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Here's a few suggestions:
Trombonist/tubaist, composer, and educator Bill Lowe has created this work partially based on Jean Toomer's groundbreaking 1923 novel "Cane" as well as a musical biography. The program also includes compositions from Frank Foster whose Big Band the trombonist performed with months after moving to New York City and Bill Barron who was not only a fine composer but a Professor of Music at Wesleyan University when Lowe was a Visiting Artist-in-Residence (Author's note: Professor Lowe taught in the Graduate Liberal Studies Program and was my first teacher when I went there to get my Master's Degree). For this album, Lowe organized the Signifyin' Natives Ensemble featuring Taylor Ho Bynum (cornet, flugelhorn), Hafez Modirzadeh (alto saxophone, percussion), Luther Gray (drums), Ken Filiano (bass), Kevin Harris (piano), and the impressive young vocalist Naledi Masilo.
Here's "Karintha" one of the three tracks from the "Cane Suite":
Here are several more suggestions (both of which I purchased):
The Pan Afrikan Peoples Arkestra – "60 Years" (self-released) – This, hopefully, is the first of numerous retrospectives of the six decades of music created by the PAPA, founded in Los Angeles. CA, by pianist and composer Horace Tapscott. It's a great story of perseverance, creativity, promise, and self-determination.
Listen to "The Ballad of Deadwood Dick" recorded in 1995:
James Brandon Lewis/Red Lily Quintet – "Jesup Wagon" (TAO Forms) – This impressive album has been out for several years and should be in everyone's collection. Based on the life and work of American botanist George Washington Carver, tenor saxophonist Lewis created the music with an impressive ensemble including long-time associate Chad Taylor (drums, mbira), Kirk Knuffke (cornet), William Parker (bass, gimbri), and Chris Hoffman (cello). Powerful story, powerful music!
There was a time in the United States during the early years of Rock & Roll when the occasional instrumental would enter the Billboard "singles" charts. Imagine the surprise of many radio listeners in the Spring of 1961 when "Take Five", a Paul Desmond composition from the Dave Brubeck Quartet's 1959 Columbia Records album "Time Out" leapt into the Top 40. Pianist Brubeck, alto saxophonist Desmond, bassist Eugene Wright, and drummer Joe Morello were already traveling the world as well as experimenting with odd time signatures before they recorded "Time Out" but that was the first album that showcases the group's prowess over an entire program. The powers-that-be at Columbia Records edited the 5-minute album track down to under three (truncating the famous drum solo) and the song, played in 5/4 time yet feeling like a waltz, became a big hit.
2020 is the 100th birth anniversary of Brubeck while 1961 will be the 60th anniversary of the Top 40 appearance of "Take Five." To commemorate both milestones, the Brubeck Family has authorized the release of "Time OutTakes" (Brubeck Editions)––the eight tracks, all previously unissued, include two musical tracks not on the original album plus alternate takes of five songs that were as well as a 4-minute+ cut of "studio banter" of the group members with producer Teo Macero. The revelation here is "Take Five". Recorded at the end of the first frustrating day in the studio, the song is taken at a quicker tempo and Morello's drum solo is "heavier", neither as subtle nor melodic as the final album track recorded six days later. The original album's other major highlight (for many) "Blue Rondo A La Turk", is not substantially different than the "final" take––the extended piano solo illustrates Dave Brubeck could play blues piano very nicely not to forget Desmond's own sweet solo over the bass and drums.
The lively Brubeck tune "I'm In a Dancing Mood" is a treat, a piece with Morello's dancing drums that the Quartet often played in person but left off the 1959 album. It's easy to hear the various time changes through the piece with the drummer often leading the way. "Watusi Jam" is a trio piece (sans Desmond); the track features an extended drum solo, very elemental (one can really hear the African roots of drumming). If it was considered a "warm-up" for the evening recording session, this track illustrates that this group of musicians were always working on new ideas.
"Time OutTakes" serves as both a reminder of how the Dave Brubeck Quartet was one of the rare jazz ensembles to reach many different audiences and how much the four members of the group enjoyed each other's company and talents. Historically important? Yes! Fun? Very much so! A welcome addition to the Brubeck discography.
I so rarely review "Holiday" albums but I just received a delightful recording that is spirited without being sarcastic.
Out of nowhere.....really Denton, Texas, comes the Simeon Davis Group and its debut recording, "Bah Humbug: An Absolutely Unnecessary Christmas Album" (self-released). Self-deprecating title aside, this is actually a delightful collection of 11 songs associated with the December holiday, many of them classics plus others from the European folk tradition. Besides the leader on alto saxophone, the quartet includes Jake Chafee (electric and acoustic bass), August Knobbe (acoustic and electric piano), and Joshua Parker (drums). They approach the pieces with an eye on honoring the influences including musicians such as Art Blakey, James Brown, The Bad Plus, John Coltrane, and others. The band calls how they create the pieces as "derangements"; fair enough, but this music is hardly "crazy." Great fun, however.
The album kicks off with a funky take of "Let It Snow" before jumping into a be-bop take of "Santa Claus Is Coming to Town." The former has a delightful kick while the latter absolutely jumps from the get-go. Kudos to Knobbe and the leader for their "hot" solos on "Santa Claus...". Vocalist Rachel Azbell adds her husky alto to a "cool" reading of "God Rest Ye Merry Gentlemen". Her pleasing scat vocal leads directly into a fine solo from Davis. Elsewhere, we get a spicy "Deck The Halls" which has traces of the Dave Brubeck Quartet, of Sonny Rollins "St. Thomas" as well as the Jamaican feel of Monty Alexander. Parker's hand drumming stands out as does the delightful alto solo. The album closes with "We Wish You a Merry Christmas"––you can hear the song's English folk roots and revel how, during the body of the piece, the quartet opens the music up, playing with the tempo, the original melody, and more.
There's one track that Davis recorded two years ago with a different ensemble; "You're a Mean One, Mr. Grinch" packs quite a punch. The lead vocal, performed by Ken Ballard (who also plays keyboards) is shadowed by Callandra Youngelson and pushed forward by the active rhythm section of
Kyle Dugger (drums) and Alex Hodge (electric bass). The combination of electric piano and the vibraphone of Destin Wernicke makes for a pleasing background. The performance has different textures than the rest of the program yet is not out of place.
No, the Simeon Davis Group has not created the musical equivalent of a Holiday stocking full of coal. Instead, "Bah Humbug: An Absolutely Unnecessary Christmas Album" should bring a smile to those who enjoy music that takes chances by playing with tradition but does so in the spirit of creativity and fun. A delight-filled present!
Like most musicians, clarinetist and composer Ben Goldberg had a busy Spring and Summer 2020 planned with concerts, tours, recordings, etc. By the middle of March, all that had evaporated and he was sitting home shocked, wondering what to do until the world reopened. After a few days of contemplation, Goldberg decided to record one song a day in his home studio. He has a number of instruments, acoustic and electric––Bb Clarinet, Eb Albert System Clarinet, Contra Alto Clarinet, Roland JX-03 Synthesizer, Korg MS-20 Synthesizer, Empress Tape Delay Pedal, Memory Boy Analog Delay––and so, on March 19, he posted his first piece in his Bandcamp page, dubbing the sessions the "Plague Diary". The recordings are free but donations are welcome; the address is below.
Goldberg posted one track each and every day until April 7. Since then, he's averaging five to seven pieces a week (from April 30 to June 28, he did not miss a day) and has yet to go more than two days between pieces. As of this writing (9/14/2020), the clarinetist has posted 148 separate recordings. Some are experimental while others have delightful melodies and playful treatments. Some tracks last no more than 90 seconds while others are multi-sectioned, episodic, and are over 17 minutes long. All of it is fascinating. While we do not know the thought processes behind the songs, many of the pieces are dedicated to musicians he has worked with (such as Ron Miles and Myra Melford) and others who have inspired him (Charlie Parker, family members).
Later this year, bassist, composer, arranger, bandleader, and conceptualist William Parker will release a 10-album set. Titled "Migration of Silence Into and Out of The Tone World" and released on Parker's Centering label, each disc features different artists, many with vocals, playing the bassist's iconoclastic "world" music. Long-time listeners will recognize a number of the collaborators (such as vocalists Kyoko Kitamura, Ellen Christi, and Fay Victor, vibraphonist Matt Moran, pianist Eri Yamamoto, percussionist Hamid Drake and others. Parker not only plays bass on most of the album but also guembri (a three-string instrument from Africa with the range of a bass), muted trumpet, plus percussion and wind instruments.
To whet one's appetite (and with a plea to contribute to help bring the project to light), Parker has issued "Trencadis", an online release through Bandcamp. The name of the compilation comes from Catalan and means "bits and pieces of broken tiles and chinaware glues together to make type of mosaic" (the cover painting gives one that idea). Go to williamparker.bandcamp.com/album/trencadis-a-selection-from-migration-of-silence-into-and-out-of-the-tone-world where you can listen to one track from each album and then make a donation to support the box set's release. If you are a long-time fan of Parker's music, you know the universal range of his music. If you've not check out his music ever, this sampler is a taste of his overall oeuvre. Either way, this music is powerful, contemporary, timeless, and emotionally powerful.
Here's the track that features Ms. Christi, Jalulu-Kalvert Nelson (trumpet), Mr. Parker (bass, percussion, bells, synth), and the voice of James Baldwin:
Saxophonist, clarinetist, and composer Byron Asher moved to New Orleans a decade ago to attend college and earn his MMA (Masters of Musical Arts). The Maryland native became so engrossed in the sounds of the city that he has stayed. He currently co-leads several groups and is a member of several others. Like many transplants to the Crescent City, Asher has become absorbed in how the music, the city, and the citizens are all intertwined. Thanks to an Artist's Residency that the composer received from Tulane University, Asher not only had the time to write music but also create an Oral History project with the elders of New Orleans clarinet players. He created a 10-member ensemble including four reed players, three brass (including cornet, trombone, and sousaphone), piano, bass, and drums – see list below.
Asher and the ensemble went into the studio in winter of 2018 and the results can be heard on the album "Brian Asher's Skrontch Music" (Sinking City Records). The name "Skrontch" is not native to New Orleans but is the title of a 1938 piece by Duke Ellington that he used on his experiences working in Harlem's Cotton Club (check out Duke's version here). Asher's recording is composed of five original pieces, with most of them including pre-recorded voices, old recordings, excerpts from musician interviews, etc. The first track, "Blues Obligato", opens with the ensemble quietly in the background as recordings by Bessie Smith, King Oliver, Mamie Smith, and others weave together in a sound collage. Slowly the ensemble takes over with various instruments rising to the top of the mix. When that section is concluded, the three clarinet players play an unaccompanied somber melody for a moment before James Singleton's funky bass and Steve Glenn's sousaphone mesh with drummer James Thibodeaux to create a funky rhythm. The main melody, really one long line repeated over and over by different instruments with a touch of counterpoint, slowly opens up for a solo section that features a call-and-response featuring the clarinet of Aurora Nealand and the trombone of Emily Frederikson. The other front lines return and we hear a collective improvisation.
"Aural History" opens with a handsome ensemble melody before the music fades and is replaced by several different voices that belong to Crescent City clarinet stars of the early 20th Century. Listening to their stories, one gets a fascinating and compelling picture of life in the early 20th Century. Meanwhile, the music is respectful, bluesy, playing underneath as a celebration of these musicians. As the voices fade, the ensemble steps forward with the melody played by various sections. Near the end, there's lovely soprano saxophone playing from Reagan Mitchell.
The album closes with "Elegy" and "After This, That", musical meditations on the present day with melodies and rhythms that have organically grown from the roots of the musical forefathers and mothers. The leader creates a long and passionate clarinet solo on the final track while the rhythm section kicks up a storm. Mitchell (soprano sax) and Ms. Nealand (alto sax) also make powerful statements while Singleton plays counterpoint (he also takes a wonderful arco bass solo) and Thibodeaux dances around his drum kit.
"Byron Asher's Skrontch Music" was issued in late October 2019; it's musical and emotional impact will last for years. Byron Asher did his homework and created this suite of music that encompasses the width and breadth of both the history and music of New Orleans (from the Jazz Age forward). Listen closely – there's much to be learned from all the voices that will move into your ears and your consciousness.
Byron Asher, clarinet and tenor saxophone, compositions Ricardo Pascal, clarinet and tenor saxophone Aurora Nealand, clarinet and alto saxophone Reagan Mitchell, soprano and alto saxophones Shaye Cohn, cornet Emily Frederickson, trombone Oscar Rossignoli, piano Steve Glenn, sousaphone James Singleton, upright bass Paul Thibodeaux, drumset
Nutria, the trio named for a Louisiana swamp rat that Asher formed with bassist Tim Boudreaux and drummer Shawn Myers in 2014, issues its third recording on Valentine's Day 2020. Titled "Meeting In Progress" (ears&eyes Records), the recording, made in the waning days of December 2018, presents a portrait of a group that is comfortable pushing each other forward, making music with an impressive dynamic range, a clean sound, and inviting the listener to enter into a sonic adventure that eschews labels and styles.
Each musician contributes, at least, two original compositions – still there is a unity in sound throughout the program. Asher contributed four pieces to the eight-song program including the title song that serves as the opening track. One can really hear the Air influence here especially in how the composer changes the melody and the rhythms throughout the piece. Asher's buzzing bass clarinet introduces "Once Annual Elegy" – his quiet solo is underscored by strong bass counterpoint and fine cymbal colors. The leader's other two contributions both bear names familiar to residents of Northern New England. The sublime ballad "Tremont ME" finds Asher on clarinet and Myers's brushes setting the pace while "Monadnock" (a mountain in New Hampshire bears that name) is a ballad for tenor saxophone yet notice how all three share the melody line. This is contemplative music that makes one listen closer.
Myers's drum work reminds this listener of New Orleans native Ed Blackwell as well as Chicago, IL, native Steve McCall (perhaps best known for his work with Trio Air). He also composed the exciting "Forth" which rumbles forward on impressive drum beats, throbbing bass, and the composer's . Myers is also responsible for the final track. "Lake Solitude" has a slow walking bass line, a melody line that contains echoes of Australian alto saxophonist Bernie McGann. Pay attention to the conversational drums and how Asher's tenor sax solo has such a "cool" feeling. Boudreaux's "The Mission" also alludes to Air, displaying a Henry Theadgill influence, especially in the quirky yet emotional melody. The bassist's solo is also fascinating, especially for its melodic lines and how Myers chooses to move beneath them.
"Meeting In Progress" is the work of three friends, musicians who listen and respond to each other without making a big deal about being technically impressive. No one voice is more important than any other – the trio's objective is to weave their life experiences into this music and see how it resonates with the listener. Nutria, the animal, lives on riverbanks, often congregates in large colonies, is mostly a herbivore, and can be dangerous to local landscapes. Nutria, the New Orleans-based trio, creates a musical environment hospitable to those willing to take the time to test the waters and then dive in!
Guitarist and composer Miles Okazaki has proven to be quite an adept person in the Contemporary Music scene. His 2018 recording of "Work (the Complete Compositions of Thelonious Monk"), which is a solo guitar exploration of the man's oeuvre, was fascinating and still reveals new layers each time one returns to it. Now, he's back with his Trickster quartet – Matt Mitchell (piano, Fender Rhodes, Prophet-6), Anthony Tidd (electric bass), and Sean Rickman (drums) – his "electric" adventure into and out of inner worlds and myths (if you want to understand the music's back story, go to www.milesokazaki.com/albums/the-sky-below-2019/ and read the "liner notes.")
Listening to this group's second recording "The Sky Below" (Pi Recordings), even without the notes, is a fascinating experience. There are links to the "jazz-fusion" of the 1970s, e.g. Chick Corea's electric Return To Forever as well as to the sounds saxophonist-conceptualist Steve Coleman has been making with the M-Base Collective for the past three+ decades. The Coleman connection also includes his current rhythm section of Tidd and Rickman, chosen for its ability to lay down the foundations plus be part of the melodic explorations. Listen to the three-way dialogue on the opening cut "Rise and Shine" between Okazaki, Mitchell (who replaces Craig Taborn from the first album), and Tidd, how each musicians has a complimentary melody to what the other is playing. When Rickman's expressive drums are added, the piece takes off in a different direction. Notice how Tidd sets the pace on "Dog Star", how the melody is built off his bass line, and how the different keyboards of Mitchell move in and around Okazaki.
The blend of acoustic guitar and drums at the onset of "Seven Sisters", with the leader handling the melody (and the bassist the foundation) while Rickman s the "lead" voice is impressive. The piece picks up intensity when the drums fall into the beat and Mitchell engages in a dialogue with Okazaki's electric guitar (note the acoustic piano is locked in with the bass while it's the Prophet-6 interacting with the leader). The subtlety in the arrangements, even as the music moves from a roar to a whisper, stands out.
There is so much to take in as you listen to "The Sky Below"; note the use of layering keys and guitars and how the activities of the rhythm section add so much to how the music stands out. Miles Okazaki, who has been touring Europe with his "Works" music as well as being part of Mary Halvorson's Quartet playing the music of John Zorn, produces music with Trickster that will not only challenge the listener but make them move their feet!
Pianist and composer Marta Sánchez, born and raised in Madrid, Spain nonliving in New York City, is, like many of her contemporaries, a very busy musician. She first came to the US and to New York in 2011 on a Fulbright Scholarship – she studied at New York University and soon formed her Quintet. Ms. Sánchez had led a trio and quartet while living in Spain, recording several albums as well as working as a sideman for numerous projects. Her US group included the rhythm section of bassist Sam Anning and drummer Jason Burger plus saxophonists Roman Filiu (alto) and Jerome Sabbagh (tenor). They released their first album in early 2015 on Fresh Sound New Talent. By 2017 when the second album was issued (also on FSNT), the rhythm section now included bassist Rick Rosato and drummer Daniel Dor.
The Quintet, now with tenor saxophonist Chris Cheek instead on Sabbagh, now has its third album. "El Rayo de Luz" (FSNT). On the second album, "Danza Impossible", Ms. Sanchez created much of the program to have the feel of dancing, swaying, and that trend is continued on the new recording. Thete is also a touch of mystery to the stories the band tells on these eight songs. The mix of Filiu's alto and Cheek's tenor also gives the music, especially on the opening "Cascadas", a sense of urgency. Pay attention to how easily the rhythm section moves as well as to how Ms. Sánchez "colors" in the background. Her solo starts quietly and, while it does pick up in intensity, it's also a pleasure to hear how she expands the melody and her thoughts throughout the improvisation. The next track, "Parmesano", continues in that same vein but now Dor is responding to the soloists and pushing them forward.
Photo: Tayla Nebesky
"Nenufar" is a handsome ballad that on which Ms. Sánchez creates a lovely long solo. Cheek continues along a similar road that the pianist created until Filiu reenters and the song moves to its close. The combination of the saxes on the circular phrase that opens the title track is so seductive that the pianist and bassist pay a version of it. As the piece expands, the saxes move in and around each other, coming to together for unison and harmony lines. As the dogs moves into the solo section, note the work of Rosato and Dor, the simple bass patterns (simple in that there are few notes) and the dancing cymbal work over the insistent piano creating a rhythm cushion for Fillies exploratory solo. The bassist gets a short spotlight that is so melodic that it adda to the music rather than slows it down.
By the time the band and the listener reach the final track, one realizes how special this music is. Though the cut is titled "Unchanged", one cannot help but be changed by the music Marta Sánchez and the Quintet play here. There's traces of Wayne Shorter and Guillermo Klein in the rhythms and melodies but neither the composer nor the musicians imitate anyone. The Quintet are familiar with the material that Ms. Sánchez created for them; one can tell they truly listen to each other and are comfortable taking chances. Try and see this ensemble live!
Since first coming to critical notice in 1990, Avram Fefer (alto, tenor, soprano, and baritone saxophones, clarinet, bass clarinet, flute, alto flute) has created music that can melt your speakers as well as pieces the can melt your heart. Fefer studied at Harvard, Berklee College, and the New England Conservatory of Music. In his 20s, he moved to Paris, France, playing with numerous US ex-patriates such as Archie Shepp and Sunny Murray as well as groups from Senegal and the Arab world. He has worked with David Murray's Big Band, Go: Organic Orchestra, Greg Tate's Burnt Sugar, and bassist Michael Bisio. His debut as a leader was issued by Cadence Jazz Recordings and featured bassist Eric Revis who has graced a number of his bands and recordings.
His new recording, "Testament" (Clean Feed Records), is his 15 or 16th album was a leader. It's credited to the Avram Fefer Quartet and features Revis, drummer Chad Taylor (who's been a member of Fefer's trio for over a decade), and guitarist Marc Ribot. The eight tracks from the swinging "Dean St. Hustle" that opens to the album to drummer Taylor's prayer-like tribute to the late African bassist "Song For Dyani" (the only track on the album not composed by Fefer). A West African feel permeates "Wishful Thinking", a piece that features splendid drumming by Taylor and foundational bass work from Revis. The Quartet takes its time to get through the melody but then Fefer take off on a lengthy and playful solo, pushed forward and higher by the rhythm section. Ribot takes over and digs right into a loud solo that rides over the powerful beats. Fefer reenters for a wild moment dropping back to the bass and drums and the opening theme.
The title track roars forward on the interaction of the sax and guitar while Taylor thunders under them and Revis gets in on the melody. The music never gets into a rhythmic flow which allows everyone to "attack" the piece. After the tenor sax solo, Ribot tears the speakers to shreds while Revis and Taylor go on a sonic rampage (the drummer must be in great shape as he never lets down through the entire song and that includes his interactions with the bassist that leads to the final moments of the song). The final piece, "Essaouria", is named for the Moroccan coastal city on the Atlantic Ocean. Taylor and Ribot set the sensual mood with Revis's insistent bass line moving the piece forward. Fefer's handsome melody sings out, not forced with the guitar chords ringing alongside. The intensity picks up during the sax solo yet the rhythm section takes its time. Ribot's solo is quite rhythmical, having fun interacting with Taylor and Ribot. The music flows, often floats, and keeps its cool throughout.
"Testament" is an excellent collaboration between the four masters who make up the Avram Fefer Quartet. Fefer, Marc Ribot, Eric Revis, and Chad Taylor play with fire, conviction, and plenty of joy. This, too, is a band worth seeing live but the album truly captures the essence of this powerful music. Play it loud!!
You'll note that all three of the music samples above come from Bandcamp.com. You can buy the music and be assured that the artist gets a higher share of the profit than from other streaming services (especially if you use Spotify).
The joy of teaching (for me, it is quite a joy) always gets in the way of reviewing. With the weekly influx of albums, worthwhile music gets pushed to the back of the shelf. Such is the case with these two albums. As the great Charlie Parker so nicely stated on his 1945 Savoy recording, "Now's the Time"!
Photo: The Fresno Bee
As someone who has been a fan of poet Philip Levine (1928-2015) for over three decades, when the album "The Poetry of Jazz" (Origin Records) arrived in the mail in early March of this year, I was thrilled. This collaboration with alto saxophonist and composer Benjamin Boone began in 2010 when Boone met the poet on the campus of Fresno State University in California. Levine was a "jazz poet" throughout his career, his collections peppered with poems about Erroll Garner, Charlie Parker, John Coltrane, and others. I once saw and heard Levine read at Wesleyan University in a duo setting with a vibraphonist, a fascinating combination of melody, words, and rhythm.
For their collaboration, Boone composed music to fit Levine's words and his voice. He surrounds that voice on most tracks with the fine rhythm section of David Aus or Craig Von Berg (piano), Spee Kosloff or Nye Morton (acoustic bass), and Brian Hamada or Gary Newmark (drums) plus a slew of guests. Many listeners will be attracted by the appearance of tenor saxophonist Chris Potter on "The Unknowable (Homage to Sonny Rollins)", trumpeter Tom Harrell on "I Remember Clifford (Homage to Clifford Brown)", alto saxophonist Greg Osby on "Call It Music (Homage to Charlie Parker)", and tenor saxophonist Branford Marsalis on "Soloing (Homage to John Coltrane)" - those songs are fascinating with great playing from all involved supporting poems that speak to the joy of the musicians they pay tribute to.
Yet, there are many other treasures on this 14-song program. The sweet homage to "Yakov", an immigrant whom the poet met as a young man working in an automobile factory in Detroit. Boone contributes a wonderful soprano saxophone solo, keening high above the band withy support from the trumpet of Max Hembo. One of Levine's most famous poems (a poem he wrote in 1968, a year after the riots in Detroit), "They Feed They Lion", arrives in a frenzy of soprano saxophone, trumpet, and French horn (the brass played by Boone's sons Atticus and Asher) - it's a riot of sound and fury.
Nat'l Endowment for the Arts
The album closes with "What Work Is" (another of Levine's most famous works as well as the title of one of collections), a lovely recollection of the poet's older brother who worked on the third shift at the Cadillac factory while studying opera during the day. It's a stunning piece, especially with Boone's alto saxophone wrapping around Levine's voice, a handsome way to end a powerful program.
If you have never encountered the poetry and essays of Philip Levine, please check him out. Benjamin Boone is a new name to me. A native of North Carolina, he studied at the University of Tennessee and did graduate work at Boston University and University of South Carolina. He has performed in many countries around the world and did work as a Fulbright Scholar in both the former Soviet Republic of Moldova and in Ghana. This album was recorded at four different sessions over the course of two years (2012-2014), then took a while to find a home and was finally released in late March of this year. Find the album, dig into the program, go back to the music and to the poetry, and celebrate this brilliant collaboration.
"New York Stories" (Sunnyside Records) is a delicious collaboration featuring the words and voice of Judy Niemack, the arrangements of Jim McNeely, and the powerful playing of the Danish Radio Big Band. The nine-song program was actually recorded/broadcast in November of 2013 but not released until August of this year (Ms. Niemack's second CD for Sunnyside). Her supple voice, fine scat singing, and intelligent lyrics pay homage to how the blues influenced jazz, telling stories splendidly framed by McNeely.
The title track is an episodic journey to the vocalist's current residence. Note how the beat changes from the bluesy, even sultry opening section, getting "funky" in the middle as the brass and reeds play phrases from the oeuvre of Thelonius Monk and Charlie Parker. Five of the nine come from Monk. First, the ensemble digs into "In Walked Bud" which carries the name "Suddenly" and spotlights the lyrics of the late Jon Hendricks. It's one of the first arrangements McNeely wrote for Ms. Niemack (1993) and one can understand why the vocalist loves it. It allows her to be sassy and for her voice to move in and out of the sections before and after the solos. Elsewhere, Ms. Niemack and Mr. McNeely turn "Misterioso" into "A Crazy Song to Sing"; the opening would fit one of Alfred Hitchcock's movies but once the vocalist enters, the piece turns brighter. Slowly but surely, the music becomes a journey into the blues and then into big band euphoria.
The album also includes the vocalist's take on Clifford Brown's "Daahoud", here titled "I Should Have Told You Goodbye" - she most certainly captures the joy in Brown's music and joins in on the soloing with her vocal flight of fancy. The ensemble inhabits the reading of Sting's "Fragile", a plea for peace in the war-torn areas of Central America. Accompanying Ms. Niemack's articulate vocal is an arrangement that lifts off from the rhythm section to places where the brass and reeds dance together that is both emotionally and melodically rich.
The album closes with the appropriately placed "It's Over Now", a delight-filled journey through Monk's "Well You Needn't". Everybody jumps from the get-go with the rhythm section kicking along as the sections respond and retort to the soloists. It's so much fun that it makes this listener want to go back to the beginning of the disc and start the 75-minute merry-go-round one more time.
"New York Stories" is an aural treat, a celebration of music that puts the spotlight on the voice and words of Judy Niemack and the delightful arrangements of Jim McNeely. Kudos to the Danish Radio Big Band (musicians listed below) whose involvement helps to make this journey such an excellent one!
Pianist and composer Emilio Teubal, the son of Argentinean parents who were in exile in Spain at the time of his birth ands returned to Buenos Aires when he was eight years old, first came to my attention with his fine 2013 BJU album, "Musica Para un Dragon Dormido." His new recording, "Memorias de Otro Tiempo" (Music of Another Time), finds him in a trio setting with acoustic guitarist Federico Diaz and clarinetist Ivan Barenboim as well as on a new label, Not Yet Records. I wrote of the earlier album "Teubal has woven threads of numerous musical styles into his compositions without losing touch with his "roots." The same is true here but the smaller ensemble allows the listener to hear his impressive work at the keyboard where he supplies melodies, harmonies, and, often, the rhythmic flow.
The forward motion of pieces such as the title track, "La Inquieta", "Playing", and "El Orzuelo" will remind listeners of Astor Piazzolla and Guillermo Klein yet Teubal is no mimic. Guitarist Diaz is quite percussive on "El Orzuelo" with his powerful strumming in the opening section and his pounding on the body of his instrument during the powerful piano and clarinet interaction. He takes a similar approach on the opening of "La Inquieta" before he joins the piano and clarinet in the escalating melody lines (Teubal's left hand builds an excellent foundation for the melody and the interactions). The trio chases after each other in the delightful romp of the solo section. It's joyous, impressive, and certainly breathtaking music. The previous track, "Playing", is a delight-filled solo piano piece that one might expect at the close of the program. Here, it's in the middle of the album, literally pulling the listener into the songs that follow.
The ballads are equally as breathtaking but for other reasons. "April 7th" opens with bass clarinet, soft guitar, and slowly unwinding piano melody. As the intensity builds, so does the emotion. The piano gives way to a plaintiff clarinet melody with smart counterpoint from the guitar. There is a melancholy sadness to "En la Dia de los Muertos (An American Tragedy)", not surprising since the pianist composed the piece on the November 2016 night of the US Election Day. With that amount of gravitas, one is temper to read many things into the music. Put that out of your mind and let the music flow into your ears and get wrapped up in the excellent interaction of the trio.
Memorias de Otro Tiempo" is truly lovely music Well-played, intelligently composed and arranged music that plays to the strengths of the trio. On this, his fourth album as a leader, Emilio Teubal not only displays his great talent but also a emotional depth that makes this music personal and universal. Listener, sit back and let the music wash over in and take over your mind. Don't worry about labels such as "Chamber jazz" or "South American folk music", just listen.
Drummer and composer Jeff Williams is, perhaps, best known for his work with Stan Getz and with Dave Liebman and Richie Bierach in Lookout Farm. He's played with many great artists but did not record as a leader until the 1990s when he released two small group albums on SteepleChase Records and Willful Music (his own label). Whirlwind Recordings has issued four albums since 2011, the latest being a live date from June 2017. "Lifelike" features a group that expands on the 2016 quintet that recorded his previous album "Outlier"; pianist Kit Downes, bassist Sam Lasserson, and tenor saxophonist Josh Arcoleo return and are joined by alto saxophonist John O'Gallagher (who appeared on Williams's first two Whirlwind albums) and special guest, trumpeter Gonçalo Marquez.
photo by John Rogers
The sextet rambles, rumbles, and rocks through seven Williams originals, several from earlier albums. There is plenty of fire in the performances, from the powerful drive of "The Interloper" to the relentless tension of "Dream Visitor" to the hard-edged "Double Life." Yet, it's hard not to be seduced by the subtle tempo changes and searching quality of "Under The Radar". Marquez's solo on the tune belies the fact that this is the first time he played with this time yet he connects with the rhythm section for a powerful solo. Lasserson's melodic bass solo at the opening of "Lament" sets the tone for the lovely ballad. With O'Gallagher's lovely alto sax on the melody, the piece rises gently on Williams's skittering brush work and Downes's excellent piano solo. There are moments on this album when one is reminded of Keith Jarrett's work with his American Quartet (Dewey Redman, Charlie Haden, and Paul Motian). This is one and so is the the exploratory "Canção do Amolodar" where the trumpet and saxophones ride atop a powerful wave of percussion, piano, and throbbing bass.
photo: Danielle White
Thanks to the excellent sound quality, one feels as if he is in the audience of London's Vortex Jazz, right in the middle of the action. Jeff Williams is one of those leaders who also is in the middle of the action without hogging the spotlight. Tenor player Josh Arcoleo continues to mature and blends well with O"Gallagher's alto. Downes stands out for his melodic and adventurous playing while Lasserson is solid and strong. Marquez is a new name, a graduate of Berklee College who also blends well in the front line plus creates several exciting solos. All told, "Lifelike" is full of life, an hour of progressive music not beholding to any genre other than than six musicians fully involved in playing in the moment.
Walter Smith III is one of the cadre of musicians who hail from Houston, Texas, who are important members of the contemporary music scene (a group that includes pianists Jason Moran and Robert Glasper, bassist Christian McBride, and drummer Eric Harland). Both McBride and Harland are present on Smith's new album "Twio" (Whirlwind Recordings) with the bassist billed as a special guest (he's on four of the nine cuts). Harish Raghavan also plays bass on four tracks: he's toured and recorded with Smith3 for several years when he's not touring with trumpeter Ambrose Akinmusire.
Smith3 and Raghavan are part of Harland's Voyager ensemble also it's easy to hear his comfortable they are with each other. Listen to how they dive into Wayne Shorter's "Adam Apple", not only making sure one hears the melody but also with solos that are inspired and powerful. They swing the daylights out of Jerome Kern's "Nobody Else But Me" and take an adventurous stroll through Thelonious Monk's "Ask Me Now." When Harland and Raghavan drop into the rhythm for the first part of the tenor solo, the listener feels like settling in. The fun here is that the tempo changes, gets friskier, then calms down, heats up again. Dig the delightful sax cadenza right near the end.
There are also a pair of impressive duo tracks. Harland and Smith3 give a sweet reading to "We'll Be Together Again", taking their time to make sure you hear the melody. The tenor solo is drenched in the blues and rarely strays from the melody. Harland stays close to the beat but still manages to prod the tenor forward. McBride joins Smith3 for a sweet traipse through Gigi Gryce's "Social Call" - it's fun to hear how the two interact, sometimes hewing close to the melody, other times dancing around each other with glee.
"Twio" stands out for many reasons, not the least of which is how much fun the musicians are having in the studio. Walter Smith III displays a "clean and clear" sound with little vibrato and his solos steer clear of cliches. With "Contrafact" the only original tune, the musicians make these standards anything but "standard." What a treat from start to finish!
Chances are good if you have been listening to jazz and creative music for the past four decades, you have run across the drummer Adam Nussbaum. He has worked extensively with saxophonist Dave Liebman, the late guitarist John Abercrombie, bassist Steve Swallow, saxophonists Jerry Bergonzi and the late Michael Brecker, composer-arranger George Gruntz, even the Allman Brothers Band, and many more. Nussbaum is one of those musicians who makes everyone him sound better because they never have to worry about the beat disappearing. Plus, he is one of the finest cymbal players extant
Now, at the age of 62, Nussbaum's first project to bear his name is "The Lead Belly Project" (Sunnyside Records). The album features saxophonist Ohad Talmor plus guitarists Steve Cardenas and Nate Radley. On first listen, one will be reminded of the Paul Motian - Joe Lovano - Bill Frisell trio or Frisell's Americana albums but a deeper examination will lead you to hear the program as delightful blend of blues, country, folk, and early jazz. Without a bassist, the music depends on the essential drumming of the leader (his brush work throughout is quite delightful). It's also fun to hear how the guitarists complement each other, especially on pieces such as "Bring Me a Little Water, Sylvie", "Green Corn", and the rollicking, rocking "Black Betty." Both Cardenas and Radley crackle on that last track mentioned, soloing at the same time as Nussbaum stokes the fire. Listen to how they support Talmor's sweet tenor sax solo on "Bottle Up and Go", creating a country-blues shuffle along with the drummer that is delightfully seductive.
The Israeli-born Talmor, who did not grow up with this music, adds a great deal to these songs. He never wastes a note, displays a bluesy side one may have never heard in his playing, and makes sure you hear the melody line. His is the first voice you hear on the album, introducing the melody of "Old Riley" before the guitar and drums enter. The quartet plays the piece in rubato for the first 90 seconds before Nussbaum plays the scrappy rhythm and the band takes off. On "Insight, Enlight" (one of the two Nussbaum originals), Talmor sounds as if he's playing a lullaby for his children. His mellow sound wraps around the two guitars on "Black Girl (Where Did You Sleep Last Night)", remaining calm as Nussbaum ratchets up the intensity. The ending is really quite enchanting.
The music of Huddie Ledbetter, a.k.a Lead Belly, has touched American music fans for nearly100 years. He sang his way out prison twice, was brought to New York City by folklorist John Lomax, performed throughout the 1940s but succumbed to ALS (Lou Gehrig's Disease) in 1949. A few months after his passing, the folk group The Weavers sold two million copies of "Goodnight Irene"; sadly that success would have pulled him out of poverty but he did not live to see it. That song closes "The Lead Belly Project" and, save for the short drum introduction, stays close to the melody line. The solos that follow use the melody line as their North Star (even the leader plays the melody about a minute before the end of the track.
Adam Nussbaum may have waited a long time to release his debut album but he has been an active and influential member of the creative music scene for a long time. "The Lead Belly Project" plays tribute to a giant of American music and proves how his music is integral to the development of popular music. This album won't challenge the listener but will certainly soothe, amuse, and entertain anyone who gives it a spin.
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