Rush Hours, Part 1 - Nonet & Octet

 Lots of music yet so little time –– here begins a series of shorter reviews of the more exciting releases of the past several months. 

Commissioned by SF Jazz and the Hewlett Foundation, Miguel Zenón composed "Golden City" for sextet and a three-member trombone section (two of whom double on other brass - see below).  A musical history of San Francisco, the piece made it debut at SF Jazz in 2022 and was recorded a year later for the composer's Miel Music label.  Zenón makes sure each member of the ensemble has a feature, often at the beginning of the track. The album opens "Sacred Land" – the leader's sweet alto tone plays the intro alone before the brass enter for support and then the whole band arrives.  The story moves quickly to "Rush" (yes, the 1800s Gold Rush) to "Acts of Exclusion" (the 1862 law that curtailed the immigration of Chinese works) to "9066" (FDR's Executive Order that authorized the interment of Japanese Americans, the majority of who were already American Citizens).  One can sense the urgency and poignancy in the melodies and musicianship.

Photo: Herminio Rodriguez

Not only is the writing excellent but the performances stand out. Drummer Dan Weiss stands out as a master framer of the pieces and as a melodic presence. Pianist Matt Mitchell is the other "builder" of the foundation; along with bassist Chris Tordini, the two give the "front line" great support throughout. Percussionist Daniel Diaz creates rhythmical excitement but also adds colors that are necessary to the success of the music. Guitarist Miles Okazaki is solid in support and his ensemble work plus his solos stand out.  The three brass players – Diego Urcola, Alan Ferber, and Jacob Garchik – truly fill out the sound thanks to the splendid arrangements.  Perhaps the best part of this project is how Zenón gives so much room to the band that when his "voice" appears, his playing delights in flights of joy, power, sweetness, all while being highly melodic.

There's so much to like on "Golden City" from how Miguel Zenón tells the sprawling story to how the musicians give so much life and heart to the music to the wonderful playing over the course of 69 minutes.  Highly recommended! 

For more information, go to https://miguelzenon.com/. To hear more and to buy the music, go to  https://miguelzenon.bandcamp.com/album/golden-city. 

Listen to "Acts of Exclusion":

Personnel:

Miguel Zenón - alto saxophone
Matt Mitchell - piano
Chris Tordini - bass
Dan Weiss - drums
Miles Okazaki - guitar
Daniel Díaz - congas, tripandero and percussion
Diego Urcola - trumpet and valve trombone
Alan Ferber - trombone 
Jacob Garchik - tuba and trombone

Trombonist, composer, and band(s)leader Ryan Keberle is quite busy but he must have jumped at the opportunity to make this album for Marc Free and Posi-Tone Records. He's been doing a lot of smaller group work with Reverso (trio), Collectiv Do Brasil (quartet), and Catharsis (now a quintet) but it's been 14 years since his last Double Quartet album. "Bright Moments" is his first album as a leader on the label and, arguably, it's one of the 10 best Marc Free has ever released. Why?  Because Keberle had the opportunity to arrange the songs, all originals, to utilize the talents of a brilliant rhythm section – pianist Art Hirahara, bassist Boris Kozlov, and drummer Rudy Royston –  and have his melodies "sung" by the great "voices" of Pat Cornelius (reeds, flute), Diego Rivera (tenor sax, flute), Alex Norris (trumpet, flugelhorn), and Michael Dease (baritone sax).  All but one of the songs have appeared on previous albums – the new versions give both the composer and the audience a different perspective.

You can hear the influence of Keberle's immersion into Brazilian music on "Edu" – the music rolls forward on the power of the drums and the deep baritone sounds. The expansive melody is shared by the reeds and brass before Norris steps out for a handsome solo. "Despite the Dream", which the trombonist composed for Catharsis's 2020 "The Hope I Hold". This powerful ballad opens up in the middle as the tempo speeds up and short solos lines are created by Cornelius (alto sax) and Norris. Later, Cornelius and Dease (whose bari work is mighty impressive) take longer solos. "Sisters of Mine" was originally recorded by Reverso. Here, the tribute to the composer's two sibs serves as a vehicle for a lovely tenor solo from Rivera. To get there, the melody is presented by Cornelius (soprano sax), Norris, and Keberle (such a lovely tone).  Melody sharing abounds on this album.  The bass clarinet (Cornelius), trumpet, and flutes (Rivera and Cornelius) each introduce the melody on "All Ears", which is repeated twice without a solo. Yet, the piece is so satisfying because of how all the voices are utilized to make the piece so successful.

Photo" Anna Yatskevich

"Bright Moments" closes with the oldest piece in the collection. "When I'm Away" is from 2006 and was on the first of Keberle's two Double Quartet albums.  The arrangement is similar but the 2024 "voices" includes reeds whereas the older take has a four-piece brass section. Either way, it's a beautiful piece of music and features an excellent from the leader, brilliant backing from the great rhythm section.

If you're a Ryan Keberle fan, this is yet another gem in his growing discography (plus there's a new Catharsis album coming in October). Great music played by a great band – "Bright Moments" indeed!

For more information, go to https://ryankeberle.com/.  To hear more and purchase the album, go to https://ryankeberlejazz.bandcamp.com/album/bright-moments. 

Here's the opening track, "Quintessence":

Personnel:

Ryan Keberle - trombone
Alex Norris - trumpet; flugelhorn 
Michael Dease - baritone saxophone
Patrick Cornelius - alto saxophone, soprano saxophone, bass clarinet, and alto flute
Diego Rivera - tenor saxophone; flute 
Art Hirahara - piano
Boris Kozlov - bass
Rudy Royston - drums

The Power of Posi-Tone Thinking

Producer Marc Free and Chief Mixer-Master Nick O'Toole continue to issue high-quality music on the Posi-Tone Records, mixing newer artists with great rhythm section and giving established artists the opportunity to continue to stretch their creative wings. Here are three exciting new albums.

Photo: Anna Yatskevich

Vibraphonist and composer Behn Gillece has, over the past decade-and-a-half, taken part in dozens of sessions for Posi-Tone.  He first came to critical attention as part of duo with saxophonist Ken Fowser – they released four albums from 2009 to 2013.  Gillece released his debut album as a leader in 2015 and since then has recorded five more but also has been part of several ensembles created by Producer Free. Groups such as New Faces, Out to Dinner, and Idle Hands have released albums combining his vibes and some of his compositions with artists such as saxophonists Roxy Coss, Donny McCaslin, and Tim Green plus trombonist Ryan Keberle, drummer Donald Edwards, guitarist Will Bernard, and others.

Since the beginning of the Pandemic in 2020, Free has employed the "regular" rhythm section of pianist Art Hirahara, bassist Boris Kozlov, and either Rudy Royston or Donald Edwards on drums for his recording sessions in New York City.  They have done impressive work on numerous occasions adapting to different styles, harmonic ideas, and rhythms.  Gillece's seventh solo album, "Stick Together", features Messrs. Hirahara, Kozlov, and Royston in a 10-song, 56-minute, program that stands out for the excellent musicianship and intelligent compositions.  On top of all that, this music really swings.  "Almost There" opens the album on a slow pace; then the groove kicks in and the quartet dances forward. One of the joys of listening to these four musicians is that when they are playing, they are "playing".  Royston is disruptive, noisy, but always on the beat.

Listen below to "Four Of a Kind" and you'll see why that's the exact right title. After a quick run-through of the theme, they hit the floor running powered by Kozlov's mighty bass and Royston's wonderful attack.  The vibes solo is infectious which gives Hirahara the jolt for a flying fingers solo. This is the kind of performance that makes an audience rise from their seats and cheer.

The group slows down the pace several times including the lovely "Changing My Day" (the drummer sits out) and the medium-tempo "Dreamscape."  The latter track picks up the pace for a far-ranging vibes solo.  "Cascades Merging" has a similar feel with a slower opening and then a bump in the tempo for the solos.

One of the delightful surprises is the quartet's take on Sam Rivers' "Cyclic Episodes". The tune, which first appears on Rivers' 1962 Blue Note classic "Fuschia Swing Song", really does swing atop the excellent cymbal work and the melodic "walking" bass lines.

"Stick Together" closes with "Lazy September", a duet for vibraphone and piano.  Not only does the song have a handsome melody but also Hirahara's emotional, rhapsodic, piano support.  It's a gentle ending to a pleasing musical experience.  Behn Gillece has created an album that one can return to time and again, enjoying the music on many levels.  

For more information, go to www.behngillece.com.  To hear more and to purchase the album, go to https://behngillece.bandcamp.com/album/stick-together. 

Swing along with the quartet on "Four of a Kind":

Photo: Ola Baldych

For many of us, our introduction to trumpeter and composer Josh Lawrence was 2017's "Color Theory", his debut recording on Posi-Tone.  He certainly has done a lot in the last decade as member of the Fresh Cut Orchestra, working and recording with TARBABY, Posi-Tone's New Faces, Erykah Badu (among many others), and is now Director of Jazz Studies at Interlochen Center for the Arts and conductor of Interlochen Jazz Orchestra. His recorded output for Marc Free's label shows a musician who has created his own voice, who's not afraid of showing vulnerability in his musical and sonic choices and who has developed into an excellent composer.

His sixth Posi-Tone release, "Measured Response", is a thoughtful, intelligent, and, at times, quite playful collection of songs. Eight of the 10 pieces in the 57-minute program are Lawrence originals plus one song each by John Coltrane ("Wise One") and Charlie Haden ("Song For the Whales").  Unlike many of the label's releases which usually open with "barnburners", "Where Do We Go?" is a slower blues based on a Pandemic vacation trip.  There are excellent solos from the leader and tenor saxophonist Diego Rivera atop the gentle swing created by pianist Art Hirahara, bassist Luques Curtis, and drummer Rudy Royston.  "A Tragic Tango Comedy" follows – reminiscent of tangos composed the late Carla Bley, it's fun to hear Royston and Curtis play with the rhythms and Hirahara's ornamental yet rhythmical piano accompaniment.  The solos are concise and never overtly technical.  

Photo: Ola Baldych

Lawrence's choice of "cover" songs is inspired and inspiring. Charlie Haden's "Song For the Whales" (which the late bassist recorded with the Liberation Music Orchestra on 2016's "Time/Life") is an elegiac piece that utilizes Curtis's bowed bass as "whale song", Hirahara's rippling piano lines like waves over the prayer-like melody played by sax and trumpet, and pounding drums. That melody is actually lovely, moving slowly over the rhythm section.  John Coltrane's "Wise One" (from 1964's "Crescent" Lp) has a similar rubato feel in the opening 80 seconds before the bass and drums kick in for the powerful piano solo. Lawrence is next, caressing the melodic variations as the thundering rhythm section attempts to push him; instead, he leads them back to the opening, taking the piece out on a bluesier note.

Listen below to "Every Choices Comes With An Invoice" (Lawrence borrowed the title from Busta Rhymes) – it's an antithesis to the ballads as the piece explodes out of the gates on rapid-fire bass lines and frenetic drums. Lawrence digs into his solo displaying his own fire and versatility.  Riviera also rises to the challenge the rhythm section lays down. The pianist initially tamps down the fire before he too is inspired by Curtis's flying fingers.  

Photo: Ola Baldych

There are moments when the music feels like Miles Davis circa 1960-62 when one listens to songs such as "Flip On A Drip" (a "smoking" piece that really highlights what a good accompanist Hirahara can be) and other pieces ("Between the Lakes") that move towards the sound of the classic Davis Quintet in 1966 and '67. The muted trumpet and solemn melody on "Prelude To a Farewell (For Barry Harris)" pay tribute to one of Lawrence's most important teachers and mentors. The simple beauty of the lines played by trumpet and saxophone give way to a rhapsodic piano solo that also features excellent bass work and soft cymbals. Riviera's tenor spot has a gentle power that speaks to the heart as does Lawrence's short yet poignant turn in the spotlight.  

The album closes with "Texas Tenor", a bluesy ballad that gives Riviera a chance to take center stage. His solid solo hints at Coleman Hawkins and David "Fathead" Newman. Lawrence follows with a romp over the bouncing rhythms.  Because the leader is all about sharing, Hirahara creates a playful, "in your face", solo that brings the quintet back to the bridge and a quick close.  

With "Measured Response", Josh Lawrence and company have created a compelling artistic triumph that also is great fun to play loud.  Lawrence's material brims with creativity which his fellow musicians much to work with. He does not worry about playing "quiet" or giving other soloists more room to shine. This album is well worth diving into often!

 

For more information, go to www.joshlawrencejazz.com/. To hear more and purchase the album, go to https://joshlawrence.bandcamp.com/album/measured-response. 

Listen to Josh and the band tear it up on "Every Choice Comes With an Invoice":

Photo: Anna Yatskevich

Pianist, drummer, and composer Luther Allison made his recording debut at the age of 19 when he appeared (as the drummer) on trombonist Michael Dease's 2016 Posi-Tone recording "Father Figure".  Since then, he's appeared on several Dease albums plus releases by Diego Rivera (as pianist), Markus Howell (drummer) and on Samara Joy's GRAMMY-winning 2023 "Tight".  The Charlotte, NC, native now lives in New York City where he has performed with bassist Rodney Whittaker, vocalist Jazzmeia Horn, saxophonist Gregory Tardy, drummer Ulysses Horn, and so many others. Allison also teaches at Jazz Summer camps and as a clinican touring all the globe.

To his credit, Allison waited several years and had a plethora of musical and life experiences before recording his debut as a leader.  "I Owe It All To You" is a trio featuring bassist Boris Kozlov and drummer Zach Adelman.  The 10-song, 53-minute, program is a blend of four originals with four songs composed by piano greats James Williams, Mulgrew Miller, Harold Mabern, and Donald Brown plus a song each from Stevie Wonder and Richard Rodgers.  The album opens with the title track which, within the first few moments, one can hear the influences that underlay Allison's style – there's blues, gospel, hard-bop, a touch of Hip Hop, and a quest to create his own voice. The young man is an excellent soloist and the rhythm section makes sure he's a solid foundation to go off on his solo flights.  Just when you think the song is over, there's a slower, sly, gospel coda.

Photo: Roby Davidson Media

Click on the link below and listen to Allison's "Until I See You Again"; the tune has such a lovely melody but to how the tempo changes subtly throughout the solo as well as the fine bass work of Kozlov.  

It's fun to hear where the trio takes the material. The pianist's take on Rodgers's "I Didn't Know What Time It Was" starts out with a funky piano riff and goes through a couple of changes before settling into a swinging groove for the piano solo. Allison's two-handed approach may remind some of the late Harold Mabern, a musician whose blues roots ran deep through his music. It's interesting how the Mabern tune, "There But For the Grace of..." starts so regally before dropping into a delightful fast-paced groove. The trio caresses the melody of the late Mulgrew Miller's "From Day To Day", the longest track in the program at just over seven minutes. That's plenty of time for all three musicians to sparkle.

The album closes with "Lu's Blues", a high-powered blues introduced by a thundering two-handed piano attack before the rhythm section creates a break-neck pace. No problem for Allison who challenges the bassist and drummer to keep up with him. Yes, it'a technically impressive but also impressive how melodic the pianist can be at faster-than-light speed.  

No doubt about it, Luther Allison is a talent to be watched.  His choice of material, his own songs have weight and show his influences without being slavish to any one in particular. It's going to be a joy listening to him grow. Put on track one, sit back, and enjoy this 53-minute ride. I promise it'll make your day better!

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

Listen to the lovely "Until I See You Again":

Posi-Tone Records · Luther Allison - Until I See You Again

Of These I Sing (Part 2)

You should think of "OTIS Pt 2" as the other albums that could have been in "Part 1" save for the space and attention span (mine).  I love this music and the genuine creativity of the musicians makes me hope for a future that is bright and welcoming for our successors.

Fergus McCreadie – "Forest Floor" (Edition Records) – This is the third album from Scottish pianist McCreadie, the third to feature his trio of bassist David Bowden and drummer Stephen Henderson. All are busy on the growing Jazz scene in Scotland (and beyond) but when they come together to play McCreadie's music, magic happens! The pianist has become even more melodic in the past several years; though he can still play with exquisite technique, the pianist and the rhythm section are concentrating on telling stories and delivering messages in their music. One can still hear the influence of Highland reels, at times, and that is a welcome delight!

Listen to "The Unfurrowed Field":

Vadim Neselovskyi – "Odesa: a Musical Walk Through a Legendary City" – (Sunnyside Records) – Speaking of stories, four months after Russia invaded Ukraine (February 2022), pianist, composer, and educator Neselovskyi released this tribute to the city where he was born and raised (moving to Germany at the age of 17).  One can not help but write that emotional pull of the terrible war (and the horrific stories we have heard and seen) gives this music heft––still, this is a tribute to the vibrant country where the pianist spent his formative years, to the family and friends he left behind, and to his desire that the country remain free. Since the album's release, Neselovskyi has toured extensively raising money to help refugees and the displaced within the country.  

Walk down the "Potemkin Stairs":

Andrew Cyrille, William Parker, & Enrico Rava – "2 Blues for Cecil" (TUM Records) – This release was a delightful surprise when it was issued in late January.  These three masters play tribute to pianist and composer Cecil Taylor, not be imitating him or covering his music but by demonstrating how the rhythmic innovations and startling melodic explorations can be interpreted so magically.  Messrs. Cyrille and Rava (both born in 1939) sound great together and Mr. Parker (13 years their junior) keeps them on their musical toes.   All three contribute compositions and there are four improvised plus a sweet version of "My Funny Valentine".

Here's "Ballerina":

Clark Sommers Lens – "Intertwine" (Outside In Music) – Bassist Sommers is often the glue in the various sideman projects he takes part––on his own, he shows a fine ear for melody, for allowing his music to breathe, and for giving his bandmates the room to create.  There is a lot of music on "Intertwine" so let it roll through your brain and soon it will find its way to your heart. While I find the ballads most rewarding, there are several hard-edged pieces that sound great turned up loud! Great playing from the leader and from Chris Madsen (tenor sax), Geof Bradfield (bass clarinet, soprano and tenor saxes), Matt Gold (guitar), and Dana Hall (drums). 

Here's "Second Guess":

Ernesto Cervini – "Joy" (TPR) – Drummer, composer, arranger, and publicist Cervini is a fan of the mysteries of Canadian author Louise Penny. And, for good reason. She writes mysteries where the lead character, Chief Inspector Armand Gamache, spend many days and nights in the fictional town of Three Pines, Quebec, solving complicated murders and discovering just how magical a place it can be.  The drummer has created a fascinating suite of music featuring members of Turboprop, Tune Town, and Tetrahedron, groups that he leads or co-leads. Also, there are a number of guests, all who work to describe the characters who inhabit the town as well as the Chief Inspector and two of his closest associates. It's a smart idea that covers a lot of musical and literary territory!

Blues inspired by duck?  Listen here to "Ruth's Rosa":

David Murray Brave New World Trio – "Seriana Promethia" (Intakt Records) – Murray, who excels on bass clarinet and tenor, remains vital well into his seventh decade. This "power trio" date on Intakt features bassist Brad Jones and drummer Hamid Drake playing music that swings, rock, whispers, squalls, and, at times, that you can dance to.  The music on this album, all originals from Murray, is neither dated nor imitative but vital, exciting, and impressive. There's not a wasted note in this program only music that will challenge, soothe, and ultimately remind you of the power and grace of Black American Music.

Dance to the funky title track:

James Brandon Lewis Quartet – "Live: Molecular Systematic Music" (Intakt Records) – Bassist Jones (see directly above) is also a member of saxophonist and composer Lewis's "Molecular Music" Quartet.  Along with Lewis and Jones are pianist Aruan Ortiz and drummer Chad Taylor.  This double CD set was recorded on the opening night (May 15) of the ensemble's 2021 European tour, the first time the group had played together since they recorded the second album, "Codes of Being" (released in October of 2021).  The excitement and enthusiasm of the musicians is palpable; the fiery playing may remind some of John Coltrane's classic Quartet but these songs display Lewis's growing maturity as a songwriter and a leader.  He is quickly becoming a major voice as a musician, composer, and storyteller.

Hear "Of First Importance":

Art Hirahara – "Verdant Valley" (Posi-Tone Records) - Pianist and composer Hirahara is an impressive pianist (also plays organ on occasion) and has developed into a top-notch composer.  His work for producer Marc Free and Posi-Tone Records (now eight albums as a leader and more as a sideman) sparkles with creativity and swings lustily with a softer side that is often lyrical and poetic. Joined here by bassist Boris Kozlov and drummer Rudy Royston with saxophonist/ flutist Donny McCaslin showing up on over half the tracks, the album jumps out of the speakers with a joy and intensity second to none. This is another recording that will make you glad to be alive in this day and age!

Hear "Zero Hour":

Dave Douglas Quintet – "Songs of Ascent: Book 1 – Degrees" (Greenleaf Music) – Mr. Douglas and his "Be Still" Quintet––Jon Irabagon (saxophones), Matt Mitchell (piano), Linda May Han Oh (bass), and Rudy Royston (drums)––created these musical interpretations of Old Testament Psalms in a unique. The leader played all his parts, sent those of to Mr. Irabagon who played his parts and passed them on to Mr. Mitchell and so on.  To these ears, this music is alive, feeling like the Quintet is playing together in a studio. That's a tribute to the composer's vision and the great talents of the ensemble.  

There's a "Book 2" that is only available to subscribers of Greenleaf Music.  Believe me, it's worth the investment! Go to https://greenleafmusic.com/ and find out more.

Listen to "Lift Up My Eyes":

Pablo Ablanedo – "Chistreza" (Newvelle Records Digital) – The folks at Newvelle Records have begun this year to release digital versions of the high quality vinyl albums that have captured listeners attention over the past six years.  "Chistreza" is a gem from pianist-composer Ablanedo featuring the band he recorded his debut album with over 20 years before. What a band––violinist Jenny Scheinman, saxophonists Chris Cheek, Jerome Sabbagh, and Anat Cohen (clarinet only), trumpeter Diego Urcola, guitarist Ben Monder, bassist Fernando Huergo, and drummer Franco Pinna (with saxophonist Daniel Ian Smith on two tracks. Best of all, the original compositions are well-drawn, the arrangements sharp, and the soloists impressive.

Listen here to "La Señal":

 

Yes, Virginia, there is a "Part 3" coming soon!

2021 – Music That Moved, Soothed, Educated, and Inspired (Part 2)

 Since I began this blog in 2009, I realized that every Top Ten list has a number 11, 12, and so on. When hundreds of recordings are released every year, it's physically impossible to give every one of those albums the time it deserves to be heard but I believe that every reviewer/ critic has favorites that could quite easily replace several, if not more, of the recordings listed 1-10.  Ergo, here's Part 2.

Fergus McCreadie – "Cairn" (Edition Records) – The young Scottish pianist and composer has proven himself to be a technical wizard but this album shows he has a delightful and potent lyrical side. Wit an equally impressive rhythm section, this music sings.

Go to https://fergusmccreadie.bandcamp.com/album/cairn. 

Joe Fiedler's "Open Sesame" – "Fuzzy and Blue" (Multiphonics Music) –  Trombonist, orchestrator, and composer Fiedler has the music director of "Sesame Street" for over a decade embraces his playful side. Along with trumpeter Steven Bernstein, saxophonist Jeff Lederer, bassist Sean Conly, drummer Michael Sarin, and (occasional) vocalist Miles Griffith, he takes this "kids music" and brings out the funky, jazzy, side. 

Go to https://joefiedler.bandcamp.com/.

William Parker – "Migrations of Silence Into and Out of the Tone World" (AUM Fidelity) – 10 albums, 10 different ensembles, hours of fascinating music: released early in 2021, this collection continues to display/ uncover the bassist's endless springs of  creativity each time you play one or more of the recordings. In those hours when the despair in the world has tried to overtake the days/ nights, Mr. Parker's music reminds one that music is a welcome oasis.

Go to https://williamparker.bandcamp.com/album/migration-of-silence-into-and-out-of-the-tone-world-volumes-1-10. 

In 2021, the Finnish label TUM Records celebrated Wadada Leo Smith's 80th birth year by releasing four projects, three in multi-disk boxed sets that the trumpeter, composer, and conceptualist recorded in the past six year. All four deserve to to be listed in Part 1 of these posts and in any "Best of" list. The picture on the left is the cover of "A Love Sonnet for Billie Holiday" featuring Wadada with drummer/ percussionist Jack DeJohnette and pianist/ organist/ synth player Vijay Iyer.

"Trumpet" (pictured left) is three albums of solo trumpet music recorded in St Mary's Church in Pohja, Finland. Before you shake your head and walk away, know that this is an amazing journey filled with introspection, joy, feistiness, freedom, and more, never failing to satisfy the adventurous listener. One can hear the spirits of Louis Armstrong, Lester Bowie, Booker Little, and Clifford Brown shaking their collective heads and shouting "Amen"!

"Sacred Ceremonies" is also a three-CD set, one with Wadada and percussionist Milford Graves, one with the trumpeter and bassist Bill Laswell, the third with all three artists.  The sound quality of these albums is stunning, one feels as he or she in the middle of a room watching the the musicians creating in the moment.  Music without borders played by musicians who love and respect each other so they create without ego.

Go to https://tumrecords.com/tum-info to find out more and also to check the 38-minute video of Wadada's 80th Birthday tribute.  

Gabriel Vicéns – "The Way We Are Created" (Inner Circle Music) – Puerto Rican-born guitarist and composer Vicéns strikes gold with his third album as a leader. His mature, intelligent, and playful compositions are performed by a splendid sextet including Roman Filiú (alto sax), Glenn Zaleski (piano), Rick Rosato (bass), E.J. Strickland (drums), and Victor Pablo (percussion). One can get lost, entranced, in the flow of this wonder-filled collection.

Go to https://gabrielvicens.bandcamp.com/album/the-way-we-are-created. 

Roxana Amed - "Ontology" (Sony Music/Latin) – The Argentinean-born, Miami, FL, vocalist, composer, and educator has had a long and distinguished career in Latin America. Since moving to the US, Ms. Amed has created alongside Guillermo Klein, Frank Carlberg, Leo Genovese, and others – this album runs the gamut from introspective ballads to performances in a "freer" style and a voice that move one to the edge of his seat.

Go to https://roxana-amed.com/. 

Jen Shyu – "Zero Grasses: Ritual for the Losses" (Pi Recordings) – There are albums and artists whose music enters my brain and soul yet I cannot really describe why. Ms. Shyu, an amazing composer, musician, and performer has the innate ability to make "foreign" sounds feel familiar; in the case of this album, much of which is inspired by the loss of her father, it's because she is telling a story mostly all of us live through, facing pain with the need to create music that "frees" feelings. Her ensemble – Ambrose Akinmusire (trumpet), Dan Weiss (drums, percussion), Thomas Morgan (bass), and Mat Manieri (viola) –  aids in her quest with creativity and dignity for the subject matters.

Go to https://jenshyu-pi.bandcamp.com/.

Lorraine Feather – "My Own Particular Life"  (Relarion Records) – Ms. Feather has proven herself time and time again to be one of the finest lyricists of the past 20 years. Over the past decade, her albums have become even more personal even as she displays quite a love for science as well as more arcane subjects. This may be her most personal album as there are songs that address her former husband's battle with dementia, how one lives a real life during the pandemic, and a few more.  But there are also new examples of her delightful humor. The band, all recorded remotely (including the late percussionist Michael Shapiro who recorded his work in the Philippines!), is her usual band of suspects including the wondrous violin of Charlie Bisharat.  

Go to https://lorrainefeather.com/. 

Art Hirahira – "Open Sky" (Posi-Tone Records) – Over the past decade, pianist and composer Art Hirahira has issued six albums as a leader for the Los Angeles-based Posi-Tone Records: he started out strong in 2011 with "Noble Path" and his music has only gotten stronger and more delightful since.  Here, he is backed by Posi-Tone's "pandemic" rhythm section (bassist Boris Kozlov and drummer Rudy Royston with guests vibraphonist Behn Gillece and tenor saxophonist Nicole Glover performing on selected tracks) and the results are exciting, lyrical, exploratory, and so much more.

Go to https://arthirahara.bandcamp.com/album/open-sky.

Chuck Owen & The Jazz Surge – "Within Us" (MAMA Records/ Summit Records) – Composer, arranger, and educator Owen (who retired this year) has produced one fine large ensemble album. The lyricism, the musicianship, the delightful violin of guest artist Sara Caswell, and a 19-piece band that is so responsive that the music flows seemingly without effort, Mr. Owen has kept this band together for 25 years (this album celebrates that longevity), continuing to produce music filled with ideas, possibilities, dreams, and realities.  

Go to www.summitrecords.com/release/within-us-celebrating-20-years-of-the-jazz-surge/. 

As I look back over this list, all of them deserve top 10 status so I'll call them #11 A-L.  I'll unveil a list of #12s next week.  

Be safe!

Open Skies & Illuminations

Photo: Sara Pettinella

Pianist and composer Art Hirahara is a deft pianist, technically and emotionally strong, an excellent composer, and can traverse genres with ease and wit.  Since moving to NewYork City in the early 2000s, the pianist has worked alongside vocalists Rosanna Vitro, Stacey Kent, and Freddie Cole, with the late saxophonist/conceptualist Fred Ho as well as drummer royal hartigan, and violinist Jenny Scheinman (among many).  Over the course of five albums for Posi-Tone Records, Hirahara has audibly demonstrated his growth as a composer, telling stories through his melodies and use of rhythmic movement.

His sixth album for Posi-Tone, "Open Sky", features the dynamic rhythm section of bassist Boris Kozlov and drummer Rudy Royston plus contributions saxophonist (tenor and soprano) Nicole Glover and vibraphonist Behn Gilecce.  The title track features Gilecce and sounds influenced by Charles Lloyd's "Forest Flower" and the percussive stylings of McCoy Tyner.  The four musicians move as one, spurred on by the leader's rhapsodic and bell-like piano sound.  Ms. Glover's tenor sax takes the lead on "Mia Bella", a lovely ballad, her tender phrases moving in and around the fine piano accompaniment.  She returns on soprano for the Latin-esque "Weathered the Storm" –– the track dances forward on the delightful drumming (listen to how Royston pushes the piano to really "groove"). 

The bassist contributes "Não Tão Azul"; based on the changes to A.C. Jobim's "Triste", the melody feels Brazilian even as the rhythm section move in and out of a Tropicalia feel.  Quite funky, thanks to Royston's sweet barrage.  The drummer's contribution, the ballad "Sunday Morning", has a touch of Gospel, a tinge of Philly Soul, and impressive communication between the musicians.  Kozlov blends melodic lines and deep notes underneath the melody until his handsome solo –– he has such a splendid tone!

Photo: Pablo Reyes

While the leader did pen nine of the 13 tracks on the disk, one should make note of the two "standards".  "I'm Getting Sentimental Over You" gets a jaunty uptempo reading that hints at Earl "Fatha" Hines and Art Tatum. "Empathy", from the pen of Duke Pearson, jumps from the opening chordal construction that Hirahara returns to throughout the piece.  The interaction of the trio is such a delight with the rhythm section responding to growing intensity of the piano solo. The other solo piece on the program, "Peony", is a Hirahara composition yet sounds might have been composed by Duke Ellington.   

The sky's the limit with "Open Sky", yet one more exemplary display of the talent of Art Hirahara.  His songs surround the listener, leading he/she in for an hour of delightful songs, fine musicianship, and, like the title, a sound that makes one to sit outdoors and let the breeze brush your shoulders as the music moves forward.  

For more information, go to http://arthirahara.com/.  To hear more and to purchase the music, go to https://arthirahara.bandcamp.com/album/open-sky. 

Here's the opening track, inspired by the protests in the wake of the killing of George Floyd, "Groundswell":

Photo: Dave Stapleton

I must admit to not hearing any of the albums of the group Slowly Rolling Camera before the trio's new recording "Where the Street Leads" (Edition Records) arrived.  The brainchild of Dave Stapleton (Fender Rhodes, piano, Moog), Deri Roberts (electronics), and Elliot Bennett (drums), the music obliterates genres on each song.  There are dance beats, swirling string sections, and excellent contributions from guests Mark Lockheart (soprano and tenor saxophones), Stuart McCallum (guitar), Jasper Høiby (double bass), Verneri Pojhola (trumpet), Chris Potter (tenor saxophone), and a stunning performance from vocalist Sachal Vasandani.  

"You Are the Truth" opens the eight-song program with the melody first played by Stapleton then shared by the strings. Bennett really pushes the song forward, with his insistent "trip-hop" drums.  When Stapleton steps out with a distorted Fender Rhodes reiteration of the melody, it might remind some of the Soft Machine's Mike Ratledge's Fender work.  As you listen to the following tune, the title track, you realize the the pianist composes the material with short melodic phrases repeated throughout each piece until the soloists step forward. On "Where the Street Leads", McCallum goes first and steps aside for Lockheart's soprano solo which hearkens back to the work that Wayne Shorter did with Weather Report.  The solos move easily over the swirling background.

Adding the voice of vocalist Vasandani is a stroke of genius.  The medium-tempo ballad "Illuminate" puts his voice in the midst of the keyboards and Bennett's active drums.  In the last 90 seconds, McCallum steps out with an emotional solo with the addition of the vocalists repeating "Who are you...who are you...can you do this?" over the middle of the guitar phrases.  

Chris Potter is featured on "Feels Like Fiction", joining the song two minutes with a strong tenor spotlight. McCallum also solos with the strings shimmering all around him (Stapleton's string arrangements for the eight-member ensemble are often dazzling and alway supportive). Lockheart steps out on soprano for a short statement before the Morse-code like keyboard notes bring the piece to a close.

"Where the Streets Lead" closes with "A Force for Good" with Verneri Pojhola's breathy trumpet lines supported by the circular keyboard phrases and the rising lines of the strings that then begin to soar as Lockheart's soprano swoops and dives around them.  The piece closes with gentle piano lines under the the trumpet which soon fades as the music slowly comes to its end.

Slowly Rolling Camera makes music that is too powerful to be called New Age, too funky to be Jazz, too jazzy to be Funk, and too acoustic to be called Electronica –– So, what is it?  Who cares what you call it.  Just sit and let the sounds flow over you, get lost in the repetitive keyboard phrases, move your feet to the often-dancing drums. And enjoy!

For more information, to hear more, and to purchase the recording, go to  https://slowlyrollingcamera.bandcamp.com/album/where-the-streets-lead.  

Here's the title track:

Inner & Outer Spaces

Two delightful new albums both influenced by the adventurous soundscapes of Wayne Shorter.

Photo: Geoff Countryman

Joe Lovano (tenor saxophone) and Dave Douglas (trumpet) created their co-led quintet Sound Prints in 2011 to celebrate the musical and artistic contributions of Wayne Shorter.  Both were members of the SFJazz Collective when that ensemble celebrated Mr. Shorter's music for its 2008 season.  Douglas's 1997 Arabesque album "Stargazer" was the trumpeter's first dedication to the saxophonist/ composer on record –– while the album only featured three songs by Mr. Shorter, the majority of Douglas's original pieces illustrate how he took the influences and adapted them without mimicking one of his musical mentor.

"Other Worlds" (Greenleaf Music) is the third album by Sound Prints and the first to feature all compositions by Lovano or Douglas.  The rhythm section supporting the two leaders remains the same: pianist Lawrence Fields, bassist Linda May Han Oh, and drummer Joey Baron. The band went into the studio a day after finishing a week-long run at The Village Vanguard in New York City; those gigs took place in January of 2020, six weeks before the club, the city, and the world closed down.  The familiarity with the material makes this 70-minute program move organically forward with exquisite playing from all involved. You can hear the influence of both Mr. Shorter and of Miles Davis's classic quintet of the the mid-1960s on Lovano's "Life on Earth", especially in the piano support and Baron's driving drums a la Tony Williams.   Lovano's "Sky Miles" is less a tribute to the trumpeter as it is a hard-driving, hard bop tune in which the band plays with the tempo, speeding up and slowing down which, at times, is dizzying.  Listen to the rhythm section during the solos as there are moments when the pianist, bassist, and drummer are each going in different directions and other times when all five musicians are in sync. 

Photo: Merrick Winter

Overall, this music should not surprise fans of the two leaders. Neither one is afraid of showing their influences or for pushing into areas in which both the musicians and the listeners are challenged.  And this band can swing. Fields's piano support on "Pythagoras" allows the soloists to soar and Baron to explore.  On that track, the pianist and drummer offer support in the style of Jimmy Garrison and McCoy Tyner in John Coltrane's Quartet. "Antiquity to Outer Space" (composed by Douglas) could be a title of a Sun Ra album but here is a multi-sectioned that opens up to allow each musician to express him- or her- self. Fields, who has worked with Lovano and Christian Scott aTunde Dejuah, sparkles throughout the album and, especially, on this track.  The two duets –– Douglas with Ms. May Han Oh and Lovano with Baron –– are quite inventive.  The trumpeter's handsome ballad, "The Transcendentalists", contains a handsome melody as well as strong solo statements from Lovano and Douglas (muted trumpet) as well as Fields (why doesn't he have an album out under his own name?) 

"Other Worlds" is an album well worth exploring! Joe Lovano & Dave Douglas Sound Prints is a group one needs to hear and (soon, one hopes) to see.  Yes, they play "in the tradition" but it's a very big, very wide, "tradition", a universe still ripe for traversing!

For more information, go to https://greenleafmusic.com/artists/soundprints/other-worlds/. To hear more and to purchase the album, go to https://soundprints.bandcamp.com/album/other-worlds. 

Photo: Anna Yatskevich

Trumpeter and composer Alex Sipiagin has been quite a busy musicians since moving to New York City from his native Russia in 1990. He's played in numerous ensembles, ranging from the Mingus Big Band & Orchestra to the Gil Evans Orchestra, to several groups led by bassist Dave Holland to Dave Sanborn to Michael Brecker to Elvis Costello and many others. Sipiagin has taught at New York University with residencies in both Amsterdam and Basel, Switzerland.  His discography includes 11 albums on Criss Cross Jazz plus recordings on SunnySide Records, TCB-The Sound of Montreux, 5Passion, and others. His new album, "Upstream" (his debut as a leader on Posi-Tone Records), serves as a farewell to the United States as, since the October 2020 recording, the trumpeter and his wife have spent time in Singapore and have plans to settle in Northern Italy

The new album is the latest in Posi-Tone Marc Free's "pandemic" recordings.  With the "house" rhythm section composed of Art Hirahara (piano, Fender Rhodes), Boris Kozlov (acoustic and electric basses), and Rudy Royston (drums) (the same trio recorded on Alexa Tarantino's "Firefly" and Behn Gillece's "Still Doing Our Thing", the two Posi-Tone releases before this one), Sipiagin's trumpet powers and sings its way through  the nine-song program.  The leader composed five of the tracks, two are from bassist (and fellow Russian) Kozlov, plus one each from pianist Hirahara and a lovely reading ofWayne Shorter's "Miyako".  That last piece listed, a gentle ballad first played by the composer on his 1969 Blue Note release "Schizophrenia", spotlights Sipiagin's fine flugelhorn work.  The leader composed "Rain", another flugelhorn ballad, as he was waiting for his wife to be released from the hospital. Perhaps that is why the music sounds so emotionally strong as well as wistful.  Pianist Hirahara contributed album's other splendid ballad; "Echo Canyon" moves forward on a rising melody lines with supple flugelhorn pushed forward by Royston's active but respectful drums. The composer's powerful solo energizes Sipiagin, whose soaring solo is punctuated by the drummer's press rolls and splashing cymbals.

Photo: Anna Yatskevich

Throughout the recording, Rudy Royston plays like he's been released from solitary confinement  The album's opening track, "Call", may initially remind you of one of Wayne Shorter's open-ended pieces but the fire rising up from the drummer sets this piece apart.  Listen how Kozlov and Royston set a torrid pace that really pushes both the trumpeter and pianist to respond emphatically.  Later in the program, "SipaTham" (the title combines the composer's name with that of his wife Melissa Tham) is a response to the pandemic and how the world outside the couple's home is changing rapidly.  The give-and-take of the trumpet and piano, powered by the rhythm section, stands out.  The bassist's funky "Magic Square", was first played by Sipiagin and Kozlov when both were in school in Moscow in the 1980s.  The electric bass and the powerful drumming has the feel of Chick Corea's electric Return to Forever and Lennie White's dynamic power.  How Royston's explosive drumming did not blow the mute out of the trumpet I'm not sure, but the drum solo just might shake the speakers off the wall!

The title track closes the album on a high.  After Hirahara'a Fender Rhodes intro, the song flies forward on the strength of the drums and Kozlov's thunderous electric bass.  The piece features solos by the leader, Hirahara, and Royston whose brash solo sounds as if he's trying to chase away the pandemic with his hands and feet!  "Upstream" has plenty of power and beauty in its 55 minutes. Alex Sipiagin has made numerous albums with great rhythm sections (Kozlov appears on several as do drummers Antonio Sanchez, Eric Harland, Jeff "Tain" Watts, and Johnathan Blake) –– this recording is among the best!  

To learn more about the trumpeter, go to www.alexsipiagin.com/ (needs to be updated).  

Click here to hear "Sight":

Posi-Tone Records · Alex Sipiagin - Sight