set an example of doing good and maybe, just maybe others will join you. No matter their religion, gender, political persuasion, we should all understand compassion and how to practice compassionate caring. Can't hurt to try––the music is always there to fall back onto.</div><div><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglRHwEP1NBENLJ5eQwQj49yfQIYR_WhfCvD8tRZxz6nui89Nky1cLnhQLYKeODlL_xsT8Osk1KYeKtt04ori6y0EflJhWzEh1Y0Sfj9cl1rE4V0H8G7Atm_RuAlfDRkgZ4P4R9LWnkGH8hG6frCx72BPZL_sMcHw0Wk2WMQKD1WgE547j5XDGf8vpiM14/s852/LuisPerdomo_MiguelZenon_Photo_by_Jimmy_Katz_0656_2023.webp" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="852" data-original-width="639" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglRHwEP1NBENLJ5eQwQj49yfQIYR_WhfCvD8tRZxz6nui89Nky1cLnhQLYKeODlL_xsT8Osk1KYeKtt04ori6y0EflJhWzEh1Y0Sfj9cl1rE4V0H8G7Atm_RuAlfDRkgZ4P4R9LWnkGH8hG6frCx72BPZL_sMcHw0Wk2WMQKD1WgE547j5XDGf8vpiM14/w151-h201/LuisPerdomo_MiguelZenon_Photo_by_Jimmy_Katz_0656_2023.webp" width="151" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photo: Jimmy Katz</td></tr></tbody></table>I've spent a lot of time recently falling back on the music of two saxophonists, <b>Miguel Zenón</b> and <b>Andrew Rathbun</b>. In the case of the former, he has two new duo albums, one with long-time Quartet member pianist <b>Luis Perdomo</b> (pictured left) and the other with friend and duo pianist <b>Dan Tepfer</b> (pictured below). Perdomo came to the United States from his native Venezuela in 1993 and by the end of that decade, was playing in groups led by Ravi Coltrane and soon became as founding member of Zenón's Quartet. The pianist and saxophonist both have a love for the folkloric and popular of their home countries (Zenón is from Puerto Rico), both have a love for melody as well as rhythmical variations, and both are brilliant improvisers. The music created and arranged for the Quartet has travelled a wide swath of territory over the course of 10 albums, winning numerous awards and lavish praise from critics and reviewers around the world.</div><div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYETWbEaR88YxU4l-GC62b7Jrq3sq-g1WnLUSkx0o7ciJhjgLJyNaV2jgbow5qQPPDnp2QRmAkZ-81AVruojSZiHuFBqLEvbFi5R_5V_sXUZ9y0hWQ5wPg1MhTuC_NKnQUPGGD-okYT_f9x0aeXRIrAPlbU3f5Ttda7OQ1iqiPDVHKJtTw2jOki4QVMPo/s700/a4116942470_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYETWbEaR88YxU4l-GC62b7Jrq3sq-g1WnLUSkx0o7ciJhjgLJyNaV2jgbow5qQPPDnp2QRmAkZ-81AVruojSZiHuFBqLEvbFi5R_5V_sXUZ9y0hWQ5wPg1MhTuC_NKnQUPGGD-okYT_f9x0aeXRIrAPlbU3f5Ttda7OQ1iqiPDVHKJtTw2jOki4QVMPo/w225-h225/a4116942470_16.jpg" width="225" /></a></div>Six months into the Pandemic, the duo went into the Jazz Gallery in New York City and recorded a program of songs from the Bolero era, a musical style that began in Cuba in the 1890s and, during the 20th Century, spread throughout the Caribbean and Latin America. Upon its January 2021 release, "<b><i>El Arte Del Bolero</i></b>" (Miel Music) was celebrated not only for its musicality but for its gentle persuasions and splendid playing. Three years later, the duo reconvened in a recording studio with the expression "<i>to play songs we know and love</i>" (Zenón). "<b><i>El Arte Del Bolero; Volume 2</i></b>" expands upon its predecessor by expanding its repertoire with songs from Mexico, Panama, and Venezuela. The seven-song program is a true delight, especially when the duo moves beyond the melody to create fascinating solos. Listen below to "<b><i>Paula C.</i></b>", to how how Zenón caresses the melody as Perdomo creates a quiet symphony beneath him. As the alto saxophonist dances into solo, the pianist is so playful, whimsical at times, beneath the flowing sax but never losing the pulse. "<b><i>En La Soledad</i></b>" (from the fertile mind of Puerto Rican composer <b>Tito Rodriguez</b>: 1923-73) may remind some John Coltrane's "<b><i>Central Park West</i></b>" especially due to the rubato feel. It's a lovely ballad that kisses one's heart.</div><div><br /></div><div>The album closes with "<b><i>Silencio</i></b>"; composed by legendary Puerto Rican songwriter <b>Rafael Hernández</b> (1892-1965), the rapid-fire music belies song title and flows forward on the delightful alto solo atop the dancing piano lines. When Perdomo steps out, you can hear a touch of the New Orleans "Spanish Tinge", especially in his delightful left hand. <br /><div><br /></div><div>"<b style="font-style: italic;">El Arte Del Bolero"</b> is a joy from start to finish. The duo of Miguel Zenón and Luis Perdomo reminds us once again of the great music created in the Caribbean and Latin America; they do so with style, grace, and love!</div><div><br /></div><div>For more information and to purchase the recording, go to <b><a href="https://miguelzenon.bandcamp.com/album/el-arte-del-bolero-vol-2">https://miguelzenon.bandcamp.com/album/el-arte-del-bolero-vol-2</a></b>.</div><div><br /></div><div>Hear the duo play Rubén Blades' "<b><i>Paula C.</i></b>":</div><div><br /></div><div><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=4228033610/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2871126711/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://miguelzenon.bandcamp.com/album/el-arte-del-bolero-vol-2">El Arte Del Bolero Vol.2 by Miguel Zenón & Luis Perdomo</a></iframe><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj21wqdM50munoIriiA2GvzTPXdV03-U02_TaT61zy0lu0NNAJjZbhxs1tcES6irsefEZe9kJ5rtxYYqKQYFO_QTSAiXuqdLC4YbUbvk2-G_VvWoXyXuvjTKXCePhYNTmvn8yylZactFEX0Not8-khZCHQ6zfaTsYdmXisWe7EIpQks5sPjOmAZKImSQi4/s2048/F7zkS0ZXEAAVqMj.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1266" data-original-width="2048" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj21wqdM50munoIriiA2GvzTPXdV03-U02_TaT61zy0lu0NNAJjZbhxs1tcES6irsefEZe9kJ5rtxYYqKQYFO_QTSAiXuqdLC4YbUbvk2-G_VvWoXyXuvjTKXCePhYNTmvn8yylZactFEX0Not8-khZCHQ6zfaTsYdmXisWe7EIpQks5sPjOmAZKImSQi4/w243-h150/F7zkS0ZXEAAVqMj.jpg" width="243" /></a></div><div>While the duo of <b>Miguel Zenón</b> and <b>Dan Tepfer</b> has not played together as long as the one reviewed above, these two musicians have improvised numerous times over the past decade-plus. Over two nights in June 2018, they got together at the Yamaha Artists Services in New York City and laid the tracks that make up their first album together. "<b><i>Internal Melodies</i></b>" (Main Door Music/self-released) combines the duo's love for spontaneous composition, pieces each composed for the occasion as well as a duo interpretation of "<b><i>Fanfares</i></b>" by György Ligeti and a sparkling take of "<b><i>317 E 32nd St.</i></b>" by Lennie Tristano.</div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQrrh5tpbSUPxUW2VtRjEJJpTcMo3kzPsGR2pCeSa4fU8oOfGE17wvAcYUzgXJjPLuOcSVBOMQ7FWvvHs4InlVkoo6rxwK6lkM67tWTAHTzT45Wk_EwL1XjcCuZhqtf5QUYQKImJi-cRcYNIsQHfBEwkZ_R-L3P31-SY5Wec6PHcR1q09PlfZxOHs4I1M/s3000/Cover%20copy.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="3000" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQrrh5tpbSUPxUW2VtRjEJJpTcMo3kzPsGR2pCeSa4fU8oOfGE17wvAcYUzgXJjPLuOcSVBOMQ7FWvvHs4InlVkoo6rxwK6lkM67tWTAHTzT45Wk_EwL1XjcCuZhqtf5QUYQKImJi-cRcYNIsQHfBEwkZ_R-L3P31-SY5Wec6PHcR1q09PlfZxOHs4I1M/w233-h233/Cover%20copy.jpg" width="233" /></a></div>Tepfer is one of the more adventurous pianists of the 21st Century diving into the worlds of classical music, electronic music, and computer music. He's also a great jazz pianist and, like Zenón, eschews labels. Together, they push each other to create music that is both mentally satisfying but also moves with grace and occasional rhythmic excitement. The 12-song program opens with the short and totally improvised "<b><i>Soundsheets</i></b>" before they embark on the pianist's "<b><i>The Thing and its Opposite</i></b>"––after a particularly angular composed melody that the alto saxophonist reads with grace, Tepfer moves into a more ethereal mode. He steps aside and Zenón dances forward alone, phrases building on top of each other without losing sight of the original melody. They return together to the opening melody yet the music feels somewhat lighter. The pianist also composed the title track. The melody has a lightness to it, especially in how Zenón plays through it. Tepfer picks up on that with a solo that hints at Beethoven in how it unfolds gently, steadily building the intensity without overwhelming the mood.<br /><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDEiJRotCB_HvkYRl7KVCkI6g4KrW_CFfriPpzcroufxgmRNKNwc6eZ8gnKPgRMmlAcRnsoXH2AQqgZ0wr5SqHsWmF9e-fuRGgmeGFAMhpYlB6Ui5lURaAxTomF37HP3DOtH_26F-lPvHKdT8WG5ZznxbZnKOSL-jjSunMyx4lf2mqY8e803lUlJx9jKQ/s680/Miguel-Dan.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="418" data-original-width="680" height="162" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDEiJRotCB_HvkYRl7KVCkI6g4KrW_CFfriPpzcroufxgmRNKNwc6eZ8gnKPgRMmlAcRnsoXH2AQqgZ0wr5SqHsWmF9e-fuRGgmeGFAMhpYlB6Ui5lURaAxTomF37HP3DOtH_26F-lPvHKdT8WG5ZznxbZnKOSL-jjSunMyx4lf2mqY8e803lUlJx9jKQ/w263-h162/Miguel-Dan.jpg" width="263" /></a></div>Listen below to the saxophonist's "<b><i>La Izquerida Latina Americana</i></b>", to how Tepfer creates a martial rhythm with his left hand before Zenón introduces the melody. There is a seriocomic feel to the music without falling too hard into either camp. Zenón's "<i><b>Centro de Gravedad</b></i>" is a gentle ballad with a lilting melody line underscored by a mix of powerful chords and gentle piano trills. Tepfer's solo has a flamenco feel, his articulated notes giving the music a sense of drama. The saxophonist also brought "<b><i>La Libertad</i></b>" to the duo; it, too, is a handsome ballad and both musicians create heartfelt solos. </div><div><br /></div><div><div>The album closes with the Tristano classic plus another spontaneous piece "<b><i>Freedrum</i></b>". The former is a delightful romp, the duo bringing out the dancing quality of the rhythm and melody. The final track combines Tepfer's piano "percussion" with Zenón's playful melody for a short but spirited finish to a wide-ranging program. "<b style="font-style: italic;">Internal Melodies" </b>goes in many directions over the course of an hour but <b>Dan Tepfer</b> and M<b>iguel Zenón</b> never lose their way. Their musical conversations can be serious or light-hearted; all told, this music is generous in spirit and a delight to listen to!</div><div><br /></div><div>For more information and to purchase, go to <b><a href="https://dantepfer.bandcamp.com/album/internal-melodies">https://dantepfer.bandcamp.com/album/internal-melodies</a></b>. </div><div><br /></div><div>Hear the duo play Zenón's "<b><i>La Izquerida Latina Americana</i></b>":</div><div><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1290173309/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3326750125/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://dantepfer.bandcamp.com/album/internal-melodies">Internal Melodies by Miguel Zenon / Dan Tepfer</a></iframe><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8TG6parSjx4v0x2fAzOQMsIZwaGSM7w8nDZ0DU_ICKut4oUm6rOUqVyTAZMzc_c7huI4iJDJk9Qkau9mzm4CuHqHE8VaN_N-T9lvVsi3v1fQe3BovgWIvXuwGRMUYOch-UIxG5Er7WpaY6US8nTkJIGq24WGy5NJ9J6srlECsDdLbnT2HLWlBTJY-2Wc/s7854/A_Rathbun_08%20copy.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="5239" data-original-width="7854" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8TG6parSjx4v0x2fAzOQMsIZwaGSM7w8nDZ0DU_ICKut4oUm6rOUqVyTAZMzc_c7huI4iJDJk9Qkau9mzm4CuHqHE8VaN_N-T9lvVsi3v1fQe3BovgWIvXuwGRMUYOch-UIxG5Er7WpaY6US8nTkJIGq24WGy5NJ9J6srlECsDdLbnT2HLWlBTJY-2Wc/w272-h181/A_Rathbun_08%20copy.jpg" width="272" /></a></div><div>Although alto saxophonist and composer <b>Andrew Rathbun</b> has been recording and touring since the late 1990s, he's still gets recognized a "Rising Star" in recent Downbeat Critics Polls. That's a nice honor but he has created music that needs to be heard by more people. The Toronto, Ontario, Canada native has recorded impressive music for labels such as Fresh Sounds New Talent Records, Origin, Centaur, and SteepleChase. Along the way, he has collaborated with pianists Ran Blake, Jeremy Siskind, and Gary Versace, flugelhornist Kenny Wheeler, drummers Billy Hart, Michael Sarin, Bill Stewart, and Jeff Hirshfield, among others. </div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh10oB4AmcGtPEDw8sBybn3Pbk_Eh7iJ106pZZjRvL79dhnNZnsqtYaT-qlMtcpvKiZmAyvGzm9_aIMV7NmV4oVmFEMpVosoUXWKqry3ofEU-xnZIOQl9BG3mAiTL23R9g0Zf6lw7bHFkpdQli6N5KeBkENmB6wVg5UamuuogoQXYDeAVPgnswFDpU4O5M/s1000/81zMW0A2eZL._UF1000,1000_QL80_.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh10oB4AmcGtPEDw8sBybn3Pbk_Eh7iJ106pZZjRvL79dhnNZnsqtYaT-qlMtcpvKiZmAyvGzm9_aIMV7NmV4oVmFEMpVosoUXWKqry3ofEU-xnZIOQl9BG3mAiTL23R9g0Zf6lw7bHFkpdQli6N5KeBkENmB6wVg5UamuuogoQXYDeAVPgnswFDpU4O5M/w226-h226/81zMW0A2eZL._UF1000,1000_QL80_.jpg" width="226" /></a></div>What stands out for this listener is that, since his earliest recordings, Andrew Rathbun has been an excellent composer. He certainly can improvise as impressively as his contemporaries but telling a story with his music is just as important. For his latest SteepleChase recording, "<b><i>Speed of Time</i></b>", he's joined by <b>Gary Versace</b> (piano), <b>John Hébert</b> (bass), and <b>Tom Rainey</b> (drums). While the majority of eight-song program was composed during the Pandemic, this music is written with these musicians in mind, as a group project. The title track kicks off the album––it's got a funky rhythm, a well-drawn melody, and strong solos from the leader and the pianist. Rathbun quickly dances away from the melody, creating a playful interaction with the rhythm section pushing up the intensity until Versace takes over building his far-ranging solo off Rainey's herky-jerky rhythms. </div><div><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYaQ9hIZuJsXvZIraYWGM9EDESbAE0bmtC0iylNv_JjagZKhyphenhyphenrdVvMuryCmz0VjRgzKtD_lODq8RY_v9N6j_J9veiG0wzXPDWb8WNFBiZywD0PbgxPvV7856CIKvAf1VLJn4XSmoT4LHWzNSXOJcUyQrIlbV9HhbPC-awD6Y0gLWhpe4xL7Uwx9dOw_4I/s800/About-3.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="480" data-original-width="800" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYaQ9hIZuJsXvZIraYWGM9EDESbAE0bmtC0iylNv_JjagZKhyphenhyphenrdVvMuryCmz0VjRgzKtD_lODq8RY_v9N6j_J9veiG0wzXPDWb8WNFBiZywD0PbgxPvV7856CIKvAf1VLJn4XSmoT4LHWzNSXOJcUyQrIlbV9HhbPC-awD6Y0gLWhpe4xL7Uwx9dOw_4I/w275-h165/About-3.jpg" width="275" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photo: Domenic Gladstone</td></tr></tbody></table>The leader plays both tenor and soprano saxophones for the insistent up-tempo jaunt that is "<b><i>Widen the Doorway</i></b>". Versace's solo, at the onset, keeps turning back on itself but soon bounces forward atop the insistent work of Hébert and Rainey. The leader's tenor solo opens unaccompanied and then he jumps upon the rhythm section. More reed overdubs on "<b><i>Still a Thing</i></b>"; this time, the soprano leads the way on the melody (although the solo is again on tenor) with the rhythm section creating quite a funky rhythm. </div><div><br /></div><div>The soprano is featured on the ballad "<b><i>Wandering</i></b>"––in the liner notes, Rathbun pays tribute to the late Wayne Shorter, particularly the "human cry" that the great musician often employed in his playing. There's a sense of urgency in the rhythm section but the deliberate pace never wavers. Excellent solos from pianist and bassist precede the leader's spotlight where Rathbun shows but never overdoes the Shorter influence. More soprano can be heard on "<b><i>Velocity Unknown</i></b>", a fascinating piece in an odd time signature (9/4). Rainey's delicate cymbal dance decorates behind the opening bass solo. Rathbun enters two minutes with his own delicate sound. Every time you think the music will erupt, the quartet gathers themselves and continue their gentle journey forward. The power in this piece comes from Rathbun's powerful solo as well as Versace's impressive improvisation.</div><div><br /></div><div>"<b><i>Speed of Time</i></b>" closes with "<b>Tooth and Nail</b>", an insistent work powered by the active drumming. The piece opens with short exposition from Rainey joined quickly by the tenor sax. After the quartet push their way through that long introduction, the music jumps forward with the drums and bass stoking the fire for the impressive tenor and piano spots. This particular track sounds even better at a higher volume, the drums shaking the speakers.</div><div><br /></div><div>Andrew Rathbun keeps "rising", keeps getting better as a composer and musician––this album is yet another fine example of his musicality and creativity.<br /><br /><div>For more information, go to <b><a href="https://andrewrathbun.com/">https://andrewrathbun.com/</a></b>. </div><div><br /></div><div>Here's the title track:</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="325" src="https://www.youtube.com/embed/8sHX5j2LM4g" width="390" youtube-src-id="8sHX5j2LM4g"></iframe></div><br /><div><br /></div></div>Richard B. Kaminshttp://www.blogger.com/profile/16253213687754435676noreply@blogger.com0tag:blogger.com,1999:blog-7153369434610919128.post-79642438196519234132023-09-24T09:41:00.000-04:002023-09-24T09:41:06.153-04:00Chicago: Large Ensemble Dreams <p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHVYgbDOK5ZnL2jfGA9EMH0L88czfUE8ZNTkZXOe0cujlYWmRMb9aVBCjIkSz1CnEVdB4xj8DQuOmQeW87G4dasmmQIokXWFwxNKFcZ60ojV7q2LuUMKx7PGp6enpKdluPfsVp8YJQ8BDcHDC6Qc1TzeSmO-ZsOpx0XwFXS-4pJ5cpceHJ7zGXX6qJV4Q/s405/Screen+Shot+2022-08-16+at+12.01.20+PM.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="402" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHVYgbDOK5ZnL2jfGA9EMH0L88czfUE8ZNTkZXOe0cujlYWmRMb9aVBCjIkSz1CnEVdB4xj8DQuOmQeW87G4dasmmQIokXWFwxNKFcZ60ojV7q2LuUMKx7PGp6enpKdluPfsVp8YJQ8BDcHDC6Qc1TzeSmO-ZsOpx0XwFXS-4pJ5cpceHJ7zGXX6qJV4Q/w250-h252/Screen+Shot+2022-08-16+at+12.01.20+PM.png" width="250" /></a></div>Over the past two decades, bassist and composer <b>Clark Sommers</b> seems to have become ubiquitous. He's worked or still works with Kurt Elling, Typical Sister, Chicago Yestet, guitarist Jeff Parker, pianist Darrell Grant, and saxophonist Chris Madsen (among many others). There are really good reasons for his continued employment; not only is he a truly "foundational" bassist but also very melodic. His composing "chops" are formidable as he has displayed on his two "solo" albums plus his work in the cooperative Ba(SH) Trio (with saxophonist <b>Geof Bradfield</b> and drummer <b>Dana Hal</b>l) and with guitarist <b>John McLean </b>in their Quartet. Like most musicians, the pandemic took him off the road for an extended period of time which gave him the opportunity to work on his composing and arranging skills in the wake of his attending at Master's Program at DePaul University. While there, he attended a Workshop led by the afore-mentioned <b>Dana Hall</b>. That workshop included writing and arranging for a 12-piece band and Sommers created several pieces for that group.<div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrVYzs0gQiBkrOpf_8u0W5Q_TliLbdaWNiRx9s7FJavalYOcGZuFyKVcKyY2x7i_yil5SLMc3tADJrVhqDhiYHznnxOLu5-tJRci5IwY57eyB3hNtUWibJtIlVSJbMEIdX_tkLXW5I-GsZHEkDVoru5JMMFmswadHxkmgm9OEVa2Pkgh7oimaUuO1FHzA/s700/a3825511415_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrVYzs0gQiBkrOpf_8u0W5Q_TliLbdaWNiRx9s7FJavalYOcGZuFyKVcKyY2x7i_yil5SLMc3tADJrVhqDhiYHznnxOLu5-tJRci5IwY57eyB3hNtUWibJtIlVSJbMEIdX_tkLXW5I-GsZHEkDVoru5JMMFmswadHxkmgm9OEVa2Pkgh7oimaUuO1FHzA/w254-h254/a3825511415_16.jpg" width="254" /></a></div><div>In his time away from touring, Sommers composed numerous pieces for his own 12-member ensemble that would include many of the people the bassist has worked with since moving to Chicago from the West Coast. Scroll down and look at the list of musicians; they are among the "cream of the crop" of the Windy City and the Midwest. The results of Sommers' work can be heard on "<b><i>Feast Ephemera</i></b>" (Phrenology Music/self-released). Nine songs, 71 minutes of music and not a dull moment to be heard. Take your time to get into the program. You may notice how delightful the arrangements are or the smart original works that Sommers brought to the sessions. Perhaps it's the impressive solos that stand out for you or the fact that the leader does not take a solo. On pieces such as "<b><i>The Rider</i></b>" and "<b><i>Pedals</i></b>", the textures of the horns and reeds as they swirl around the rhythm section as well as the soloists that surprise on first listen. Also, notice how the section writing makes room for the solos.</div><div><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5IfYJlOp0EME-HvQnuoQ2AuM0DpfOdi8SOPG9yWZ2wGn4yoC0_yz6xlSD1PYZNXwf9ZC4tFoglqpyoClJBGRpYiCJ27peuqFIaWtc4OmMGVyt2bXwV4bO1aYRrIBlnKBAopQct2yKsiqlp5TC_b4KLmJtfGkDATFaYV8pNXSRgpaLfxx52DzLfpwBmkI/s3942/Clark%2019%20by%20Scott%20Hesse%20copy.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2628" data-original-width="3942" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5IfYJlOp0EME-HvQnuoQ2AuM0DpfOdi8SOPG9yWZ2wGn4yoC0_yz6xlSD1PYZNXwf9ZC4tFoglqpyoClJBGRpYiCJ27peuqFIaWtc4OmMGVyt2bXwV4bO1aYRrIBlnKBAopQct2yKsiqlp5TC_b4KLmJtfGkDATFaYV8pNXSRgpaLfxx52DzLfpwBmkI/w270-h180/Clark%2019%20by%20Scott%20Hesse%20copy.jpg" width="270" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photo: Scott Hesse</td></tr></tbody></table>Perhaps the most impressive aspect (to my ears) of this program is how the music does not really sound like any other modern large ensemble. The music swings a bit more than that of Maria Schneider and it is not as "spiky" and angular as the music of Darcy James Argue. Like those two composers (and others like Duke Ellington, Bob Brookmeyer, Miho Hazama, and Jim McNeely), Sommers writes for these friends and musicians, knowing their strengths, their willingness to explore their roles within the music, and to stretch. Listen to "<b><i>Cave Dweller</i></b>" below; you'll hear the various voices, including piano, clarinet, flute, and saxophone introduce the opening melody before moving into the theme. Notice the powerful drumming and direction setting of Hall, the powerful bass notes (in step with and counterpoint to the piano accompaniment), all in service of the music.<br /><div><br /></div><div>Dig in to "<b><i>Feast Ephemera</i></b>", bask in the brightness of melodies and solos, drink in the sweetness of each performance. As he showed listeners on 2022's "<b><i>Intertwine</i></b>" (Outside In Music) and 2017's "<b><i>By A Thread</i></b>" (Phrenology Music), Clark Sommers is an excellent composer, more interested in the arc of the musical stories he and the musicians are telling than in showing how technically fine a player he is. Sit down and listen, listen deeply!</div><div><br /></div><div>For more information, go to <b><a href="http://www.clarksommers.com/about">www.clarksommers.com/about</a></b>. To hear more and to purchase the album, go to <b><a href="https://clarksommers.bandcamp.com/album/feast-ephemera">https://clarksommers.bandcamp.com/album/feast-ephemera</a></b>. </div><div><br /></div>Explore the "<b><i>Feast</i></b>" with "<b><i>The Cave Dweller</i></b>":<div><br /></div><div><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2151505830/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2883223228/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://clarksommers.bandcamp.com/album/feast-ephemera">Feast Ephemera by Clark Sommers</a></iframe><div><br /></div><div>Personnel:</div><div><br /></div><div><span class="peekaboo-text" style="background-color: white; color: #363636;"><span style="font-family: inherit;">Clark Sommers-compositions/arrangements & bass, </span></span></div><div><span class="peekaboo-text" style="background-color: white; color: #363636;"><span style="font-family: inherit;">Dana Hall-drums, </span></span></div><div><span class="peekaboo-text" style="background-color: white; color: #363636;"><span style="font-family: inherit;">Nick Mazzarella-alto saxophone, </span></span></div><div><span class="peekaboo-text" style="background-color: white; color: #363636;"><span style="font-family: inherit;">Geof Bradfield-bass clarinet, soprano & tenor saxophones, </span></span></div><div><span class="peekaboo-text" style="background-color: white; color: #363636;"><span style="font-family: inherit;">Chris Madsen-tenor saxophone, </span></span></div><div><span class="peekaboo-text" style="background-color: white; color: #363636;"><span style="font-family: inherit;">John Wojciechowski-C & alto flutes and alto saxophone,</span></span></div><div><span class="peekaboo-text" style="background-color: white; color: #363636;"><span style="font-family: inherit;">Tito Carrillo, Russ Johnson-trumpet, </span></span></div><div><span class="peekaboo-text" style="background-color: white; color: #363636;"><span style="font-family: inherit;">Joel Adams, Andy Baker-trombone,</span></span></div><div><span class="peekaboo-text" style="background-color: white; color: #363636;"><span style="font-family: inherit;">Stu Mindeman-piano/keyboards, </span></span></div><div><span style="font-family: inherit;"><span class="peekaboo-text" style="background-color: white; color: #363636;">Scott Hesse-guitar</span><span style="background-color: white; color: #363636;"> </span></span></div></div>Richard B. Kaminshttp://www.blogger.com/profile/16253213687754435676noreply@blogger.com0tag:blogger.com,1999:blog-7153369434610919128.post-10407217478157750842023-09-08T16:00:00.000-04:002023-09-08T16:00:08.145-04:00Tribute and Tributaries<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaNRTjeYuAY5yiSJAYO6rMs4BiqHyZkQJUzRQcMfl41uY7kkPPktDZkhgYcLWjSJhB_F-Qm0_QjofcJDyApVxS--hH96Yck8eIRbz5XAFBr1_j_msGdn4rxNqkXwh4xYEVm1Ezixv9lPvNVlpww1rRGIJGlOBza6gd6yNNvtB_rVbs0LfIKgI2IDU4A64/s1920/1292396080-9464d069035ce2030e9405e61fa7a5934bc475b0b90b95800.webp" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaNRTjeYuAY5yiSJAYO6rMs4BiqHyZkQJUzRQcMfl41uY7kkPPktDZkhgYcLWjSJhB_F-Qm0_QjofcJDyApVxS--hH96Yck8eIRbz5XAFBr1_j_msGdn4rxNqkXwh4xYEVm1Ezixv9lPvNVlpww1rRGIJGlOBza6gd6yNNvtB_rVbs0LfIKgI2IDU4A64/w264-h149/1292396080-9464d069035ce2030e9405e61fa7a5934bc475b0b90b95800.webp" width="264" /></a></div><p>In May of 2021, tenor saxophonist and composer <b>James Brandon Lewis</b> released "<b><i>Jesup Wagon</i></b>" on Tao Forms (AUM Fidelity). The music on the album told the inspirational story of George Washington Carver (1864-1943), agricultural scientist, inventor, and community organizer (the Southern farming communities). The recording introduced the world to the <b>Red Lily Quintet</b>. Composed of Lewis, <b>Kirk Knuffke</b> (cornet), <b>Chris Hoffman</b> (cello), W<b>illiam Parker</b> (bass), and <b>Chad Taylor</b> (drums, percussion), the ensemble contains multitudes, playing with creativity, invention fire, and wit. The album made a slew of "Best of" lists later that year and deservedly so.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKwkYmAQggimDPBbZ9A0UwnFD-pMXTffS6_7nrYl546cWbKTuEjSRdTEVzqjeZFEQnaDvFBP2MK5-MljwtioR6Fsd396vW_06eNrc5bKlHDCH2aH3JU6COPx8Gk1VL4x8xekiWSHPJXDL7QfU8m0MIBc9LGyUU-LyMgXBTCMz28Xf028CNLErK6H7fDJc/s700/a2845957738_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKwkYmAQggimDPBbZ9A0UwnFD-pMXTffS6_7nrYl546cWbKTuEjSRdTEVzqjeZFEQnaDvFBP2MK5-MljwtioR6Fsd396vW_06eNrc5bKlHDCH2aH3JU6COPx8Gk1VL4x8xekiWSHPJXDL7QfU8m0MIBc9LGyUU-LyMgXBTCMz28Xf028CNLErK6H7fDJc/w224-h224/a2845957738_16.jpg" width="224" /></a></div>Lewis and the RLQ is back, this time album inspired by the saxophonist's grandmother. "<b><i>For Mahalia, With Love</i></b>" (Tao Forms) is a nine-song program of spirituals made famous by Ms. Jackson (1911-1972) during the four+ decades she toured the United States and the world. Many people point to the influence of Gospel music on the blues and "soul" music but certainly Black spirituals have influenced a multitude of artists from Louis Armstrong to Duke Ellington to John Coltrane to Archie Shepp to the wonderful albums of Hank Jones and Charlie Haden (there are plenty more). Lewis and company lean more to the Coltrane type of "testifying" but unlike the 1965 classic "<b><i>A Love Supreme</i></b>", there is only one original work on "<b><i>For Mahalia</i></b>"–the program opens with "<b><i>Sparrow</i></b>", which includes the melody "<b><i>His Eye Is On The Sparrow</i></b>" (composed in 1905 by Charles H. Gabriel and Civilla D. Martin) and the leader's "<b><i>Even the Sparrow</i></b>". <p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE4mHzDmdB3qUPIybI3NiNdo0NVUHfvlLw8Wwmu-FDzqoHwQRIhB8j3ht4nxWFmXR7aZTv3n3gsn5nmYEPg6_p_2WBYJTOGxblwQf_ue9xigYjFlk6d38cNtq6irCcxTr1ufOIH5oIy-I5ZpDq-kAzqaH8UPFZIuOzmLaiIkzeA3yOWcNtckbu8AZqUBg/s1152/2014_141_3_001_preview.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="768" data-original-width="1152" height="187" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE4mHzDmdB3qUPIybI3NiNdo0NVUHfvlLw8Wwmu-FDzqoHwQRIhB8j3ht4nxWFmXR7aZTv3n3gsn5nmYEPg6_p_2WBYJTOGxblwQf_ue9xigYjFlk6d38cNtq6irCcxTr1ufOIH5oIy-I5ZpDq-kAzqaH8UPFZIuOzmLaiIkzeA3yOWcNtckbu8AZqUBg/w281-h187/2014_141_3_001_preview.jpg" width="281" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Smithsonian/Museum of African History</td></tr></tbody></table>This music covers a wide swath of territory. From the fiery saxophone shouts on "<b><i>Calvary</i></b>" to the swinging final minutes of "<b><i>Go Down Moses</i></b>" to the hard-edged driving force of "<b><i>Wade In The Water</i></b>" to the joyous power of "<b><i>Swing Low</i></b>", this is music that celebrates Ms. Jackson's legacy and builds upon the lessons learned, the lives lost, and the freedoms gained (and now in jeopardy) over the last 400 years. The music also builds off the messages in the music adapted from the teachings Blacks learned in their churches, the prayers of hope and freedom that flowed into and out of the music. Check out the sly grooves of "<b><i>Elijah Rock</i></b>", the splendid bass solo that opens the piece, the long rubato tenor/trumpet call-and-response, and the mid-song drop into tempo; if that does not makes you want to shout "Hallelujah" for its sweet blend of African, Swing, and Caribbean rhythms, I do not know what will<div><br /></div><div>The <b>Red Lily Quintet</b> is an excellent ensemble and the music <b>James Brandon Lewis</b> creates and/or arranges for them gives each person room to move, to influence the direction, to add to the harmonies, to engage in the call-and-response, and more. The saxophonist's interactions with Knuffke soar, shout praise, and dance on many of the pieces. Parker and Taylor are...well....they are a rhythm section par excellence in that one creates the foundation and the other the flow plus the fire. There are times when Hoffman's cello gets covered but he's there, sometimes playing counterpoint to the melody, other times counterpoint to the bass lines. </div><div><br /></div><div>All told, "<b><i>For Mahalia, With Love</i></b>" is a great collection of songs for many and varied reasons, not the least of which is the the ensemble's powerful playing and the excellent settings created by <b>James Brandon Lewis</b>. Do dip your feet into this mighty stream!</div><div><br /></div><div>For more information, go to <b><a href="https://jblewis.com/about">https://jblewis.com/about</a></b>. To purchase the recording, go to <a href="https://jamesbrandonlewis.bandcamp.com/album/for-mahalia-with-love"><b>https://jamesbrandonlewis.bandcamp.com/album/for-mahalia-with-love</b></a>. For a limited time, if you purchase the compact disk or vinyl versions of the album, you receive a second disk features Lewis leading the <b>Lutoslawski Quartet</b> in his chamber music piece "<b><i>These Are Soulful Days</i></b>", recorded live at its premiere performance in November 2021 at the Jazztopad Festival in Wroclaw, Poland. </div><div><div><br /></div><div><div>Revive your spirits with "<b><i>Swing Low</i></b>":</div><div><br /></div><div><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3624473248/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=107541907/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://jamesbrandonlewis.bandcamp.com/album/for-mahalia-with-love">For Mahalia, With Love by James Brandon Lewis / Red Lily Quintet</a></iframe><div><br /></div><div><br /></div><div><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzvLMC5nxCleM1Vnq9naZGVeCaMLtxiV8cZENCCKPAnW8wYn-pBKMVfvHWBe_etOWTLWTOr9meQK5UEUHtp8dOyIK0DckR8NUQhPhdjZTzr5AgFa70WSwH6xiWorelWPqNx7MhR98iD20nyoY1MD4-TC7NEkvEuQ5agFa_WeUO8iF9Ifl2cndJgPcbW9c/s2048/TURNER-superJumbo.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1365" data-original-width="2048" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzvLMC5nxCleM1Vnq9naZGVeCaMLtxiV8cZENCCKPAnW8wYn-pBKMVfvHWBe_etOWTLWTOr9meQK5UEUHtp8dOyIK0DckR8NUQhPhdjZTzr5AgFa70WSwH6xiWorelWPqNx7MhR98iD20nyoY1MD4-TC7NEkvEuQ5agFa_WeUO8iF9Ifl2cndJgPcbW9c/w255-h170/TURNER-superJumbo.jpg" width="255" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photo: Brian Harkin/NYT</td></tr></tbody></table>Tenor saxophonist <b>Mark Turner</b> has been collecting critical acclaim since he moved to New York City in the early 1990s. One might say he has a "cool" tone" but you could also argue he's very much his own man. In late 2019, Turner recorded "<b><i>Return From the Stars</i></b>" for ECM with a quartet featuring <b>Jason Palmer</b> (trumpet), long-time collaborator <b>Joe Martin</b> (acoustic bass), and the young, dynamic, drummer <b>Jonathan Pinson</b>. That group was invited by photographer and label owner <b>Jimmy Katz</b> (Giant Step Arts) to take part in his label's new series. Titled "<b><i>Modern Masters and New Horizons</i></b>", the series is curated by Palmer and drummer Nasheet Waits and will include contributions from artists such as vibraphonist <b>Chien Chien Lu,</b> saxophonists <b>Neta Ranaan</b> and <b>Ben Solomon</b>, drummer <b>Eric McPherson</b> and others. <br /><br /><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi69OMdrb1R0OOhJY2wegOua5evwcylx407lqlxY4DJe6tFYPiJwTKiss7qFsw9VhguzTg3csvEcFycdTIHjxYDqHg1WCNxgaWSmea0hI_Kaj5mFLg29iEVMH0mF9N_yWUgHnVDJhuOZgqIPe3DtFcCVUD1g2rNBumVO_zmbwjnED4_JG_b_fOL9watA_A/s6841/Cover_Turner_Live_at_the_Village_Vanguard.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="5988" data-original-width="6841" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi69OMdrb1R0OOhJY2wegOua5evwcylx407lqlxY4DJe6tFYPiJwTKiss7qFsw9VhguzTg3csvEcFycdTIHjxYDqHg1WCNxgaWSmea0hI_Kaj5mFLg29iEVMH0mF9N_yWUgHnVDJhuOZgqIPe3DtFcCVUD1g2rNBumVO_zmbwjnED4_JG_b_fOL9watA_A/w264-h231/Cover_Turner_Live_at_the_Village_Vanguard.jpg" width="264" /></a></div>The first release in the series "<b>Live at The Village Vanguard</b>" and features the <b>Mark Turner Quartet</b>, the same ensemble on the ECM album. Recorded over two nights in June of 2022, the 11-song, 2+ hours, program features material from the earlier studio recording, new pieces written specifically for this ensemble as well as older Turner originals. What Katz the producer is get out of the artist's way and lets the band do what they do best–play. Listen to "<b><i>Return from the Stars</i></b>" below to hear how tight the band is, how much they listen to each other, and how this music flows. "<b><i>Brother, Sister</i></b>", first recorded in 2014 for ECM with a different quartet (save for Martin), opens with a long, poetic, powerful, solo tenor sax statement––the band comes in seemingly on tiptoes but pay attention to Pinson on the offbeat and Martin's swinging counterpoint. Palmer gets a shorter unaccompanied solo before the the band reenters. Now the trumpet and sax play long tones while Martin solos. Notice how the textures change as the music moves forward. </div><div><br /></div><div>The newest piece on the album, "<b><i>Wasteland</i></b>", is a fascinating ballad that also opens with an unaccompanied tenor sax solo––this time, one hears a plaintive cry, a sense of deep sorrow or, even, loss of hope that leads to a full group elegy. There are long bass notes, Pinson on his toms, a melody line for the sax and trumpet that starts in unison, moves away, and back but in counterpoint now. When you listen to the song in total, you realize that not only is it an elegy but also serves as a vehicle for the drummer to create short solos in response to and seeming rejection of sorrow.<br /><div><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijfTBjHnitTHYEzNxUkGPl0bl3vXBNA8XutBExk-vsGZ0fNNfpfloc3xiHGw0ucvXoYVgabKCM9TVikim1Paxr9r1Jk_S_mBtdz_n31X1pVhBnbaXHw7N428BKm96Y-xhJpFvL_t48FoMkBcpvFrVJpJQUf6osElJXf-fZlWouX5hSN9AtWNAdd2m7rc0/s3600/MarkTurner_Sitting_KAT6335b_Crop_LARGE_2022%20copy.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3275" data-original-width="3600" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijfTBjHnitTHYEzNxUkGPl0bl3vXBNA8XutBExk-vsGZ0fNNfpfloc3xiHGw0ucvXoYVgabKCM9TVikim1Paxr9r1Jk_S_mBtdz_n31X1pVhBnbaXHw7N428BKm96Y-xhJpFvL_t48FoMkBcpvFrVJpJQUf6osElJXf-fZlWouX5hSN9AtWNAdd2m7rc0/w257-h234/MarkTurner_Sitting_KAT6335b_Crop_LARGE_2022%20copy.jpg" width="257" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photo: Jimmy & Dena Katz</td></tr></tbody></table>"<b><i>It's Not Alright With Me</i></b>" is, at 18:36, the longest track on the album. The playfulness of the melody brings images of the Clifford Brown/Max Roach Quintet. While the rhythms prances and struts, the band takes its time to move through the melody section. Martin gets the first solo and it's a tour-de-force, quite melodic yet percussive, careering forward at breakneck speed. Turner's solo starts slowly but he rides the waves created by Pinson to create a masterful, hard-edged, dramatic solo. </div><div><br /></div><div>The oldest Turner song on the program, "<b><i>Lennie Groove</i></b>", is from the leader's second album, 1998's "<b><i>In This World</i></b>". The piece has a nervous, almost jittery, melody line which does fall into a delightfully swinging "groove". </div><div><br /></div><div>"<b><i>Live at The Village Vanguard</i></b>" is yet another high water mark in <b>Mark Turner</b>'s three decade career. To me, the best to listen to this album is to sit back, put on headphones, pretend you're at one of the tables at the Vanguard, and let the music play. There's so much music to listen to so take your time and let them play!</div><div><br /></div><div>As of now, the best place to find out more about the album is to click on this link: <b><a href="https://www.giantsteparts.org/news/2023/4/3/giant-step-arts-launches-modern-masters-and-new-horizons-series-with-the-first-ever-live-album-as-a-leader-by-saxophonist-mark-turner-recorded-at-the-iconic-village-vanguard">https://www.giantsteparts.org/news/2023/4/3/giant-step-arts-launches-modern-masters-and-new-horizons-series-with-the-first-ever-live-album-as-a-leader-by-saxophonist-mark-turner-recorded-at-the-iconic-village-vanguard</a></b>. You can buy copies of the CD at Mark Turner's gigs and there will soon be a Bandcamp link to purchase digital copies. This page will be updated as soon as that happens<br /><div><br /></div><div>Here's the opening track, "<b><i>Return From the Stars</i></b>":</div></div></div><div><br /></div><div><br /></div><iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1610887137&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/bk-music-pr" style="color: #cccccc; text-decoration: none;" target="_blank" title="Braithwaite & Katz">Braithwaite & Katz</a> · <a href="https://soundcloud.com/bk-music-pr/return-from-the-stars-mark-turner" style="color: #cccccc; text-decoration: none;" target="_blank" title="Return From The Stars - Mark Turner">Return From The Stars - Mark Turner</a></div>Richard B. Kaminshttp://www.blogger.com/profile/16253213687754435676noreply@blogger.com0tag:blogger.com,1999:blog-7153369434610919128.post-37629066850730565042023-07-29T17:12:00.002-04:002023-07-31T11:39:43.637-04:00Summer Shorts: Big Band Edition #1<p> Plenty of Big Band/Large Ensemble have come my way this Summer––here's three of the best!</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP3xaE839IXpkhmSM2SmnDjiD0nhXad9tecsOECSs3Mgcu9lIvKMoglhFc3on1XgNEvaaIuP4Cq_Zw8jyOArhUmIK2m2M7iMg8tn0ClQl4HOYnRYLnsjrU2EUN0mRGKkESMIlwjpqa5RWzhtp9n91pxLbqgY9Ni8Osk2l_dCE_FcaKusije9iOXnsYNRU/s1500/MAA_1060small.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP3xaE839IXpkhmSM2SmnDjiD0nhXad9tecsOECSs3Mgcu9lIvKMoglhFc3on1XgNEvaaIuP4Cq_Zw8jyOArhUmIK2m2M7iMg8tn0ClQl4HOYnRYLnsjrU2EUN0mRGKkESMIlwjpqa5RWzhtp9n91pxLbqgY9Ni8Osk2l_dCE_FcaKusije9iOXnsYNRU/w217-h217/MAA_1060small.jpg" width="217" /></a></div>Arranger, conductor, composer, and educator <b>Chuck Owen</b>, with over four decades on the music scene, finally got to live a dream in late 2019 when he flew over to Germany to record with the <b>WDR Big Band</b>. He was hoping to record new pieces with the ensemble but the sessions were moved up. Instead, he "reimagined" three of his original works, arranged three pieces by members of the WDRBB, and brought over arrangements of the Frank Sinatra/Tommy Dorsey classic "T<b><i>his Love of Mine</i></b>" (1941) and Chick Corea's "<b><i>Arabian Nights</i></b>" (from 2007's "<b><i>The Ultimate Adventure</i></b>"). Over the course of the eight song, 73-minute, program, the music not surprisingly displays the talents of one of Europe's most accomplished ensembles but also the intelligent, witty, arrangements of Mr. Owen.<div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIc5T2PTC7BaMxqGm6zdI2jtD6e7gtotZdfGwpd8N6wP_RN7hy208PpYbSxRkpQwcavPRSTP0_auTrl2qg-lDrDK5b57reha0YLYFCRS1FOW-Ysbl1mPUh01Rwzj8hNwXxQYgiFxpfPjyhWk1VWHX-fi4c8zHNo8r8N6mhh9-_Zjy8q8vgAefn3q9ZNbE/s3081/_methode_times_prod_web_bin_054765fe-2625-11ee-8c1b-d5d52b458fbd.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2054" data-original-width="3081" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIc5T2PTC7BaMxqGm6zdI2jtD6e7gtotZdfGwpd8N6wP_RN7hy208PpYbSxRkpQwcavPRSTP0_auTrl2qg-lDrDK5b57reha0YLYFCRS1FOW-Ysbl1mPUh01Rwzj8hNwXxQYgiFxpfPjyhWk1VWHX-fi4c8zHNo8r8N6mhh9-_Zjy8q8vgAefn3q9ZNbE/w255-h170/_methode_times_prod_web_bin_054765fe-2625-11ee-8c1b-d5d52b458fbd.jpg" width="255" /></a></div>The sessions were recorded before and during the Pandemic. Ms. Caswell made the initial journey and is guest soloist on two of the tracks including the achingly lovely "<b><i>Of Mystery and Beauty</i></b>" composed by WDR alto saxophonist <b>Karolina Strassmeyer</b>. Watch below and listen how Owen's arrangement moves the brass and reeds around the solos. Bassist John Goldsby's evocative "<b><i>Fall Calls</i></b>" has a lovely melody line shared by alto and trombone (Ms. Strassmeyer and <b>Andy Hunter</b>)––nothing is rushed and you can almost hear the autumn leaves pirouetting down from the tree. The Big Band kicks good and hard on Mr. Owen's "<b><i>...And Your Point Is?</i></b>"–thanks to the presence of organist <b>Billy Test</b>, the tunes sounds somewhat like Jimmy Smith and his large ensemble recordings on Verve. <br /><div><p>While it turned out that the sessions that created "<b><i>Renderings</i></b>" were a hardship for those involved, the music triumphs. If you are an aficionado of Big Bands, you already know how good the <b>WDR Big Band</b> can be––thanks to the top-notch material and excellent arrangements from <b>Chuck Owen</b>, the large ensemble is at the top of its game––go listen.</p><p>To learn more about Chuck Owen and this album, go to <b><a href="http://www.chuckowen.com/">www.chuckowen.com/</a></b>. Do go to <a href="http://www1.wdr.de/orchester-und-chor/bigband/index.html"><b>www1.wdr.de/orchester-und-chor/bigband/index.html</b></a> to learn more about the great German Big Band. </p><p>Here's "<b><i>Of Mystery and Beauty</i></b>" with guest <b>Sara Caswell</b>:</p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="349" src="https://www.youtube.com/embed/oKul0maDsWI" width="420" youtube-src-id="oKul0maDsWI"></iframe></div><br /><divhttps: class="separator" style="clear: both; text-align: center;" v="oKul0maDsWI" watch="" www.youtube.com=""><div class="separator" style="clear: both; text-align: center;"><br /></div></divhttps:></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrU5PUEms-RE7ZE2blbiW35sihpPNL3yvNS3KZ4Z3DhHiPH19tb3P09Rh4ruMi75MPXC_Eev8hkeYneXoI49JSmdmKtPWCPzOfq2XqmMgMT4WvqdjCJRO8yGphV-l4d7zlIcl_Om3O7iZWnWOcFo2DZkRRv47h6PPDkKl_uqiJmQ9Eu0dYmz5nFzaz4JU/s2000/08%20-%207.21%20Mehmet%20Ali%20Sanl%C4%B1kol%20&%20Whatsnext_.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="2000" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrU5PUEms-RE7ZE2blbiW35sihpPNL3yvNS3KZ4Z3DhHiPH19tb3P09Rh4ruMi75MPXC_Eev8hkeYneXoI49JSmdmKtPWCPzOfq2XqmMgMT4WvqdjCJRO8yGphV-l4d7zlIcl_Om3O7iZWnWOcFo2DZkRRv47h6PPDkKl_uqiJmQ9Eu0dYmz5nFzaz4JU/w249-h249/08%20-%207.21%20Mehmet%20Ali%20Sanl%C4%B1kol%20&%20Whatsnext_.jpg" width="249" /></a></div><div>Boston, MA-based pianist and composer <b>Mehmet Ali Sanlikol</b> has never been one to shy away from his Turkish roots (born in Istanbul, Turkey, in 1974)–over the course of five albums released on DUNYA Records in the past nine years, he has shown an affinity to large ensembles (with one exception, his 2021 trio date "<b><i>An Elegant Ritual</i></b>"). His main vehicle is <b>Whatsnext?</b>, a sprawling 20-person group that includes a three-person percussion section made up of the finest musicians in the Boston area. "<b><i>Turkish Hipster: Tales From Swing to Psychedelic</i></b>" (the title tells the listener what to expect) is quite the trip. With guest artists such as <b>Anat Cohen</b> (clarinet), <b>Miguel Zenón</b> (alto saxophone), and <b>Antonio Sanchez</b> (drums), the music expands to take in the styles and influences of those musicians, with the composer and arranger finding ways to tell all the stories contained in the compositions. </div><div><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimpDgbj-wp6uvAqjHHhZmVkqEHrOAgXjGA_ovw9C_1Vkm_H6G-k2ZENJeHT68pAx2ngf0Wjl0yzNevxL5cErkFygdt7EH59s_HuWIJsiuJ6p4KSuBZ7xuMpmIjylPq5yDyLt9HFnY8GZX8MWLa1RmDVFhdBsP6fWPJF-SagInz0Qttn7Jz3DwLs8gAqsA/s601/MehmetAliSanlikolLivebyEricAntoniou.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="500" data-original-width="601" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimpDgbj-wp6uvAqjHHhZmVkqEHrOAgXjGA_ovw9C_1Vkm_H6G-k2ZENJeHT68pAx2ngf0Wjl0yzNevxL5cErkFygdt7EH59s_HuWIJsiuJ6p4KSuBZ7xuMpmIjylPq5yDyLt9HFnY8GZX8MWLa1RmDVFhdBsP6fWPJF-SagInz0Qttn7Jz3DwLs8gAqsA/w263-h219/MehmetAliSanlikolLivebyEricAntoniou.jpg" width="263" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photo: Eric Antoniou</td></tr></tbody></table>The program opens with "<b><i>A Capoeira Turca (Baia Havasi)</i></b>" which blends Turkish and Brazilian rhythms plus the expressive and joyful clarinet of Ms. Cohen. Listen below and see if you can keep still––it's downright funky. The most ambitious piece on the album follows; "Times of the Turtledove" takes its form from classic Turkish music yet drummer <b>Bertram Lehmann</b> and bassist <b>Fernando Huergo</b> give the piece a more modern sound in the first part of the episodic work. A lovely melody played by the leader on ney flute supported by a simple percussive pattern gives away to the brass section's strong melodic interpretation of the theme. Mr. Zenón plays as part of the ensemble early in the piece and does not move out for a solo until nearly 10 minutes has passed. The rhythm section dances beneath him before the horns and brass swell up leading to a powerful finish to his musical story. All three of the guests plus the leader are celebrated by rapper Raydar Ellis on "<b><i>The Boston Beat</i></b>", a funky hiphop tune that pulsates out of the speakers.<br /><div><br /></div><div>"<b><i>Turkish Hipster: Tales From Swing to Psychedelic</i></b>" closes with the three-part 21-minute "'<b><i>Abraham' Suite</i></b>". Featuring Mr. Sanchez, the story is based on the patriarch Abraham's story seen through the lens of Islam; the piece was commissioned for the Jaazar Festival in Switzerland and also recorded with an international lineup of musicians including drummer <b>Billy Cobham</b>. The composer expanded the arrangement for this more orchestral lineup. It's a powerful piece with excellent musicianship and an impassioned vocal for Mr. Sanlikol. </div><div><br /></div><div>This splendid recording illuminates the many and varied talents of <b>Mehmet Ali Sanlikol</b>, especially in how he marshals his musical troops to create a work of beauty, power, and a bit of sassiness, one that will resonate for years to come. For more information, go to <b><a href="http://www.sanlikol.com/whatsnext/.">www.sanlikol.com/whatsnext/.</a></b> </div><div><br /></div><div>To purchase this and other recordings from Mehmet Ali Sanlikol, go to <a href="https://dunya.bandcamp.com/album/turkish-hipster-tales-from-swing-to-psychedelic"><b>https://dunya.bandcamp.com/album/turkish-hipster-tales-from-swing-to-psychedelic</b></a>.</div><div><br /></div>Here's the delightful opening track (featuring <b>Anat Cohen</b>):<div><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1577361654/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3037993666/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://dunya.bandcamp.com/album/turkish-hipster-tales-from-swing-to-psychedelic">TURKISH HIPSTER: Tales from Swing to Psychedelic by MEHMET ALI SANLIKOL & WHATSNEXT? featuring Anat Cohen, Antonio Sanchez and Miguel Zenón</a></iframe><div><br /></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-YGYrdvCw2rfONpuh3AnFj08DBoCW2Cn9ybOVsmNp-FueZu-vMV--oNSrFit9UvqWDa1fvRHuxhK7Rvs61iX2RYWd3yismuH4zbmSkucdi8NeGXpVAFfiDTuYM7zR6O5qMTC41-plBN9Ey-e6-U1Umbw-gABs7ITCePdXAK1dTOdN0F3gWj2MDkQR-cI/s800/Javier-Nero-2.webp" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="533" data-original-width="800" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-YGYrdvCw2rfONpuh3AnFj08DBoCW2Cn9ybOVsmNp-FueZu-vMV--oNSrFit9UvqWDa1fvRHuxhK7Rvs61iX2RYWd3yismuH4zbmSkucdi8NeGXpVAFfiDTuYM7zR6O5qMTC41-plBN9Ey-e6-U1Umbw-gABs7ITCePdXAK1dTOdN0F3gWj2MDkQR-cI/w270-h180/Javier-Nero-2.webp" width="270" /></a></div><b>Dr. Javier Nero</b>, trombonist, composer, and arranger, has an impressive CV, one that encompasses his education at the Juilliard School and the Frost School of Music at the University of Miami. He has played and recorded with numerous large ensembles, played in Broadway pit bands, and worked with artists such as Veronica Swift, trumpeter <b>Brian Lynch</b>, and pianist <b>Shelly Berg</b> (among many others). He is currently the lead trombone for the <b>U.S. Army Blues</b>, an 18-member Big Band that plays concerts throughout Washington D.C. In 2020, Outside In Music released his debut Septet album––"<b><i>Freedom</i></b>" featured all original material, band members included bassist <b>Dion Kerr</b> (Nicholas Payton, Marcus Strickland), saxophonist <b>Melvin Butler </b>(Brian Blade), and pianist <b>Tal Cohen</b> (Terence Blanchard) as well as numerous guests including the afore-mentioned Messrs. Lynch and Berg plus vocalist <b>Lauren Desberg</b>.</div><div><br /></div><div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgklXXvQzcnP_CWr72WacLhUJyEdYY652MVzzxg2wDtbUsihx2XX8L1bisJwBWsOH_sSsVu2jPIwDKa_wSD6JPtINtm39CbwlU6bRiNdInlJPvypv6q46AV2FFV6GjBAN7B6C_1eY2sMvOVMvcQiUufcJQwJ4HZ1HusIyOFBt119pTL28tBZxnC50E_aFs/s700/a0327295666_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgklXXvQzcnP_CWr72WacLhUJyEdYY652MVzzxg2wDtbUsihx2XX8L1bisJwBWsOH_sSsVu2jPIwDKa_wSD6JPtINtm39CbwlU6bRiNdInlJPvypv6q46AV2FFV6GjBAN7B6C_1eY2sMvOVMvcQiUufcJQwJ4HZ1HusIyOFBt119pTL28tBZxnC50E_aFs/w237-h237/a0327295666_16.jpg" width="237" /></a></div></div><div>For his second Outside In Music album, "<b><i>Kemet (The Black Land)</i></b>", the ensemble is now billed as the <b>Javier Nero Jazz Orchestra</b>, 18 musicians (plus guests) strong. Most of the musicians are members of the U.S. Army Blues with a number of guest artists including <b>Randy Brecker</b> (trumpet), <b>Warren Wolf</b> (vibraphone), <b>Sean Jones</b> (trumpet), and others. The nine-song, 74 minute, program covers a wide swath of musical territory from blues to swing to lovely R'nB ballads to World Music. The playing is uniformly (no military pun intended) excellent and the occasional use of vocals add a fuller feel to tunes such "<b><i>One Day</i></b>", the lovely Brazilian/African-flavored "<b><i>Reflections on the Dark, Tranquil Water</i></b>", and the title track. "<b><i>Reflections...</i></b>" stands out for many reasons including the well-crafted melody, the handsome piano solo (<b>Josh Richman</b>), and the leader's silky-smooth melodic solo. The folky African feeling "<b><i>One Day</i></b>" rides in on the acoustic guitar of <b>Michael Kramer</b> that leads to Dr. Nero's aspirational lyrics. After a soaring flute solo (<b>Daniel Dickinson</b>), there is a fine <b>Chris Burbank </b>trumpet solo with the assembled voices swirling around him. Perhaps the prettiest tune on the album is the impressionistic ballad "<b><i>Just Let Go</i></b>", a soulful ballad with a handsome trombone solo from the leader and impressive arrangement for the horns and reeds (clarinets add quite a lovely touch</div><div><br /></div><div>Listen below to "<b><i>Nostalgic Haiku</i></b>", a soulful song with powerful brass and great solos from Messrs. Brecker and Wolf. The rhythm section, especially electric bassist <b>Regan Brough</b> and drummer <b>Kyle Swan</b>, create a strong pulse while the arrangement opens to smart section behind the soloists second chorus. </div><div><br /></div><div>The digital edition of "<b><i>Kemet (The Black Land)</i></b>" features two bonus tracks (pushing the total time of the album to 87 minutes!). Cole Porter's "<b><i>It's Alright With Me</i></b>" features the sweet voice of Christie Dashiell, a rollicking piano solo from Richman, and the excellent trumpet spot for <b>Sean Jones</b> (he spars with the vocalist). The album closes with McCoy Tyner's "<b><i>Contemplation</i></b>" (off of the pianist's 1967 Blue Note Lp "<b><i>The Real McCoy</i></b>"). The leader creates a sturdy solo before Sean Jones digs into his wide-ranging solo. Richman (who's quite active on the Philadelphia scene) again delivers a fine solo which leads to the song's end and the program's finish.</div><div><br /></div><div>Take your time to savor the music on "<b><i>Kemet (The Black Land)</i></b>", listen to the arrangements, to the excellent section work, to the fine solos, and to the music. <b>Javier Nero</b> has certainly put his heart and soul into this recording, gathering his musician friends to help tell all these stories. There's a lot to here to contemplate as well as pieces that just ask to tap your feet or clap your hands. Dr. Nero's music has expanded exponentially since his 2020 debut and one expects/hope he continues to mature as a composer, arranger, and musician.</div><div><br /></div><div>To find out more, go to <b><a href="http://www.javiernero.com">www.javiernero.com</a></b>. To hear more and to purchase the album, go to <b><a href="https://outsideinmusic.bandcamp.com/album/kemet-the-black-land">https://outsideinmusic.bandcamp.com/album/kemet-the-black-land</a></b>. </div><div><br /></div>Here's "<b><i>Nostalgic Haiku</i></b>" (featuring guests <b>Randy Brecker</b> and <b>Warren Wolf</b>):<div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="416" src="https://www.youtube.com/embed/7Uz5vtKzSJY" width="500" youtube-src-id="7Uz5vtKzSJY"></iframe></div><br /><div><br /><div><br /></div></div>Richard B. Kaminshttp://www.blogger.com/profile/16253213687754435676noreply@blogger.com0tag:blogger.com,1999:blog-7153369434610919128.post-8573648988498477872023-07-24T16:33:00.001-04:002023-07-24T16:33:35.653-04:00George, By Denny!<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOFkDq0fMdfzT5mDFpQiVNB5QAhgRVfIXwNuVrRQI02RnKl-hgPSVtMzwfc_hm_KaS1NxviG9KNXznx5-QFQpI08XzWRXm6TG-CpglmE--hGHIjl2G8euKHuCD2YH59kKR9hvl1K8PBf_zHdOi-m1tCe9090VE5L6lshXabehvPh0zrWN26g0brCtDur8/s250/download.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="202" data-original-width="250" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOFkDq0fMdfzT5mDFpQiVNB5QAhgRVfIXwNuVrRQI02RnKl-hgPSVtMzwfc_hm_KaS1NxviG9KNXznx5-QFQpI08XzWRXm6TG-CpglmE--hGHIjl2G8euKHuCD2YH59kKR9hvl1K8PBf_zHdOi-m1tCe9090VE5L6lshXabehvPh0zrWN26g0brCtDur8/s1600/download.jpg" width="250" /></a></div>D<b>r. Dennis Zeitlin</b>, Clinical Professor of Psychiatry at the University of California/San Francisco and practicing Psychiatrist, is also <b>Denny Zeitlin</b>, pianist, composer, arranger, and improvisor––the latter has been playing and recording since the early 1960s when he was a Graduate Student at Johns Hopkins in Baltimore, MD. He continued his career and began teaching after moving to the West Coast. The pianist recorded four LPs for Columbia from 1963-67, the first in a trio with bassist <b>Cecil McBee</b> and drummer <b>Freddie Waits</b>; other ensembles featured bassist <b>Charlie Haden</b> and drummer <b>Jerry Granelli.</b> In 1969, he met percussionist <b>George Marsh</b> (who, like Dr. Zeitlin, was born in Chicago) forming a trio with bassist <b>Mel Graves</b>. Together, they recorded two albums, one ("<b><i>The Name of This Terrain</i></b>") recorded in 1969 that was issued in 2022, and the other ("<b><i>Expansion</i></b>") issued in 1973––Dr. Zeitlin had added electronic keyboards and synthesizers to his repertoire and the musical results still sound fascinating. In 1978, he composed the soundtrack to the first remake of "<b><i>Invasion of the Body-Snatchers</i></b>"; that immersive electronic experiment sent him back to the acoustic piano.<div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwg4Ika_ZDmUjbv-YF6s5tQz8-IXftqBm-FbBP3OxmC5-9VY3-VyrHlQ0NM1sj5LhXOyK1yEQIzJc6wiPy2JTFnQ9aLTsBozZPT1SQGgkYCWFbpkIdr26ZX8JR3D4L5eeQmaqAfbKqLCCaqJP8YwsZELrKrS4Z3F1YlLqKJxdDSqGlWr7hwcBZUfrxXbc/s700/a1548657042_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwg4Ika_ZDmUjbv-YF6s5tQz8-IXftqBm-FbBP3OxmC5-9VY3-VyrHlQ0NM1sj5LhXOyK1yEQIzJc6wiPy2JTFnQ9aLTsBozZPT1SQGgkYCWFbpkIdr26ZX8JR3D4L5eeQmaqAfbKqLCCaqJP8YwsZELrKrS4Z3F1YlLqKJxdDSqGlWr7hwcBZUfrxXbc/w253-h253/a1548657042_16.jpg" width="253" /></a></div><div>In the late-2000s, after issuing on labels such as Windham Hill, Palo Alto Jazz, Concord, and one smashing Trio session on the Japanese Venus label, Dr. Zeitlin began his association with Sunnyside Records. Since that time, he has released four Trio albums (featuring bassist <b>Buster Williams</b> and drummer <b>Matt Wilson</b>), three totally-improvised electronics-laden albums with <b>George Marsh</b>, and six solo piano albums (one of which, 2013's "<b><i>Both/And</i></b>", features electronics as well). Album #14 for Sunnyside is "<b><i>Crazy Rhythms: Exploring George Gershwin</i></b>" (the Doctor's seventh solo album and third recorded at the Piedmont Piano Company in Oakland, CA). The package includes 11 Gershwin works that range from "standards" to show tunes to one fascinating find (the lovely waltz "<b><i>By Strauss</i></b>"). Dr. Zeitlin chose these pieces several months before the December 2018 concert, playing through and with them. He then sat in the concert space in front of the audience and proceeded to play through the program following no set format and improvising, in his estimation, 95% of the concert.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtbUVS5xOlZytEO5ttYE-feTJjeGPQfHT7HlUGKwJnVUDz2ufwprsXZG1royV9NBe7OYymKaq8O6RBBbIQkMW0tyNQAFe0abO9GY_xH865eCZPE-5Ztu7_-HIwNCjkuYrOhuN5J4zs72PBmQvTD3pQPKzO2B5bKvripjAueLCdnxA3mWAsSsYtPgGG5LY/s400/image-asset.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="400" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtbUVS5xOlZytEO5ttYE-feTJjeGPQfHT7HlUGKwJnVUDz2ufwprsXZG1royV9NBe7OYymKaq8O6RBBbIQkMW0tyNQAFe0abO9GY_xH865eCZPE-5Ztu7_-HIwNCjkuYrOhuN5J4zs72PBmQvTD3pQPKzO2B5bKvripjAueLCdnxA3mWAsSsYtPgGG5LY/w255-h255/image-asset.jpg" width="255" /></a></div>What a treat this album is. From the opening zither-like sound of "<b><i>Summertime</i></b>" to the playful "<b><i>I Was Doing All Right</i></b>" that closes the album, the music goes in many directions. In conversation with Dr. Zeitlin, I compared the improvisor to a person diving into the water, going deep down and coming back up to touch on the melody. Right from the start, the music does not move the way one might expect; instead, these performances are an open door into the musician's creativity. While you sing along to "<b><i>How Long Has This Been Going On?</i></b>", the pianist changes the tempo now and then, creating a joyful solo. "<b><i>Fascinating Rhythm</i></b>" bounces forward yet there are moments when the two-handed approach sounds like a JS Bach exercise before swinging away on the power of right-hand single note runs. Listen below to "<b><i>The Man I Love</i></b>"–is the opening a bow to fellow pianist McCoy Tyner's use of modal chords before the music dances away?<br /><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSDyxOnp15-bT4-27qVUba1yNhcnlsGXz79xNr8uXHKQ9-VctmOIldSPm7CZsd4BC97DqsmanpLuqC8865HpFJpxPW8vCEfhoxEdQtSBnqldqIWe65IgkaKzbQsXLu9vIbcWfz36qZU0MIHh5V8ndLYegYz2nHcqsp4GlaBC2J8FbrrYRZsjq7b0ajgHI/s760/ev_George-Gershwin-1-28eeef04de.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="760" height="182" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSDyxOnp15-bT4-27qVUba1yNhcnlsGXz79xNr8uXHKQ9-VctmOIldSPm7CZsd4BC97DqsmanpLuqC8865HpFJpxPW8vCEfhoxEdQtSBnqldqIWe65IgkaKzbQsXLu9vIbcWfz36qZU0MIHh5V8ndLYegYz2nHcqsp4GlaBC2J8FbrrYRZsjq7b0ajgHI/w276-h182/ev_George-Gershwin-1-28eeef04de.jpg" width="276" /></a></div>The three pieces from "<b><i>Porgy and Bess</i></b>"––"<b><i>Bess You Is My Woman Now</i></b>", "<b><i>It Ain't Necessarily So</i></b>", and "<b><i>My Man's Gone Now</i></b>"––could be an album on its own. The pianistic explorations on each piece not only honor the melody but the "heart and soul" in each tune. "<b><i>Bess</i></b>" is just gorgeous, emotionally rich and rewarding in numerous ways. "<b><i>It Ain't...</i></b>." moves far from its melodic home for a powerful journey inside the questions at the heart of faith and beliefs, not settling for a laugh. At nearly 13 minutes, "<b><i>My Man's Gone Now</i></b>" is, at times, an elegy, a celebration, and a angry fist waving at the heavens, a journey inward and out again with a renewed resilience. </div><div><br /></div><div>That's my take. "<b><i>Crazy Rhythms: Exploring George Gershwin</i></b>", if you are willing to give the music the time it deserves, is quite an album. <b>Denny Zeitlin </b>makes <b>George Gershwin</b> come alive, illuminating the universality of the composer's music as well as the joy (try and sit still listening to "<b><i>S'Wonderful</i></b>"). Pay attention and get lost; let this music take you away from the mundane, from the troubles, for the rewards are many!<br /><div><br /></div><div>For more information and to purchase the album, go to <b><a href="https://dennyzeitlin.bandcamp.com/album/crazy-rhythm-exploring-george-gershwin">https://dennyzeitlin.bandcamp.com/album/crazy-rhythm-exploring-george-gershwin</a></b>. To learn more about Dr. Denny Zeitlin, go to <b><a href="http://www.dennyzeitlin.com">www.dennyzeitlin.com</a></b>. </div><div><br /></div>Listen to "<b><i>The Man I Love</i></b>":</div><div><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3786127263/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=992818982/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://dennyzeitlin.bandcamp.com/album/crazy-rhythm-exploring-george-gershwin">Crazy Rhythm: Exploring George Gershwin by Denny Zeitlin</a></iframe>Richard B. Kaminshttp://www.blogger.com/profile/16253213687754435676noreply@blogger.com0tag:blogger.com,1999:blog-7153369434610919128.post-15195546971952311892023-07-21T15:08:00.003-04:002023-07-21T15:13:07.995-04:00Summer Shorts: Living Music<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk-QxrQj-arkVoYCnmYOVChe3ioKuuw3MBD926w_rX5idfaJp10lp87TYTBf_ipMbgtiFsMiY2MAW86CwOMgO8i9r5-QQ6D3VHDlmgO1GiyqCk5wkrZ-Kxw5VYxFlXCsrob5HdCIXd5eVHQKPnu7CuK1Qz9VB9yndBPj3rr5G70Vf2Eu-Xf2G6-qQUR6Y/s3677/FRANCOIS_BOURASSA_QUARTET-9876-RET.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2700" data-original-width="3677" height="189" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk-QxrQj-arkVoYCnmYOVChe3ioKuuw3MBD926w_rX5idfaJp10lp87TYTBf_ipMbgtiFsMiY2MAW86CwOMgO8i9r5-QQ6D3VHDlmgO1GiyqCk5wkrZ-Kxw5VYxFlXCsrob5HdCIXd5eVHQKPnu7CuK1Qz9VB9yndBPj3rr5G70Vf2Eu-Xf2G6-qQUR6Y/w257-h189/FRANCOIS_BOURASSA_QUARTET-9876-RET.jpg" width="257" /></a></div>Pianist and composer <b>François Bourassa</b> has been a mainstay on the Montreal, Quebec, CA, jazz scene for nearly four decades. A graduate of McGill University, the pianist went to study with Fred Hersch, Miroslav Vitous, and George Russell at the New England Conservatory of Music in Boston, MA, before returning to Canada where he formed his first "working" trio in the 1980s. In the early 2000s, he formed a quartet with bassist <b>Guy Boisvert</b>, <b>Andre Leroux</b> (tenor and soprano saxophones, flutes) joined in 2010, and <b>Guilliame Pilote</b> (drums) replaced original drummer <b>Greg Ritchie </b>late in the same decade.<div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXjs-LN6-2fIRySwvJz5N7s819MJIMJUMe88q_B8Y3j5vcjFSP6aKPpT6LeKhzKDBOUClmO8AYl87B5hAkQyxwDO31nECswXXuEDrYBJqC_cyybYRuiWEX93VGIFzlaifQ1_dpeKTdg-0hCXw45xAtSOwR2pEevpVl6MAWmuEU5ag55GaCvlOX_Y-QYM8/s700/a1600830280_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXjs-LN6-2fIRySwvJz5N7s819MJIMJUMe88q_B8Y3j5vcjFSP6aKPpT6LeKhzKDBOUClmO8AYl87B5hAkQyxwDO31nECswXXuEDrYBJqC_cyybYRuiWEX93VGIFzlaifQ1_dpeKTdg-0hCXw45xAtSOwR2pEevpVl6MAWmuEU5ag55GaCvlOX_Y-QYM8/w258-h258/a1600830280_16.jpg" width="258" /></a></div><div>"<b><i>Swirl: Live at Piccolo"</i></b> (Effendi Music), recorded live over two nights in July of 2022 at Montreal's Studio Piccolo, is the fifth album by the <b>François Bourassa Quartet</b> and the first since 2017's "<b><i>Number 9</i></b>". The music, all original material penned by the leader, is, at turns, playful, solemn, contemplative, exciting, filled with sudden twists-and-turns and intelligent interactions. You can tell they are listening to each other. Take the episodic "<b><i>Pooloop</i></b>" that opens the program. Sometimes it seems the wheels are coming off but the rhythm section never wavers. The title is a palindrome and there are moments the music has a circular feel. Leroux's soprano sax is out for most of the second half of the 12-minute performance. He switches to flute for the next cut, "<b><i>Prologue</i></b>"–he is by himself for the opening two+ minutes. At times, it seems as if he is "mumbling" in the background and in a give-and-take with his louder self. Bourassa enters and the dialogue shifts towards the more dramatic and even more so when the rhythm section enters for the piano solo. The piece moves inward for a bowed bass solo (while Bourassa plays a "dampened" bass. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5PPTEsPhVF6Co0zs3aYitwwMzJH93K-MjQEmwuWHbVbP1h26nNyc0UQaEdeBIFTpFacnO0qsbZjyN9z9Fn2GL4vzw6xao2VZZAqGLxrlae4lfqLi_V5zUKOka8Z1QJNAs3RUqDtMAiJ4EQ0nRnGczj6QUOUi78XmpREhzM9Yq35ugRF0eb8xgslNxSl4/s600/FBQuartet_groupe-600x481.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="481" data-original-width="600" height="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5PPTEsPhVF6Co0zs3aYitwwMzJH93K-MjQEmwuWHbVbP1h26nNyc0UQaEdeBIFTpFacnO0qsbZjyN9z9Fn2GL4vzw6xao2VZZAqGLxrlae4lfqLi_V5zUKOka8Z1QJNAs3RUqDtMAiJ4EQ0nRnGczj6QUOUi78XmpREhzM9Yq35ugRF0eb8xgslNxSl4/w257-h206/FBQuartet_groupe-600x481.jpg" width="257" /></a></div>If you have never heard this band, I was reminded, at different times during the tracks, of the Branford Marsalis Quartet, of Eric Dolphy's "<b><i>Out to Lunch</i></b>" recording, and of the work Billy Hart is doing with his Quartet. The <b>François Bourassa Quartet</b> does not sound like those groups but they sail in waters that those other ensembles have traversed. Listen below to "<b><i>Room 58</i></b>" and make up your own mind. The six-song, 60-minute "<b><i>Swirl</i></b>" (apt title) compels the listener to pay attention not just because the musicians play with such fire and wit "<b><i>Remous</i></b>", the fifth track, is such a great example of that) but also because the the leader's originals gives each musician plenty of space to "be themselves" as well as a cohesive unit. If you like Creative music, "<b><i>Swirl: Live at Piccolo"</i></b> will make you feel good!</div><div><br /></div><div>For more information, go to <b><a href="https://francoisbourassa.com/2011/11/24/francois-bourassa-quartet/">https://francoisbourassa.com/2011/11/24/francois-bourassa-quartet/</a></b>. To hear more and to purchase the album, go to </div><div><b><a href="https://franoisbourassaquartet.bandcamp.com/album/swirl-2">https://franoisbourassaquartet.bandcamp.com/album/swirl-2</a></b>. <br /><div><br /></div><div><br /></div>Give a listen to "<b><i>Room 58</i></b>":<div><br /></div><div><div><br /></div></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2737653434/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2365091467/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://franoisbourassaquartet.bandcamp.com/album/swirl-2">Swirl by Francois Bourassa Quartet</a></iframe></div>Richard B. Kaminshttp://www.blogger.com/profile/16253213687754435676noreply@blogger.com0tag:blogger.com,1999:blog-7153369434610919128.post-58363713930103419942023-07-13T14:59:00.000-04:002023-07-13T14:59:06.138-04:00A Voice for Love<p><br /></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid6Z2lt-CsyercLE7xhTV7INeT0SHOLnrasc0p1bcj4ko8iqjmPGr3Iw5Ydxx-go8PI3gVhB8Ur3-qfc8FpeKYAO8ZApmNe79RycjHtYmT1D3ZCrajZ6M5fcbz88Yg7XE1LkJNtkqDi7QIzTAUF-iO8UoYrKABPvUVvXVNy-L_f7Y7BCUkrdaVji25dUU/s794/BCM_Nicole-Zuraitis.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="794" data-original-width="600" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid6Z2lt-CsyercLE7xhTV7INeT0SHOLnrasc0p1bcj4ko8iqjmPGr3Iw5Ydxx-go8PI3gVhB8Ur3-qfc8FpeKYAO8ZApmNe79RycjHtYmT1D3ZCrajZ6M5fcbz88Yg7XE1LkJNtkqDi7QIzTAUF-iO8UoYrKABPvUVvXVNy-L_f7Y7BCUkrdaVji25dUU/w194-h257/BCM_Nicole-Zuraitis.jpg" width="194" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photo courtesy of BCM</td></tr></tbody></table>Every once in a while, you pick a CD out of the stack on your desk, sit down to listen, and get transfixed. I know <b>Nicole Zuraitis</b> is a Connecticut native, that she has recorded several albums with her husband, drummer and composer <b>Dan Pugach</b>, is a member of <b><a href="https://www.thanalexa.com/sonica" target="_blank">Sonica</a></b> (with Thana Alexa and bassist Julia Adamy), and has issued four albums as a leader since 2013. Her fifth album is now out––"<b><i>How Love Begins</i></b>" (Outside In Music) began percolating in the vocalist, composer, and pianist's mind when she met bassist <b>Christian McBride</b> in 2018 and he said that "we should do something together". It took them two a few years to reconnect; when she sent him a large amount of her newer material, he chose the 10 that make up the album. Ms. Zuraitis chose the musicians; besides her husband on drums and McBride on bass, there's <b>Gilad Hekselman</b> (guitar) and <b>Maya Kronfeld</b> (organ,Wurlitzer, Rhodes) with pianist <b>David Cook</b> (three tracks), drummer <b>Billy Kilson</b> (three tracks), and <b>Sonica</b> (one track). <div><br /></div><div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQlvJwEOyjsFgT4jPImbxZ5LbtGKAWrhEl6mgUc1EFExyfFax7MLkWk_NM0KfzJkezN7Fm__yYqYN19wB9QIyMlBte8iOttTsIZ5xqaGhZubpaeSwj1ozbW97JPs8HSXsCR0dIIMCBPBt5h4PDie5eoPD4aiuqfrFcunZRSKlfaSZ4m8LFk5LAfjBTZQo/s700/a1568611939_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQlvJwEOyjsFgT4jPImbxZ5LbtGKAWrhEl6mgUc1EFExyfFax7MLkWk_NM0KfzJkezN7Fm__yYqYN19wB9QIyMlBte8iOttTsIZ5xqaGhZubpaeSwj1ozbW97JPs8HSXsCR0dIIMCBPBt5h4PDie5eoPD4aiuqfrFcunZRSKlfaSZ4m8LFk5LAfjBTZQo/w241-h241/a1568611939_16.jpg" width="241" /></a></div><div>The program is divided into two parts, "<b><i>Oil</i></b>" and "<b><i>Water</i></b>", each section having five songs. In conversation, Ms. Zuraitis said that the first section is really about "how love begins" while the second half is about "how love ends". What one notices on first listen is how strong a voice she has, how articulate she is in all registers, , and how flexible her voice can be. Pay attention as well to her piano work. Her McCoy Tyner-esque chords beneath the guitar solo on "<b><i>Reverie</i></b>" are both powerful and percussive, locking in with the bass and drums (in this instance, Mr. Kilson). "<b><i>Travel</i></b>", a track she composed with fellow vocalist <b><a href="https://cyrillemusic.com/" target="_blank">Cyrille Aimée</a></b>, features lyrics by the poet Edna St. Vincent Millay plus a lyrical guitar solo. It's just voice and guitar on "<b><i>Let Me Love You</i></b>", a bluesy plea. The intimacy and humor of the performance is an aural treat.</div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiynpzJ8znKoLGPPZlnpkRhjksqJY66RLtja-XnJqwDIcfgbbMB0x16pssSR0VdgL6PlQfpe43X9Oem3DV1mrDbyZx-jb5v1MFzBcsiKG4TQpvaq_pz7o2LYjNKfHSy9Gz9eNVfkuXeOXq53FAYUM53zLoO7D87RSQRZ9conb9MM5R2-bQr136ITMIrDRA/s1875/7P3A6803.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1875" data-original-width="1500" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiynpzJ8znKoLGPPZlnpkRhjksqJY66RLtja-XnJqwDIcfgbbMB0x16pssSR0VdgL6PlQfpe43X9Oem3DV1mrDbyZx-jb5v1MFzBcsiKG4TQpvaq_pz7o2LYjNKfHSy9Gz9eNVfkuXeOXq53FAYUM53zLoO7D87RSQRZ9conb9MM5R2-bQr136ITMIrDRA/w197-h246/7P3A6803.jpg" width="197" /></a></div>The "Water" section opens with "<b><i>Two Fish</i></b>"; based on a Hebrew poem written by <b>Dahlia Rabikovich</b>, the open seconds of the tune sound like the intro to Leslie Bricusse's "<b><i>My Kind of Girl</i></b>" before heading out on its path. It's really a sweet love song with lovely fills from pianist Cook and bluesy responses from Hekselman. The love affair begins falling apart on the soulful "<b><i>Well Planned, Well Played</i></b>" but the music is buoyed by the gospel organ work of Ms. Kronfeld and Hekselman's bent notes. Mr. McBride takes a short but melodic solo. The love affair is but over on "<b><i>Like Dew</i></b>", a slow, sorrowful, ballad in which Ms. Zuraitis's emotional vocal takes center stage but don't disregard her fine piano work. The program ends with "<b><i>To The Garden</i></b>", a Carole King-like melody that is both a vocal treat (delightful overdubbed vocal "responses") and a heartfelt musical experience––if you buy the CD, the "hidden track" is the original "<b><i>Save It For a Rainy Day</i></b>" in which the singer realizes that love has totally been eclipsed by a consistent and insistent storm. </div><div><br /></div><div>Slowly, steadily, <b>Nicole Zuraitis</b> is making inroads as a singer, pianist, and especially as a composer. "<b><i>How Love Begins</i></b>" is a smashing album, filled with fine songs, excellent musicianship, led by a vocalist whose voice is inviting, intimate, playful, and emotionally real. Give the album several full spins and see how good you'll feel bathed in these sweet sounds.</div><div><br /></div><div>For more information, go to <b><a href="http://www.nicolezmusic.com/">www.nicolezmusic.com/</a></b>. To hear more and to purchase the album, go to <a href="https://outsideinmusic.bandcamp.com/album/how-love-begins"><b>https://outsideinmusic.bandcamp.com/album/how-love-begins</b></a>. <br /><div><br /></div><p>Here's "<b><i>Let Me Love You</i></b>":</p><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1286084232/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1103516821/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://outsideinmusic.bandcamp.com/album/how-love-begins">How Love Begins by Nicole Zuraitis</a></iframe></div>Richard B. Kaminshttp://www.blogger.com/profile/16253213687754435676noreply@blogger.com0tag:blogger.com,1999:blog-7153369434610919128.post-37826533742043441202023-07-11T17:26:00.002-04:002023-07-11T17:26:44.815-04:00Solo Trumpeter<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiNz0Q744lu00knZ558TgXEKAhfNyNPi9-pPkQaRsO3ZzjOn-t1pmqCq0CZpgUgiSZyu1m7p2ZU9-62I2TwY-h2V168aRg9Xy1iNlCw10AbHgP1f9Cp2ipx-78p39VmL52SMzACBiR4glPmdlapLfI6J2EzuAHb-T6opAz5v39p98XhyxVY0jwEGE-eD8/s898/ambrose-akinmusire-bio.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="898" data-original-width="800" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiNz0Q744lu00knZ558TgXEKAhfNyNPi9-pPkQaRsO3ZzjOn-t1pmqCq0CZpgUgiSZyu1m7p2ZU9-62I2TwY-h2V168aRg9Xy1iNlCw10AbHgP1f9Cp2ipx-78p39VmL52SMzACBiR4glPmdlapLfI6J2EzuAHb-T6opAz5v39p98XhyxVY0jwEGE-eD8/w214-h240/ambrose-akinmusire-bio.jpg" width="214" /></a></div><p>Hard to believe it's 16 years since <b>Ambrose Akinmusire</b> won the Thelonious Monk International Jazz Competition. That same year, he won the Carmine Caruso International Jazz Trumpet Solo Competition plus his debut album on Fresh Sound. In 2011, Akinmusire signed to Blue Note Records where he released five albums as a leader one as a member of the Blue Note All Stars. He's been a frequent guest artist appearing on albums by Jen Shyu, Me'shell Ndegeocello, guitarist Wolfgang Muthspiel and Mary Halvorson, Jack DeJohnette, and many more. He's also has collaborated with Australian composer <b>Michael Yezerski </b>for two seasons on the soundtrack of the STARZ series "<b><i>Blindspotting</i></b>". Earlier this month, Akinmusire was named the Artistic Director for the incoming class of 2025 of the Herbie Hancock Institute of Jazz (formerly the Monk Institute) in Los Angeles, CA. </p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZOEgqn23N4JkvVSaVieetXY7yxTwsbfzTaC-VPUzVMxK-BRgo-3dTWCnKWdCqss0FcGof-MkTHSx0WPLmO0Sgbk_4n2ecUKuM1fBuduLQaym5oznABH637OBTbiqPreU_nE2zhO37dpn41JsTaSn1eKnGX2ic5RcMIBVj1PML_bRqweROpWetdoT_fj0/s700/a1521678163_16.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZOEgqn23N4JkvVSaVieetXY7yxTwsbfzTaC-VPUzVMxK-BRgo-3dTWCnKWdCqss0FcGof-MkTHSx0WPLmO0Sgbk_4n2ecUKuM1fBuduLQaym5oznABH637OBTbiqPreU_nE2zhO37dpn41JsTaSn1eKnGX2ic5RcMIBVj1PML_bRqweROpWetdoT_fj0/w245-h245/a1521678163_16.jpg" width="245" /></a></div>Now, Ambrose Akinmusire is launching his own label, <b>Origami Harvest</b>. The first release is also Akinmusire's first solo album. Titled "<b><i>Beauty Is Enough</i></b>", the 16 tracks were recorded in Paris inside t<span style="background-color: white; color: #202122; font-family: inherit;">he </span><b style="background-color: white; color: #202122; font-family: inherit;">Church of St. Eustache </b><span style="background-color: white; color: #202122; font-family: inherit;">(pictured below)</span><span style="background-color: white; color: #202122;"><span style="font-family: inherit;">––the trumpeter rented space within the building bringing sound engineer Julien Bassères along to capture the improvisations. In an excellent interview with <b>Nate Chinen</b> for his SubStack blog, "<b><i><a href="https://thegig.substack.com/" target="_blank">The Gig</a></i></b>", Akinmusire said "</span></span><i>You know, the idea started from talking to Wadada and Roscoe, and them talking about the importance of having a solo record</i>". (Sign up for "<b>The Gig</b>" as it is now Mr. Chinen's main vehicle for writing). There's certainly a precedent for this album as there are numerous Creative Music solo trumpet albums including several excellent TUM releases by Wadada Leo Smith. <p></p><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqDcutxXy02gPC-L7EVP76s80nHIOoX_dApOod64AQI6qrlHS_Sh9sc73x2P7SqXrvxtGRryQsdx0If97naA-Rl_ZJH_ODDqNR6oZfZ4iYCEFxtmsXvVRJIGDD3itL8uGNDY24iYsYXbf6wlJ6zsKRAicHphf8xg0RL6i6rjTrgUOlUrDDGwWQz1XVh2E/s900/d67a7232-68d7-4e95-8e6b-6c775705d6f2_900x600.webp" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="900" height="167" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqDcutxXy02gPC-L7EVP76s80nHIOoX_dApOod64AQI6qrlHS_Sh9sc73x2P7SqXrvxtGRryQsdx0If97naA-Rl_ZJH_ODDqNR6oZfZ4iYCEFxtmsXvVRJIGDD3itL8uGNDY24iYsYXbf6wlJ6zsKRAicHphf8xg0RL6i6rjTrgUOlUrDDGwWQz1XVh2E/w250-h167/d67a7232-68d7-4e95-8e6b-6c775705d6f2_900x600.webp" width="250" /></a></div>As stated above, there are 16 tracks clocking in at just under 50 minutes. Only two are over four-minutes long and all are absorbing. Solo albums tell a story––few of them are created to highlight technical brilliance––and "<b><i>Beauty Is Enough</i></b>" is filled with dedications, memories, and dreams. Listener sit down, start on track one ("<b><i>To Taymoor</i></b>"), pay attention to the intimacy of the sound (and the resonance within the building), to how Akinmusire builds the piece up from the opening tones to a gentle melody, and the softness of his attack. Other "dedication songs" include "<b><i>Carvin</i></b>" (for drummer Michael Carvin), "<b><i>To Shabnam</i></b>", and "<b><i>To Cora Campbell</i></b>" which closes the recording. There are others tracks with names attached but also tracks such as the playful "<b><i>Off the Ledge</i></b>" (feels like madcap romp based on <b><i>"Reveille</i></b>") and "<b><i>Achilles</i></b>" which, to these ears, sounds like a chase scene in a cartoon.</div><div><br /></div><div>Over the course of his career, <b>Ambrose Akinmusire </b>has made us listen to the power in his music, to his responses to the world around him that he translates into sounds and images. "<b><i>Beauty Is Enough</i></b>" feels more like a launching pad for future adventures than a summing up of where the trumpeter has already been. Listen and judge for yourself but do listen with an open mind. </div><div><br /></div><div>For more information and to purchase the recording, go to <b><a href="https://ambroseakinmusire.bandcamp.com/album/beauty-is-enough">https://ambroseakinmusire.bandcamp.com/album/beauty-is-enough</a></b>. For the trumpeter's history, go to <b><a href="http://www.ambroseakinmusire.com/">www.ambroseakinmusire.com/</a></b>. </div><div><br /></div><div>Hear "<b><i>Launchpad</i></b>":</div><div><br /></div><div><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1565839680/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3650815290/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://ambroseakinmusire.bandcamp.com/album/beauty-is-enough">Beauty is Enough by Ambrose Akinmusire</a></iframe>Richard B. Kaminshttp://www.blogger.com/profile/16253213687754435676noreply@blogger.com0tag:blogger.com,1999:blog-7153369434610919128.post-88734751090081085332023-07-01T08:17:00.001-04:002023-07-01T08:18:44.998-04:00Piano Trios: The Staying Power of the Blues + 40 Years Hence<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq3URoikC53HX_CSVbEPppNsfQvONNAYlrLYEnHUYhoszATXUbUQNn2O6-6SYAoKQxiiBnto60Bbf60HFoBdmT97Uh8BaIKTzOHZem_Q0G8GD0ufbMRODdekS7RGqRFgXVZ2qM20o2bEoT5O17nrP8VDMDJFCzYLe_zLe6HEMDWxYcyFi3CYVq8yyBf0Y/s2000/TyshawnSorey_Mesmerism_JohnRogers_HighResL1190200_R-2000x1125-1.webp" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1126" data-original-width="2000" height="134" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq3URoikC53HX_CSVbEPppNsfQvONNAYlrLYEnHUYhoszATXUbUQNn2O6-6SYAoKQxiiBnto60Bbf60HFoBdmT97Uh8BaIKTzOHZem_Q0G8GD0ufbMRODdekS7RGqRFgXVZ2qM20o2bEoT5O17nrP8VDMDJFCzYLe_zLe6HEMDWxYcyFi3CYVq8yyBf0Y/w238-h134/TyshawnSorey_Mesmerism_JohnRogers_HighResL1190200_R-2000x1125-1.webp" width="238" /></a></div>Critics and reviewers were quite surprised and, ultimately, very pleased last July when drummer, composer, and conceptualist <b>Tyshawn Sorey</b> issued "<b><i>Mesmerism</i></b>" (Yeros7 Music––now reissued on Pi Recordings)), a piano trio album of four "standards" plus one piece each by <b>Muhal Richard Abrams</b> and <b>Paul Motian</b>. Sorey had wanted to include pianist <b><a href="https://www.aarondiehl.com/" target="_blank">Aaron Diehl</a></b> (Cecile McLorin Salvant) in a project plus long-time friend and collaborator, bassist <b><a href="https://sfcm.edu/study/faculty/matt-brewer" target="_blank">Matt Brewer</a></b> (SF Jazz Collective, Ambrose Akinmusire); this project was the exact right. Later in 2022, Pi Recordings released "<b><i>The Off Off Broadway Guide to Synergism</i></b>", also a Trio album but with <b>Russell Hall</b> on bass and guest <b>Greg Osby</b> on alto saxophone. That triple (!) album is a must-listen.<div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQTgJ72MvCSs9_hZbuKIOyNHBo86GpubH1bwrJQkkkPfv0mDsuvCAYwdvkNV7JR_8SeFKptKlI7UCXvbX49qJfmBAwq6sC1m0MzbZD8ijlV6cEKNvqbk4KKbKN0fsVWGrWBtlwW7DmSZqX20GMqUX6g0qFJHmHRhhEdHe16T-YVsuWbdaxhKOAalVBN64/s700/a1804453726_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQTgJ72MvCSs9_hZbuKIOyNHBo86GpubH1bwrJQkkkPfv0mDsuvCAYwdvkNV7JR_8SeFKptKlI7UCXvbX49qJfmBAwq6sC1m0MzbZD8ijlV6cEKNvqbk4KKbKN0fsVWGrWBtlwW7DmSZqX20GMqUX6g0qFJHmHRhhEdHe16T-YVsuWbdaxhKOAalVBN64/w259-h259/a1804453726_16.jpg" width="259" /></a></div><div>Back to the Trio format on the new Pi Recordings album, "<b><i>Continuing</i></b>". Bassist Brewer has returned so one should consider this to be the official follow-up to "<b><i>Mesmerism</i></b>". The program consists of four tunes, one each by Wayne Shorter, Ahmad Jamal, and Harold Mabern (who had been a mentor to Sorey) plus the 1946 Matt Dennis/ Earl Brent classic "<b><i>Angel Eyes</i></b>". The overall program reminds this listener of a smoky nightclub gig, the early morning third set, as the music is steeped in the blues and the musicians let the songs move at a leisurely pace (save for the closing cut). Listen below to Mr. Shorter's "<b><i>Reincarnation Blues</i></b>" which he wrote for and recorded with Art Blakey & the Jazz Messengers in 1961. Sorey, Brewer, and Diehl create a slower take than the original. The piano solos are mighty impressive especially the dazzling second one (starting around 7:30 into the 10:25 cut). Brewer's solo, earlier in the piece, rolls atop the drums displaying a handsome melodic side.</div><div><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeDVbQfCl86Mkt3w1rqBQbCTxPTeTcY3C021vcNNTa-OgpL-tLILMOnAtod08YbXSEz9KyKTRq0XA4jgd_kryiD_nmr5vjv2LCF7lCw_WeWNMcqUzdRf6NpGX8E4wmSM6YwyTdd_z3EkJmR8bwZRMzjSb0lHApCpIp2QbRtXTRahDR335xzKRPc6jGxfA/s1200/Tyshawn-Sorey_JohnRogers.webp" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="1200" height="169" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeDVbQfCl86Mkt3w1rqBQbCTxPTeTcY3C021vcNNTa-OgpL-tLILMOnAtod08YbXSEz9KyKTRq0XA4jgd_kryiD_nmr5vjv2LCF7lCw_WeWNMcqUzdRf6NpGX8E4wmSM6YwyTdd_z3EkJmR8bwZRMzjSb0lHApCpIp2QbRtXTRahDR335xzKRPc6jGxfA/w253-h169/Tyshawn-Sorey_JohnRogers.webp" width="253" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photo: John Rogers</td></tr></tbody></table>Diehl captures the spirit of the composer on Mr. Jamal's "<b><i>Seleritus</i></b>" (first recorded and released in 1959)––the longest track on the album (15:43), the interactions of the piano and bass are what first stands out. The more you listen, the bounce in the rhythms Sorey plays stand out more. What also is intriguing is that the piece never really resolves; instead, the music fades out with Diehl's percussive block chords. "<b><i>Angel Eyes</i></b>" follows, proceeding gently over Brewer's chordal tones and Diehl's deliberate reading of the melody. Sorey enters at the 3:09 mark of the 13+-minute track, playing as quietly and gently as he can (his brushes whisper on the cymbals). Brewer's bass solo is a gem from start to finish as is Diehl's. The airiness is this performance is dramatic but not forced.</div><div><br /></div><div>"<b><i>Continuing</i></b>" goes out with a bang as the Trio gets funky on Harold Mabern's "<b><i>In What Direction Are You Headed</i></b>". Originally recorded by Lee Morgan in 1971 for what turned to be "<b><i>The Last Session</i></b>". By the middle of the song, one feels as if we are in midst of a church service as Brewer locks into a nine-note riff while Sorey "stomps" out the beat. They continue in their groove even as Diehl joins in on low and high notes. The pianist does reintroduce the theme right before the album makes its rousing exit. </div><div><br /></div><div>Pour yourself a libation, turn the lights down low, and listen as if the musicians were in your living room. All in all, this <b>Tyshawn Sorey Trio</b> is a real knockout!! </div><div><br /></div><div>For more information, go to <b><a href="https://pirecordings.com/albums/continuing/">https://pirecordings.com/albums/continuing/</a></b>. To hear more and to purchase the album, go to <b><a href="https://tyshawn-sorey.bandcamp.com/album/continuing">https://tyshawn-sorey.bandcamp.com/album/continuing</a></b>. <br /><div><br /></div><div><br /></div>Here's the opening track:<div><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=4136019918/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2245876899/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://tyshawn-sorey.bandcamp.com/album/continuing">Continuing by Tyshawn Sorey</a></iframe><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhGtGIxaYUy849UppsRvOtUW2UxwBODyVGbtP8dRezpfYVwJpO0wHkj69E9BuKq3t4d_FDgDdiJZu985osIc2oKZdZTCxNmS0VkagsyaNO0sdgUFSVzeQR7X80nkgcdNe-6ED5mLZWUaGWviJ8iao7fy9Gvu3cIUXqTBosNqEbdmMhZb5Hi_NIPYPswMw/s225/download.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="225" data-original-width="225" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhGtGIxaYUy849UppsRvOtUW2UxwBODyVGbtP8dRezpfYVwJpO0wHkj69E9BuKq3t4d_FDgDdiJZu985osIc2oKZdZTCxNmS0VkagsyaNO0sdgUFSVzeQR7X80nkgcdNe-6ED5mLZWUaGWviJ8iao7fy9Gvu3cIUXqTBosNqEbdmMhZb5Hi_NIPYPswMw/s1600/download.jpg" width="225" /></a></div><div>Jazz artists, since the beginning of its move into the public eyes and ears, like to perform the popular music of the day. Each generation of musicians looks to "pop music" to attract an audience and as a way to get those people to also listen to their original music. This is a concept that works well in the piano trio format. For its 2017 debut, the <b>Hazelrigg Brothers</b>, pianist <b>George</b> and bassist <b>Geoff</b>, whose main gig is designing, development, and manufacturing of high-end recording equipment, recorded "<b><i>Songs We Like</i></b>", a nine-song album of tunes they grew up listening to including the Police's "<b><i>Spirits In the Material World</i></b>". It should not come as a surprise that for their second Trio album (<b>John O'Reilly, Jr</b> is the drummer) that they would opt to record the entirety of the Police's 1983 "<b><i>Synchronicity</i></b>", that trio's fifth and final album. That recording spawned several Top 10 hits including "<b><i>King of Pain</i></b>", "<b><i>Wrapped Around Your Finger</i></b>", and "<b><i>Every Breath You Take</i></b>". </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfqHJaQDkkYujixzUcNb2NIDvjvGqzBK3p2dTSvSpAYt9OzITWE83FgqTXA1oyv7axwgubHPyeckToBFr4qrt6dvU2nYpZ_PawP2IPeB9yH25W3ixwZqJjCcN5d6XgX_xPkXvtOU131Q8pEwKjlyip1hgowLLhrhN1Nv3q3mxj3xxrA7QhYn5EbTVAi9M/s800/OM01100H.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfqHJaQDkkYujixzUcNb2NIDvjvGqzBK3p2dTSvSpAYt9OzITWE83FgqTXA1oyv7axwgubHPyeckToBFr4qrt6dvU2nYpZ_PawP2IPeB9yH25W3ixwZqJjCcN5d6XgX_xPkXvtOU131Q8pEwKjlyip1hgowLLhrhN1Nv3q3mxj3xxrA7QhYn5EbTVAi9M/w231-h231/OM01100H.jpg" width="231" /></a></div>On "<b><i>Synchronocity" An Interpretation of the Album by The Police</i></b>" (Outer Marker Records), the Brothers play all the songs (even the cassette-only––those were the days––"bonus track") in the order they appear on the original Police Lp. Because the majority of the original songs have such strong melodies (at least, the ones composed by bassist/ vocalist Sting do), the Trio do not try re-invent the (musical) wheel. Therefore, the excitement of the opening title track is evident here as well thanks to the powerful rhythms they create. Geoff's bass is the lead instrument on the "<b><i>Walking In Your Footsteps</i></b>" and "<b><i>Every Breath You Take</i></b>"––the piano solo on the former tune has a tinge of the late Vince Guaraldi's sound while the latter builds dramatically from the opening until the bass reclaims the theme in the middle. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDtIiQ6dEmGhoUNkfr8i9G5VycNPwf24G9TAxJKwGJEYdxnX7phKHiNXNiWQAGplokBj8Bih2JbinsPzhUEu8mQuU5l3GtXL-NkZIsrvDHy7i_koqlEtIL0QtbeowMcutka4bVTfaIib7g_gql-WAZGuaEcFIbCcfzMcOPZcM0Dv15PAkhnysnsLXzFs8/s640/DWF-IMG_1111%20copy.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDtIiQ6dEmGhoUNkfr8i9G5VycNPwf24G9TAxJKwGJEYdxnX7phKHiNXNiWQAGplokBj8Bih2JbinsPzhUEu8mQuU5l3GtXL-NkZIsrvDHy7i_koqlEtIL0QtbeowMcutka4bVTfaIib7g_gql-WAZGuaEcFIbCcfzMcOPZcM0Dv15PAkhnysnsLXzFs8/w263-h197/DWF-IMG_1111%20copy.jpg" width="263" /></a></div>The bassist also leads the trio into "<b><i>King of Pain</i></b>" which, to these ears, is the highlight of the album. How the trio shares the melodic and rhythmic phrases and sections as well as the excellent dramatic movement of the melody stand out. That's followed by the excellent take of "<b><i>Wrapped Around Your Finger</i></b>"––again, it's the subtle rhythmic moves of the bass and drums that draws the listener into the emotional richness and poetry of the piano parts. <div><br /></div><div>Some may argue that the <b>Hazelrigg Brothers</b> trio don't take many chances on their reinterpretation of The Police "<b><i>Synchronicity</i></b>" but, to their credit, they make Andy Summer's song "<b><i>Mother</i></b>" much more interesting replacing its manic vocal lines and by emphasizing the Kurt Weill aspects in the instrumental. Overall, if you grew up with this music, you should enjoy this album. If you are new to the material, enjoy the songs with the finely-etched melody lines and the excellent musicianship that abounds on this heartfelt tribute. </div><div><div><br /></div></div><div>For more information, go to <b><a href="http://www.outermarkerrecords.com/cdvinyl/p/hazelrigg-brothers-synchronicity">www.outermarkerrecords.com/cdvinyl/p/hazelrigg-brothers-synchronicity</a></b>. </div><div><br /></div><div>Here's a version of "<b><i>Miss Gradenko</i></b>" from 2015:</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="302" src="https://www.youtube.com/embed/DAEtRQ9PIIw" width="363" youtube-src-id="DAEtRQ9PIIw"></iframe></div><br /><div><br /></div>Richard B. Kaminshttp://www.blogger.com/profile/16253213687754435676noreply@blogger.com0tag:blogger.com,1999:blog-7153369434610919128.post-24489112633547231922023-06-30T06:59:00.000-04:002023-06-30T06:59:06.155-04:00Moving With the Times<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPGjz0lQXaczJRF3OFqiL0NdOvhPESHZ8GdU8KJisZYuah-vzKeMDtmZQMfatDTVWvV6SroGNfd4gXcnQK03GCHK9i42to7PH__UYt6KNwHL_aIpZBwRVCUrE0Mn2tcaooCk_Ws09MaBijrYELHIxn_6Sn_29y_LhiiRrnk7lyb3IOSjXHLUCaNdEVChk/s1000/c5646edc07b7-Alex_LoRe.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="643" data-original-width="1000" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPGjz0lQXaczJRF3OFqiL0NdOvhPESHZ8GdU8KJisZYuah-vzKeMDtmZQMfatDTVWvV6SroGNfd4gXcnQK03GCHK9i42to7PH__UYt6KNwHL_aIpZBwRVCUrE0Mn2tcaooCk_Ws09MaBijrYELHIxn_6Sn_29y_LhiiRrnk7lyb3IOSjXHLUCaNdEVChk/w250-h161/c5646edc07b7-Alex_LoRe.png" width="250" /></a></div>I have been impressed with the music and the saxophone playing of <b>Alex LoRe</b> since 2014 when his debut album, "<b><i>Dream House</i></b>", was issued on Greg Osby's Inner Circle Music label. When <b>Allen Mednard </b>replaced <b>Colin Stranahan</b> at the drum set for 2019's "<b><i>Karol</i></b>" (issued on Challenge Records), the quartet (also featuring pianist <b>Glenn Zaleski</b> and bassist <b>Desmond White</b>) became known as <b>Alex LoRe & Weirdear</b>. The alto saxophonist and composer, originally from Tarpon Springs, Florida, graduated from the New England Conservatory and earned a Master's Degree from the Manhattan School of Music. Currently, he's a member of pianist Maria Sanchez's Quintet and has played with Lucas Pino's No Net Nonet. LoRe has also authored two instruction books, the latest being "<b><i>The Goldberg Variations for Saxophone Duets, Trios, & Quartets</i></b>". During the Pandemic, he upload numerous videos of how he was working on playing JS Bach that are fascinating to watch and listen to.<div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjflWmGZmp5YvMujgKSqrNZk6oDyRK1-VV2h9MfINgNv-ubD1z8FlnEOEOXJreChgbeAJziX0qFnmH4xxPhrJfwEaO8yIOATPJjBQ_avFB40fP6h-wIxzLnVICfwv-Ld7DA9wYVymF_qXjQFHaS2VrAcO8JDC54OHmogqaQNX_kUq-XLf3dk6zkQ1yAwR0/s700/a1070812342_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjflWmGZmp5YvMujgKSqrNZk6oDyRK1-VV2h9MfINgNv-ubD1z8FlnEOEOXJreChgbeAJziX0qFnmH4xxPhrJfwEaO8yIOATPJjBQ_avFB40fP6h-wIxzLnVICfwv-Ld7DA9wYVymF_qXjQFHaS2VrAcO8JDC54OHmogqaQNX_kUq-XLf3dk6zkQ1yAwR0/w258-h258/a1070812342_16.jpg" width="258" /></a></div><div>One can hear a classical influence on several pieces that appear on "<b><i>Evening Will Find Itself</i></b>", LoRe's fourth album as a leader and his first for Whirlwind Recordings. Pieces such as "<b><i>Underground and Back</i></b>" plus "<b><i>Silent Ship</i></b>" feature melody lines that have solid structure and melodic flow. The former track has a formality that loosens as the soloists (bass, piano, and alto sax) push the piece out. Great bow work from bassist <b>Desmond White</b>. The 10-song program features the same band as "<b><i>Karol</i></b>" and they work together like a fine-oiled machine (without ever sounding uninspired). "<b><i>Stripes</i></b>" opens the album with an opening melody over the rubato rhythm section. The piece opens for an exciting alto sax solo and a splendid turn from Zaleski. White and Mednard really push the music forward without disappearing into chaos. The following track, "<b><i>Face Unseen</i></b>" is softer, moving on the gentle brush work and counterpoint of the bass. Note how LoRe's alto moves easily into the higher register of his horn where. at times, it sounds like a soprano sax. </div><div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV_-pXH8vvM6w2V7Mx4tDiQnVJMIFBpUsvsYW0xsd1wBMn3IrA64CmF7v8kpLHu31lnC8XIlXepFpwJ-o2Vm7mlPOQmun9DLQ37e7_tUD7j-NKF3FfxbQ83aGBXuTMZ-0bHt8kvrwRA3pHPL2JGLv9AGt-iCvQs-XM4cnC6Tx6VXwJpv_5LgN23y9wKwE/s2560/Alex-LoRe-and-Weirdear-3-scaled.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1997" data-original-width="2560" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV_-pXH8vvM6w2V7Mx4tDiQnVJMIFBpUsvsYW0xsd1wBMn3IrA64CmF7v8kpLHu31lnC8XIlXepFpwJ-o2Vm7mlPOQmun9DLQ37e7_tUD7j-NKF3FfxbQ83aGBXuTMZ-0bHt8kvrwRA3pHPL2JGLv9AGt-iCvQs-XM4cnC6Tx6VXwJpv_5LgN23y9wKwE/w255-h199/Alex-LoRe-and-Weirdear-3-scaled.jpg" width="255" /></a></div></div><div>"<b><i>Green</i></b>" pays tribute to one of the saxophonist's most important teachers, <b><a href="https://pirecordings.com/artists/bunky-green/" target="_blank">Bunky Green</a></b>. Here, the rampaging rhythms push LoRe to display not only his technical prowess but the genuine lyricism that his teacher possessed throughout his career. Mednard's interactions with both the saxophonist and Zaleski during their solos is a delight (do watch the video below to see how the drummer responds in the studio). </div><div><br /></div><div>There are three shorter (under three minutes) that carry the title "<b><i>Radiance</i></b>". They make up half of the final six tracks. Despite their relative brevity, each one contains a complete statement and improvisations. "<b><i>I</i></b>" stands out for the piano/sax interactions while "<b><i>II</i></b>" features Zaleski pushing the proceedings, an introductory solo from Mednard, and then LoRe enters by playing his own take with variations on the piano theme. "<b><i>III</i></b>" closes the album; slower, the saxophone theme is a variation on "I" and "II" that drops away for a bass solo over a funky drum pattern. The piano reenters to comp through the end of the bass solo that leads to LoRe's restatement of the theme. </div><div><br /></div><div>The music on "<b><i>Evening Will Find Itself</i></b>" doesn't just jump right out at you but beckons the listener to enter the proceedings and surrender to the sounds. <b> Alex LoRe</b> sounds fully in control and his original material is the richest of his still-growing career. The musicians of <b>Weirdea</b>r shine brightly as partners––not just a back-up group–– in this endeavor. It will be interesting to hear how these songs expand and develop as the quartet tours this year. In the meantime, take a close, deep, listen as the rewards are plentiful.</div><div><br /></div><div>For more information, go to <b><a href="https://alexlore.com/">https://alexlore.com/</a></b>. To hear more and purchase the album, go to <a href="https://alexlore-whirlwind.bandcamp.com/album/evening-will-find-itself"><b>https://alexlore-whirlwind.bandcamp.com/album/evening-will-find-itself</b></a>. </div><div><br /></div><div>Here's a taste of "<b><i>Fauxlosophy</i></b>":</div><div><br /></div><div><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1610446407/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1895677163/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://alexlore-whirlwind.bandcamp.com/album/evening-will-find-itself">Evening Will Find Itself by Alex Lore</a></iframe><div><br /></div><div><br /></div><div>Watch <b>Weirdear</b> in the studio:</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="306" src="https://www.youtube.com/embed/rP30Ns4SjPc" width="368" youtube-src-id="rP30Ns4SjPc"></iframe></div><br /><div><br /></div></div>Richard B. Kaminshttp://www.blogger.com/profile/16253213687754435676noreply@blogger.com0tag:blogger.com,1999:blog-7153369434610919128.post-9292916288759879782023-06-26T11:34:00.000-04:002023-06-26T11:34:11.419-04:00Large Ensemble: Roots Music<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1y85o4pGwV2pfZXMh95_TUwRoudEouPWmeqVDAg7iHN7kg-ynfJteJyxNkJ33mJiMoUfAOYsWqd_FJkANbJTRevwjlI4xpYsWX28aQC1O6DvbfYFb0g77MOmNgWo2pdzyi9mhwUguYQbzo-H2Q4VQTcSx6CQAgxO640O2eO8MJH-HaUWNKTnDmfGe4fU/s640/ab6761610000e5eb6714968491b3206a9b160c47.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1y85o4pGwV2pfZXMh95_TUwRoudEouPWmeqVDAg7iHN7kg-ynfJteJyxNkJ33mJiMoUfAOYsWqd_FJkANbJTRevwjlI4xpYsWX28aQC1O6DvbfYFb0g77MOmNgWo2pdzyi9mhwUguYQbzo-H2Q4VQTcSx6CQAgxO640O2eO8MJH-HaUWNKTnDmfGe4fU/w221-h221/ab6761610000e5eb6714968491b3206a9b160c47.jpg" width="221" /></a></div>Composer, arranger, trumpeter, and educator <b>Daniel Hersog</b> seemingly burst onto the jazz scene with the release of his debut Large Ensemble album "<b><i>Night Devoid of Stars</i></b>" (Cellar Music). Of course, nobody just appears on the "scene"––Hersog, a native of Victoria, British Columbia, is a graduate of the New England Conservatory of Music in Boston, MA, and, as a trumpeter, has played throughout North America with artists such as drummer Terry Clarke, trumpeter Brad Turner, the Vancouver Legacy Jazz Orchestra, and the Jaelem Bhate Orchestra (with whom he recorded two albums). Hersog is currently on the faculty of Capilano University in Vancouver, BC, where he is an Academic Coordinator and Instructor in the Jazz Studies Program plus leads a trumpet ensemble.<p></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpa53V7wPgs79qQIRMDD0NwvEgsnL5D58wz8iYPii26YghcAQ8_PZFc2EE8EFSGuvuJWasaHMHnK7mj-ehiZd8WtQOS1O4Mw0Qt3q2niA6MHpciQcgIc7_uYsXGkKdPEMyVMKY_KdRUCKyH3C_9c88g0647z5FcDfyRjaW3aOwxlXZYTDhXFqBiyg7Gwg/s700/a2795701588_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpa53V7wPgs79qQIRMDD0NwvEgsnL5D58wz8iYPii26YghcAQ8_PZFc2EE8EFSGuvuJWasaHMHnK7mj-ehiZd8WtQOS1O4Mw0Qt3q2niA6MHpciQcgIc7_uYsXGkKdPEMyVMKY_KdRUCKyH3C_9c88g0647z5FcDfyRjaW3aOwxlXZYTDhXFqBiyg7Gwg/w254-h254/a2795701588_16.jpg" width="254" /></a></div><div>Now, the second album from the <b>Daniel Hersog Jazz Orchestra</b> has dropped. "<b><i>Open Spaces: Folk Songs Reimagined</i></b>" (Cellar Music) states its mission in the title. The majority of the pieces come from traditional musics of Canada and the United States interspersed with pieces by Gordon Lightfoot and Bob Dylan plus several Hersog originals. The ensemble (listed below) is composed of musicians from both countries as well as classmates (<b>Noah Preminger </b>and <b>Kim Cass</b>) and instructors (<b>Frank Carlberg</b> and <b>Brad Turner</b>), many of whom appear on the first CD. The addition of reed master <b>Scott Robinson</b> and guitarist <b>Kurt Rosenwinkel</b> gives Hersog a bigger palette to work with and he does so liberally. The 10-song program opens with the late Mr. Lightfoot's "<b><i>Wreck of the Edmund Fitzgerald</i></b>"––Preminger's hard-edged tenor solo represents the blowing winds and Carlberg's piano the roiling waves while Dan Weiss's drums are the sound of the boat splitting apart. That's followed by a rousing coda leading into Hersog's imaginative take on Bob Dylan's "<b><i>Blowin' In the Wind</i></b>". Titled "<b><i>How Many Roads</i></b>", there's a flowing guitar solo over the responsive reeds and supportive brass. The reeds and brass play a "call-and-response" with the piano before Carlberg digs into his solo over the rough and tumble bass and drums.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuU5l0J2YBeoBwQmv3vivjBvsLPNkIjGCdFy8tJXkw44VyMp-iuHufPN-e-Xz3KWhtKELhe_ZxgUC9f7otVNHnMpXxeD0-JVZ2MNUigdLzwD7LpbIrp8HLqMnZqXIF0TdlwDugolwKOK3pjrQhfiCUWFLOMC0m5fdHepW3kvgJ6rXfDfbCYSqyjgKOMwA/s700/0019484592_25.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="467" data-original-width="700" height="159" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuU5l0J2YBeoBwQmv3vivjBvsLPNkIjGCdFy8tJXkw44VyMp-iuHufPN-e-Xz3KWhtKELhe_ZxgUC9f7otVNHnMpXxeD0-JVZ2MNUigdLzwD7LpbIrp8HLqMnZqXIF0TdlwDugolwKOK3pjrQhfiCUWFLOMC0m5fdHepW3kvgJ6rXfDfbCYSqyjgKOMwA/w239-h159/0019484592_25.jpg" width="239" /></a></div>After a stately introduction, "<b><i>Shenandoah</i></b>" becomes a beautiful ballad featuring an amazing baritone sax solo from <b>Scott Robinson</b>. Heartfelt, emotional, melodic, the listener is transported out of the crazy world by the stunning and brilliant arrangement that supports him (kudos to Carlberg as well) and the simple yet generous melody. Robinson returns to the spotlight on "<b><i>Rentrer</i></b>" but not until after Cass's lovely solo bass introduction and Carlberg plays the rambling theme which, in turn, leads into Rosenwinkel's short but sweet solo. Robinson's baritone solo goes deep and then swoops to the higher register of the big instrument. The final two minutes of the piece features the sections swirling around the guitar, rising like the murmuration of starlings before the the abstract finish.<div><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7hbbDXRQJNL9HuRyj6LgMfhPujBB1xn5C4zxC2v4UCDug4VFAr2qHRj9pRFXrcj7ZaO1rlEYzuDLCopniBL-oNzYA-3UlcqT0lUNQZjnMKjFjjYmRGZf2LH1pxbrQkKYWdnJpyN8IPSh58GFg8s_uT3ZY1eiOoFdpblUrW_ThTgY4HcDSCzw-61cwQzM/s5184/daniel-hersog_by_Robert_Iannone-4.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3456" data-original-width="5184" height="167" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7hbbDXRQJNL9HuRyj6LgMfhPujBB1xn5C4zxC2v4UCDug4VFAr2qHRj9pRFXrcj7ZaO1rlEYzuDLCopniBL-oNzYA-3UlcqT0lUNQZjnMKjFjjYmRGZf2LH1pxbrQkKYWdnJpyN8IPSh58GFg8s_uT3ZY1eiOoFdpblUrW_ThTgY4HcDSCzw-61cwQzM/w251-h167/daniel-hersog_by_Robert_Iannone-4.jpg" width="251" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photo: Robert Iannone</td></tr></tbody></table>Other highlights include the playful "<b><i>I Hear</i></b>", a piece that opens with the ensemble "barking" at other until Weiss falls into an up-tempo rhythm for a hard-edged tenor solo before the tempo changes abruptly into a Fellini soundtrack interspersed with a swing beat for <b>Ben Kono</b>'s fine clarinet spot. The longest track on the album (11:10), the playful tune makes room for a sharp and humorous romp for trumpeter Turner. Later in the program, the Hersog original "<b><i>Sarracenia Purpurea</i></b>" (named for a Pitcher Plant that grows in marshes and bogs) starts off on fire but quiets down for Robinson's baritone solo which slowly and steadily picks up in intensity as the rhythm section pushes him to dig in. Soon, the brass and reeds begin to color behind him before everyone frolics around the drums as the music arrives at its rousing finish. <div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw-MT3PFJ745Y387i8ni2LxuAmMY2hXSt4klxTkTGREf3z7DJgos2agNa7vLl4Umi4Ly7s0Ih8RvTiqFkBoEti5P-3s-jQHfyN2Xwp96p6fA1vDebvNBVfhzAY-NLcQOBXuoaDaLwPk8Zch9ckGty1_QqeYipdzgMS0P3kR5Lwx8sPS-f5kxauXsw81xQ/s900/IMG_6488-scaled-900x600.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="900" height="164" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw-MT3PFJ745Y387i8ni2LxuAmMY2hXSt4klxTkTGREf3z7DJgos2agNa7vLl4Umi4Ly7s0Ih8RvTiqFkBoEti5P-3s-jQHfyN2Xwp96p6fA1vDebvNBVfhzAY-NLcQOBXuoaDaLwPk8Zch9ckGty1_QqeYipdzgMS0P3kR5Lwx8sPS-f5kxauXsw81xQ/w246-h164/IMG_6488-scaled-900x600.jpg" width="246" /></a></div>The album closes with a sweet reading of "<b><i>Red River Valley</i></b>" (for all its connections to Cowboy movies, the song actually was composed in Canada during the 1870s). After a pretty introduction, Rosenwinkel's guitar joins the brass and reeds to play the theme. After a second verse and a striking variation played by the Orchestra, the guitarist plays the melody once more and then plays his striking solo. Even sweeter, the entire ensemble sings two choruses before the ensemble plays the melody before the lovely crescendo that ends the piece and the album. </div><div><br /></div><div>You will hear the influences of many large ensemble arrangers and composers in the music of the <b>Daniel Hersog Jazz Orchestra</b> but the leader's vision plus eloquent arrangements for this ensemble are clear and truly his own. "<b><i>Open Spaces: Folk Songs Reimagined</i></b>" grew out of the composer/arranger's need to move his music forward after a successful debut as well as to adapt to the changes in his life (teaching and marriage). There are interpretations of beauty and breaths of humor (and occasional chaos) throughout the album; the music flourishes on the collective work of this fine group of instrumentalists. Do sit and listen––the rewards are abounding!<br /><div><br /><div>For more information, go to <b><a href="http://www.danielhersog.com">www.danielhersog.com</a></b>. To hear more and to purchase the album, go to <b><a href="https://danielhersogjazzorchestra.bandcamp.com/album/open-spaces-folk-songs-reimagined">https://danielhersogjazzorchestra.bandcamp.com/album/open-spaces-folk-songs-reimagined</a></b>.</div><div><br /></div><div>Personnel:</div><div><br /></div><div><span style="font-family: inherit;"><span style="background-color: white; color: #363636;">Daniel Hersog- Conductor</span><br style="background-color: white; color: #363636;" /><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Ben Kono- Oboe, Soprano Saxophone, Flute, Clarinet</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Ben Henriques – Alto Saxophone, Soprano Saxophone, Clarinet</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Noah Preminger- Tenor Saxophone</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Tom Keenlyside- Flute, Alto Flute, Piccolo, Tenor Saxophone</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Scott Robinson- Baritone Saxophone, Bass Clarinet, Flute</span><br style="background-color: white; color: #363636;" /><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Michael Kim- Trumpet and Flugelhorn</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Brad Turner- Trumpet and Flugelhorn</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Derry Byrne- Trumpet and Flugelhorn</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Jocelyn Waugh- Trumpet and Flugelhorn</span><br style="background-color: white; color: #363636;" /></span><br style="background-color: white; color: #363636; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 12px;" /><span style="font-family: inherit;"><span style="background-color: white; color: #363636;">Jeremy Berkman- Trombone</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Jim Hopson- Trombone, Euphonium</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Andrew Porrier- Trombone</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Sharman King- Bass Trombone</span><br style="background-color: white; color: #363636;" /><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Kurt Rosenwinkel- Guitar</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Frank Carlberg- Piano</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Kim Cass- Bass</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Dan Weiss- Drums</span></span></div><div><br /></div><div><br /></div><div>Listen here to "<b><i>Jib Set</i></b>":</div><div><br /></div><div><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=4294343579/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=451536932/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://danielhersogjazzorchestra.bandcamp.com/album/open-spaces-folk-songs-reimagined">Open Spaces - Folk Songs Reimagined by Daniel Hersog Jazz Orchestra</a></iframe><div><br /></div><div><br /></div><div>Here's the DHJO in the studio:</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="305" src="https://www.youtube.com/embed/usiSiyyvv_E" width="367" youtube-src-id="usiSiyyvv_E"></iframe></div><br /><div><br /></div></div></div>Richard B. Kaminshttp://www.blogger.com/profile/16253213687754435676noreply@blogger.com0tag:blogger.com,1999:blog-7153369434610919128.post-15173606268437935632023-06-23T15:00:00.001-04:002023-06-23T15:00:46.342-04:00The Sounds of 8 Hands Playing<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtdpU7ftUWLFBRjbLJwH_rp8qXrJQ2WUlLTYq5qO4N9I0mGxUpoikAiONAK_HyVNvW_K8ToAcN2K_Belb1eeoukhv5XOjTbQxTYcB6HemlhriWPQsHRsbBhLSJLsCzi8yuOnqoWyRe6U6nbUpZ-THQPduYXPwbB3aM2wTQ6TMvyqhzYaAH-gKEO7uJ/s960/20429974_10155001263927675_192775969104005895_n+(1).jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="642" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtdpU7ftUWLFBRjbLJwH_rp8qXrJQ2WUlLTYq5qO4N9I0mGxUpoikAiONAK_HyVNvW_K8ToAcN2K_Belb1eeoukhv5XOjTbQxTYcB6HemlhriWPQsHRsbBhLSJLsCzi8yuOnqoWyRe6U6nbUpZ-THQPduYXPwbB3aM2wTQ6TMvyqhzYaAH-gKEO7uJ/w160-h239/20429974_10155001263927675_192775969104005895_n+(1).jpg" width="160" /></a></div>Although best known for his work in saxophonist Noah Preminger's Quartet, guitarist and composer <b>Max Light</b> is just now climbing into the spotlight. His debut album, "<b><i>Herplusme</i></b>" (Red Piano Records), was a trio date recorded in 2018 but not issued until February 2020, just a month before the COVID-19 Pandemic shut the door on touring musicians (and the rest of us). He'd already recorded two live albums with trumpeter Jason Palmer, two studio albums with Preminger's ensemble, and albums with Yong Lee, Kevin Sun, Chris McCarthy, and others. Last year, SteepleChase Records released "<b><i>Songs We Love</i></b>", a collection of 14 tunes (mostly standards old and new) performed by Preminger and Light––it's well worth seeking out for the delightful conversations the two musicians over the course of 65 minutes. When producer and label owner Nils Winther offered Light the opportunity to record his second album as a leader, it was obvious from the get-go the guitarist would reach out to Preminger.<div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx0fmeYtqALlP6ozMN1zyZNQWhKqHsnzzcoHI5WNbfSvDdHQIfwTNa1L2z9Dslo7POfXtXrnOgER3RVCzodvDypGQsfwufm3pt9xJE_RNVHOgSUVnrflWYQAzFuHo6-K0IkRDKepWDwXOJtsTIB7w7lsr7wbK35AjXD1ZZwLT6_s74b_bY93e6G-Nn/s200/173918652.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="200" data-original-width="200" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx0fmeYtqALlP6ozMN1zyZNQWhKqHsnzzcoHI5WNbfSvDdHQIfwTNa1L2z9Dslo7POfXtXrnOgER3RVCzodvDypGQsfwufm3pt9xJE_RNVHOgSUVnrflWYQAzFuHo6-K0IkRDKepWDwXOJtsTIB7w7lsr7wbK35AjXD1ZZwLT6_s74b_bY93e6G-Nn/s1600/173918652.jpg" width="200" /></a></div><div>In fact, the new album, "<b><i>Henceforth</i></b>", is the <b>Noah Preminger Quartet</b> (bassist <b>Kim Cass</b> and drummer <b>Dan Weiss</b> fill out the lineup) recording a program of Light originals save for the tenor saxophonist's "<b><i>High or Booze</i></b>" that closes the recording. One can hear that this is a "working ensemble" as the band has no trouble making each song sound fresh and alive. The album opens with "<b><i>Barney and Sid</i></b>", a medium piece that has a touch of funk in its rhythm and angular melodic lines. After an unaccompanied guitar opening statement, and feeding off the band plays through the theme and then into the tenor sax solo. Preminger has the time and the talent to truly develop his solo, working up a sweat over several minutes. Light is next, picking up on the energy of the previous solo and feeding off the insistent rhythms. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdV9E4oXpuxq16HYA7rgeeXHMorgpzz7ApHvrrRttYZKw97v24A1W4AdUqtLZSVLAeUPq8uK2Rp6_T_ZYr2tCgEiRO-8tBXhkAQzGyR_gKDT9-ddS06ki9YbN5i61mS6O-ABnDodLeXJ3kkzTvm2XJoPssvbCbaMp8AuJomGsGyR8IGU0HRt414Btd/s1200/Soapbox+photo.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdV9E4oXpuxq16HYA7rgeeXHMorgpzz7ApHvrrRttYZKw97v24A1W4AdUqtLZSVLAeUPq8uK2Rp6_T_ZYr2tCgEiRO-8tBXhkAQzGyR_gKDT9-ddS06ki9YbN5i61mS6O-ABnDodLeXJ3kkzTvm2XJoPssvbCbaMp8AuJomGsGyR8IGU0HRt414Btd/w217-h217/Soapbox+photo.jpg" width="217" /></a></div>The title track is next. The rhythm lopes along giving the piece an "Americana" feel. As the four musicians move through the theme, the music picks up in intensity (pushed by the thrashing drums) before moving back to the gentle lope (listen below). Check out how both Cass and Weiss move in and out of the foundation as Light builds his intense solo. The bass solo is impressive for its power, its playfulness, and melodic flourishes. Later in the program, "<b><i>Animals</i></b>", originally composed as an assignment in college, is a mature ballad––the guitar solo flows like a mountain stream while the rhythm section offers gentle support (Weiss on brushes, Cass playing counterpoint). "<b><i>Half Marathon</i></b>", so named for the John Coltrane piece "<b><i>26-2</i></b>" that influenced it, gives Light the opportunity to strut his stuff before Preminger jumps into the high-speed dance. <br /><div><br /></div><div>"<b><i>High or Booze</i></b>" is the final track. It has a strong, well-developed, melody (no mere blues, this) that leaves room for an emotionally rich tenor sax solo and a fiery guitar spot (it's a joy listening to the rhythm section interact with the soloists and each other.</div><div><br /></div><div>Listen to "<b><i>Henceforth</i></b>" several times before passing judgement. <b>Max Light</b> has created an excellent quartet recording filled with substantial melodies and spirited playing. Having listened to <b>Noah Preminger</b> live and onstage for the past 14 years, it's a joy to hear how he has matured as a musician to the point of possessing his own sound. <b>Kim Cass</b> and <b>Dan Weiss</b> are excellent throughout (no surprise there). A major step forward for young Mr. Light!</div><div><br /></div><div>For more information, go to <b><a href="http://www.maxlightguitar.com">www.maxlightguitar.com</a></b>. </div><p>Take a listen to the title track:</p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="299" src="https://www.youtube.com/embed/Y-uHUA3EuIA" width="360" youtube-src-id="Y-uHUA3EuIA"></iframe></div><br /><p><br /></p></div>Richard B. Kaminshttp://www.blogger.com/profile/16253213687754435676noreply@blogger.com0tag:blogger.com,1999:blog-7153369434610919128.post-58812629960786984652023-06-22T21:46:00.000-04:002023-06-22T21:46:26.139-04:00Large Ensemble Music: Oh, Canadian<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_Cheh41RieleE8S2aNvcdteTKv19netHOp8aqbhyRgdd-GJwKptGCyr5ToF_ykEw2bimSvDWot_vUAik4ulXYwfdCkZGarL324JPg3_-6lSLNd-ol1nEJQHHNvcFM4gCKAHK_8NWlJ79xOH7G9FNnMbuti_di5rbTDxqlnOqAkoqn3TUDiHbSLVs-KT4/s2500/Full+Band+ShotCROP.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1308" data-original-width="2500" height="146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_Cheh41RieleE8S2aNvcdteTKv19netHOp8aqbhyRgdd-GJwKptGCyr5ToF_ykEw2bimSvDWot_vUAik4ulXYwfdCkZGarL324JPg3_-6lSLNd-ol1nEJQHHNvcFM4gCKAHK_8NWlJ79xOH7G9FNnMbuti_di5rbTDxqlnOqAkoqn3TUDiHbSLVs-KT4/w280-h146/Full+Band+ShotCROP.jpg" width="280" /></a></div>Composer, arranger, and trombonist is the brainchild behind the <b>Composers Collective Big Band</b>, a 19-member ensemble based in Toronto, Ontario, Canada. In existence since 2005, the CCBB was created to shine a spotlight on Canadian composers through commissions and concerts. Those performances also serve to highlight the variety of great musicians that work and teach in the Province. Surprisingly, the ensemble's only recording is a four-track release from 2017.<div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLC0exmfhK16A1kKNZxQL2YTrAM-9pqh9CL3vGAMQtVOF3l3TilF9fdSMxIEP2sghtKJzYMwqfNRtXULh2fCVgnifvScQCDqNxTRFkEJ81P0sFdY6svg6xUuKy8PZc4x4MA9YHeYXsOOn0_g4sQEdd_-MGr3HJbHcs1fL143bN3njm6cl0hHTvVCVUmv8/s700/a0371497802_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLC0exmfhK16A1kKNZxQL2YTrAM-9pqh9CL3vGAMQtVOF3l3TilF9fdSMxIEP2sghtKJzYMwqfNRtXULh2fCVgnifvScQCDqNxTRFkEJ81P0sFdY6svg6xUuKy8PZc4x4MA9YHeYXsOOn0_g4sQEdd_-MGr3HJbHcs1fL143bN3njm6cl0hHTvVCVUmv8/w253-h253/a0371497802_16.jpg" width="253" /></a></div><div>2023 brings "<b><i>The Toronto Project</i></b>" (self-released); Overton commissioned eight composers (including himself and three over members of the CCBB) to create music about the city where they work and play. Each song is introduced by a different sound effect representing a different form of transportation (train, subway, walking, bus, automobile––the airport is notable for its absence) that takes the listener to different parts of Toronto (the current population of the Greater Metro area is well over six million). The first full track is "<b><i>West Toronto Ode</i></b>"––composed by Cuban-born tres player and vocalist <b>Pablosky Rosales</b>, the piece dances in on the joyous sounds of flutes swirling around the composer's tres powered by the solid electric bass of <b>Luther Gray</b> and frolicking drum work of <b>Jeff Halischuk</b>. </div><div><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMYYpImMbXFXGZmVju41jcxFqAtJrR8fh5m0w5uf2zrrUaW9A-csXdg0LwK2J3fYH7bVcyQyViM_PT6qvbZ2Ww3sN7YZ8jomVIDPQWrE9ZZMDrBfZx3Awj6Q4EruZZRSM2P_PGH-fOO3Qc4QB19nm6ta9LGvS9M-CBbafQZ0OXfQtXsHVZzSWlV9pknWk/s1642/Christian-Overton-1-credit-Daniel-Cybulskie-crop.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="924" data-original-width="1642" height="144" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMYYpImMbXFXGZmVju41jcxFqAtJrR8fh5m0w5uf2zrrUaW9A-csXdg0LwK2J3fYH7bVcyQyViM_PT6qvbZ2Ww3sN7YZ8jomVIDPQWrE9ZZMDrBfZx3Awj6Q4EruZZRSM2P_PGH-fOO3Qc4QB19nm6ta9LGvS9M-CBbafQZ0OXfQtXsHVZzSWlV9pknWk/w256-h144/Christian-Overton-1-credit-Daniel-Cybulskie-crop.jpg" width="256" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photo: Daniel Cybulskie</td></tr></tbody></table>Other locations include St. Clair West which is where composer and trombonist <b>Tom Richards</b> goes in "<b><i>Non-Sequitur</i></b>" and leader Overton's journey to Chinatown in "<b><i>Spadina</i></b>" (splendid soprano sax work from Ms. Davidson and guest artist <b><a href="https://www.amelyzhou.com/" target="_blank">Amely Zhou</a></b> who plays erhu, the Chinese "spike fiddle"). Composer and bandleader <b>Chelsea McBrid</b>e takes us "<b><i>Inside the Toy Factory</i></b>" which must be quite the swinging judging by the play-filled romp the band goes in (dig the funk below the trombone solo). Bassist Gray's "<b><i>Interweave"</i></b> pays tribute to the city's large Indian population––joined by tabla drummer <span style="background-color: white;"><b>Ravi Naimpally</b>, the CCBB explores the magical music that flutters and swirls through the composition. </span></div><div><br /></div><div>The last musical piece before the train takes you and the album home is "<b><i>Transit</i></b>". Composed by saxophonist <b>Shirantha Beddage</b>, the high-powered track could easily have influenced by the composer have been at the top of the CN Tower looking down at the hustle-and-bustle of the city below. The horn and reed interjections behind the rampaging drum solo certainly give one the feeling that the city never goes to sleep.<br /><div><br /></div><div>Take a trip with the <b>Composers Collective Big Band </b>on "<b><i>The Toronto Project</i></b>". Leader <b>Christian Overton </b>and the band move easily through the fifth largest city in North America touching down in and paying musical tribute to areas big and small. They certainly make it inviting.</div><div><br /></div><div>For more information, go to <b><a href="http://www.christianovertonmusic.com/ccbb">www.christianovertonmusic.com/ccbb</a></b>. To hear more and to purchase the album, go to <b><a href="https://thecomposerscollectivebigband.bandcamp.com/album/the-toronto-project">https://thecomposerscollectivebigband.bandcamp.com/album/the-toronto-project</a></b>. </div><div><br /></div><div>Personnel:</div><div><span style="background-color: white; font-family: inherit; font-weight: 700;"><br /></span></div><div><span style="background-color: white; font-family: inherit; font-weight: 700;">Christian Overton - Musical Director & Trombone</span></div><div><div class="page" title="Page 1"><div class="section" style="background-color: white;"><div class="layoutArea"><div class="column">
<p><span style="font-family: inherit;"><span style="font-weight: 700;">Woodwinds: </span>Tara Davidson (as, ss, fl), Chris Roberts (as, cl, fl),
Paul Metcalfe (ts, cl, fl), Jared Welsh (ts, cl, fl), Marcus Ali (bs, bc, fl)
</span></p>
<p><span style="font-family: inherit;"><span style="font-weight: 700;">Trumpet & Flugelhorn: </span>Jason Logue (lead), John Pittman,
Brian O’Kane, John MacLeod
</span></p>
<p><span style="font-family: inherit;"><span style="font-weight: 700;">Trombone: </span>William Carn, Tom Richards, Pat Blanchard,
Karl Silveira, Sylvain Bedard (bass tbn)
</span></p>
<p><span style="font-family: inherit;"><span style="font-weight: 700;">Electric Guitar: </span>Erik Patterson </span></p><p><span style="font-family: inherit;"><span style="font-weight: 700;">Piano & Keyboard: </span>Carissa Neufeld </span></p><p><span style="font-family: inherit;"><span style="font-weight: 700;">Acoustic & Electric Bass: </span>Justin Gray </span></p><p><span style="font-family: inherit;"><span style="font-weight: 700;">Drums: </span>Jeff Halischuk
</span></p>
<p><span style="font-family: inherit;"><span style="font-weight: 700;">Featuring Special Guests: </span>Pablosky Rosales (Tres),
Les Alt (Flute), Amely Zhou (Erhu), Maya Killtron (voice),
Jonathan Kay (Tenor Sax), Andrew Kay (Alto Sax),
Ravi Naimpally (Tabla) </span></p></div></div></div></div></div><div><br /></div>Give a listen to "<b><i>Non-Sequitur</i></b>":<div><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3138110640/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2870099426/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://thecomposerscollectivebigband.bandcamp.com/album/the-toronto-project">The Toronto Project by The Composers Collective Big Band</a></iframe><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm2_n5U5xRf_2mt3iZSXj7jt0Aw9QaZYJR_EzrPzkQ8euurntMPNkq09dqzTYRgDxiIiTMK7K-HOesJWhmHgsmp3doNiYGy7XLGud8_tRjlVBJEOR3uaidu7HCEfObTGShDE0Ep97hqQg2-Ybreoy69CWTe9fTNFKrn3UnDKsXuGKbrz1rXML3CIEacY4/s700/0032599508_25.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="464" data-original-width="700" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm2_n5U5xRf_2mt3iZSXj7jt0Aw9QaZYJR_EzrPzkQ8euurntMPNkq09dqzTYRgDxiIiTMK7K-HOesJWhmHgsmp3doNiYGy7XLGud8_tRjlVBJEOR3uaidu7HCEfObTGShDE0Ep97hqQg2-Ybreoy69CWTe9fTNFKrn3UnDKsXuGKbrz1rXML3CIEacY4/w242-h160/0032599508_25.jpg" width="242" /></a></div><div><span style="font-family: inherit;"><b>The Nimmons Tribute</b>, a nonet based in Toronto, Ontario, is a project that pays tribute to the work of Canadian Jazz Master <b>Phil Nimmons</b>. Mr. Nimmons, who turned 100 years old on June 3rd of this year, is considered to be the "Dean of Canadian Jazz" not only for his long career as a recording artists but also for the nearly five decades he taught in the Jazz Studies at the University of Toronto. Though he's not well-known in the US, Mr. Nimmons has won numerous awards for his contributions to music and education including the Order of Canada and <span style="background-color: white; white-space-collapse: preserve;">Governor General’s Performing Arts Award for Lifetime Artistic Achievement.</span></span></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkSIobmpaqXmdmpeL-BAoJsOw1SffZrF8UW1uwsTH1hzKRxYIQF9HmORGoIHUqrMHXFNuh0iYjdynwyoXDuBHY38rewUxsyos7iRpTRzZFycyIXJ9LmHl3Y45Y4Ta9H_ZAOpz0zKY05vCRDxq1UMmIA0UU5CMNQ3Ot-vtPb_N314oa-4pfWo6wB3L6-4Q/s700/a2214521034_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkSIobmpaqXmdmpeL-BAoJsOw1SffZrF8UW1uwsTH1hzKRxYIQF9HmORGoIHUqrMHXFNuh0iYjdynwyoXDuBHY38rewUxsyos7iRpTRzZFycyIXJ9LmHl3Y45Y4Ta9H_ZAOpz0zKY05vCRDxq1UMmIA0UU5CMNQ3Ot-vtPb_N314oa-4pfWo6wB3L6-4Q/w224-h224/a2214521034_16.jpg" width="224" /></a></div>In 2020, the <b>Nimmons Tribute</b> issued "<b><i>Volume 1</i></b> - <b><i>To The Nth</i></b>"––the group, organized by <b>Sean Nimmons</b> (his grandson and award-winning composer in his own right), is back with "<b><i>Volume 2</i></b> - <b><i>Generational</i></b>", eight tracks included six new arrangements the grandson created from the great body of work his grandfather created. The nonet, composed of <b>Kevin Turcotte</b> (trumpet, flugelhorn), <b>Tara Davidson</b> (alto sax, soprano sax, clarinet), <b>Mike Murle</b>y (tenor sax), <b>Alex Dean</b> (baritone sax, bass clarinet), <b>William Carn</b> (trombone), <b>Jon Maharaj</b> (bass),<b> Ethan Ardelli</b> (drums), <b>Heather Bambrick</b> (vocals), and the younger Nimmons (piano, Fender Rhodes), are all integral members of the Canadian jazz scene. The spotlight is rightly on the music. The album opener, "<b><i>Arf</i></b>", bursts out of the gates with an arrangement thats makes the eight musicians like a true big band. Excellent solos from Dean (baritone), Turcotte (trumpet), and drummer Ardelli raise the temperature exponentially. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwGImh6fK-hu8bYDKzzBw7kCExk5vL4Wtb4N0o1O9J94vPTf2K9bhXuxq1OGZEJqwhU8RKYPUgcwvnZguf0cEJ5IPH-YY7ImsQguUAMuX34JMjNC-03EtPyT7YIrvwp71DWsc07WOXS8gsNo7GaPhbqPlHt6wuapv7AdVrxniujbVkSKOd2CR0CFGzCYg/s300/Phil-Pic-254x300.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="254" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwGImh6fK-hu8bYDKzzBw7kCExk5vL4Wtb4N0o1O9J94vPTf2K9bhXuxq1OGZEJqwhU8RKYPUgcwvnZguf0cEJ5IPH-YY7ImsQguUAMuX34JMjNC-03EtPyT7YIrvwp71DWsc07WOXS8gsNo7GaPhbqPlHt6wuapv7AdVrxniujbVkSKOd2CR0CFGzCYg/w194-h229/Phil-Pic-254x300.jpg" width="194" /></a></div>Ms. Davidson's evocative soprano saxophone takes the lead on <b><i>"Islands</i></b>", a lovely ballad drawn from, arguably, the elder Nimmons most famous work, "<b><i>The Atlantic Suite</i></b>". The arrangement gives the music an Ellingtonian feel. The oft-recorded "<b><i>Under a Tree</i></b>" opens with the theme first stated by Dean's bass clarinet before it opens to the entire octet. Turcotte's bluesy flugelhorn takes the first lead, opening over a loping rhythm section before the rest of the group colors behind him. Murley steps out next producing a lively and richly emotional solo. The delightful "<b><i>Carey Dance</i></b>" (from "<b><i>Suite P.E.I</i></b>") displays a Scottish influence before the band swings out for solos from Nimmons (piano), Murley, and Ardelli before a lively restatement of the original theme for all.<div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf7bn2BAFd1Pr4BzAR8i3-LlRf0PAEDTAfVL298Amj8WuZUbmOvFOKZzYEw-Ri-e-mo_4KK4oTYUsLLYci770HbLcm6BRO0lQjuyHYAcJkU36cx2E3nR598anxUH-rhqqaYdDOnXM5iFJOxrsb2pWVFk0nN7cgMNnqIJJNP3kp9hrIWJfo6c5bGxu3-cc/s4928/Sean%20Nimmons%20(2023).png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3264" data-original-width="4928" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf7bn2BAFd1Pr4BzAR8i3-LlRf0PAEDTAfVL298Amj8WuZUbmOvFOKZzYEw-Ri-e-mo_4KK4oTYUsLLYci770HbLcm6BRO0lQjuyHYAcJkU36cx2E3nR598anxUH-rhqqaYdDOnXM5iFJOxrsb2pWVFk0nN7cgMNnqIJJNP3kp9hrIWJfo6c5bGxu3-cc/w269-h178/Sean%20Nimmons%20(2023).png" width="269" /></a></div></div><div>The younger Nimmons (pictured left) contributes two new pieces to the program. The winsome ballad "<b><i>Bella Shores</i></b>" features fine work from Turcotte (flugelhorn) and Ms. Davidson (soprano sax) and they continue to converse separately and together throughout the tune. The other contribution, the title track, is also a ballad that spotlights Carn's trombone, Ms. Davidson's alto, Turcotte's trumpet, and Murley's tenor before making room for a short but richly melodic bass solo. </div><div><br /></div><div>"<b><i>Generational</i></b>" closes with "<b><i>Night Night Smiley</i></b>", a ballad the elder Nimmons composed for his 2001 album "<b><i>Sands of Time</i></b>". Yes, it's a lullaby, sung gently by <b>Heather Bambrick</b> then she steps aside for for short solos from Maharaj, Carn, Ms. Davidson (alto sax), Turcotte (trumpet), Dean (bass clarinet), and Murley (tenor sax) before Ms. Bambrick returns to put the song and "<b><i>Volume 2</i></b>" to bed. What the album and the <b>Nimmons Tribute</b> ensemble reminds us how timeless the music of <b>Phil Nimmons</b>–his songs have been speaking to the hearts and souls of Canada for nearly seven decades. <br /><div><br /></div><div>To find out more, go to <b><a href="http://www.nimmonstribute.ca/">www.nimmonstribute.ca/</a></b>. To find out more about the life and music of Phil Nimmons, go to <a href="http://www.philnimmons.ca/"><b>www.philnimmons.ca/</b></a>. To purchase the recording, go to <b><a href="https://nimmonstribute.bandcamp.com/album/generational">https://nimmonstribute.bandcamp.com/album/generational</a></b>.</div><div><br /></div><div><br /><div class="separator" style="clear: both; text-align: left;">Personnel:</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: inherit;"><span style="background-color: white; color: #363636;">Kevin Turcotte - trumpet, flugelhorn</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Tara Davidson - alto saxophone, soprano saxophone, clarinet</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Mike Murley - tenor saxophone</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">William Carn - trombone</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Alex Dean - baritone saxophone, bass clarinet</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Sean Nimmons - piano, Fender Rhodes</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Jon Maharaj - bass</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Ethan Ardelli - drums</span><br style="background-color: white; color: #363636;" /><span style="background-color: white; color: #363636;">Heather Bambrick - vocals on one track</span></span></div><div><br /></div><div><br /></div><div>The program opens with"<b><i>Arf</i></b>":</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="315" src="https://www.youtube.com/embed/kHCI9UzIMgk" width="379" youtube-src-id="kHCI9UzIMgk"></iframe></div><br /><div><br /></div></div></div>Richard B. Kaminshttp://www.blogger.com/profile/16253213687754435676noreply@blogger.com0tag:blogger.com,1999:blog-7153369434610919128.post-26783968050943415992023-06-19T07:24:00.000-04:002023-06-19T07:24:24.144-04:00Juneteenth Music<p> This, from Bandcamp.com:</p><p style="background-color: white; box-sizing: border-box; font-family: Agipo, serif; font-size: 17px; grid-column: 7 / span 7; line-height: 1.76rem; margin: 0.75rem 0px;"><strong style="box-sizing: border-box;">On June 19 (from midnight (PT) June 19 to midnight (PT) June 20), we’ll hold our annual Juneteenth fundraiser, where we donate 100% of our share of sales* to the </strong><a href="https://www.naacpldf.org/" style="box-sizing: border-box; color: #1da0c3; cursor: pointer; text-decoration-line: none;"><strong style="box-sizing: border-box;">NAACP Legal Defense Fund</strong></a><strong style="box-sizing: border-box;"> to support their ongoing efforts to promote racial justice through litigation, advocacy, and public education.</strong></p><p style="background-color: white; box-sizing: border-box; font-family: Agipo, serif; font-size: 17px; grid-column: 7 / span 7; line-height: 1.76rem; margin: 0.75rem 0px;">This annual fundraiser is part of our larger, ongoing commitment to racial equity, and we’ll continue to promote diversity and opportunity through <a href="https://bandcamp.com/about" style="box-sizing: border-box; color: #1da0c3; cursor: pointer; text-decoration-line: none;">our mission to support artists</a>, the products we develop, those we promote through the Bandcamp Daily and Bandcamp Radio, how we work together as a team, who and how we hire, and our relationships with organizations local to our Oakland space (some of which we’ve highlighted below).</p><p style="background-color: white; box-sizing: border-box; font-family: Agipo, serif; font-size: 17px; grid-column: 7 / span 7; line-height: 1.76rem; margin: 0.75rem 0px;">We hope you’ll help us spread the word about the upcoming fundraiser, and thank you for being a part of the Bandcamp community!</p><p style="background-color: white; box-sizing: border-box; font-family: Agipo, serif; font-size: 17px; grid-column: 7 / span 7; line-height: 1.76rem; margin: 0.75rem 0px;">Ethan Diamond<br style="box-sizing: border-box;" />CEO & Co-Founder of Bandcamp</p><p style="background-color: white; box-sizing: border-box; font-family: Agipo, serif; font-size: 17px; grid-column: 7 / span 7; line-height: 1.76rem; margin: 0.75rem 0px;">Here's a few suggestions:</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_NgI9apC-99PZMe1Z7KjQN6yC6NNjj90gEzFDo2mSTzfE1oGNzADOznclXtMn_1555hxtwsyoXefqhbTzwcdZLjWzE-W8meE0QF0SNteNARl_UmRbyfrfTazXM5DyWlCmftaRZ9cCKNKI4K7x1TWiHGEFfEXljTRBt49zyrbT-ty9F8FbS4hpBsWVNhc/s700/a3694483477_16.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_NgI9apC-99PZMe1Z7KjQN6yC6NNjj90gEzFDo2mSTzfE1oGNzADOznclXtMn_1555hxtwsyoXefqhbTzwcdZLjWzE-W8meE0QF0SNteNARl_UmRbyfrfTazXM5DyWlCmftaRZ9cCKNKI4K7x1TWiHGEFfEXljTRBt49zyrbT-ty9F8FbS4hpBsWVNhc/w250-h250/a3694483477_16.jpg" width="250" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">Trombonist/tubaist, composer, and educator <b>Bill Lowe</b> has created this work partially based on Jean Toomer's groundbreaking 1923 novel "<i><b>Cane</b></i>" as well as a musical biography. The program also includes compositions from Frank Foster whose Big Band the trombonist performed with months after moving to New York City and Bill Barron who was not only a fine composer but a Professor of Music at Wesleyan University when Lowe was a Visiting Artist-in-Residence (Author's note: Professor Lowe taught in the Graduate Liberal Studies Program and was my first teacher when I went there to get my Master's Degree). For this album, Lowe organized the Signifyin' Natives Ensemble featuring <b>Taylor Ho Bynum</b> (cornet, flugelhorn), <b>Hafez Modirzadeh</b> (alto saxophone, percussion),<b> Luther Gray</b> (drums), <b>Ken Filiano</b> (bass), <b>Kevin Harris</b> (piano), and the impressive young vocalist <b>Naledi Masilo</b>. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Here's "<b><i>Karintha</i></b>" one of the three tracks from the "<b><i>Cane Suite</i></b>":</div><div class="separator" style="clear: both; text-align: left;"><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3494762319/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1220400632/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://billlowe.bandcamp.com/album/sweet-cane">Sweet Cane by Bill Lowe and the Signifyin' Natives Ensemble</a></iframe><div><br /></div><div>Go to <b><a href="https://billlowe.bandcamp.com/album/sweet-cane">https://billlowe.bandcamp.com/album/sweet-cane</a></b> to hear more and purchase the album.</div><div><br /></div><div>Here are several more suggestions (both of which I purchased):</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRjJh8_CLw4xtzaIqes0aiPT5_Vwc-0drOMOQYsyfG94qF-_O6-Za_rCDJTvFnDTecC4Ptrnquc7mpv0AAjEPUUM29aW8QbN3TUgGrKSOEx-H3EooEtIc9zbOi6bIO0sCGHPADeNF77Cq284T2uYdh0fypTEpInp5ibfWHDhvXGhDzED5m_J5PtdVHfaA/s700/a1799561080_16.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRjJh8_CLw4xtzaIqes0aiPT5_Vwc-0drOMOQYsyfG94qF-_O6-Za_rCDJTvFnDTecC4Ptrnquc7mpv0AAjEPUUM29aW8QbN3TUgGrKSOEx-H3EooEtIc9zbOi6bIO0sCGHPADeNF77Cq284T2uYdh0fypTEpInp5ibfWHDhvXGhDzED5m_J5PtdVHfaA/w286-h286/a1799561080_16.jpg" width="286" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><b>The Pan Afrikan Peoples Arkestra</b> – "<b><i>60 Years</i></b>" (self-released) – This, hopefully, is the first of numerous retrospectives of the six decades of music created by the PAPA, founded in Los Angeles. CA, by pianist and composer <b>Horace Tapscott</b>. It's a great story of perseverance, creativity, promise, and self-determination.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Listen to "<b><i>The Ballad of Deadwood Dick</i></b>" recorded in 1995:</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=104414553/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1977484559/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://panafrikanpeoplesarkestra.bandcamp.com/album/60-years">60 Years by Pan Afrikan Peoples Arkestra</a></iframe><div><br /></div><div>Go to <b><a href="https://panafrikanpeoplesarkestra.bandcamp.com/album/60-years">https://panafrikanpeoplesarkestra.bandcamp.com/album/60-years</a></b> to find out more and to purchase the album.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5dmVdWmZNjiTpt7uA49LlWgOuIUPvlerfhPQoa9fDg1WyVBeuGM-LclP2dT9296Sf50byDSZ_mJL-jHpkYfHuFBIK8Kj3XKzZXj7pFLPkI_pDH98zdCXISe4tpFL6YR0utLiAxVndhVbrJB62eR7ePRHVPy67jpJUSBmKxjeiuHm3p10KRNtx68uqeDA/s700/a1705872917_16.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5dmVdWmZNjiTpt7uA49LlWgOuIUPvlerfhPQoa9fDg1WyVBeuGM-LclP2dT9296Sf50byDSZ_mJL-jHpkYfHuFBIK8Kj3XKzZXj7pFLPkI_pDH98zdCXISe4tpFL6YR0utLiAxVndhVbrJB62eR7ePRHVPy67jpJUSBmKxjeiuHm3p10KRNtx68uqeDA/w260-h260/a1705872917_16.jpg" width="260" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><b>James Brandon Lewis/Red Lily Quintet</b> – "<b><i>Jesup Wagon</i></b>" (TAO Forms) – This impressive album has been out for several years and should be in everyone's collection. Based on the life and work of American botanist George Washington Carver, tenor saxophonist Lewis created the music with an impressive ensemble including long-time associate <b>Chad Taylor</b> (drums, mbira), <b>Kirk Knuffke</b> (cornet), <b>William Parker</b> (bass, gimbri), and <b>Chris Hoffman</b> (cello). Powerful story, powerful music!</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Listen to "<b><i>Fallen Flowers</i></b>":</div><div><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=652479517/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3521831417/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://jamesbrandonlewis.bandcamp.com/album/jesup-wagon">Jesup Wagon by James Brandon Lewis / Red Lily Quintet</a></iframe><div><br /></div><div>For more information, go to <b><a href="https://jamesbrandonlewis.bandcamp.com/album/jesup-wagon">https://jamesbrandonlewis.bandcamp.com/album/jesup-wagon</a></b>.</div><div><br /></div><div><br /></div>Richard B. Kaminshttp://www.blogger.com/profile/16253213687754435676noreply@blogger.com0tag:blogger.com,1999:blog-7153369434610919128.post-63491031628698900742023-06-17T06:25:00.000-04:002023-06-17T06:25:06.357-04:00Ms.Oh and the Future<p> </p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfY2YebIT61JaLnGvHFPPwc3up5o2YkxPmA-8OCKthW3-PUpuJrB8A-qb2zu8sgc4qHZ5gz8DzBQROTr8I2RDwq-wzGb3HshCv90IQOHm48SCMFNbVVUDPq_yBqDve1yiCuoZFpGYF-FHU2hER-qQmeu6NTL_YEm8jqQiXZCYIS2PMb5Jfg8U67ieZ/s3493/14%20-%20LindaMayHanOh_TheGlassHours_%C2%A9ShervinLainezPhoto%20Aug%2023,%205%2004%2023%20PM.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2331" data-original-width="3493" height="148" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfY2YebIT61JaLnGvHFPPwc3up5o2YkxPmA-8OCKthW3-PUpuJrB8A-qb2zu8sgc4qHZ5gz8DzBQROTr8I2RDwq-wzGb3HshCv90IQOHm48SCMFNbVVUDPq_yBqDve1yiCuoZFpGYF-FHU2hER-qQmeu6NTL_YEm8jqQiXZCYIS2PMb5Jfg8U67ieZ/w221-h148/14%20-%20LindaMayHanOh_TheGlassHours_%C2%A9ShervinLainezPhoto%20Aug%2023,%205%2004%2023%20PM.jpg" width="221" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photo: Shervin Lainez</td></tr></tbody></table>Before the pandemic, bassist and composer <b>Linda May Han Oh</b> was a very busy person, not just working on her own projects but also performing and/or recording with Pat Metheny, drummer Johnathan Blake, Vijay Iyer as well as with her husband, pianist Fabian Almazan (plus a number of other recording sessions). Then, the world closed down in March of 2020 and the gigging stopped. Ms. Oh and Mr. Almazan moved to Perth, Australia, (where the bassist was raised and retains citizenship) to have their first child. The time spent with their baby gave Ms. Oh the time to think her role as a musician in a splintered world, what was important to her, and how could her music has a positive effect on the dialogue swirling around divisive issues such as health-care, climate change, war, and other issues. The music can also be heard as a meditation on time, how we use ours and how time is ever-moving as it moves us.<p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOpoNAAT8bRj-DKwAK-QDSr6M8t9gRKY_D3euletN_S8o43BKg4pMV_yqKjgLbcP9foq59Yjs1JTOYeBq1fq3MUsE6JGrm1kECwJg35Bliyqw17OFl2uWBy5c0L-1h4IMPW6O8K_oQ677bFUb61qU9ICnqQCOHpdC54h5P-vc0MN03nVQabpby9s9l/s3000/cover%20copy.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="3000" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOpoNAAT8bRj-DKwAK-QDSr6M8t9gRKY_D3euletN_S8o43BKg4pMV_yqKjgLbcP9foq59Yjs1JTOYeBq1fq3MUsE6JGrm1kECwJg35Bliyqw17OFl2uWBy5c0L-1h4IMPW6O8K_oQ677bFUb61qU9ICnqQCOHpdC54h5P-vc0MN03nVQabpby9s9l/w229-h229/cover%20copy.jpg" width="229" /></a></div><div>Upon their return to the United States, put together a quintet that features her husband, drummer <b>Obed Calvaire</b>, tenor saxophonist <b>Mark Turner,</b> and vocalist <b>Sara Serpa</b>. They entered Brooklyn Recording on June 13 2022 with 10 new original works. "<b><i>The Glass Hours</i></b>" is powered by the powerful melodies, exciting rhythms, and the spirited interactions of the quintet. Opening with "<b><i>Circles</i></b>", the theme is addressed by the wordless vocal, tenor sax, and the potent bass while the pianist and drummer push the music forward. Pay close attention to the rhythm section––Calvaire plays with great presence throughout but especially under the soloists. The handsome bass solo that opens "<b><i>Chimera</i></b>" gives way to a thunderous piano solo supported by the drums and bass––that falls into a sense of stasis as the voice, sax, bass, and piano play circular figures while Calvaire dances through his solo.</div><div><br /></div><div><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjRVQijoOWV5P3GHrP3Wz_89vh_eu5C5FJ8ZtYhpFmu0L-r7mCqGIuESHbAqt8CY2Jgdx8NjyihNsFtDNyCeUjg3Dhd8JsnlYK3GZnr-xKWT4LA2-pk_129MRvnOge6zevJ38swsr6mEyHH9P07D0azEGnWxFe8YyZ1wv1PAdTNneCb5rojTSCVfPs/s620/unnamed.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="428" data-original-width="620" height="184" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjRVQijoOWV5P3GHrP3Wz_89vh_eu5C5FJ8ZtYhpFmu0L-r7mCqGIuESHbAqt8CY2Jgdx8NjyihNsFtDNyCeUjg3Dhd8JsnlYK3GZnr-xKWT4LA2-pk_129MRvnOge6zevJ38swsr6mEyHH9P07D0azEGnWxFe8YyZ1wv1PAdTNneCb5rojTSCVfPs/w266-h184/unnamed.jpg" width="266" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photo: Shervin Lainez</td></tr></tbody></table>"<b><i>Jus Ad Bellum</i></b>" is a rubato ballad that addresses man's need to go to war. Ms. Serpa's passionate vocal is underpinned by the war-like drums and scurrying piano lines. The tenor sticks close to the vocal until the forceful bass solo. The layered voices (including Ms. Oh's) during the drum spot remind this listener of the work of Steve Reich. Watch the video below of "<b><i>The Imperative</i></b>", see how the band listen and respond to each other, and note the fluidity in Ms. Oh's bass lines––she is so melodic as well as percussive. Everyone contributes, each with their own cogent statement as well as their work in the ensemble. <div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHd3HilTWV4ylRZX0IHLej430ad6LMh7iQGfFmHEeMhDnd0RkKKIiOlA37iScfrQFuaJyKitp056sh4980m5XYMo8KkQ8dWQGXj4Zv17jnkARNSxEUIIraa3zHn1VmZ9ba8satf1G3JAGUCtY_3R0ABwjE7Gn0_mclcKxolMfjOaZA0jtCUQ_uO5Su/s800/Linda-May-Han-Oh.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="481" data-original-width="800" height="162" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHd3HilTWV4ylRZX0IHLej430ad6LMh7iQGfFmHEeMhDnd0RkKKIiOlA37iScfrQFuaJyKitp056sh4980m5XYMo8KkQ8dWQGXj4Zv17jnkARNSxEUIIraa3zHn1VmZ9ba8satf1G3JAGUCtY_3R0ABwjE7Gn0_mclcKxolMfjOaZA0jtCUQ_uO5Su/w270-h162/Linda-May-Han-Oh.jpg" width="270" /></a></div>This material can be thorny, the sound thick at times but the music never falls apart. Notice how the excellent mix (<b><a href="https://www.davedarlington.com/" target="_blank">Dave Darlington</a></b>) ensures that the listener is in the midst of the band, that no one instrument is lost in the crisp sound, Not only is Ms. Oh the foundation of the music but she's the main driver (that frees up Calvaire to respond to the soloists and be part of the melody). Mr. Almazan benefits from this as well with how he plays underneath the ensemble and how he approaches his own solos (he's certainly one of the most fluid of musicians). And Ms. Serpa? Because the majority of the time she's singing, there are no words, just syllables. On a piece such as "<b><i>Phosphorus</i></b>", she teams with Turner to not only present the melody but also weave their lines in and around each other. On this track, Ms. Oh's switches to electric bass, dancing along with her husband on the energetic piano solo. <br /><div><br />"<b><i>The Glass Hours</i></b>" closes with "<b><i>Hatchling</i></b>" (which one imagines is dedicated to her son)––Ms. Oh is on electric bass again so it's the sax, voice, and piano that present the melody then break it into melodic fragments. The piece moves into a long rubato section before the piano and voice build off the bounce of the bass and drums to playfully strut and dance to the close! </div><div><br /></div><div><b>Linda May Han Oh</b> has become one of the most sought-after bassists in the world. With good reason; how she articulates her notes and her melodic development within a song can be dizzying at times, yet she never overplays or, better, never "showboats". This album, her sixth, is worth diving into deeply1</div><div><br /></div><div>For more information, go to <b><a href="https://lindamayhanoh.com/">https://lindamayhanoh.com/</a></b>. To hear more and purchase the album, go to <a href="https://lindamayhanoh.bandcamp.com/album/the-glass-hours"><b>https://lindamayhanoh.bandcamp.com/album/the-glass-hours</b></a>. <br /><br />Here's the opening track, "<b><i>Circles</i></b>":<div><br /></div><div><div><br /></div></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3508004754/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=562746829/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://lindamayhanoh.bandcamp.com/album/the-glass-hours">The Glass Hours by Linda May Han Oh</a></iframe><div><br /></div><div>Watch the group in the studio perform "<b><i>The Imperative</i></b>":</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="314" src="https://www.youtube.com/embed/GGLcjgfXLK8" width="378" youtube-src-id="GGLcjgfXLK8"></iframe></div><br /><div><br /></div></div>Richard B. Kaminshttp://www.blogger.com/profile/16253213687754435676noreply@blogger.com0tag:blogger.com,1999:blog-7153369434610919128.post-82955159761675177402023-06-12T07:00:00.001-04:002023-06-12T21:32:25.792-04:00Large Ensembles & Real Life, Pt 2: Learning about & From the Past<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9LK5RCzKNAoKuT-SJ3rFUSAasprjt8GUxv2oWVSYpiLLJl7PP4mRSunla0l5cJyCIzFS_drb9CkK7OlpUb5Yp9nuDaxcP79Mgx9SHuJuGrtXwxJV5v3WqXUtpkCWwR_PhC-52ARIuFdE-3Pbs6GgVfX2ffp_fKlPxUk1R61E8xvB0W4oaU371ltDT/s640/b16%20Gennett%20logo%20from%20Old%20Factory%20in%20Richmond.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" height="139" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9LK5RCzKNAoKuT-SJ3rFUSAasprjt8GUxv2oWVSYpiLLJl7PP4mRSunla0l5cJyCIzFS_drb9CkK7OlpUb5Yp9nuDaxcP79Mgx9SHuJuGrtXwxJV5v3WqXUtpkCWwR_PhC-52ARIuFdE-3Pbs6GgVfX2ffp_fKlPxUk1R61E8xvB0W4oaU371ltDT/w247-h139/b16%20Gennett%20logo%20from%20Old%20Factory%20in%20Richmond.jpg" width="247" /></a></div>When one thinks of the early years of Jazz, we think of New Orleans (before the brothels were closed), Chicago (especially after Prohibition was announced), and New York City (where many of the major record labels were located). However, a case can be made (and has been–see below) for Richmond, Indiana, especially after the establishment of Gennett Records. The brainchild of three sons of an Italian immigrant family, Gennett managed to record <b>King Oliver</b> and <b>Louis Armstrong</b>,<b> Jelly Roll Morton</b>, <b>Bix Beiderbecke</b>, and <b>Hoagy Carmichael</b> all before the end of the 1920s. Recording conditions were not the best (the studio was located near a very busy railroad bridge) but much of the music was stellar. <div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha-o9qkiRojogoJP0aIW1ilWqklC1Eyv8eA-I_w2s3bHFv9dylNr9eBMTC4TGDj9RLxHygKzz___x219ZcKb-drTEY-YOXorB1pcTfs2h3rsFaeGT4dqD57IQYAvO0tW06IaFZJS_SuSNhao7Ra_Dtk8NNixbAjYij48jNDvHxn1rI-dCn8KDs9pvu/s1000/A1a7D6nSLML._UF1000,1000_QL80_.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="992" data-original-width="1000" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha-o9qkiRojogoJP0aIW1ilWqklC1Eyv8eA-I_w2s3bHFv9dylNr9eBMTC4TGDj9RLxHygKzz___x219ZcKb-drTEY-YOXorB1pcTfs2h3rsFaeGT4dqD57IQYAvO0tW06IaFZJS_SuSNhao7Ra_Dtk8NNixbAjYij48jNDvHxn1rI-dCn8KDs9pvu/w262-h260/A1a7D6nSLML._UF1000,1000_QL80_.jpg" width="262" /></a></div><div>Nearly three decades after Gennett finally closed its doors (they had stopped recording jazz, blues, etc. in the Depression), trumpeter <b>Mark Buselli</b> and trombonist/ arranger <b>Brent Wallarab</b> organized the <b>Buselli/Wallarab Jazz Orchestra</b> in Bloomington, IN, in 1994 before moving its base of operations to Indianapolis several years later. Since its inception, the BWJO has recorded seven albums including two tributes to the composer and educator David Baker and one dedicated to Hoagy Carmichael. When working on the latter album, Wallarab decided to begin research on Gennett Records and the amazing lineup of artists that passed through its doors from 1918 through the 1920s. Wallarab, who received immeasurable training working as a transcriptionist of early Big Band music for the Smithsonian Institute of Jazz in Washington, D.C., had no desire to re-record the Gennett "classics"––instead, he used the originals as the blueprint for a modern take of what is, arguably, timeless music.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW_itIPnNlHsflxAHPcSNmqbZTkkhDphSIs599_rtvyQV3nUuejS4m_T6tBwFlUSXCnBXO3cL-OySCm-ZUvbKWxOzk6tK6Md0y4res639XG2bzUKyP6hDCPT9fnqPpqrKNiHkxoL4byAz7Jx5RvAiM-s07NGAH-O7TPO-0GZv-qEpYY0Mp3bFr70bE/s360/_methode_times_prod_web_bin_81451baa-0452-11ee-8502-af592ba32c58.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="202" data-original-width="360" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW_itIPnNlHsflxAHPcSNmqbZTkkhDphSIs599_rtvyQV3nUuejS4m_T6tBwFlUSXCnBXO3cL-OySCm-ZUvbKWxOzk6tK6Md0y4res639XG2bzUKyP6hDCPT9fnqPpqrKNiHkxoL4byAz7Jx5RvAiM-s07NGAH-O7TPO-0GZv-qEpYY0Mp3bFr70bE/w240-h160/_methode_times_prod_web_bin_81451baa-0452-11ee-8502-af592ba32c58.jpg" width="240" /></a></div>For the ensemble's eighth album, Wallarab created "<b><i>The Gennett Suite</i></b>" (Patois Records), a two-CD set that features four "<b><i>Movements</i></b>", 11 songs, that utilizes 11 songs from the 1920s records of Louis Armstrong with Joe "King" Oliver, Leon "Bix" Beiderbecke, Ferdinand "Jelly Roll" Morton, and Hoagland "Hoagy" Carmichael. The "<b><i>Suite</i></b>" opens with "<b><i>Movement 1: Royal Blue</i></b>", a 17-minute that features the two-part "<b><i>Tin Roof Blues</i></b>"––powered by the deep bass tones of <b>Jeremy Allen</b> and the powerful drumming of <b>Sean Dobbin</b>, Wallarab dresses the melody made famous by "<b><a href="https://syncopatedtimes.com/king-olivers-creole-jazz-band/" target="_blank">King" Oliver's Creole Jazz Band</a></b> in elegant washes of brass and reeds then leaves room for fine solos from <b>Ned Boyd</b> (baritone saxophone on "<b><i>Part 1</i></b>") and <b>Tom Walsh</b> (tenor sax on "<b><i>Part 2</i></b>"). You can hear tinges of Duke Ellington, Leonard Bernstein, and Thad Jones in the feisty sectional writing. After the solo, the piece morphs into "<b><i>The Chime Blues</i></b>", notable for a number of reasons including the fact that 1923 session was the first recorded example of a Louis Armstrong solo. BWJO take on the tune includes excellent solos from <b>Scott Belck</b> (flugelhorn), <b>Greg Ward</b> (soprano sax), and co-leader Buselli (trumpet). The latter two soloists trade "8s" before the entire band struts to the close. "<b><i>Dippermouth Blues</i></b>" follows with a frisky New Orleans strut and the melody played by the trumpet section. Trombonist <b>Andrew Danforth</b> steps out for a playful solo with the reeds in sweet support. Tenor saxophonist <b>Todd Williams</b> follows; his fine solo opens with just the drums in support but, as he powers forward, the trombones riff behind him. The ensemble dances forward to the close where pianist Allen plays the song's main riff in the style of George Gershwin's "<b><i>Rhapsody in Blue</i></b>". </div><div class="separator" style="clear: both; text-align: center;"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxeCJ0tC9I8fekuA_4PIqAgGdcXlJLtc2Aw0tWc7dmWICstQ2vp8XlBHjFoHUvI3I4zL8baxQC-tTmKjKx_YpOgnX_SdQszI2Yl8ACiYSF0_7-W3GQnntd8oG4o9NJ0JzTyGM8I4S-v3cQ9u0bb5s7lrozvzHWmApsjpkA_nBm8Ns0EPTpxlflUhsn/s4000/Buselli-Wallarab_Orchestra_photo_by_Greg_Reynolds_2%20copy.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3000" data-original-width="4000" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxeCJ0tC9I8fekuA_4PIqAgGdcXlJLtc2Aw0tWc7dmWICstQ2vp8XlBHjFoHUvI3I4zL8baxQC-tTmKjKx_YpOgnX_SdQszI2Yl8ACiYSF0_7-W3GQnntd8oG4o9NJ0JzTyGM8I4S-v3cQ9u0bb5s7lrozvzHWmApsjpkA_nBm8Ns0EPTpxlflUhsn/w221-h166/Buselli-Wallarab_Orchestra_photo_by_Greg_Reynolds_2%20copy.jpg" width="221" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photo: Greg Reynolds</td></tr></tbody></table>"<b><i>Movement 2: Blues Faux Bix</i></b>" includes "<b><i>Davenport Blues</i></b>", "<b><i>The Jazz Me Blues</i></b>", and "<b><i>Wolverine Blues</i></b>" plus a short unaccompanied bass solo right before the final cut. "<b><i>Davenport..</i></b>" is a spotlight for Buselli's smooth, sweet, flugelhorn solo–he gets the chance to stretch out and does so with great style. The tempo picks up for "<b><i>Jazz Me...</i></b>" with the trumpets introducing the melody supported by responses from the reeds and trombones. <b>Amanda Gardier</b> (alto sax) gets the first solo navigating several tempo changes before the rhythm section kicks the tune into a higher gear. Pianist <b>Luke Gillespie </b>steps out next with a spirited solo stepping aside for a rollicking spot from trumpeter Belck. After Allen's bass "<b><i>Interlude</i></b>", he introduces "<b><i>Wolverine Blues</i></b>" (composed by Jelly Roll Morton but recorded for Gennett by Bix) which opens a slower blues before Dobbin kicks the ensemble in––the same soloists plus Allen are in the spotlight on this track as the previous cut Belck taking the first solo, M. Gardier next, then Allen, and finally Gillespie who jumps in. Such sweet sounds!!<div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDj8-bEZQ357nlOgUx02Ufe2XP3v7LsqAl6zQ0U-i2LYlWVP3PE9Jh_q4Jxa85pARHAdQ4FRC51buqZ3Mu4yKM3rLxDh3FEPWZmSQp2QyfdFMalWHcC8W5YJ1xifJTU7AMfDwQBKvFMZWphGLKk6yLIA2ootCefJaoL2IbKKe7tlr2MfuEjgfPvAxS/s2560/event-featured-the-gennett-suite-cd-release-party-buselli-wallarab-jazz-orchestra-1677174862-scaled.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1978" data-original-width="2560" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDj8-bEZQ357nlOgUx02Ufe2XP3v7LsqAl6zQ0U-i2LYlWVP3PE9Jh_q4Jxa85pARHAdQ4FRC51buqZ3Mu4yKM3rLxDh3FEPWZmSQp2QyfdFMalWHcC8W5YJ1xifJTU7AMfDwQBKvFMZWphGLKk6yLIA2ootCefJaoL2IbKKe7tlr2MfuEjgfPvAxS/w254-h196/event-featured-the-gennett-suite-cd-release-party-buselli-wallarab-jazz-orchestra-1677174862-scaled.jpg" width="254" /></a></div>The second disc includes "<b><i>Movement 3: Hoagland</i></b>" and "<b><i>Movement 4: Mr. Jelly Roll</i></b>". Among the highlights is the stunning rendition of "<b><i>Stardust</i></b>"––listen below to how Wallarab's arrangement makes the oft-recorded "chestnut" sound new; on top of that, there is a terrific alto sax solo from <b>Greg Ward</b>. Tom Walsh's alto flute work on the theme also stands out. As the the music moves forward, one hears a touch of Maria Schneider's sound in the sectional writing behind Ward's solo.<div><br /></div><div>A rousing reading of Morton's "<b><i>Grandpa's Spells</i></b>" brings the program to its close but not before Walsh and trumpeter <b>John Raymond</b> deliver vigorous solos. Be sure to the power of the rhythm section as they set the pace and support the band.</div><div><br /></div><div>There have already been a slew of fine large ensemble recordings issued in 2023 but none better than "<b><i>The Gennett Suite</i></b>" by the <b>Buselli/Wallarab Jazz Orchestra</b>. The music the project is based on may now be 100 years old but the formidable and highly enjoyable arrangements plus the overall excellence of the soloists makes the songs spark and sparkle. There is an detailed booklet that comes with the CD set that tells the stories behind the labels, artists, and songs. Find this album––this is music that's good for the soul!<br /><div><div><br /></div><div><div>For more information, go to <b><a href="https://bwjazzorchestra.com/">https://bwjazzorchestra.com/</a></b>. For an overview of Gennett Records and the world around Richmond, IN, in the pre-and post-World War I years, go to <b><a href="http://www.pbs.org/video/the-music-makers-of-gennett-records-gnqhpd/">www.pbs.org/video/the-music-makers-of-gennett-records-gnqhpd/</a></b>.</div><div><br /></div><div>Personnel:</div><div><br /></div><div>Brent Wallarab – arranger, conductor</div><div><br /></div><div>Reeds:</div><div>Greg Ward – soprano and alto sax</div><div>Amanda Gardler – alto sax</div><div>Tom Walsh – tenor sax and flute</div><div>Todd Williams – tenor sax</div><div>Ned Boyd – baritone sax</div><div><br /></div><div>Trumpets:</div><div>Clark Hunt – lead trumpet</div><div>Jeff Conrad – lead trumpet on "<b><i>Stardust</i></b>"</div><div>Scott Belck – trumpet and flugelhorn</div><div>Mark Buselli – trumpet and flugelhorn</div><div>John Raymond – trumpet</div><div>Jeff Parker – trumpet on "<b><i>Chime Blues</i></b>"</div><div><br /></div><div>Trombones:</div><div>Tom Coffman – lead trombone</div><div>Andrew Danforth – trombone</div><div>Demondrae Thurman – trombone</div><div>Rich Dole – bass trombone</div><div><br /></div><div>Rhythm Section:</div><div>Luke Gillespie – piano</div><div>Jeremy Allen – bass</div><div>Sean Dobbins – drums</div><div><br /></div><div>Listen to this beautiful arrangement of Hoagy Carmichael's classic "<b><i>Stardust</i></b>":</div><div><br /></div><div><br /></div><iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1498651369&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/bk-music-pr" style="color: #cccccc; text-decoration: none;" target="_blank" title="Braithwaite & Katz">Braithwaite & Katz</a> · <a href="https://soundcloud.com/bk-music-pr/movement-3-hoagland-stardust-buselli-wallarab-jazz-orchestra" style="color: #cccccc; text-decoration: none;" target="_blank" title="MOVEMENT 3 (Hoagland) Stardust — Buselli-Wallarab Jazz Orchestra">MOVEMENT 3 (Hoagland) Stardust — Buselli-Wallarab Jazz Orchestra</a></div></div></div></div>Richard B. Kaminshttp://www.blogger.com/profile/16253213687754435676noreply@blogger.com0tag:blogger.com,1999:blog-7153369434610919128.post-87804308807695956522023-06-08T12:34:00.002-04:002023-06-08T13:08:43.334-04:00Hard & Heart to Know Where <p><br /></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5Zn1hpAtSbQB1xNatCj69UHfp7PspcS5CmTb5DVa6_nflULmu51wrejf2iFYsHjH4_jynN6NveSiBE8efOoaqcFkqpyGomzBHp-sgZmJ25fBpG9gpGbSwYTIeGxUZTJeDp-EHgLAGiC6F_QmGB_fbDH3mFUylzaEkq-KZhdwMn0n4Fa7XD1Nfl9dk/s2000/nicky-schrire-matt-griffiths-4k.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1125" data-original-width="2000" height="140" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5Zn1hpAtSbQB1xNatCj69UHfp7PspcS5CmTb5DVa6_nflULmu51wrejf2iFYsHjH4_jynN6NveSiBE8efOoaqcFkqpyGomzBHp-sgZmJ25fBpG9gpGbSwYTIeGxUZTJeDp-EHgLAGiC6F_QmGB_fbDH3mFUylzaEkq-KZhdwMn0n4Fa7XD1Nfl9dk/w249-h140/nicky-schrire-matt-griffiths-4k.jpg" width="249" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photo: Matt Griffiths</td></tr></tbody></table>It's been over a decade since I saw and heard vocalist, composer, broadcaster, and journalist <b>Nicky Schrire</b> in a duo concert with pianist Gerald Clayton. She has just released "<b><i>Space and Time</i></b>", a album of duos with Clayton, Gil Goldstein, and Fabian Almazan. The intimacy of the duo performances worked well in concert. But soon, Ms. Schrire moved from New York City to London, England, then to Capetown, South Africa, finally settling several years ago in Toronto, Ontario, Canada. Along the way, she composed a project for cello, guitar, and voice as well as a yet-unrecorded String Quartet. Upon moving to Canada, she began a weekly program for Toronto's JAZZ-FM.91 ("<b><i>The Bright North</i></b>"). When Jason Crane took a sabbatical from his excellent podcast '<b><i>The Jazz Session</i></b>", Ms. Schrire took over for the 14th season. Now, she curates the "<b><i>Mothers-in-Jazz</i></b>" series for "<b><i>The London Jazz News</i></b>", an online Jazz zine that she has contributed for over a decade. <div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoEIFQ1j8h2DTV8nIORqY3bIDHndeN1WhPluqRoVAfyw5tJIwf_IDD6Uw4LVvnrrlNc2FZI_07FYG4WcnSDm2VVqD9f1P5bKcdWn1T-4b508scDzkxR1xoJd3ta2yb_Bjq3DdMq6CORTNmqX4PdPu_QfeQZTrMaML2lED1nPZzIudFbAKxd85VcV6A/s700/a0546220611_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoEIFQ1j8h2DTV8nIORqY3bIDHndeN1WhPluqRoVAfyw5tJIwf_IDD6Uw4LVvnrrlNc2FZI_07FYG4WcnSDm2VVqD9f1P5bKcdWn1T-4b508scDzkxR1xoJd3ta2yb_Bjq3DdMq6CORTNmqX4PdPu_QfeQZTrMaML2lED1nPZzIudFbAKxd85VcV6A/w251-h251/a0546220611_16.jpg" width="251" /></a></div><div>But no jazz-based music on record for Ms. Schrire until now. Anzic Records has just issued "<b><i>Nowhere Girl"</i></b>, a collection of 11 songs, mostly all original. To help her translate these songs, she and producer <b>Oded Lev-Ari</b> gathered an excellent rhythm section composed of pianist <b>Chris Donnelly</b>, bassist <b>Dan Fortin</b>, and drummer <b>Ernesto Cervini</b> (who record and tour together as <b><a href="https://www.myriad3.com/" target="_blank">Myriad3</a></b>) plus guest appearances from <b>Tara Davidson</b> (alto and soprano saxophone on four tracks), <b>Laila Biali</b> (vocal on one track), and <b>Julio Siguaque</b> (electric guitar on one track). What stands out for this listener is how comfortable Ms. Schrire sounds, even as her songs talk of wandering the world (the title track), missing a songwriting partner ("<b><i>Traveler</i></b>"), or a lovely ode to her parent ("<b><i>Father</i></b>"). Donnelly's accompaniment is splendid throughout while Fortin and Cervini not only create finely-wrought backgrounds but they also can dance, sway, and even whisper when the song calls for it.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib451-NxaHuUBqG8cj1xtO5JRoAzGNIbY7ynsrRuXmISlemeg_hW08MfyMUOUQOI3KWt4oGjCLrm2oKEgBR208Z0430qixXNAdrjyuHkaugGh7S6u9lxb7mpizNCi9NAMHXoj6B_5zf-AckT3oEGT-8DJj30n0IFdzy2h7Xc5F-dsRYgdfTITH8VlN/s400/NjNU7NDK_400x400.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="400" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib451-NxaHuUBqG8cj1xtO5JRoAzGNIbY7ynsrRuXmISlemeg_hW08MfyMUOUQOI3KWt4oGjCLrm2oKEgBR208Z0430qixXNAdrjyuHkaugGh7S6u9lxb7mpizNCi9NAMHXoj6B_5zf-AckT3oEGT-8DJj30n0IFdzy2h7Xc5F-dsRYgdfTITH8VlN/w225-h225/NjNU7NDK_400x400.jpg" width="225" /></a></div>Many of these song defy genre. The lovely "<b><i>A Morning</i></b>" is a finely etched poem set to a handsome melody (listen for the swirling piano "raindrops" behind the wordless vocal in the middle....sounds Elizabethan). "<b><i>In Paris</i></b>" is both a lovely walk through the City of Lights in the morning and also a tribute to Joni Mitchell's "<b><i>Free Man in Paris</i></b>"––Ms. Davidson's lovely soprano channels Wayne Shorter, her lovely tone surrounding Ms. Schrire's vocal in the next-to-the-last verse. On "<b><i>Closer to the Source</i></b>", the singer adds her own lyrics to the lilting melody by the South African composer <b><a href="https://www.theguardian.com/music/2008/sep/15/jazz" target="_blank">Bheki Mseleku</a></b> (1955-2008)–Ms. Schrire slows the tempo a bit but one still feels that bright bounce associated with South African music. Donnelly shines here as does Ms. Davidson on soprano. The song serves as a tribute to the composer and to the comfort the singer when she returns (such an interesting juxtaposition Mseleku wrote the tune as he lived in exile in London). </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg00FZzixEKOiCbP8CvEaa4raUj82KLs1IFNBZNXw8eZutO5H3EuYVJjXFPded37XlI8MFeWKrMkR16YMhtOju15sn4zM8T9EHtx1WAiq7oSso8-f8SxUCocGXUblqwwtLRIaT-qOkmPzfqZL8s8-ZTGA7g_w0T4h5Lv1b7njQ19ZKXSSGzM3_Rk0XZ/s225/download.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="225" data-original-width="225" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg00FZzixEKOiCbP8CvEaa4raUj82KLs1IFNBZNXw8eZutO5H3EuYVJjXFPded37XlI8MFeWKrMkR16YMhtOju15sn4zM8T9EHtx1WAiq7oSso8-f8SxUCocGXUblqwwtLRIaT-qOkmPzfqZL8s8-ZTGA7g_w0T4h5Lv1b7njQ19ZKXSSGzM3_Rk0XZ/w183-h183/download.jpg" width="183" /></a></div>"<b><i>Nowhere Girl</i></b>" ends with the delightful, whirling, rhythmical treat "<b><i>My Love</i></b>"...no, not the Paul McCartney song but a "party tune" dedicated to Capetown. The trio plus Ms. Davidson play with great joy but it's the clicking, overdubbed, guitar (played by <b>Julio Sigauque</b>, a musician from Mozambique who Ms. Schrire met when both studied at the University of Capetown) that sets the pace. It's an upbeat close to a really fine recording. When you sit down to listen, you'll hear how Lev-Ari deftly overdubs the vocalist on numerous occasions during the album. Also, <b>Laila Biali </b>joins her voice to Ms. Schrire's on the lovely and heartbreaking take of Kate & Anna McGarrigle's "<b><i>Heart Like a Wheel</i></b>". </div><div><br /></div><div>Many hurrahs to<b> Nicky Schrire</b> for taking her time to create this album and for putting together such an excellent cast of supporting friends/musicians. Such good music deserves to be heard––then this "<b><i>Nowhere Girl</i></b>" will have a place...in your heart and soul!</div><div><br /></div><div>For more information, go to <b><a href="http://www.nickyschrire.com">www.nickyschrire.com</a></b>. To hear more and to purchase the album, go to <b><a href="https://nickyschrire.bandcamp.com/album/nowhere-girl">https://nickyschrire.bandcamp.com/album/nowhere-girl</a></b>. <br /> <div><br /></div>Hear "<b><i>Traveler</i></b>":<div><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2194886625/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1700599507/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://nickyschrire.bandcamp.com/album/nowhere-girl">Nowhere Girl by Nicky Schrire</a></iframe><div><br /></div><div><br /></div><br /></div>Richard B. Kaminshttp://www.blogger.com/profile/16253213687754435676noreply@blogger.com0