Challenges, Changes, and New Avenues for Expression

 

Photo: Shervin Lainez

In 2021, in the midst of the Pandemic, composer and producer Ryan Truesdell was worried about the future of the Big Band, a genre he has been quite committed to for a long time.  He changed his focus and decided to commission a number of big band composers to write pieces for string quartet.  Truesdell then worked with cellist Jody Redhage Ferber to help him think through the project and to advise on which musicians to invite into the studio to record what turned out to be 17 new pieces for string quartet plus, in several instances, additional instrumentation. He did not give the composers any restrictions but did invite them into the studio to work with the musicians who were interpreting their work.

The results of the experiment can be heard on "Ryan Truesdell Presents: Synthesis: The String Quartet Sessions" released through ArtistShare. Besides recording three of of his own string quartet pieces, the producer, who is the Manager of the Bob Brookmeyer Music Estate, used a work that the St. Louis Symphony had commissioned from the late trombonist-composer (1929-2011) but never recorded. Anyone who listens to contemporary Big Band music will recognize Jim McNeely, John Clayon, Christine Jensen, John Hollenbeck, Alan Ferber, Dave Rivello, and, perhaps, Miho Hazama but Truesdell also invited younger composers such as Joseph Borsellino III, Nathan Parker Smith, Vanessa Perica, and Asuka Kakitani. Producer and arranger extraordinaire Oded Lev-Ari debuts a new work as does bassist Rufus Reid, who premieres his "String Quartet #1". 

Photo: Leo Mascaro

How should one approach "Synthesis", a three-CD set containing nearly three hours of music? One obvious answer is with "open ears and an open mind" but that's too easy. You literally have to set aside that these composers, many of whom you've heard in large instrumental ensembles are working with a much different palette. As stated above, there are a few additions to the Quartet; clarinetist Anat Cohen is the main soloist on Truesdell's "Suite for Clarinet and String Quartet", bassist Jay Anderson joins a Quartet on Truesdell's "Heart of Gold", composer Borsellino III uses pre-recorded synth tracks on his "Paper Cranes", and Hollenbeck adds marimba, drums, and piano (not all on the same movements) to different movements of his seven-part "Grey Cottage String Quartets" that closes the album.  The Brookmeyer piece was written for and is performed by a string trio.

Photo: Leo Mascaro

There are pieces that have impressive rhythmic flow (the album opener "Where Can You Be" by Mr. Parker Smith Ms. Hazama's "Chipmunk Timmy's Funny Sunny Day", and Ms. Jensen's "Tilting World") and others that have moments where time is suspended or fractured (the "#1 Movement" of Mr. Reid's "String Quartet #1", Mr. Lev-Ari's "Copycat" movement of "Playground", and Mr. Rivello's "1. "Sorry" section of "Two Reflections for String Quartet". Several of the works jump out on first listening including Mr. McNeely's "Murmuration and Adagio", the leader's lovely "Dança de Quarto" and his four-part "Suite for Clarinet and String Quartet", and Ms. Kakitani's "Melt".

Photo: Dina Regine

This project owes much of its success to the brilliant musicians who interpreted the variety of styles, genres, ideas, and desires of the composers.  Violinist Sara Caswell appears on every track while cellist Redhage Ferber appears on all but two (she's replaced by Noah Hoffeld). The second violin chair features either Joyce Hammann or Lady Jess (who tours with Beyoncé as well as with her husband Jay-Z). Violist Lois Martin performs on the majority of the album save for the three times she is replaced by Orlando Wells.  

Perhaps that's the best way to enter into this glorious project: just listen to the musicians. Throw aside expectations and comparisons. Dive in, test the musical waters – take your time but also make the time to go back and really allow the music to move you out of the everyday and into its special worlds. 

As stated above, "Ryan Truesdell Presents: Synthesis: The String Quartet Sessions" is only available through ArtistShare.  Go to www.synthesissqs.com/ for more information. To learn more about Ryan Truesdell, go to https://ryantruesdell.com/.

Here's a little morsel:

Summer Shorts: Big Band Edition #1

 Plenty of Big Band/Large Ensemble have come my way this Summer––here's three of the best!

Arranger, conductor, composer, and educator Chuck Owen, 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 WDR Big Band.  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 "This Love of Mine" (1941) and Chick Corea's "Arabian Nights" (from 2007's "The Ultimate Adventure").  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.

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 "Of Mystery and Beauty" composed by WDR alto saxophonist Karolina Strassmeyer.  Watch below and listen how Owen's arrangement moves the brass and reeds around the solos. Bassist John Goldsby's evocative "Fall Calls" has a lovely melody line shared by alto and trombone (Ms. Strassmeyer and Andy Hunter)––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 "...And Your Point Is?"–thanks to the presence of organist Billy Test, the tunes sounds somewhat like Jimmy Smith and his large ensemble recordings on Verve. 

While it turned out that the sessions that created "Renderings" were a hardship for those involved, the music triumphs.  If you are an aficionado of Big Bands, you already know how good the WDR Big Band can be––thanks to the top-notch material and excellent arrangements from Chuck Owen, the large ensemble is at the top of its game––go listen.

To learn more about Chuck Owen and this album, go to www.chuckowen.com/.  Do go to www1.wdr.de/orchester-und-chor/bigband/index.html to learn more about the great German Big Band. 

Here's "Of Mystery and Beauty" with guest Sara Caswell:

Boston, MA-based pianist and composer Mehmet Ali Sanlikol 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 "An Elegant Ritual"). His main vehicle is Whatsnext?, a sprawling 20-person group that includes a three-person percussion section made up of the finest musicians in the Boston area.  "Turkish Hipster: Tales From Swing to Psychedelic" (the title tells the listener what to expect) is quite the trip. With guest artists such as Anat Cohen (clarinet), Miguel Zenón (alto saxophone), and Antonio Sanchez (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. 

Photo: Eric Antoniou

The program opens with "A Capoeira Turca (Baia Havasi)" 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 Bertram Lehmann and bassist Fernando Huergo 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 "The Boston Beat",  a funky hiphop tune that pulsates out of the speakers.

"Turkish Hipster: Tales From Swing to Psychedelic" closes with the three-part 21-minute "'Abraham' Suite".  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 Billy Cobham.  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. 

This splendid recording illuminates the many and varied talents of Mehmet Ali Sanlikol, 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 www.sanlikol.com/whatsnext/.  

To purchase this and other recordings from Mehmet Ali Sanlikol, go to  https://dunya.bandcamp.com/album/turkish-hipster-tales-from-swing-to-psychedelic.

Here's the delightful opening track (featuring Anat Cohen):

Dr. Javier Nero, 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 Brian Lynch, and pianist Shelly Berg (among many others).  He is currently the lead trombone for the U.S. Army Blues, an 18-member Big Band that plays concerts throughout Washington D.C.  In 2020, Outside In Music released his debut Septet album––"Freedom" featured all original material, band members included bassist Dion Kerr (Nicholas Payton, Marcus Strickland), saxophonist Melvin Butler (Brian Blade), and pianist Tal Cohen (Terence Blanchard) as well as numerous guests including the afore-mentioned Messrs. Lynch and Berg plus vocalist Lauren Desberg.

For his second Outside In Music album, "Kemet (The Black Land)", the ensemble is now billed as the Javier Nero Jazz Orchestra, 18 musicians (plus guests) strong. Most of the musicians are members of the U.S. Army Blues with a number of guest artists including Randy Brecker (trumpet), Warren Wolf (vibraphone), Sean Jones (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 "One Day", the lovely Brazilian/African-flavored "Reflections on the Dark, Tranquil Water", and the title track.  "Reflections..." stands out for many reasons including the well-crafted melody, the handsome piano solo (Josh Richman), and the leader's silky-smooth melodic solo.  The folky African feeling "One Day" rides in on the acoustic guitar of Michael Kramer that leads to Dr. Nero's aspirational lyrics. After a soaring flute solo (Daniel Dickinson), there is a fine Chris Burbank trumpet solo with the assembled voices swirling around him.  Perhaps the prettiest tune on the album is the impressionistic ballad "Just Let Go", 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

Listen below to "Nostalgic Haiku", a soulful song with powerful brass and great solos from Messrs. Brecker and Wolf.  The rhythm section, especially electric bassist Regan Brough and drummer Kyle Swan, create a strong pulse while the arrangement opens to smart section behind the soloists second chorus.  

The digital edition of "Kemet (The Black Land)" features two bonus tracks (pushing the total time of the album to 87 minutes!). Cole Porter's "It's Alright With Me" features the sweet voice of Christie Dashiell, a rollicking piano solo from Richman, and the excellent trumpet spot for Sean Jones (he spars with the vocalist).  The album closes with McCoy Tyner's "Contemplation" (off of the pianist's 1967 Blue Note Lp "The Real McCoy").  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.

Take your time to savor the music on "Kemet (The Black Land)", listen to the arrangements, to the excellent section work, to the fine solos, and to the music.  Javier Nero 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.

To find out more, go to www.javiernero.com.  To hear more and to purchase the album, go to https://outsideinmusic.bandcamp.com/album/kemet-the-black-land. 

Here's "Nostalgic Haiku" (featuring guests Randy Brecker and Warren Wolf):

Quartet Joys

 Since the beginning of November, Connecticut has been blessed with a delightful week of Indian Summer (soon to depart in favor of the chill of late Autumn).  The balmy temps (68-77) have allowed this writer to walk every day and to listen to music as I dodge the remaining leaves. The two albums have been in rotation each day!

Earlier this year, drummer and composer Tyshawn Sorey issued a trio album––"Mesmerism" featured bassist Matt Brewer and the splendid young pianist Aaron Diehl on an exciting and thoughtful exploration of "standards".  In early March of this year, Sorey brought Diehl, bassist Russell Hall (Joey Alexander), and special guest Greg Osby (alto saxophone) to New York City's The Jazz Gallery for a five-night engagement. The band did not rehearse and, pretty much, chose the music on the bandstand.  And, they recorded every set!

The results can be heard on "The Off-Off Broadway Guide to Synergism", a fantastic three-CD package from Pi Recordings. The 19-tracks are split up into three sets, each album approximately 75 minutes long. Five of the tracks are repeated in subsequent sets (Mr. Osby's "Please Stand By", Ornette Coleman's "Mob Job", Thelonious Monk's "Ask Me Now", Johnny Green's "Out of Nowhere", and "Three Little Words" composed in 1930 by Harry Ruby and lyricist Bert Kalmar).  It's truly a delight to hear where these four players go with the music.  The "Set 1" take of "Three Little Words" starts with a long, impressionistic, piano solo, so slow and gentle that it takes a moment before you the drums and bass have entered. Mr. Osby plays with the melody as if rolling a fine wine across his palette. Slowly and steadily, the alto solo builds with the insistence of the rhythm section. The leader, who does not solo on the set, engages in conversations with the other musicians.  Diehl paints a fascinating solo first with the introspection he showed at the onset of the track and it becomes great fun to hear where he takes the piece goosed forward by Sorey and shadowed by Hall whose solo later in the track is quite playful and percussive.

If you love improvisatory music, there is not a dull moment in this music. There's the beauty of Andrew Hill's "Ashes" (which Mr. Osby first recorded in 2000 on his "The Invisible Hand" album that featured the composer plus guitarist Jim Hall) as well as the saxophonist's unaccompanied introduction to Billy Strayhorn's "Chelsea Bridge"––listen below and notice the playful background work of bassist Hall and the beautiful work of Diehl. The pianist, at times, reminds this listener of Jaki Byard as well as Mr. Hill. The Trio + 1 swings mightily on both versions of "Mob Job" with the bass and drums leading the way. The second take of "Out of Nowhere" (originally recorded by Bing Crosby in 1931) opens with an expansive solo piano meditation before Mr. Osby enters with over the rippling piano, whispering cymbals, and bass counterpoint.  At the five-minute mark, the band kicks into a higher gear (but not out of control) with the alto and piano in conversation while the rhythm section dances about in support.

Photo: Jonathan Chimene

Every time one digs into the music of "The Off-Off Broadway Guide to Synergism", he or she can get carried away at the inventiveness of Tyshawn Sorey, Aaron Diehl, Russell Hall, and Greg Osby. The playfulness of the musicians on tracks such as "Jitterbug Waltz" (the track where one hears the inspiration of Jaki Byard in Diehl's piano solo) and the rip-roaring "Solar" is infectious and you can only imagine what is what being in the audience (unless you were). There are moments in each set where this quartet has the energy of the classic John Coltrane Quartet of the early-to-mid 1960s, the group with McCoy Tyner, Jimmy Garrison, and Elvin Jones. It's truly a delight to hear Greg Osby play with such imagination, power, and so melodically. Treat yourself to this great album!

For more imagination, go to www.tyshawnsorey.com. To hear more and buy this stunning set, go to https://tyshawn-sorey.bandcamp.com/album/the-off-off-broadway-guide-to-synergism. 
 

Here's the Trio + Mr. Osby on Billy Strayhorn's "Chelsea Bridge":

Clarinetist Anat Cohen first assembled the three musicians who would join her to form Quartetinho (pronounced "quar-te-Chin-yo and meaning "little quartet") before the pandemic stopped the world in its tracks.  James Shipp (vibraphone, glockenspiel, analog synth, percussion), Vitor Gonçalves (piano, accordion, Fender Rhodes), and Tal Mashiach (acoustic bass, guitar) join Ms. Cohen (who also plays bass clarinet) for their self-titled debut album (Anzic Records).  If you have followed the clarinetist's career, you know that she has had a long love affair with Brazilian music, recording with guitarist Marcello Gonçalves as well as Trio Brasileiro and the Choro Ensemble.  

For its debut album, the "little quartet" treats the audience to an 11-song program that includes original pieces from the leader, Shipp, and Mashiach plus two pieces by Egberto Gismonti and one each from Antonio Carlos Jobim, the contemporary Brazilian composer Maria Do Carmo Barbosa De Melo (the lively "Boa Tarde Povo"), and Antonin Dvorāk's "Going Home".  The smashing arrangement of the last tune listed features accordion, vibes, bowed bass, and bass clarinet––it's a beautiful arrangement which during Ms. Cohen's solo takes a turn towards the blues.  Shipp's solo also takes the "blues route" with his sweetly expressed lines over the supportive bass and accordion swells.  Mashiach's "The Old Guitar" is a lovely ballad that leaves solo space for the leader as well as Gonçalves' sweet accordion sounds. The album opener, Shipp's "Baroquen Spirit", starts slowly with just clarinet, vibes, and a synth drone––the melody blends an Americana feel with a touch of classical music.

Photo: Shervin Lainez

That first track leads directly into Egberto Gismonti's lyrical "Palhaço"––there are moments during Ms. Cohen's solo that, thanks to the bass line, piano chords, and the dancing vibes, the music resembles a Joni Mitchell song.  Also check the splendid piano solo (with Mashiach's supportive bass) that leads to the close of the piece. The other Gismonti piece, "Frevo", jumps atop the rippling clarinet and piano melody before the clarinetist takes a sly solo over Shipp's delightful percussion and the throbbing bass notes. The piano solo is also a treat.

Ms. Cohen contributes three originals to the program.  "Birdie" is a melancholy melody played over a medium tempo with the Fender Rhodes offering shimmering chords (see the video below).  Next up is "Canon" which starts with a richly melodic bass solo (there's a touch of flamenco in Mashiach's playing). The bassist then articulates the handsome melody supported by Shipp's vibes. Ms. Cohen joins on bass clarinet while Gonçalves joins on piano.  "Louisiana" pops right along on the thick bass notes, the dancing piano chords, and the "jump-blues" in the vibes solo.  Everybody solos but at 3:30, the music hardly overstays its welcome.

The album closes on Mashiach's "Vivi and Zaco" which he introduces on 7-string guitar. The accordion and vibes enters when the guitarist expands on the heartfelt melody. The piece has a lovely flow that often speeds up and slows down at the end of the verse.  Before the piece ends, everyone has shared the melody line.  It's a sweet close to an elegant group of songs. 

"Quartetinho" is yet another jewel in the crown Anat Cohen is creating with her music.  Her heart is so enmeshed in her music and her love for playing shines through every performance.  With this quartet, culled from her Tentet, she has given listeners yet another reason to listen deeply.  

For more information, go to www.anatcohen.com.  To hear more and to buy the album, go to  https://anatcohen.bandcamp.com/album/quartetinho. 

Here's the Quartet live in the studio playing "Birdie":

The Recuperation Playlist (Part 1)

Life is often wild and crazy with all sorts of mayhem right outside your window, on your screens, and in your ears.  When the craziness moves indoors and becomes personal, one looks for escapes to give a sense of normalcy. We saw that in the pandemic where virtual concerts, streaming movies, and myriad television shows became even more of the "norm".  

On a personal level, my life got crazy this Summer with the need for Open Heart Surgery in July and, just this past week, contracting a case of COVID.  I thank the Doctors, Physicians Assistants, and nurses for their care over these past few months. I thank the higher powers for the music that has gotten me through the surgery, illness, and continued recuperation.

Haven't posted much but I have been listened to a lot of great music. Now, I plan to make several posts about the best of those albums (in no particular order).

As far as I am concerned, any new release by Miguel Zenón is cause for joy.  Since his debut album as a leader (in 2002), he has grown as a composer, arranger, and alto saxophonist. The native of San Juan, Puerto Rico also spent 14 seasons with the SF Jazz Collective and has recorded with a slew of artists from Kurt Elling to Charlie Haden to Fred Hersch to Antonio Sanchez and many more.  His long-tenured quartet includes pianist Luis Perdomo, bassist Hans Glawischnig, and drummer Henry Cole, all of whom save Cole (who joined the ensemble in 2006) is as impressive as any working group playing today!

His latest release on Miel Music, his 15th as a leader or co-leader, is "Musica De Las Americas", a recording that illustrates how "American music" is an on-going fusion of elements from all corners of the American continent (North, Central, South and the Caribbean) and is tied to the rhythms that traveled in slave ships from Africa but also to the indigenous tribes the Spanish discovered when they arrived in the 15th Century.  Zenón composed all the pieces, not only giving the listener a stunning listening experience but also infusing this music with history. For instance, the opening track "Tainos y Caribes", tells the tale of two indigenous tribes who live in peace in the Caribbean and northeastern South America respectively who were wiped out within several decades after the arrival of the Conquistadors.  The powerful music, built upon the the polyrhythmic attack of Cole plus the thunderous piano and thrumming bass, paints a portrait of vibrant societies. 

Photo: Jimmy Katz

Four of the eight tracks feature guest percussionists. The silky smooth "Navegando (Las Estrellas Nos Guian") adds the five-person Los Pleneros De La Cresta who add not only exciting rhythms but also vocals to the story of the Indigenous tribes that traveled the waters of the Caribbean and Atlantic in handmade boats following the stars.  Percussionist Paoli Mejias pairs with Cole to create a vibrant backdrop for the powerful "Opresión y Revolución" (listen below), which draws on elements of Haitian Voodoo music to tells its story of uprising and self-rule (though the Haitians have paid an extremely steep price ever since). Victor Emmanuelli brings the Bomba drum (barril) into "Bambula", a song that illustrates how the drum the song is named for created a rhythmic pattern that once can hear in musical styles of Cuba, the Caribbean, Central America, New Orleans, and today's reggaeton. "Antillano" closes the album, celebrating the Antilles with young conga master Daniel Diaz helping to propel the playful bounce and sway of the music. 

Throughout "Musicas De Las Americas", Miguel Zenón and the band play with fire, abandon, and joy.  They build off each other's lines and emotions to create music that stands out for its spontaneity, celebrating the many and varied cultures of the American continent.  This is music played by a band that deserves to be seen and heard in person––go to https://miguelzenon.com/ to find out more and see where this most accomplished ensembles is appearing.  You'll also see that the saxophonist is playing with other ensembles over the next few months, all of which looks exciting. If you don't get out to see them, this wonderful new album will brighten your life!

Here's the Quartet with percussionist Paoli Mejias on "Operesión y Revolución":

Photo: Anna Yatskevich

Pianist and composer Pablo Ablanedo moved to the United States from his native Argentina in the early 1990s to attend the Berklee College of Music in Boston, MA. After graduating, he stayed in the US forming an Octet in 1999 filled with New York City-based artists to play his original music.  Like his fellow Argentine Guillermo Klein, his music fuses influences from his homeland with the Black Creative Music he has come into contact over his 25+ years since moving. Over the course of four albums, Ablanedo has impressed listeners and reviewers with his ability to make music jumps with originality.

In 2019, Newvelle Records brought Ablanedo back into the studio with most of the musicians who helped to create his 2001 debut album "From Down There" for a follow-up.  The results, "Christeza", was issued as part of the label's Fifth Season and now is available as a download from the label's Bandcamp page (see below).  Take a look at the personnel––many have gone on in the two decades since uniting for the first album to have international careers as both leaders and sideman.  One thing that stands out for this listener is the immediacy of Ablandeo's compositions, whether it's the percussive ballad "La Señal" that opens the eight-song program (the digital version has a "bonus track") or the playful call-and-response of "Karmavaleando" or the gentle swaying of "Winter Variations" (note how the intensity picks up throughout the piece), the melodies and the rhythms are well-defined and build off each other.

While the compositions stand out, there is brilliant musicianship throughout as well. There's a touch of Thelonious Monk in Ablanedo's introduction to "Plaisantriste" which unwinds to a delightful clarinet solo from Anat Cohen. Do also listen to the smashing support of bassist Fernando Huergo, drummer Franco Pinna, and guitarist Ben Monder.  Ms. Cohen also stands out on "Ti Mi Do" as does violinist Jenny Scheinman. There's a tinge of Aaron Copland in the deliberate melody line and chords behind the front line and pay attention how the rest of the group enters behind the soloists.  The spotlight is on Ben Monder for "Bipolarious"––after the sharp-edged intro, the guitarist dances atop the ever-intensifying rhythm.  The title track has a mysterious, rubato, opening as if getting ready to go into "Sketches of Spain", especially when trumpeter Diego Urcola takes the lead; his long-held sparse notes keeps the mystery alive throughout the piece

The digital download closes "Christeza" with a rhythmic take on Kenny Dorham's "Una Mas". The brilliant rhythm section of Pinna and Huergo lead the way with tenor saxophonist Jerome Sabbagh (the only other member of the ensemble on the track) playing the theme as well as a powerful solo.  But, it's the bass and drums that makes this track stand out.  A delightful finish to a wonder-filled album. Pablo Ablanedo does not record very often but when he does, it's so rewarding to listen.  Kudos to the great band, to the composer, leader, and pianist, and to co-producers Elan Mehler and JC Morisseau for such fine modern music!

To find out more and to purchase the album, go to  https://pabloablanedo.bandcamp.com/album/chistreza. To find out more about the leader, go to www.pabloablanedo.com/. 

Hear "Karmavaleando": 

Personnel:

Pablo Ablanedo on piano, & compositions:

Anat Cohen on clarinet,

Jenny Scheinman on violin,

Chris Cheek on tenor and soprano saxophone,

Jerome Sabbagh on tenor and soprano saxophone, 

Diego Urcola on trumpet, 

Ben Monder on guitar, 

Fernando Huergo on electric bass, 

Franco Pinna on drums, 

Daniel Ian Smith on additional saxophones on "Karmavaleando" and "Bipolarious."

Five by Twos

Photo: John Rogers

Believe it or not, the duo of Dan Weiss (drums) and Miles Okazaki (guitar) has been together for 25 years playing with other musicians in various combinations; saxophonist and composer Ohad Talmor just issued his latest album "Mise en Place" (Intakt Records) with the duo serving as his musical partners. Both Weiss and Okazaki were commissioned to compose pieces for their duo by John Zorn's Stone Commissioning Series in early 2020; only the guitarist's eight-part "The Memory Palace" received its performance debut (2/26/2020). The drummer's debut of "Middlegame" was set for late March but was postponed due to the pandemic. 
 

Now Cygnus Recordings has issued the two suites on CD, digital download, and as a two-Lp set.  Aptly titled "Music for Drums and Guitar", the music is a fascinating amalgam of the two musicians various interests and how they communicate in sound.  Okazaki's 36-minute piece,  has moments of sly funky beats, throbbing grooves, flourishes of folk and classical influences, prog-rock and more. Plus there's a feeling of playfulness that inhabits pieces such as "Part II" and "Part IV" –– the guitarist digs in to the groove Weiss lays down and the dance forward.  The melody of "Part VII" is long but flows atop a river of percussion that builds in intensity until a flurry of guitar notes rain down on the frenetic drums.  "Part VIII" closes the suite slowly at first but the circular guitar riff begins to expand –– note how the snare echoes the rapid-fire guitar riffs. As the performance builds to a fiery climax, Okazaki steps on the "fuzz' pedal and the proceedings explode right up to the final chord.

Photo: John Rogers

Weiss's seven-part suite "Middlegame" displays all of his strengths without the music turning into a mere display of technique. First and foremost, not only does the drummer "swing", he is quite a melodic player. Note how "Parts I and II" set up the template for the rest of the work.  Weiss leads the guitarist in, all the while creating rhythms that have power and depth.  "Part III" finds the drums up front with Okazaki as the support and melodic foil. By the last 90 seconds of the piece, the guitarist is locked into the beat, his percussive lines in step with Weiss. The longest piece in the suite and on the album (12:52), "Part V", is also driven by the rhythms with the guitarist being the "foundation" while Weiss steps up.  The drummer moves in and around the guitar switching from swinging the beat to being "conversational" on his kit.  

Dig deeply into "Music for Drums and Guitar" and you will find a world of endless possibilities.  As stated above, Dan Weiss and Miles Okazaki have history together so they know each other's strengths.  There are no 'dead" spots in this program; instead, the music continues to move forward, slowly down now and then to contemplate textures and introspective interactions.  There's much to discover!!

For more information, go to www.milesokazaki.com/. To purchase the album, CD, or digital download, go to https://mfdag.bandcamp.com/. 

Here's "Part II" from each suite:

 

The duo of Mary Halvorson (guitar, effects) and Sylvie Courvoisier (piano) first recorded together on 2017's "Crop Circle" (Relative Pitch Records), a collection of tracks that highlighted each musicians strengths as well as how they intuitively move through both composed and improvised material.  In June of this year, the duo got back together and recorded the 12 tracks that make up the two musicians second album and debut for Pyroclastic Records.  "Search for the Disappeared Hour" features five pieces composed by the guitarist, four by the pianist, and three improvisations.  The music draws in the listener while also challenging one's expectations. 

Ms. Halvorson's "Golden Proportion" opens the program; the opening melody is played by the guitar supported by powerful piano chords and rippling runs. On occasion, the musicians venture outside the stated rhythm yet never lose sight of the main thrust of the music.  Listen carefully and, right before the end, you'll hear a quote from Beethoven.  The pianist's "Mind Out of Time" finds Ms. Halvorson experimenting with sounds from the guitar while Ms. Courvoisier plays a dark, 20th Century style classical background.  The guitarist's "Bent Yellow" has a piano rhythm that references the music of Robin Holcomb; note how both musicians move in and out of blues patterns from the middle of the track forward. there are splashes of humor, the playful interactions of the duo creating a lightness that's hard to ignore. 

Photo: Self-portrait

Among the many delights on the recording is how the duo frame melodies so that they stand out. "Gates & Passes" is a ballad that builds up from the opening long melody into a long, dissonant, guitar solo. Note how Ms. Courvoisier never changes her pace or mood building her solo off the song's handsome chord structure. "Party Dress", an impromptu piece by the duo, has such a gentle feel even with the extended reverb on the guitar. "The album's closing piece, "Blizzard Rings", is also an improvisation that sounds like a dream, one in which someone is in a room full of wind-up toys –– the piano and guitar move in and around each other through to the soft finish.

"Searching for the Disappeared Hour" is quite an aural adventure through the creative minds of Mary Halvorson and Sylvie Courvoisier. If you are a fan of the two musicians, the music will delight and surprise you; if you are new to their explorations, keep an open mind and notice how the duo feeds off each others ideas, energy, and melodies.  

To learn about the individual artists, go to www.maryhalvorson.com and to www.sylviecourvoisier.com.  To purchase the album, go to  https://sylviecourvoisiermaryhalvorsonpyroclastic.bandcamp.com/album/searching-for-the-disappeared-hour. 

Here's the opening track:

 

Braithwaite & Katz · Golden Proportion - Sylvie Courvoisier and Mary Halvorson

Photo: Steve Mullensky

Does the end of Daylight Savings Time get you down?  Knowing that the evening starts earlier and the night lasts longer truly bother you?  My prescription for surviving the next several months is a healthy dose of "Reconvexo". No, it's not a new drug like the ones you might see on the nightly newscasts –– it's actually the new Anzic recording by the duo of Anat Cohen (clarinet, bass clarinet, voice) and Marcello Gonçalves (7-string guitar, voice). Recorded in January of 2020 while the duo was quarantined in Rio de Janiero, the nine-song program features songs from the Música Popular Brasileira songbook.  Their debut collaboration, "Outra Coisa: The Music of Moacir Santos", came out in 2017 so this time, they decided to play songs by some of Brazil's most popular composers.  

The album opens with the title track. Composed by Caetano Veloso for his sister Maria Bethânia for a 1989 album, the song has been covered by a slew of artists.  It's a bright melody that Ms. Cohen exults in while Gonçalves provides not only support but a percussive drive that pushes the song forward. Veloso and Milton Nascimento co-wrote "Paula e Bebeto", an episodic piece where the guitar and clarinets (Ms. Cohen overdubs bass clarinet) share the melody before the pace slows down for a lovely clarinet solo. The brightness of the guitar is expertly recorded so that you marvel at the brilliant accompaniment and how the piece moves organically.  Nascimento had his hand in composing two other songs on the album; he composed the words for Fernando Brant's lovely "Maria, Maria" which comes from a 1978 album about the legacy of slavery in Brazil while "Ânima" (composed with Zé Renato) is the title track for the singer's 1982 album.  The performance is truly beautiful with a melody that sounds like birds singing on a Spring morning. 

Other composers included in the program are Dori Caymmi, Gilberto Gil, the team of Antonio Carlos Jobim and Luis Bonfa, the 19th Century Venezulean composer Heraclio Hernandez, and the team of Stevie Wonder and Syreeta Wright.  "Never Dreamed You's Leave in Summer" is the tune that closes the album –– the sparkling arrangement of the Wright/ Wonder song does not sound out of place in this delightful collection.

"Reconvexo" is splendid from start-to-finish, sounding lovely at any time of day (early morning as the sun rises works for me) –– the duo of Anat Cohen and Marcello Gonçalves has created a delight-filled alternative to moping and negativity. One should feel cleansed after listening to this music!

For more information, go to www.anatcohen.com/index. To hear more and to purchase the album, go to https://anatcohen.bandcamp.com/album/reconvexo.

Here's "Ânima":

Photo: Whitney George

There is something soothing about two steel-string guitarists playing through their way through a set of songs that makes you long for sitting around a fire soaking in the sounds.  Cameron Mizell and Charlie Rauh have played together for a number of years but never like they have over the eight-plus months it took the duo to record its second album, "Local Folklore" (Destiny Records).  Both players contributed five songs to the program and both recorded in their own studios.  Despite the "remote" recording, this music sounds bright, collaborative, highly melodic and harmonic with a wistful quality permeating the songs.  Mizell and Ruah are busy leaders on their own yet when they come together, their musical conversations feel like a respite from the road, a quiet evening lost in melody and stories.

That's what "Local Folklore" is, a melody-laden journey into the heart.  Mizell's title song leads off the program on a uptempo note,, the strumming guitars setting the pace for the well-crafted melody and the fine, articulate, solos that follow. Rauh's "Petey & Kyle" follows with its Beatles-like melody just begging for words.  Yet, you can tell this is a story of two friends walking through life together   Still, Mizell's pieces also have stories connected to them whether. When you just sit and listen, you probably know people who the guitarists describe with their instruments and melodies.

Mizell switches to electric on several tracks mostly for the sustain and effects that add atmosphere and an orchestral feel to pieces such as Rauh's "A Forgiving Sort of Place" and lovely "Arolen".   The sounds are not intrusive; instead they add a sense of shimmering light off a mountain lake to the songs.  On he album closing "On Sundays I Walk Alone", the overdubbed electric plays both rhythm and the theme while Rauh's acoustic plays counterpoint.

"Local Folklore" is music for early in the morning and late in the evening.  The melodies are soothing, the musicianship impressive, a cooperative journey into the human heart and soul.  Cameron Mizell and Charlie Rauh may have had to curtail their "live" shows in the pandemic but, judging by the quality of their new album, both musicians made good use of their time.  

For more information, go to www.cameronmizell.com/ and www.charlierauh.com.  To purchase the album, go to https://destinyrecords.bandcamp.com/album/local-folklore. 

Here's the sweet "Greenwood Waltz":  

Braithwaite & Katz · Greenwood Waltz - Cameron Mizell & Charlie Rauh

Two Cohens, Unrelated: Both Can Play!

Photo: Todd Heisler/NYTimes

There is something about the sound of Anat Cohen when she's playing her clarinet.  She's a fine tenor sax player and certainly shines as well on soprano sax but her most exciting "voice" is the clarinet.  The woodwind seems to free her spirit and contains so much emotion, it makes one listen to what she plays

Her latest Anzic release, "Triple Helix", features her splendid Tentet, the ensemble that mades it recorded debut on 2017's "Happy Song."  The only personnel change is that Christopher Hoffman takes over the cello chair from Rubin Kodheli.  The title track, composed by the group's musical director Oded Lev-Ari, is a three-part, 22-minute, "Concerto for Clarinet and Ensemble" (actually the sub-title for the work) – it's quite moving.  There are sections that relate to the musics Ms. Cohen heard and played growing up.  The second movement, "For Anat", is classical in nature and construction, and all the musicians have clear roles on relating the story.  The playful third movement, "Last", starts out as a spirited dance then moves into an introspective section with the lovely clarinet interacting with the ensemble.

The album is filled with many delightful musical moments.  Ms. Cohen's "(Choro for) Miri" shows her continued interest in the Brazilian song form. Her sweet singing solo is nicely supported by Vitor Gonçalves's handsome piano.  There's a definite New Orleans tinge to "Footsteps and Smiles" thanks to Anthony Pincotti's dancing drums and the blend of Owen Broder's baritone sax with the clarinet on the main theme.  Excellent solos from Gonçalves  and vibraphonist James Shipp. Dig the break that starts with the baritone sax and cello then expands to include the brass and clarinet.    

Arranger Lev-Ari discovered "Lonesome Train" on Stan Kenton's 1952 classic Lp "New Concepts of Artistry in Rhythm" – the version here adheres to the melody line but has a stronger backbeat plus there's no vocalist.  Instead, trombonist Nick Finzer steps out while the ensemble, with Gonçalves on accordion here, builds up the intensity.  Don't miss the "deconstructed" closing section!

"Triple Helix" is a treat from Astor Paizzolla's "Milonga del Angel" that opens the program to Ms. Cohen's "Morning Melody (epilogue)" that closes it.  Anat Cohen and the Tentet are show in their best lights thanks to the ensemble's 11th member, musical director Oded Lev-Ari.   Listen closely and you will be richly rewarded!

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

Here's the opening track:

Personnel:

Anat Cohen CLARINET 
Oded Lev-Ari MUSICAL DIRECTOR 
Nadje Noordhuis TRUMPET & FLÜGELHORN 
Nick Finzer TROMBONE 
Owen Broder BARITONE SAX 
Christopher Hoffman CELLO 
James Shipp VIBRAPHONE & PERCUSSION 
Vitor Gonçalves PIANO & ACCORDION 
Sheryl Bailey GUITAR 
Tal Mashiach BASS 
Anthony Pinciotti DRUMS 

From the first time most Americans heard bassist Avishai Cohen as a member of Chick Corea's Origin ensemble (in 1997), his energetic musicality has stood out.  Not only is he a master bassist, he also plays piano (his first instrument) and he sings.  Cohen formed his own label, Razdaz Recordz, in 2002 and though you can find many of his albums there, he has also released music on Stretch Records/Concord, Sony Masterworks/France, and on Israeli labels.  His arco (bowed) playing is another strength is  his ability to synthesize Arab and Jewish melodies from throughout the Middle East into his music.

His latest RazDaz CD, "Arvoles", features his latest trio, Elchin Shirinov (piano) and Noam David (drums) plus flutist Anders Hedberg and trombonist Björn Samuelsson on five of the program's 10 tracks.  The title track ("Arvoles" is the Ladino word for "trees", hence the cover) is a traditional piece with a formal melody that the trio treats with respect.  Note that Cohen's bass solo builds off the melody and the lovely piano accompaniment. Pianist Shirinov kicks off Cohen's "Elchinov" with a circular piano line that serves as the pace-setter for the track. Make sure to notice how the bassist wraps his attractive bass sound around the pianist's active left hand.  A big plus is the active and creative drum work –David never sits still throughout; with his shifting rhythms and dancing cymbals, it's hard not to smile.

The trombone and flute add their voices to such pieces as the opening "Simonero", the evocative and classically influenced "Childhood (for Carmel)" and the funky "New York 90s."  One can hear the collision of dance beats with the Israeli songs that Cohen heard growing up.  Hedberg's alto flute adds a fine color to the melody line.  "Childhood..." features smart interplay between the musicians plus short solos from both flutist and the trombonist.  The quintet swings with glee on the album closer, "Wings", complete with sparkling brush work from David, solos from the leader and pianist that have a lightness and joy that jumps out of the speaker.

In many ways, it's easy to listen to "Arvoles" and imagine it's the product of a reflective time for Avishai Cohen.  He's been quite busy the past several years with several different projects including full concert programs with symphony orchestras and recording his "pop" album; 2017's "1970" was mostly vocal with female choruses, electric instruments, and touches of r'n'b and Gospel music. This new album is not necessarily a "return to the past" but a continuation of the bassist's life-long search to find his way in the world.

For more information, go to avishaicohen.com.

Here's the opening track: