Trios of Threes plus A Four (Feb '22)

 

Saxophonist, composer, and educator Adam Larson, born in Normal, IL, now lives and works in Kansas City at the University of Missouri/KC.  After graduating from the Manhattan School of Music (Bachelor's and Master's degrees), he stayed in New York City leading his own ensembles and recording five albums for labels such as Inner Circle Music, Ropeadope Records, and on his own label. They showed him as a fine soloist and a good writer –– he also played a slew of gigs as a sideman with various leaders.

Larson makes his debut on Outside In Music leading a trio that features bassist Clark Sommers and drummer Dana Hall.  "With Love From Chicago" contains 10 pieces, three by the leader, four by bassist Sommers, and one each by Thelonious Monk, Chicago-based tenor saxophonist John Wojciechowski, and J. Russel Robinson.  What stands on initial listenings is how "tight" and "loose" the group interactions are, how delightfully melodic bassist Sommers can be, how powerful drummer Hall (plus he can swing mightily), and how comfortable the leader is being challenged by his rhythm section.  The album opens with Larson's "Angolan Babysitter" –– Hall's polyrhythmic attack pushes the saxophonist to play with abandon but make sure to listen to how Sommers bounces his melodic phrases off the drums.  Sommers' bluesy "The Time You Forgot You Knew" has a handsome melody with strong counterpoint from the composer all underpinned by the drummer's headlong push forward. 

The Trio does a sprightly reading of Monk's "We See", playing with the time signature, breaking up the melody, playing with the piece ways that the composer would probably enjoy. J. Russel Robinson's "Portrait of Jenny" (a hit for the Nat "King" Cole Orchestra in 1949) is an oft-recorded standard; here, the Trio plays the tune oh-so-slowly with Hall's brushes and Sommers melodic bass lines supporting the heart-felt performance of the melody.  

"With Love From Chicago" is one of those musical experiences that would sound great in a club but, thanks to engineer Ken Christianson at Pro Musica in Chicago, the music leaps out of the speakers and into the room. At times under headphones, it feels like you're in the midst of the recording studio between the drums and bass –– their music hits you in the chest.  The saxophonist responds by absorbing the "hit" and pouring its intensity into his solo forays. This is the first trio recording Adam Larson has released; his exciting thematic explorations and his powerful musicianship plus the joyful, intense, musical, rhythmical playing of Clark Sommers and Dana Hall makes one hope this is the first of many collaborations!

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

Hear the opening track:

Photo: Matt Baker

Pianist, composer, and educator Pete Malinverni, a native of Niagara Falls, New York, moved southeast to NYC in the 1980s where he is the midst of a long and very busy career. He has played alongside the last drummer Mel Lewis, saxophonists Joe Lovano and  Steve Wilson, and vocalist Karen Allyson (among others).  The pianist has issued 16 albums as a leader plus appeared on many more. He's also plays in religious settings at the Devoe Street Baptist Church in Brooklyn (Minister of Music for eighteen years), the Westchester Reform Temple in Scarsdale, NY (Pianist and Conductor) and the Pound Ridge Community Church (Director of Music. He is now the Chair of Jazz Studies at Purchase College/ State University of New York.

The pianist's latest album is "On The Town –– Pete Malinverni Plays the Music of Leonard Bernstein" (Planet Arts Recordings) and it's a delight from start to finish.  Malinverni first met the Maestro when the pianist had a solo gig at Bradley's in New York City and Bernstein (1918-90) walked in. Malinverni started playing the composer's "Lucky To Be Me" from the 194e4 musical "On The Town".  Bernstein was thrilled and struck up a conversation which tickled the younger musician so much. Still, it took nearly 30 years for Malinverni to play a program dedicated to the composer's music.  he did just that in 2018 as part of Bernstein's Centennial Birthday celebration for a program that featured a larger ensemble with four reeds.  For "On The Town", the pianist is playing with one of his closest associates, bassist Ugonna Okegwo, as well as drummer Jeff Hamilton. 

Photo: Matt Baker

The 10-song program features nine Bernstein piece plus Malinverni's "A Night on The Town" that closes the album.  The pianist picked songs associated with the composer's as well his own adapted home, New York City. Therefore, it should come as no surprise that the album's opener is "New York, New York" from the joyous "On The Town".  Okegwo and Hamilton swing with a purpose while Malinverni romps through the melody like a pair of sailors on shore leave.  There's a lovely version of "Somewhere" which, after the handsome solo piano opening, takes on a bluesy persona.  The happy-go-lucky feel of "I Feel Pretty" not only highlights the melody but also plays up the girlish enthusiasm of Maria who sings the tune in "West Side Story". Note the fine contrapuntal bass lines and the delightful swing of the drums.  Hamilton states the melody (and some) in the opening moments of "Cool" and then the trio romps forward.  There's a feel of Paul Desmond's feel of "Take Five" throughout the trio's rendition of "Some Other Time" (from "On The Town") and more blues in that 1944 show's heartfelt ballad "Lonely Town". 

Throughout the album, one gets to bask in the glow of the sounds from pianist Pete Malinverni. Even when creating a solo, he creates melodic variations on the music of Leonard Bernstein.  The pianist's original at the end of the program may remind some listener of the trio music of Herbie Nichols but you also traces of the person Malinverni is celebrating.  "On The Town" will make you tap your feet, smile widely, and even sing along and that's very "cool".

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

Hear "New York, New York":

Braithwaite & Katz · Pete Malinverni - New York New York

Bassist and composer Luke Stewart, who splits his time between Washington, D.C. and New York City, is one of the busiest creative musicians currently catching the attention of critics and listeners around the US and the world. He leads various groups including the Exposure Quintet and is an integral member of Invisible Entanglements as well as Heroes Are Gang Leaders plus he's worked with saxophonist James Brandon Lewis, Moor Mother, and guitarist Anthony Pirog.  His latest project, Luke Stewart's Silt Trio, features drummer Chad Taylor and tenor saxophonist Brian Settles.  

The trio's debut album, "The Bottom" (Cuneiform Records), may remind some of the work saxophonist/ flutist Henry Threadgill created with bassist Fred Hopkins and drummer Steve McCall in trio Air.  Not so much in the playing styles of the musicians but in how the trio approaches the music as a three-way conversation, how melodies arise from rhythmic patterns, and how solos develop from inside the music. The opening "Reminiscence" is hypnotic minimalism at its sweetest; built off of Taylor's repetitive pattern played on the mbira, Stewart's bass lines bounce off that pattern while Settles enters playing a melody of long tones in the higher (alto) range of his tenor.  Other pieces develop slowly, especially in the cases of "Angles" and "Circles", both group improvisation. The former tune, the longest on the program at 11:39, rises up out of a short melodic saxophone phrase which gives way to Stewart's bowed bass alongside Taylor's chattering drum. The piece moves slowly forward until it finally falls into a rhythm with less than 90 seconds to go.  "Circles" is just the opposite; a fiery romp that does not let up for a second until right it comes to a close at 3:04.

Taylor and Stewart lock in on "Roots", creating hypnotic and powerful waves of rhythm for Settles to ride atop. The driving rhythm is infectious but never overwhelms the more sublime tenor sax sounds. Yet, the performance keeps driving forward even as the music slows to its finish.

"The Bottom" closes on a bluesy "Dream House". its easy-rolling tempo created by Taylor's tap-dancing brushes.  Settles initially plays in a whimsical style (apropos of the rhythm) but opens up as his solo unwinds. Pay attention to Stewart's powerful contrapuntal lines which feed off both the sax and drums as well as his melodic solo supported by the gentle shuffling drums.  

With the creation of his Silt Trio and the release of "The Bottom", bassist, composer, and conceptualist Luke Stewart shows yet another side to his ever-maturing explorations into Black Creative Music.  He approached the album as he would a live set; you should as well. Sit back, listen deeply, and enjoy the ride.

For more information, go to https://thelukestewart.com/About-1.  To hear more and to purchase the album, go to https://cuneiformrecords.bandcamp.com/album/the-bottom. 

Here's a taste of "Roots":

 

Drummer Taru Alexander is the son of tenor saxophonist Roland Alexander (1935-2006) who, thanks to his father, has been playing music since he was three years old. The younger Alexander had a slew of mentors, studying with drummers such as Walter Perkins and Andre Strobert at the age of nine. He joined his father's band at 13, studied at the La Guardia Music & Art High School with Justin DiCioccio (later of the Manhattan School of Music), and made his recording debut on Soul Note Records (at the age of 16) with the Fred Ho Afro-Asian Ensemble.  The drummer went on to play with pianist Rodney Kendrick, trumpeter Roy Hargrove, saxophonists Michael Marcus, Salim Washington, and Kenny Garrett, and many more.

"Echoes of the Masters" (Sunnyside Records) looks to be Taru Alexander's second recording as a leader. He's organized a top-notch quartet including James Hurt (piano), Antoine Roney (tenor saxophone), Rahsaan Carter (acoustic bass), and, on one track, vocalist Hanka G.  Ms. G (who leads a quartet that features Alexander on drums) provides lyrics and her powerful voice to the Thelonious Monk/ Coleman Hawkins classic "I Mean You"; the band builds off her energetic style, pushed by the leader to create short, sweet, and succinct solos. Not surprisingly, there are two pieces by the senior Alexander including the exuberant "Change Up" that opens the six-song program and "Kojo Time" whose opening notes sound like "reveille".  The latter tune features a powerful statement from Roney pushed by the thunderous drums and Carter's splendid dancing bass lines. Hurt follows, riding the waves from beneath him to create a stunning solo.  The bassist and then the drummer solo next –– the piece never loses its steam as both players dig deeply.

Roney shines again on the quartet's dancing take of McCoy Tyner's "Peresina", the polyrhythmic approach of the leader really pushing the soloist.  Alexander is quite active but never intrusive reminding this listener of Billy Higgins, Jeff "Tain" Watts, and Rudy Royston.  His understanding of dynamic tension shines throughout the album but none more exemplary than on the high octane drive of "Deception". From the pen of bassist Buster Williams, the rhythm section sets a furious pace and both Roney and Hurt respond positively.  

Wayne Shorter's "Pinocchio" closes the program. First recorded by Miles Davis for his "Nefertiti" album, pianist Hurt opens the track with a short, introspective, solo before the rest of the band jumps in with a pace akin to "Deception".  Pay close attention to how Alexander converses with the soloists, egging them onward with his powerful, enthusiastic, percussion.

Recorded in July of 2020 (in the first full wave of the pandemic), "Echoes of the Masters" is a brave musical shout-out to the healing power of music. While the program times out at under 36 minutes, the results are quite satisfying and makes one hope that this is the beginning of a fruitful period for drummer/ bandleader Taru Alexander.

For more information, go to www.tarualexander.com.  You can listen to and purchase the album by going to https://sunnysiderecords.bandcamp.com/album/echoes-of-the-masters. 

Here's "Deception" (turn it up loud!):

Music and More For The Long Drive (Pt 1)

I just came back from two long car trips in the space of three days.  Happily, the weather was good, I had the opportunity to drive through the Adirondack Mountains, and there were few, if any, road blockages. I packed the car with CDs as well as podcasts I wanted to catch up on (posted to my phone).  Over the next two posts, I will recommend a number of those albums.

First, though, I have a podcast to recommend.

I have been listening to trumpeter and composer Dave Douglas's podcast since "A Noise From The Deep" made its debut six-and-a-half years ago (Henry Threadgill was his guest on the premiere). Douglas has a wide array of musicians on the show, ranging from fellow trumpeters (Keyon Herrold, Charles Tolliver, Jaimie Branch, to name just three) to saxophonist Joe Lovano to guitarist Mary Halvorson and many more.  The host and guests really dig into the music and, while there is often technical talk, the shows usually are quite fascinating. Podcast #68, a delightful conversation with master percussionist Andrew Cyrille, is the one I listened to on the ride. If you love creative music, you should check out these conversations.

For more information, go to greenleafmusic.com/anftd-68-andrew-cyrille/.

Producer Marc Free has, over the past year or so, been putting groups together that pair Posi-Tone artists who may or may not have worked with each other into an ensemble for a recording session.  To the producer's credit, none of the groups – including Lioness, New Faces, and Maximum Enjoyment – have sounded anything less than stellar.  I had the opportunity last year to see New Faces, a sextet than includes saxophonist Roxy Coss, trumpeter Josh Lawrence, pianist Theo Hill, bassist Peter Brendler, drummer Vinny Sperrazza – who couldn't make the live gig - and vibraphonst Behn Gillece.  Gillece, who has an extensive discography on the label, really stood out for me, increasing my appreciation for both his compositions and musicianship.

Photo: Sara Pettinella

The vibraphonist (pictured left) can now be heard as part of the quintet known as Out To Dinner.  Along with trombonist Michael Dease, alto saxophonist Tim Green, bassist Boris Kozlov, and drummer Rudy Royston (need I write more), the band has created "Different Flavors", a 10-song program (five composed by Gillece) that is quite tasty and, ultimately, filling.  Opening with the mellow "Day Zero", it's fun to listen to how Royston plays melodically while rushing the band forward.  There's a mellow, Horace Silver-flavored, melody which opens up to excellent solos.  My car speakers rattled gleefully when Dease's "Skittles" played, a rollicking piece with an impossible tempo (dig Kozlov's "running" bass lines) that must have fun to play and is certainly fun to listen to. Near the close of the piece, the drummer erupts with a volcanic solo and you'll just might scream for joy (I did)!

Photo: Sara Pettinella

It's not all "shock and awe" – Wayne Shorter's "Rio", first recorded by trumpeter Lee Morgan for the album "The Procrastinator" (released posthumously), is a lovely medium-tempo ballad.  Dease takes the early lead, supported by the colors of the vibes and Kozlov's counterpoint.  When Green's keening a lot joins the melody, it sets the stage for a lyrical solo by the alto player. Royston contributes a handsome ballad; titled "Night Glow", the listener gets treated to the drummer's excellent snare-and-snare work (he has such a crisp sound) plus strong solos from both Green and Dease.

"Different Flavors" closes with Gillece's "Two Down". The opening actually sounds like the perfect ending (listen closely).  Thanks to the dancing qualities of the rhythm section, the track rushes forward with a such delightful spirit.  The rhythm section swings lustily in support of the alto solo; right near the close, Royston takes a short solo that reminds one why he plays with so many different artists – hard to sit still listening to such a joyous noise. Have no reservations about making a reservation to spend time with Out To Dinner – this music sounds and tastes really good!

Here's a delightfully funky track:

For his fifth album as a leader (and first for Ropeadope Records), tenor saxophonist and composer Adam Larson, a native of Normal, IL, returns to the studio with long-time collaborators Fabian Almazan (piano, electric piano, synth) and Jimmy Macbride (drums).  Joining them for "Listen With Your Eyes" is electric bassist Matt Clohesy.  The music they produce hearkens back to Larson's previous albums, especially in the sructure of the songs and the leader's fine solos, but now one can hear the influence of rock music in the power created by the rhythm section as well the heavier approach of groups such as Chick Corea's electric Returns To Forever (not as manic as RTF's mid-70 recordings .

Larson's album opens with "Sleepers", a powerful piece with a rising chord pattern, acoustic piano, thick bass notes, and exciting drum work.  First few times through, the saxophone work reminded me of Donny McCaslin – that's fine because, as one becomes more familiar with the music, the influences drop away.  "False Pageantry" follows; with its "heavier" beat, electric keys, and rhythmic melody line, the music charges forward with Macbride in the lead amidst Almazan's "chirping" keyboards and Larson's hard-edged solo.  "Bright" appears later in the program, a soulful melody with a jaunty rhythm and listen to the thick bass notes bouncy behind he electric piano solo.  The title track opens like a variation of the standard"Stout-hearted Men" but, instead of being a brace call to arms, the song asks for the attention of all your senses, not just your hearing.  After a fine bass solo, Almazan's powerful statement leads the tenor saxophonist into his most emotional solo on the album.

"Listen With Your Eyes" comes to a close with what starts a another slab of funk. Macbride's solid drums open the piece but the melody and chordal patterns do not the piece settle into a pattern.  Almazan, as usual, shines on his solo while Larson really digs into his spotlight.  The more you listen to this new album by the Adam Larson Band, the more the excellent musicianship and intelligent melodies win you over.  Open your mind and "Listen With Your Eyes."

For more information, go to http://adamlarsonjazz.com.

The album "drops" on September 5 – in the meantime, here's a tune:

Photo: Francis Wolff

Pianist, composer, and arranger Tadd Dameron (1917-1965) had a short but mostly productive life.  A native of Cleveland, Ohio, Dameron lived in a musical household and, in the early 1930s, came into contact with the music of Duke Ellington's Orchestra as well as the Orchestra of Fletcher Henderson.  By the age of 21, he was writing arrangements for several bands in his hometown. Soon, he was "on the road" with several different bands but did not create his own "style" until discovering "be-bop" as a member the Jimmie Lunceford Orchestra. By the end of the decade, Dameron was writing for the Dizzy Gillespie Big Band and touring with his own group
(one that included the trumpeter Fats Navarro). In the 1950s, he wrote and arranged for Clifford Brown and Sarah Vaughan plus made a number of albums including two with saxophonist John Coltrane. Narcotics addiction landed him in prison. After he served his time, Dameron wrote for numerous (including Benny Goodman) and recorded several more albums. A series of heart attacks slowed him down and cancer took him at the age of 48.

While doing research for his book "Dameronia: The Life and Music of Tadd Dameron" (2012, University of Michigan Press), saxophonist and educator Paul Combs (born 1946) discovered unrecorded and unpublished compositions by Dameron.  He created a program for quintet around a number of the pieces.  With the help of researcher and general manager Ken Poston of KSDS-FM in San Diego, CA, Combs first performed this program on the 100th anniversary of Dameron's birth. Summit Records got involved and helped underwrite the production of "Unknown Dameron: Rare and Never Recorded Works of Tadd Dameron" – the 12 tracks on the album include three from the live concert and three more each from three subsequent studio dates over 15 months.

The  musicians on the recording include pianists Bill Cunliffe (on the concert tracks), Ken Cook, Melanie Grinnell, and Kamau Kenyatta.  Trumpeter Derek Cameron appears on nine tracks while bassist Rob Thorsen and percussionist/sound engineer Richard Sellers are on half the album.  Other musicians involved are bassists Jeff Denson and Alex Frank, percussionist Alex Aspinall, and vocalist Danielle Wertz.  What stands out for this listener (one who is not well-acquainted with Todd Dameron's music) is just how melodic the majority of these compositions. The spirited nature of the up-tempo tracks ("The Search", from the Gillespie repertoire, 1962's "Moon From The East", written for Benny Goodman, and "The Rampage", composed for Woody Herman in 1956, stand out) while "Never Been In Love" (recorded by bassist Bill Lee and vocalist Muriel Winston) is a fine ballad that should be recorded by modern vocalists.  The rest of the piece have a delightful swing (1940's "A la Bridges" dances right along) while the 1945 composition "Zakat" shows that Bop influence that would inform Dameron's music into the 1950s.

You can't call "Unknown Dameron" "easy listening music" but this music is definitely easy on the ears.  These spirited performances make one realize just how joyous and melodic the music of Todd Dameron is.  Paul Combs not only plays and writes well but also brings the best out of his music. What a delight!

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

Here's a track: