Family, Faith, & Remembrances (Large Ensembles)

Flutist, composer, and arranger Jamie Baum first formed her Septet in 1999: the ensemble made its recording debut for the now-defunct Omnitone label then moved to Sunnyside Records for the 2008 release of "Solace." In 2010, trumpeter Amir ElSaffar joined the ensemble, adding not only his instrument but also his great knowledge of Middle Eastern Maqam. Five years later, the group had evolved in Septet+ and issued the amazing "In This Life."  Influenced by Ms. Baum's travels to Southeast Asia and her studies of the work of Pakistani vocalist Nusrat Fateh Ali Khan, the album won numerous accolades. The arrangements blended fiery rhythms, elongated melody lines, and intelligent use of the higher sounds (flute, piano, and trumpet) with lower sounds (alto flute, French Horn and bass clarinet) to create adventurous music.

Ms. Baum's latest project, "Bridges", attracts from the moment one sees Masashi Karabuki's stunning cover photograph ("In This Life" also possess a striking cover - take a look). The nine-song program is split into three distinct sections. The first three tracks, "From The Well", "Song Without Words", and "There Are No Words") are influenced by the composer's recent personal experiences. The opening track celebrates Ms. Baum's explorations into Maqam, Jewish, and South Asian music. While one absorbs the exciting melody line, make sure to pay attention to the splendid leadership and support from the rhythm section (pianist John Escreet, guitarist Brad Shepik, bassist Zach Lober, and drummer Jeff Hirschfield plus guest percussionist Jamey Haddad). There are excellent solos from the leader, bass clarinetist Sam Sadigursky (the newest member of the ensemble), and ElSaffar, whose phrases, at times, reminds this listener of the Muslim call-to-prayer yet also move into "freer" territory.  The trumpeter, who ins increasingly showcasing his vocal talents, gets the lead on the second track, which carries the subtitle "for S. James Baum."  Here, the vocal line is influenced by Hebrew prayer (but not "The Mourner's Kaddish"), a way to give thanks for the life  of a parent or loved one.  Besides the stunning vocal, there are excellent (and emotional) solos from Sadigursky (bass clarinet) and Ms. Baum (alto flute). "There Are No Words" also refers to the mourning process but here there is a sense of renewal and purpose.  Bassist Lober takes the first solo, a handsome melodic turn. Ms. Baum follows, her flute electronically split into two registers. Escreet steps out next for a fleet-fingered dance.

 The next three tracks are dedicated to "Honoring Nepal" The Shiva Suite". Ms. Baum has performed several times at Katmandu Jazz Festival and, like many people, was deeply touched by the destruction caused by the 2015 earthquake.  The "Suite" was commissioned by the Rubin Museum of Himalayan Art in NewYork City. Part 1 "The Earthquake" is a powerful musical depiction of the clam before the devastation as well as the shaking, shuddering, shifting earth before the mournful lament at the close. "Renewal" begins with gentle hand percussion and soft piano sounds (many made with Escreet's hand dampening the strings) the moves forward on the strength of a delightful and percussive melody supplied by the piano and guitar.  Bells and piano introduce "Contemplation", a piece that includes melodies and harmonies for the front line and a finishing section that is both up-tempo and uplifting.

Tabla drummer, percussionist, and vocalist Navin Chettri joins the ensemble for the next two tracks, the powerful "Joyful Lament" and  the peaceful "Mantra."  The former cut opens with voice and tabla before the band is led in by Shepik.  Hirschfield's hard-edged drumming fuels the piece which blends South Indian music with American blues in a playful yet serious fashion (the guitar solo roars out of the ensemble somewhat like what John McLaughlin did with his Mahavishnu Orchestra in the early 70s). It's just Chettri on voice and tanpura (the Indian stringed instrument that creates drones) and Ms. Baum on singing bowl and flute for the latter track. No tension here only a sense of quiet clam and reflection.

The album closes with "Ucross Me", an uptempo piece created by Ms. Baum during a residency at the Ucross Artist Colony in Wyoming.  The piece moves in and out of the rhythm stepping away for solos by ElSaffar plus a wonderful call-and-response before Shepik rocks out once more.  But, pay attention to the interactions of the rhythm section, the reeds and brass.

"Bridges", the album, does what bridges, the structure, are built to do i.e. break down barriers, cross borders, bring people and ideas together, and to take people to new places to have new experiences. Jamie Baum Septet+ continues to make exceptional music, music that makes us think, makes us contemplate, and moves us in so many ways.

For more information, go to jamiebaum.com. There you will see that the ensemble will have a CD Release Weekend at the end of May (5/25-27) with two of the shows in Connecticut.

Enjoy this track from the album:



Personnel:

Jamie Baum - flutes, singing bowl
Amir ElSaffar - trumpet, vocals
Sam Sadigursky - alto sax, bass clarinet
Chris Komer - French horn
Brad Shepik -guitar
John Escreet - piano
Zack Lober - bass, singing bowl
Jeff Hirschfeld - drums 
+
Jamey Haddad - percussion
Navin Chettri - percussion, tanpura, vocals 

Chant Records has released two new recordings led by violinist and composer Meg Okura, her improvised concert with husband Sam Newsome (soprano sax) and pianist Jean-Michel Pilc ("NPO Trio", reviewed here) and "Ima Ima", a studio recording by her 10-member Pan Asian Chamber Ensemble.  It's quite an engaging project that blends the sounds of  Newsome's soprano sax, Tom Harrell (trumpet, flugelhorn), Sam Sadigursky (clarinet, bass clarinet), and Annie Drummond (flute, alto flute, piccolo) with the rhythm section of Brian Marsella (piano, electric piano), Rez Abbasi (guitar), Pablo Aslan (bass), and Jared Schonig (drums) plus several appearances by Riza Printup (harp).

The album's title combines Ms. Okura's native upbringing ("ima" means "now" in Japanese) with her adopted religion ("Ima" is "mother" in Hebrew) while the music blends her myriad of interests, from the folk and classical music she grew up with as well as the jazz that is her passion and life. The title track has a lovely melody line that is supported by an active rhythm section. Ms. Drummond's flute blends with the soprano sax and violin introduce the main theme before Newsome steps out for a lengthy and far-reaching solo. The composer's impressions of her time in Israel are the basis of "A Summer in Jerusalem", a piece that opens as a sound montage: then the bass clarinet introduces the bass line and the ensemble powers forward. The arrangement shows the strong influence of Gil Evans behind the strong solos from Marsella (electric piano), Abbasi, and the leader. After Ms. Okura brings her an end, everyone drops out save Ms. Printup's harp. She introduces the fine flugelhorn solo while the ensemble slowly climbs back into the picture (note the lovely wordless vocal from Ms. Okura).

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One can hear Japanese influences on "Tomiya" what Ms. Okura describes n the liner notes as a taiko-drum rhythm: yet it also sounds like a tango plus there is also a mainstream jazz feel.  It's so enjoyable to hear there arrangement opens to allow each voice to have a piece of the melody. Both Harrell and Ms. Okura solo yet the multi-sectioned piece allows for tempo changes and delightful interplay.  Another episodic work, "Birth of Shakayamuni", has its roots in Buddhism.  The sprightly melody is passed around from bass clarinet to flute to piano to violin before the piece moves to a solo section for Sadigursky's clarinet. More th intelligent backing from the guitar and harp. Abbasi's solo comes over a rapid-fire rhythm then gives way to a fiery solo from Ms. Drummond. The violin leads the way on the final section but, again, each voice in the ensemble has a piece of the melody. "Black Rain" takes its inspiration from the atomic bomb attacks that brought World War II to its shocking conclusion.  The poignant melody is shared by the soprano saxophone and violin. Yet, like the other pieces, the melody moves around until Marsella's captivating solo that opens with a more traditional Japanese feel before moving on.  Before Ms. Okura takes her solo, she shares a short conversation with the flutist (listen to how they move around each other with trills and musical curlicues).

"Ima Ima" makes for engaging listening. Filled with strong melodies, excellent arrangements, and fine musicianship, the album is a journey inward and outward with Meg Okura telling her young daughter the story of her ancestors, the story of the challenges her mother went through to come to the United States, and how hard it was to begin a new life.  There is no bitterness, no losing faith: instead, the music can be viewed and listened to as a celebration of survival, renewal, and hope for a brighter future.

For more information, go to www.megokura.com.

Here is the title track:

The Sounds Abound

With the recent commemoration of the 50th anniversary of the assassination of Dr. Martin Luther King, Jr, readers, viewers, and listeners have been reminded of the tumultuous year that was 1968. Many of the big cities in the United States reeled from days and weeks of riots but few were scarred the way Baltimore, MD. was. Like other other cities, industry and businesses moved away taking jobs that were the backbone of people trying to raise their standard of living.  While its closest neighbor. Washington D.C., bounced back after a decade or so, the Charm City has had a much slower recovery

Todd Marcus, a native of Northern New Jersey, is both a musician (clarinet, bass clarinet) and community activist. He has lived in Baltimore, MD, in 1997, settling in or near the Sandtown-Winchester/Upton sections, learning about Black music and begin to serve the community through the Intersection of Change non-profit organization that, over the years, has created progress that serve battered women, offers arts and business classes plus created a farm that not only grows food for the community but offers employment to people returning from incarceration.

As a musician, Marcus has worked with Baltimore native Gary Bartz, pianist Orrin Evans, Bennie Maupin, and many others. As a leader, he has issued three albums, one with a nonet, another with two quartets, and the very impressive 2015's "Blues for Tahrir" with his Jazz Orchestra.  His latest disk, "On These Streets" (Stricker Street Records), is an expansive program (inspired by the progress that's been made in the communities after the shooting of Freddie Gray) that features interviews and commentary from the neighborhood where he works plus music played by a core group of George Colligan (piano), Kris Funn (bass), and Eric Kennedy (drums, vocal) plus guests Warren Wolf (vibraphone on 5 tracks, drums on one) and Paul Bollenbeck (electric guitar on four tracks).  The program is composed of all Marcus originals save for the gospel song "I Surrender All" (a late 19th Century hymn composed by Judson W. Van DeVenter with music by Winfield S. Weeden). That last track spotlights the soulful vocal of drummer Kennedy while Wolf moves to drums.  

The majority of the music is up-tempo, celebrating the energy, the creativity, and the tension that infuses the streets where Marcus and his rhythm section live (Colligan was born in New Jersey but raised in Columbia, MD, while Bollenbeck's professional career received as boost when he moved to Washington, D.C.) The title track opens the album in a funky, mid-60s Herbie Hancock style - the leader, who plays bass clarinet throughout the album, takes the first solo ad the rhythm section takes its cue from him, pushing forward intently.  Collegian is the perfect partner on this project as he can add such powerful chords as well as create hard-edged solos. Wolf joins on "An Intersection of Change" and his voice blends nicely with the clarinet and piano. He's also can be heard on the lovely ballad "It Still Gets Still" where he supports the piano and adds meditative colors to the background plus takes a very melodic solo. Bollenbeck shines on "PTSD In The Hood", his soaring solo rising over the power supplied by the rhythm section (Kennedy's drums really spur the guitarist dig in).  Marcus's fiery solo over the rollicking drums and chords from the vibes, piano, and "wah-wah" guitar.

The last two tracks on the disk truly shine. "Covered In Snow" comes late in the program yet the attractive ballad has a fine melody plus excellent solos from Colligan and Marcus, - make sure to check the interactions between the leader and Wolf's vibes. The funky "NJ' 88", a tribute to Marcus's birth state, is a treat from start to finish. Fun, Marcus, Wolf, and Colligan solo with abandon while Kennedy keeps the groove going.

Perhaps the joy one hears throughout this album tells the listener that there is progress "On These Streets" of Baltimore. Though there is much work to do, Todd Marcus must have faith that what he and many other dedicated residents have contributed to bring a sense of security and renewed possibility to the hard-hit neighborhoods.  Listen to the voices, listen to the music, and look for hope and possibility.

For more information, go to toddmarcusjazz.com.

Here's a track to whet your appetite:

Pianist and composer Matthew Shipp is a fascinating conceptualist, creating music that touches on so much of the history of Twentieth and Twenty-First Century creative music.  On his new double-CD, "zerO" (ESP Disk), you can hear talk about his concepts, the weight that he gives as both a composer and musician to the concept of "zero", and much more.  As you sit listening to the 11 piano solos that make up "zer0", the music transports the listener beyond the "everyday" to a sound universe that combines thick rhythm lies with dancing solos, robust chords, and melodies that often have a circular feel. Of the eight (approximately) solo piano recordings Shipp has produced over the past 20+ years, this is definitely one of the best-sounding productions.

I do not plan to discuss specific tracks on this album.  Start at the first note and stay still after the final notes fall silent.  Shipp's rumination takes in the sound of the blues in is many-faceted state of grace yet does not seem rooted to an specific style or sound. His sense of dynamic variation and melodic phrases, his forward motion, the mix of chords and single-note lines pique the listeners interest so it would make sense to go back  and listen again. You'll pick out how the pianist shifts rhythms and makes complete statements out of fragmented phrases.

"zer0" is one more step forward for pianist Matthew Shipp. Yes, you can hear concepts that he has used throughout his career. His music does "speak truth to power" with the same urgency of fellow pianists Jason Moran and Vijay Iyer, not to afraid to "look back" constantly and infuse his music with the abundance of "voices" that preceded him: it's how he created his own "voice' and how he continues to grow as an artist and person.

For more inferno, go to www.matthewshipp.com.

Here's the opening track:

In her year of celebrating her 60th Birthday, Satoko Fujii is planning to release an album per month, with each disk featuring a different ensemble or a solo effort for the pianist-composer. "Ninety-Nine Years" (Libra Records) is the second album from her "Orchestra Berlin", a dectet (their debut featured 12 musicians) that blends three reeds (ten saxophonists Matthias Schubert and Gebhard Ullmann plus baritone saxophonist Paulina Owczarek), three trumpets (Richard Koch, Lina Allemano, and Natsuki Tamura), trombonist Matthias Muller, bassist Jan Roder, and two drummers (Michael Grenier and Peter Orins).  If you're a fan of Ms. Fujii's large ensemble music, you already know she likes to create different groupings within each song and that sounds and textures rule the music.

After a rousing opening song, "Unexpected Incidents" (which, after a long percussion intro, breaks into a rollicking, raucous, tune), the title track goes in several directions in its 13-minutes.  Opening with a slow yet powerful bass solo, the piece seems to open up and slow down at will with the baritone sax, basses, and percussion in the center of the music. There is a long saxophone solo (with only light percussion and high-pitched bowed bass underneath) that finally erupts into a powerful closing section, mournful but with a wailing tenor saxophone over the ensemble.  Dedicated to Ms. Fujii's mother-in-law (who passed just months before her 100th birthday), the piece is a combination of mourning and celebration.

Highlights abound. "On the Way" combines various drums interludes with a funky brass dominated melody before a hilarious trumpet solo (chattering, squalling).  The band returns, seemingly one-by-one, to a delirious, percussion-fueled (sounds very "second-line New Orleans) finish. "Oops"also has a bit of the "kitchen sink" approach, with ensemble melodies, a powerful sax solo that starts out unaccompanied and continues over a "slow drag" section, and hardy trumpet solo over just the bass and drums. That solo veers off into "free" territory before the dark ensemble melody returns.  The album closes with "Follow The Idea", yet another piece that goes in numerous directions: the proceedings sound improvised with all sorts of "strutting" from the reeds and brass amid the various "conversations."

"Ninety-Nine Years" is striking (no pun intended) music, surprising at times but never dull or filled with cliches. Satoko Fujii continues to create fascinating music, music that asks much of the musicians, challenges audiences, and is highly rewarding.

For more information, go to www.satokofujii.com.