There are many listeners of contemporary music no matter the genre are usually looking for spiritual uplift. Listeners say they love technical prowess or "new" sounds but what makes us return to music is how it moves us. Music is a "full-body experience" – for this listener, it usually starts with moving my feet, then enters into my brain, and finally into my heart. If it feels "real nice", play it twice. That's why I like the music of John Coltrane, of McCoy Tyner, Muddy Waters, Howlin' Wolf, Bill Withers, Bruce Hornsby, Bonnie Raitt, and others. And Anthony Branker. His music often makes one think, his titles lead one to investigate Black experiences and history, and his rhythms often bring you up out of your seat. Over the course of 10 albums, all released by Origin Records, he's assembled some of the best musicians, given them music to sink their creative teeth, and a created a lot of memorable performances.
Given the overt political nature of a good number of his albums (2013's "Uppity", 2014's, "The Forward (Towards Equality) Suite", and 2023's "What Place Can There Be for Us"), Dr. Branker's 10th album (and third with his group Imagine), "Songs My Mom Liked" takes a different tack. His 88-year old mother (she turns 89 on June 27) has been dealing with the ongoing effects of cognitive dementia. Dr. Branker has been driving her to appointment and elsewhere playing his albums in the car. His mother responded so positively to certain songs that he began to collect a group of them, rearranging them for this septet that features Fabian Almazan (piano), Linda May Han Oh (bass), Rudy Royston (drums), Pete McCann (guitar), Phillip Dizack (trumpet), Donny McCaslin (tenor and soprano saxes), and Aubrey Johnson (voice). Nine of the 12 songs are from Dr. Branker's earlier albums and none recorded by this particular group.
With different "voices" and approaches to the material, this program is brimming with energy, imagination, and joy. Right out of the gate, "Praise" jumps out of the speakers powered by the rhythm section with Royston's drums front and center. This is McCaslin's first recording with Dr. Branker and he shines throughout the program. Listen below to "Sketches of Selim" to hear how he and trumpeter Dizack interact and build off each other's solo. Fabian Almazan also brings a heightened sense of urgency to each one of his solos while his work as part of the rhythm section is a delight. The rollicking "The House of the Brotherhood of Black Heads" takes off at a blistering pace with Ms. Oh and Royston furiously pushing the group forward. Each of the soloists (Dizack, Almazan, and McCaslin) rides the rhythmic waves, sometimes behind the beat but mostly enjoying the frenetic drive. Later in the program, "To Be Touched (By the Spirit)" gives the listener an insight to one of the composer's touchstone influences; the power and glory of McCoy Tyner. Almazan's incredible solo stands out flowing out atop Royston's stunning drum work and the foundational bass playing. McCaslin comes roaring out out of the piano solo feeding the percussive fire even as his lines raise higher and higher. A richly melodic and percussive bass solo leads the band back to a quick reiteration of the main theme.
Aubrey Johnson is heard on "Three Gifts (From a Nigerian Mother to God", her lovely wordless solo reading of the theme opens the piece before Dizack and the band enter to repeat the theme. She can be heard in the background singing in unison with McCaslin's tenor. She drops out for the solos but returns to sing the melody and, later, counterpoint, in the background.
One of the other highlights is the trio version of "Imani (Faith)" with Ms. Oh and Royston laying down a reggae beat for McCaslin's tenor to soar and roar atop. The bass solo stands out for its melodic reach and bluesy intent.
Pete McCann performs on a couple of tracks including "When We Said Goodbye", where he states the handsome melody while producing a rippling solo supported by the responsive rhythm section. McCaslin builds off the energy of the guitar solo for his own splendid spot.
The album closes with the one song not composed by Dr. Branker. "If..." was composed by his daughter Parris at the age of 11! The proud father arranged the piece for the group with McCann replacing Dizack. It's a high tempo, high spirited conclusion to a most excellent program.
"Songs My Mom Liked" is a treat from start to finish. The excellent septet of musicians transform the 12 songs in the program into living representations of Dr. Anthony Branker's spirit, beliefs, and desire to communicate through music. There are moments where one hears the spirit of Art Blakey's Jazz Messengers, the fire of Max Roach, the cool burn of Miles Davis, the spirituality of John Coltrane and McCoy Tyner, and the Caribbean roots of his family (Trinidad and Barbados). These songs are glorious prayers to the power of belief, love, family, hope, and music. All of Dr. Branker's albums are recommended, all are excellent: "Songs My Mom Liked" is, arguably, the best he and his groups have yet produced.
Chances are good that, if you listen to jazz and/or attend concerts, you probably have heard vocalist Aubrey Johnson. She has worked and recorded with Bobby McFerrin, Andrew Rathbun's Large Ensemble, John Zorn's Mycale, Fred Hersch's Pocket Orchestra, and others. She studied at Western Michigan University and then studied at The New England Conservatory of Music in Boston, MA. Ms. Johnson also toured with her uncle, keyboardist Lyle Mays, who had written several pieces for her. Currently, she's on the faculty of both the Berklee College of Music and Queens College in New York City.
Over her years in Boston and New York, Ms. Johnson assembled a group of musicians, presented them with a repertoire of originals, covers, and standards; in 2017, the ensemble, composed of Tomoko Omura (violin), Michael Sachs (bass clarinet, alto saxophone), Matt Aronoff (bass), Jeremy Noller (drums), Chris Ziemba (piano) plus guest Vitor Gonçalves (accordion on two tracks), went into the studio and the results can be heard on "Unraveled" (Outside In Music). As you listen to the 10 tracks, one can tell this is a band that truly connects with the music and do their utmost to create a canvas that the voice can paint myriad sounds. The album opens with "No More I Love You", composed by the British duo The Lover Speaks which Annie Lenox covered quite successfully in the mid 1990s. As opposed to the "electronic pop" sounds of the original and the "hit" version, Ms. Johnson pick up the tempo, riding it forward atop the dancing drums, Ms. Omura's plucked and bowed violin plus the handsome bass clarinet sounds. Play attention to Ziemba's wide-ranging solo as well as how easily the vocalist moves through her impressive range without sounding forced or facile. This version is nowhere near as campy as Ms. Lennox's (based on her "Cabaret"-esque video).
The songs connect on multiple levels. Musically, the band is top-notch while many of the songs are emotionally rich. "Lie In Wait" (composed by the leader) pulls you on the strength of the human voice yet note the rich alto saxophone sounds (and powerful solo), the rich piano chords, and Aronoff's resonant bass lines. The violinist composed and arranged "Voice Is Magic"; with its spare melody, the music opens up to fine solo from the composer, Ziemba, and a sparkling wordless vocal interaction with Zach's bass clarinet. Also listen closely when Ms. Johnson sings the lyrics as they switch from Portuguese to Japanese.
The group takes the oft-recorded "Peacocks" (music by Jimmy Rowles, lyrics by Norma Winstone) and makes it their own. The ballad unfolds slowly, the bass clarinet rings out beneath the voice, Noller's gentle brush work, and the deliberate piano lines plus the lyrical alto sax solo caress and surround the voice with such care that even the intensity that builds in the second half of the piece is organic.
The album closes with Egberto Gismonti's "Karate", a playful vocal-piano-accordion interaction that includes breathless runs, classical piano riffs, and a sense of joy unleashed. When Ms. Johnson and Gonçalves sing and play the stunning phrases, it not only startles the listener but makes one laugh with pleasure. It's hard to find the albums Aubrey Johnson recorded with Ron Di Salvio and drummer Jimmy Cobb but the presence and confidence she displays on "Unraveled" reveals is such a positive for contemporary music as it moves forward!
When vocalist-educator-composer Jeff Baker speaks, one should pay attention. He has started his own record label – Next Music – and the initial release is the debut album of Sam Tru (not to be confused with Sam Tsui, hip hop artist who also records under the monicker Sam Tru). "Cycle" features her original songs (many co-authored by producer-mentor Baker) with the help of Clark Sommers (bass), Matt Carroll (drums), Justin Nielson (piano, keyboards), and guitarist Gregory Uhlmann. The title tune moves in on a rhythm that blends soul influences with West African guitar and flies on the strength of the rich vocal sound of Ms. Tru. That tune as well as the blues-infused "Doing Fine" brings Bonnie Raitt to mind. Ms. Tru has a impressive range never straining to hit higher or lower notes plus she articulates so that one hears every word.
These songs resonate in one's mind. The slow, simmering, "Not Enough Liquor" tells of the frustration of love and obsession – note how the band builds the tension beneath the lyrics. Even more powerful is "Please Don't Go" that fervently speaks to a lover; the drums really push this piece as the piano and guitars color in the background. "So Far Away" (not the Carole King song) speaks to a relationship in the midst of ennui. For the singer, time slows, drags, in the absence of a partner. Again the power of the rhythm section and Ms. Tru's heartfelt vocal drive the emotions in the song.
"Cycle" closes with "Wheel." At 9:22, it's the longest track on the album, a slow love song infused with a soulful vocal that takes its time to unwind. Uhlmann plays a subtle solo in the middle of the piece that leads back to the voice. The intensity picks up in the final two minutes as the lyrics reminds us that the "wheel" often turns back to the ones we love.
Sam Tru makes quite a positive impression with her debut album. If you are a fan of Bonnie Raitt, Sara Bareilles, and other vocalists who reach into the heart to tell their stories, then "Cycle" will please you. It's not a jazz vocal album but one hears so many possibilities in these songs that the future bodes well for this singer-songwriter.
Composer, vocalist, violinist, co-founder of The Knights, and educator Christina Courtin has her hands and feet in so many different genres. She and bassist Michael LaValle lead a group called Pilot Violet, she's worked with Lee Ann Womack, Doyle Bramhall II, Sara Bareilles, and many others in the folk, country, and classical worlds. Ms. Courtin has been recording as a solo artist since the mid-2000s with her first full-length album (self-titled) issued in 2009 on Nonesuch Records followed in 2013 with "Varsity" on High Pockets Records. She's now signed to Brooklyn Rider violinist Johnny Gandelsman's In a Circle Records and her new album "Situation Station" has just been issued
Knowing her classical background probably won't necessarily prepare you for the fascinating worlds Ms. Courtin creates on the recording. Despite the great number of musicians (see below), the lyrics are never crowded out by the instrumentalists. Her range is impressive – opening with "Japanese Maple Tree", a lovely, hypnotic, ballad that is reminiscent of both Randy Newman and Tori Amos that leads directly into the poppy "Stare Into The Sun" which, thanks to the whistling (listen below), would not sound out of place on a Bruno Mars album (and it sounds like Joni Mitchell). Listen to how Ms. Courtin's voice swells with The Knights on "Bouquet" and how she rocks impressively on the country-rock on "Life So Far" (listen to the strings "rock out").
From the beginning of the program, one is impressed by the vocal range and creativity of Ms. Courtin. The title song channels Harry Nilsson and The Beatles with a delightful melody, swirling strings, and a mid-section that rocks hard. "Coyote Midnight" opens with trance-like electric piano over which the vocal tells the story of a broken relationship. There's powerful tenor sax from Doug Wiselman and a chorus reminiscent of some of Don Henley's ballads. The tension between the rising strings, the torrent of notes from the saxophone, and Ms. Courtin's emotional vocal pull the listener in looking for release and relief.
"Situation Station" closes with "You Held Me Up", another powerful ballad with The Knights as accompaniment (watch the video below). Again, there's a touch of Randy Newman in the arrangement and the song is short but ever-so-strong. Christina Courtin has made a recording that stands out in a year of impressive albums, the program bursting with creativity and excellent musicianship plus songs that not only entertain but touch the heart. Listen, listen with open ears and mind.
Christina Courtin - vocals, violin, whistle, electric celeste Greg Cohen - acoustic bass Danny Fox - piano, prepared piano, Rhodes, electric harpsichord Michael LaValle - electric bass guitar Chris Parker - acoustic guitar, electric guitar, mandola, slide guitar James Shipp - synthesizers, sequence, shruti box, riq Doug Wiselman - tenor saxophone ("Coyote Midnight") Kenny Wollesen - drums Plus:
The Knights, Eric Jacobsen - conductor
Violins Christina Courtin, Sonya Chung, Nana Iwata, Colin Jacobsen, Ariana Kim, Salley Koo, Michelle Lie Yaira Matyakubova, Ross Snyder . Violas Kyle Armbrust, Mario Gotoh, Miranda Sielaff, Alissa Smith Cellos Andrea Lee, Karen Ouzounian, Caitlin Sullivan, Michael Unterman
Flute Alex Sopp Clarinet Agnes Marchione Bassoon Eddie Burns Horn Mike Atkinson Bass Logan Coale
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