Before the pandemic, bassist and composer Linda May Han Oh was a very busy person, not just working on her own projects but also performing and/or recording with Pat Metheny, drummer Johnathan Blake, Vijay Iyer as well as with her husband, pianist Fabian Almazan (plus a number of other recording sessions). Then, the world closed down in March of 2020 and the gigging stopped. Ms. Oh and Mr. Almazan moved to Perth, Australia, (where the bassist was raised and retains citizenship) to have their first child. The time spent with their baby gave Ms. Oh the time to think her role as a musician in a splintered world, what was important to her, and how could her music has a positive effect on the dialogue swirling around divisive issues such as health-care, climate change, war, and other issues. The music can also be heard as a meditation on time, how we use ours and how time is ever-moving as it moves us.
Upon their return to the United States, put together a quintet that features her husband, drummer Obed Calvaire, tenor saxophonist Mark Turner, and vocalist Sara Serpa. They entered Brooklyn Recording on June 13 2022 with 10 new original works. "The Glass Hours" is powered by the powerful melodies, exciting rhythms, and the spirited interactions of the quintet. Opening with "Circles", the theme is addressed by the wordless vocal, tenor sax, and the potent bass while the pianist and drummer push the music forward. Pay close attention to the rhythm section––Calvaire plays with great presence throughout but especially under the soloists. The handsome bass solo that opens "Chimera" gives way to a thunderous piano solo supported by the drums and bass––that falls into a sense of stasis as the voice, sax, bass, and piano play circular figures while Calvaire dances through his solo.
Photo: Shervin Lainez
"Jus Ad Bellum" is a rubato ballad that addresses man's need to go to war. Ms. Serpa's passionate vocal is underpinned by the war-like drums and scurrying piano lines. The tenor sticks close to the vocal until the forceful bass solo. The layered voices (including Ms. Oh's) during the drum spot remind this listener of the work of Steve Reich. Watch the video below of "The Imperative", see how the band listen and respond to each other, and note the fluidity in Ms. Oh's bass lines––she is so melodic as well as percussive. Everyone contributes, each with their own cogent statement as well as their work in the ensemble.
This material can be thorny, the sound thick at times but the music never falls apart. Notice how the excellent mix (Dave Darlington) ensures that the listener is in the midst of the band, that no one instrument is lost in the crisp sound, Not only is Ms. Oh the foundation of the music but she's the main driver (that frees up Calvaire to respond to the soloists and be part of the melody). Mr. Almazan benefits from this as well with how he plays underneath the ensemble and how he approaches his own solos (he's certainly one of the most fluid of musicians). And Ms. Serpa? Because the majority of the time she's singing, there are no words, just syllables. On a piece such as "Phosphorus", she teams with Turner to not only present the melody but also weave their lines in and around each other. On this track, Ms. Oh's switches to electric bass, dancing along with her husband on the energetic piano solo.
"The Glass Hours" closes with "Hatchling" (which one imagines is dedicated to her son)––Ms. Oh is on electric bass again so it's the sax, voice, and piano that present the melody then break it into melodic fragments. The piece moves into a long rubato section before the piano and voice build off the bounce of the bass and drums to playfully strut and dance to the close!
Linda May Han Oh has become one of the most sought-after bassists in the world. With good reason; how she articulates her notes and her melodic development within a song can be dizzying at times, yet she never overplays or, better, never "showboats". This album, her sixth, is worth diving into deeply1
Hard to ignore in the midst of the pandemic the fact that 2020 is a Presidential Election year with the one, arguably, the most fraught since 1860. Regina Carter has put together a new ensemble, dubbed it the Freedom Band, and, tougher, they create "Swing States: Harmony in the Battleground" (Tiger Turn/eOne). Ms. Carter (Michigan) joins with bassist, percussionist, and co-producer Kabir Sehgal (Georgia), trumpeter, arranger and co-producer John Daversa (Florida), drummer Harvey Mason (Kansas), pianist Jon Batiste (Louisiana), and bassist Alexis Cuadrado and tenor saxophonist Brian Gorrell (on four tracks)––Doug Davis and Harvey Mason, Jr also serve as co-producers––to create a musical journey through a number of US states that will loom large in the coming election.
Along the way, the listener stops for a swinging take on "Georgia On My Mind", a bouncy reading of "Rocky Mountain High", a playful "You Are My Sunshine" kicked off with a sweet, minor-key flourish from pianist Batiste. Ms. Carter pays tribute to Michigan and, especially, Detroit with a lovely ballad reading of "Dancing In The Streets" (originally released by Berry Gordy in 1964 to help quell the various riots occurring in large American cities: strangely enough, the song was also used by protesters to complain about police brutality and more). Daversa introduces "Swanee River" which also gets a bluesy ballad treatment featuring his delightful trumpet work as some fine "down home" fiddle from the leader. "Swanee" (the river) is a adapted name from the "Suwanee" River that runs from Georgia through Florida.
Right in the middle of the program is short, unaccompanied, performance by Ms. Carter on the traditional "We Shall Overcome"––that's one of the only tracks one could consider "political" in nature along with the violinist's spoken plea to make sure and vote. That seems sad to comprehend for this writer who was taught by his parents that voting, like living in a democracy, is not a right to take lightly.
There are delightful musical treks through "Pennsylvania" and Wisconsin (the off-kilter take of the old football fight song "On Wisconsin"). The album closes with a short (but sweet) tribute to "Faygo", a soft drink made in Detroit. MI. It's a fascinating way to close this often light-hearted journey but reminds one that so much of this music could be considered nostalgic. The underlying message is that we can rearrange and change the plentiful wrongs in the United States by paying attention to our communities and states, working together, speaking and listening to each other, and voting. You can hum these tunes while marching, while writing to your Congress people, and in the voting booth.
Hear Ms. Carter and the Freedom Band's take on "Georgia On My Mind":
Photo: Christopher Georgia
Biophilia Records is the right home for the duo Endless Field. Bassist/ composer Ike Sturm and guitarist/ composer Jesse Lewis makes music that celebrates the richness of the outdoors, the myriad stars, moons, and constellations that fill the nighttime sky. The record label, the brainchild of pianist Fabian Almazan, produces no CDs; the music is available as download only but they do create a lovely Origami-inspired recording jacket for notes, photos, and more. The jacket is produced from all recycled materials using plant-based inks.
The duo's third album bears the title "Alive In The Wilderness" and truly lives up to its name. The duo recorded outdoors in Utah with engineers Dana Nielsen and Phillip Broussard, Jr. working with equipment using only solar power. The videos created for the project by Christopher Georgia and BrandonSargeant also use solar-powered equipment. On many of the tracks, one can hearing running water from streams and brooks, animals and birds in the background, wind flowing past the microphones, and more. All the outdoor noises helps one concentrate on the music which, with few exceptions, is quite contemplative. Therefore, it should as no surprise this music is about calm, about nature, about one's place in the environment, about evaluation and re-evaluation, about peace, and about creativity.
The music may be best experienced on the porch in early morning and/or early evening. Play the program all the way through (55 minutes), enjoying the melodies, the interplay, the deep tones of Sturm's bass and the clean tones of Lewis's steel-string guitar. Enjoy the surprises along the way––there's the funky, percussive, "Zim" (listen below), the throbbing sound of "Fire", the classically inspired "Heart", the folky joy of "Dance of the Bee", the hard-driving "Moon", and the iridescent "Prayer for the Earth."
Such delightful music! "Alive In the Wilderness" is just that––alive with many possibilities, joys, and discoveries. Endless Field continues to explore the endless possibilities of acoustic music and we are the beneficiaries.
Pianist and composer Denny Zeitlin has been playing music all his life and professionally for the better part of six decades. The 82-year old native of Chicago, IL, has lived on the West Coast since 1964 when he moved to study at University of California/ San Francisco and do his internship – yes, Dr. Zeitlin is also a clinical Professor of Psychiatry and also has a private practice. He's scored movies (the 1978 remake of "Invasion of the Body Snatchers"), developed an interest in synthesizers and electronic music, and, while he does not tour much these days, he's maintained his current trio of Buster Williams (bass) and Matt Wilson (drums) since 2001. When you listen to them play, it's easy to hear why the association has lasted over the years – Dr. Zeitlin is a pianist with great facility, loves melody, and creates long, flowing, solos that are poetic and powerful whereas the rhythm section is just as musical and exploratory as its leader. One just knows they never play a song the same way twice.
"Denny Zeitlin: Live at Mezzrow" (Sunnyside Records) was recorded in May 2019 when the good Doctor was back East, a rare occurrence these days. The nine-song program stretches out over 72 minutes, a collection of seven standards and two originals, and there's not a dull moment throughout. By this time of his career, one knows what to expect from a Denny Zeitlin performance and album; impeccable musicianship, intelligent choice of repertoire, and the delight of interacting with his fellow musicians. Even his "electronic" duos with drummer/ percussionist George Marsh have those same qualities. Mr. Williams and Mr. Wilson both come to these performances armed with their love of melody, joy of improvising, and in creating musical conversations with Dr. Zeitlin that are emotionally rich and musically powerful.
As I wrote above, one knows what to expect from this Trio yet we always listen because these albums are creative music at its best. Denny Zeitlin never cheats the listener, never relies on cliches or drastic rearrangements or deconstructions. His career-long adherence to playing the melody then taking those notes and chords so the audience can hear them grow as he (and, in many cases, his cohorts) explores all facets of the song is what the true fan revels in. The finest pianists do that. People such as Fred Hersch, Geri Allen, Vijay Iyer, Keith Jarrett on back to Thelonious Monk, Bud Powell, Art Tatum, Fats Waller, and Earl Hines always keep or kept digging throughout each song and each performance. Sit back, listen, and luxuriate in the splendid "Live at Mezzrow".
Vocalist and composer Sara Serpa creates music that is intimate, personal, and exploratory, reaching into the listener's heart and mind to create a connection. Her partnership with pianist Ran Blake has been an ongoing investigation of standards (with a mix of improvisatory magic) while her work with husband André Matos (guitar) has been a splendid mix of folk material and often gentle sonic explorations. Ms. Serpa often uses her voice as another instrument in the mix, her wordless vocals evoking emotions that words cannot explain. One of her more intriguing collaborations is her work with the vocalist quartet Mycale who perform music created by John Zora. She's part of the four-person a capella ensemble (along with Ayelet Rose Gottlieb, Sofia Rei, and Malika Zarra) for its second Tzadik release "Gomory: The Book of Angels Vol. 25" (2015).
For her debut on Biophilia Records, "Recognition", Ms. Serpa created a multi-media presentation based around the family movies her father took when he worked in the Portuguese territory of Angola. The music not only serves as her soundtrack to the silent films – when you purchase the album (see below) you receive a link to the presentation – but also tells the story of European colonialism in its dying days. Images of planes dropping bombs (open practice runs, one believes), armies marching down the Main thoroughfare with the jarring juxtaposition of Caucasian Generals and Majors leading their troops (nearly all dark-skinned Africans and their cartoon-like white gloves) are manipulated by Ms. Serpa to create a dream-like atmosphere.
Photo: Carlos Ramos
Performing the music is a formidable trio; Zeena Parkins (harp, tuning forks), Mark Turner (tenor saxophone), and David Virelles (piano). With Ms. Serpa's often over-dubbed wordless vocals, the music holds a mystery all its own. The composition are not in the head-solo-head mode; instead, the quartet creates a mood for each piece. For instance, insistent repeated melodic fragments roil beneath and besides the voices on "Free Labour" giving the piece the feel of a Steve Reich piece. "Beautiful Gardens" uses the words of José Luandino Vieira, an Angolan novelist, from his 1961 novel "AVida Verdadeira de Domingos Xavier (The Real Life of Domingos Xavier)", with a story line that speaks to the cruelty of the police towards the Black Angolans. The section that one hears tells about the differencebetweenconditions of the native laborers, the White workers, and the management. It's not a pretty and the music does not pretend to make it sound better.
"Queen Nzinga" tells quite another story. The piece, adapted from an excerpt of "Njinga of Angola – Africa's Warrior Queen" (2017), a book by Linda Heywood, celebrates the life of the 17th Century Queen, leader of the Mbundu people, who defied Portuguese rule by opposing slavery throughout her 37-year reign, even leading her people into battle. After you listen to the story, go back and listen to the brilliant music the trio creates (it's a group improvisation as the other track discussed above), an important role in helping to tell the story.
Add caption
The mixture of the voices on "Absolute Confidence" blends with the crashing piano chords and plucked harp notes while Turner serves as a counterpoint to the singer. There's a classical feel to the intertwine lines from piano, sax, and voice on "Propaganda" and, as the piece moved forward, Virelles steps away and into a solo filled with rippling phrases. The album closes with "Unity and Struggle" with words from from Amílcar Cabral, an agricultural engineer, poet, essayist, and an anti-colonial leader who was assassinated in 1973. The accompanying music is fascinating as Ms.Serpa creates the melody from reciting Cabral's forceful words. Turner shadows the voice here as well while Ms. Parkins has her own melody line and a short solo. Turner and Virelles then trade with harpist as the piece and album fade don.
If you are someone who enjoys the voice and music of Sara Serpa, "Recognition" might seem a bit stark and shocking first time through. Go back, listen to how the voice, the words, the music, all these elements together tell a story of slavery, subjugation, tradition, transition, and more. Disturbing story and music? Yes. Do artists still need to tell these stories? Yes. Do you need to listen? Now more than ever.
Rudresh Mahanthappa, alto saxophonist, composer, and educator, not only possesses great technique but also quite a curious mind. Over the course of his career (now spanning nearly a quarter of a century), he has worked with artists such as Vijay Iyer, Jack DeJohnette, Bunky Green, Steve Lehman, Danilo Pérez,and many others. He's led or co-led numerous sized-ensembles with forays in Carnatic Music, fusion, and through-composed music. He also has a sweet tone, can easily and rapidly move through into his instrument's higher ranges; there are times on his recordings when his saxophone sounds straddle the worlds of jazz and South Indian music.
His latest musical adventure, "Hero Trio" (Whirlwind Recordings), is a loving and often hard-driving tribute to his musical inspirations. With the high-energy rhythm section of bassist François Moutin (bass) and Rudy Royston (drums), Mahanthappa dances, dips, dives, roars, and purrs through a program that differs from anything he's done before – he did not compose any of the music. Nevertheless, the trio tackle music by Charlie Parker, John Coltrane, Ornette Coleman, Stevie Wonder, Keith Jarrett, Ira Gershwin-Vernon Duke ("I Can't Get Started"), Gene de Paul ("I'll Remember April"), and Johnny Cash. Yes, Johnny Cash! The Trio dances through "Ring of Fire" (a tune that June Carter Cash and Merle Kilgore and was first recorded by June's sister Anita in 1962 and was a big hit for June's husband Johnny the following year), paying tribute to the original tempo in the beginning and continually toy with it throughout. Moutin never loses the groove and Mahanthappa dances atop it with glee.
Photo: David Crow
There is plenty of joy in this music. From the rumbling volcano of Parker's "Red Cross" (listen below) to the trio's dancing take of Bird's "Barbados" which is paired with Coltrane's "26-2" to Jarrett's romping "The Windup" (notice that Moutin takes the role of the composer's left hand), one can just imagine the energy in the stdio as the band played. "...April" is initially deconstructed then the alto and bass dive into the melody as Royston creates a percussive storm beneath them. They move back-and-forth to the melody until Mahanthappa uncorks a dazzling solo building off the energy of the drummer.
Photo: David Crow
The music slows down for a pair of tracks, the down-tempo version of "I Can't Get Started" and Coleman's "Sadness." Moutin's excellent bow work is displayed on the latter as he and the leader share the melody and improvisation. The piece is performed rubato therefore Royston's role is to dramatically "color" around his colleagues. On the former, the saxophonist introduces the handsome Vernon Duke melody but note how the tempo is parsed, a martial beat that evokes a darker quality to the piece. The album closes with a rousing take of Parker's "Dewey Square" with Mahanthappa playing around, through, and in and out of the melody. The rhythm section feeds off of the leader's energy, pulling the music forward in a spirited rush of sound.
2015's "Bird Calls" (ACT Music) was RudreshMahanthappa's tribute to one of his musical mentors, using the same rhythm section and adding the musical voices of Matt Mitchell (piano) and Adam O'Farrill (trumpet). "Hero Trio", in its way, "flips the script", taking the original music the saxophonist exposed in his younger days and making it feel new, fresh, invigorated by the sheer joy of playing. The avid listener will marvel at the delightful sounds created by Messrs. Mahanthappa, Moutin, and Royston – play this music loud and often!
Fabian Almazan came to the United States from his native Cuba when he was 12 years old. Settling in Miami Beach, FL, he continued his music education and, particularly, his work on the piano. In 2007, he went to play with trumpeter Terence Blanchard, a relationship that continues to this day. His first album as a solo artist, "Personalities", was issued in 2011 on Palmetto Records. That album featured bassist (acoustic and electric) Linda May Han Oh (now his wife) and drummer/percussionist Henry Cole plus two tracks with a string quartet. Since then, he has performed and recorded with artists such as John Hollenbeck, Gretchen Parlato, saxophonist Adam Larson, vibraphonist Chris Dingman, bassist Ike Sturm, and vocalist Nicky Schrire (among others). Almazan has also released three albums since his debut and, along the way, started his own label, Biophilia Records, with an eye towards social consciousness, recycling, climate change, and more. The label does not produce physical CDs, only high-quality downloads included with all their origami-influenced album jackets.
His fifth album, "This Land Abounds With Life", is a return to the trio format (although one track features a string quartet). The music was inspired by Almazan's return to Cuba after 23 years. He was particularly entranced by the various songbirds he encountered in the green spaces and forests away from the cities – in fact, he made numerous recordings of the avifauna (indigenous birds) and their songs are featured on several tracks. The12 tracks, spread out over a generous 83 minutes, were recorded in New Orleans, LA, over two days in December 2018. Almazan chose that location for several reasons; 1) - because he really likes the recording studio and 2) - it's the most Caribbean-like city in the US, its music having been inspired by people from Central and South America but especially the islands closest to the mainland.
From the opening moments of "Benjamin" (named for the oldest character, the donkey, in George Orwell's "Animal Farm") to the sweet solo piano reading of Willie "The Lion" Smith's "Music on My Mind" that closes the album, Almazan, Ms. Oh, and Cole take the listener on quite a journey. One of the more amazing tracks –and the longest at 12:51 – is "The Everglades", a musical journey through the heart of one of the natural attractions in Florida and one that is threatened by the sprawl of humanity. The music starts quietly as if the trio were on a walk at the break of day. The tension and intensity builds up through Ms. Oh's bass solo followed by Almazan's powerful solo supported by Cole's powerful drums. They change gears, moving into a rampaging rhythm, the piano filling the sonic space. After the storm passes, the piano goes alone, a slow, prayer-like melody. The bass then enters, Ms. Oh's simple support serving as foundation. Cole's quiet drum work comes in quietly. There are no more eruptions, only a musical appreciation of the natural beauty there in front of us.
Almazan's music is not only inspired by the birds but the people he met as well. "The Poets" opens with a vocal recording of Cuban poet El Macagüero de Pinar who improvises based on a phrase supplied by the pianist. The music that follows bounced with such delight, its power supplied by piano chords and Cole's playful percussion. The late Nelson Mandela inspired the lyrical yet robust solo piano piece "Juala" (Cages). The rolling piano chords in the left hand suggest both Keith Jarrett and Cecil Taylor but the musicality is all Almazan. The composer reaches back to the rich musical life of Cuba during the 1920s and 30s to create "Folklorism" – the music sounds contemporary thanks to the drummer's rhythmical approach. Almazan creates a melody that opens up to include the dance rhythms of the time he is sourcing plus the colorful melodies composed by several composers of that era. The string quartet of violinists Megan Gould and Monica Davis, violist Karen Waltuch, and cellist Eleanor Norton shows up on Carlos Varela's "Bola De Nieve", a piece the Trio recorded on the 2011 album. The strings fill out the sound and the pianist's arrangement gives them more to do than just play pretty backgrounds. Each musician gets several lines to play on her own, either in support of a solo or as the song moves into a different section.
There's so much more but you should discover the myriad joys that "This Land Abounds With Life" contains on your own. At 35 years old, Fabian Almazan is at the height of his creative and performance powers. He can and will do much more that one would not be surprised to see him surpass those heights as new projects are created. What he has created here, with the help of Linda May Han Oh and Henry Cole, is powerful, filled with emotion and splendid musicianship, and songs than resonate long after the sounds fade. Brilliant!!
Here's the Trio in the studio performing the powerful and playful opening track:
Anat Fort was born in Israel but came to the United States in the waning years of the 20th Century to study at William Paterson University in New Jersey. There, she was mentored by the likes of Harold Mabern and Rufus Reid plus spent time learning from Paul Bley. Her debut album, "Peel", was issued in 1999 – that's the same year she met drummer Roland Schneider and bassist Gary Wang. The trio began weekly rehearsals, slowly, steadily, building a repertoire and began touring throughout the US, Europe, and Israel. She signed with ECM Records but her 2004 album, "A Long Story", featured drummer Paul Motian, clarinetist Perry Robinson, and bassist Ed Schuller. It was not until 2007's "And If" that the Trio first appeared on record. Mr. Schneider moved to Berlin, Germany (he's also a member of bassist Anne Marie Iversen's Ternion Quartet) and Ms. Fort moved to Tel Aviv while Mr. Wang stayed in the US working with numerous groups and artists including T.S. Monk, Matt Wilson, and Dena De Rose. Still, they did not break up choosing to continue to play tours and recorded an album in 2016 with multi-reed master Gianluigi Trovesi.
On the first day of May 2018, the trio entered LowSwing Studios in Berlin, Germany and recorded the 10 tracks that comprise "Colour" – it's their debut on Sunnyside Records and the album illustrates how their friendship, their musical bond, and ideas have grown in the past two decades. Ms. Fort is an articulate pianist. Her lines flow easily out of the compositions and even the improvised pieces have a melodic structure. The bluesy swagger of "Sort Of" meshes well with the quiet ballad "BBB" that opens the album. The former tune opens like a ballad from Ray Charles and hits its stride during Ms. Fort's second solo. The latter track takes its time to develop, not unlike a work from Keith Jarrett. It's fascinating to hear the rhythm section so clearly, Wang's counterpoint and Schneider's movement around the kit and especially, his fine cymbal work.
Sit back and let this music fill your ears. If you like music that takes its time to develop, dig into "Part Trio" and the lovely ballad "Goor Katan." The more playful pieces, such as "Tirata Tiratata" with its stop-start movements and splendid drum work will lift your spirits. "Free" builds off the thoughtful and melodic solo bass opening into a fast-paced romp hat goes on for several minutes until the pianist slows it down then lets its build up again during her solo. Schneider takes more of a martial approach on his solo spot before letting loose. Wang's second solo is oh-so-slow leading to an introspective piano section which returns to the romp before the stop-on-a-dime finish.
"Heal And..." closes the album. It's the longest track (11:33) building to a delightful three-way conversation from the lovely melody at the start of the track. Ms. Fort's fine piano work goes in several directions, from short phrases to long flowing lines, from melodic flourishes to percussive fills. Wang and Schneider encourage her, both supporting and pushing her phrases forward Time slips away as the rhythms ebb and flow – it's such a pleasant aural adventure to be on, ending the program on a powerful interaction.
"Colour" is a one-day snapshot of the Anat Fort Trio that was developed over two decades. The comfort that the ensemble feels with each other is evident throughout. The music is never balky or static: instead, the music breathes naturally from the opening moments. It must be great fun to see and hear this band in concert. In the meantime, this recording is quite fine!
Drummer, composer, and educator Matt Slocum hails from Wisconsin where he first discovered his love for jazz and for jazz drummers such as Max Roach and Philly Joe Jones. He attended the University of Southern California and was a student of Peter Erskine. There he met pianist Gerald Clayton and began a musical relationship that continues to this day. Clayton has appeared on three of the drummer's four releases and is back on the bench for his new effort "Sanctuary", Slocum's debut on the Sunnyside Records label. For this album, the bass chair is occupied by Larry Grenadier who most jazz fans know has a long and musically rewarding career as part of pianist Brad Mehldaus Trio. The bassist is also married to singer-songwriter Rebecca Martin.
Unlike an ensemble that has spent much of the year touring or has been a working unit for a long time, the trio of Slocum, Clayton, and Grenadier recorded after one rehearsal. Slocum gave them the material beforehand. Yet, the results are impressive. One of the drummer's strengths is that he composes excellent melodies. He also knows that his two compatriots also have strong melodic tendencies. That said, the album opener "Romulus" comes from the pen of Sufjan Stevens (the song appears on his 2003 "Greetings from Michigan" album). Grenadier makes his presence felt from the get-go playing a unaccompanied to start the song. He moves into the melody which opens the door for the piano and drums to enter. The trio captures the haunting images of the song, making it feel comfortable and original at the same time.
The seven other tracks that make up the program are Slocum originals. There's a playful feel to "Consolation Prize", especially in the frisky drumming and Clayton's dancing piano lines. Grenadier not only joins the drummer in setting the pace but take a fine (and dancing) solo of his own. "Star Prairie" has a sweet melody – propelled by Slocum's delightful brush work, the song gently dances forward. A stillness is evident on "A Dissolving Alliance", the ethereal ballad on which the trio has the most freedom. It's impressive how they support each other even as they carve out a space in the song for themselves.
The title song and an up-tempo adventure titled"Anselmo" bring the program to its close. "Sanctuary" is a handsome, medium paced, song, its memorable melody opening up to a lyrical solo from Clayton. Slocum, thanks to Grenadier's delightful bass work, has the freedom to dance around his cymbals. The final cut has a rhythm not unlike Ahmad Jamal's "Poinciana", only faster, which gives way to a more nuanced percussive attack that gives on each chorus to tom-tom beats. The bassist holds the bottom while Slocum takes a thumping solo. Grenadier truly stands out, his supportive phrases have a heft that gives the pieces such depth yet he remains delightfully melodic.
Matt Slocum makes music his own way. The drummer knows what he wants to "say" and is not a slave to fashionable beats, to packing the sound spectrum with extraneous clutter – in fact, "Sanctuary" stands out for its airiness, for the listener's ability to hear each instrument clearly. Kudos to his musical partners Gerald Clayton and Larry Grenadier for their excellent contributions. You may need a few listens before beginning to get a fuller picture of what Slocum is doing and that's okay. There's much to chew on here, in its own subtle ways.
I was lucky to grow up in Middletown, CT, for many reasons: one in particular was the presence of Wesleyan University, its bookstore, galleries, theater, and, especially, the Music Department. The University greatly expanded its World Music studies under the auspices of Robert "Bob" Brown introducing the students (and curious community members) to Javanese gamelan music as well as South Indian classical music. Members of the faculty were two brothers, T. Vishwanathan, an amazing flutist, and T. Ranganathan, who played the mridangam, a double-headed drum. "Ranga", as he was called, was one of the most out-going people one could ever meet. He had a great sense of humor and was strikingly humble about the fact he was an amazing percussionist (here he is in the 1960s - click here). He died much too young - at the age of 62 - but I can still hear his incredible laugh and his amazing hands as they created such amazing rhythms and melodies. Like the great tabla master Alla Rahka, Ranga could make you marvel at his technique as well as being thrilled by joyous playing.
Meet Rajna Swaminathan. She plays mrudangam (variant spelling), having studied with several current masters of the drum including Umayalpuram K. Sivaraman. Ms. Swaminathan, born in Maryland, has been involved in both the world music and jazz scene in New York City since 2011 working with artists such as Vijay Iyer, Amir ElSaffar (she's a member of his Two Rivers Orchestra), Steve Coleman, and saxophonist Maria Grand. She's currently a Graduate Student at Harvard University and has worked with Iyer in that capacity as well as on several concerts. Ms. Swaminathan also composes for dance and theater productions including 2015's "The Worry Machine" (music from the Anu Yadav play, "Meena's Dream"). Her frequent musical companion is her sister Anjna who is a composer and violinist. Together with their father Dr. P.K. Swaminathan, they run a 5013-C called Rhythm Fantasies, INC, whose goal is to "promote South Indian classical music and dance in a space that encourages education and enrichment through innovation and cross-cultural collaborations."
Now Rajna has her first album as a leader "Of Agency and Abstraction" (Biophilia Records). The recording, co-produced by Iyer, features her group RAJAS, a quintet that features her sister (violin), Ms. Grand (tenor saxophone), Miles Okazaki (guitar), and Stephan Crump (bass) plus guest Amir ElSaffar (trumpet) and Ganavya Doraiswamy (vocal). One of the joys of this music, this beautiful collection of original compositions, is that while it's obvious these musicians are brilliant technicians, there's more emotion inside the motion, a flow that enters one's mind, closes the eyes, and allows you to breathe easily (that's what it does for me). Note how easily the percussive [luck of the guitar combines with the singing violin, bowed bass, bouncing mrudangan, and dancing tenor saxophone blends.
The tendency to want to discuss this music gives way to the belief that each listener approach there album with an open mind. If you're looking for a message, take your time to find it. The leader describes the group's mission as one that is "a network of like-minded improvisers from multiple/overlapping traditions to experiment with new horizons of relation through hybrid forms, textures, and sensibilities." After all, RAJAS means passion/action" in Sanskrit.
Yet, there are moments throughout that stand out. Ms. Grand's breathy tenor leads the way on "Peregrination" with the violin in counterpoint and the rhythmic guitar in sync with the percussion. The splendid "singing" violin meshing with the guitar at the onset of "Vigil" begins a journey that spreads over 10 minutes with the various voices adding counterpoint and harmony. Ms. Doraiswamy and Mr. ElSaffar join the quintet on "Departures" - while you may not understand the words, the trumpet and violin create a call-and-response that helps to transmit the emotions of the lyrics. Don't ignore the contributions of bassist Crump - his arco work throughout is deep and resonant. Without a "regular" drummer, he's free to be melodic as well as foundational.
Just listen. As I write these words, the windows are open and birds are singing in the trees close to the house. Their songs fit in nicely with the sounds swirling out of the speakers. Late at night, listen. Early in the morning, listen. Give this music all the attention you can. Time will fall away and the beauty inherent in these songs, these collaborations, the myriad voices, will seep into your soul. Too poetic for you? This music is quite lyrical, gentle, soothing, and challenging. "Of Agency and Abstraction" stands out amidst the noise of the everyday. Rajna Swaminathan took plenty of time to create this music, to find the right musicians, the right sonic combinations, and the results are very impressive, very moving. Listen.
The drummer, educator, and mentor Ralph Peterson literally burst into the public ears in 1985 as a member of O.T.B. (Out of the Blue), a group of young musicians that Blue Records Records created to showcase younger talent. He worked with so many musicians through his career including Tom Harrell, Terence Blanchard, Geri Allen, Charles Lloyd, and Betty Carter. But the once person who made the biggest impression on his person and career was drummer Art Blakey. Peterson was one of the few drummers who the great master invited to play in his bands, the talent incubator known as The Jazz Messengers. The younger man learned that you give everything on the bandstand and that you expect the same from the people you work with as well as to pass on the jazz traditions through your music and through teaching. Peterson has done just that over the years creating groups that featured younger players such as clarinetist Don Byron, vibraphonist Bryan Carrott, pianist Orrin Evans, and trumpeter Sean Jones (among others).
Peterson has been recording prolifically over the past few years for his own Onyx label. Most of those albums feature younger musicians recorded live. The newest addition to the catalogue, "Legacy Alive: Volume 6: Live at The Side Door", is credited to Ralph Peterson & The Messenger Legacy, a sextet composed of musicians who played with Mr. Blakey (1919-1990) in the late 1970s and through 80s. What a unit - Bill Pierce (tenor saxophone), Bobby Watson (alto saxophone), Brian Lynch (trumpet, Essiet Essiet (bass), and Geoffrey Keezer (piano), who along with Peterson, swing their way through 11 pieces associated with the Jazz Messengers repertoire (the group stayed active for 35 years!)
Photo: Peter Leng Xiong
The program was recorded over two nights in October 2018. The Side Door Jazz Club in Old Lyme is owned and operated by Ken Kitchings (Rich Martin does the booking) and there is no bigger or more vocal supporter of the music in the state than he. If you listen closely, you can hear Kitchings shouting his encouragement throughout and the end of songs. Why not? The sextet is having a great time, they all play with gusto, the material is top-notch, and the sound is great. The drums and piano come through loud and clear; Brian Lynch's trumpet cuts through the mix with his delightful blend of riffs, smears, and articulated lines. It's so great to hear Bill Pierce playing so strong, his bluesy solos are a treat. Bobby Watson, who joined the Messengers in 1977, has always played with wit, humor, and when called for, grace. He does so here as well. He also has blues in his background but he can fly with ease over this band. Check him out on his "In Case You Missed It", a tune on which everyone solos with abandon. Geoffrey Keezer, who joined the Messengers when he was 18, also plays with great wit and spontaneity. Listen to his unaccompanied opening of "That Ole Feeling" - he sets the pace for the band who dance delightfully behind his sparkling keyboard. His solo on Curtis Fuller's "A La Mode" is flat-out amazing
As for the leader, he's always been fun to listen to. Yes, his power can overwhelm some groups but not this one. His ability to push a band, to prod soloists, to stop-on-a-dime, to create a storm that not only dazzles listeners and make them shout but also is so darn joyous - Peterson is having fun, even as you realize that some of this material was composed 40, 50, over 60 years - this band makes it sound contemporary. The Juan Tizol - Duke Ellington classic "Caravan" was first recorded in 1936. Listen here and it's alive, ebullient, and powerful. "Three Blind Mice", credited to Anthony Rooley and Thomas Ravenscroft (who wrote the melody in 1611), was recorded by Blakey in 1962 in a quintet that included Wayne Shorter and Freddie Hubbard. The arrangement is quite similar and the overall effect is as well. The sextet also takes an energetic run through Shorter's "Children of the Night" (which he composed and recorded with The Messengers in 1961).
Thanks to the great engineering and mastering, the music on "Legacy Alive" is loud and clear. Every member of the Messenger Legacy gives his all (just as Art Blakey commanded them to do during their tenure with him) - it's that dedication, that desire to communicate living history, that makes this music so thrilling. Just start with first track "A La Mode": if that does not make you jump up and shout, call the doctor immediately! Also, check out the great cover collage by CT-based artist Andres Chaparro. It exemplifies the powerhouse that Ralph Peterson has been throughout his career and who is today.
Over the past 10 years, bassist (acoustic and electric) Linda May Han Oh has been one of the busiest musicians on the contemporary music scene. She has toured and recorded with Dave Douglas, Joe Lovano, Terri Lynn Carrington, Pat Metheny, Johnathan Blake, and Fabian Almazan (her husband). Beside her continual work as a side person, she also leads several units that play (mostly) her original music (including a trio, quartet, and quintet). Ms. Oh's music covers a wide swath of stylistic territory and, to may mind, she's more interested in melody and harmony that she is on "showing off her chops". She's a fine soloist but an even better "foundational" bassist.
"Aventurine" (a word that is defined as "a translucent mineral containing small reflective particles" - the green version is called "the Stone of Opportunity") is her second album for the Biophilia Records label. Ms. Oh has been working on some of this music for the past 13 years: it's written for quartet (saxophonist Greg Ward, pianist Matt Mitchell, percussionist Ches Smith, and the leader), string quartet (violinists Fung Chern Hwei and Sarah Caswell, violist Bennie Von Gutzeit, and cellist Jeremy Harman), plus four tracks feature a vocal quartet (Louisa Rankin, Josh Kyle, Andrew Murray, and Jonathan Skovron with director Gian Slater).
The 14-song program contains absorbing music, pieces that not only make you think but also have great emotion. Ward, who plays both alto and soprano saxes, is such a versatile player. His singing alto enlivens pieces such as "Rest Your Weary Head (Part two)" and "Au Privave" (yes, the Charlie Parker tune): on the former track, he meshes a sweet sound with the flowing strings and wordless vocals while on the latter, he engages in quite an interaction with Mitchell. Notice the pianist's rippling call-and-response with the bass on "Cancrizan" plus his delightful lines underneath Ward's soprano sax and the exclamatory strings on "Song Yue Rao (Moon in the Pines)", a traditional Chinese folk song whose arrangement suggests Far Eastern harmonies and the work of Aaron Copland. Smith, who can whisper on the cymbals as well and pound out hard rhythms, is a stalwart throughout. He goes from subtle to swinging to "beyond" on "Satuit" plus check how delightfully he dances along with the strings and electric bass on "Lilac Chaser" (another track with a splendid piano solo as well).
The album closes with Ms. Oh's rearrangement of Bill Evans's loves ballad "Time Remembered" - the opening three minutes+ belongs to the string quartet before the bassist moves into a solo with strings as support. Mitchell and Smith (brushes) join the players for several more minutes until the string quartet returns to take the piece out. It's an amazing arrangement and really shines a light on the leader's ever-maturing talent. Linda May Han Oh has created quite a statement with "Aventurine", making music that reverberates in one's mind long after you have heard the last notes. Wonderful musicianship all around; take a chance and dive into these pools of sounds - you won't regret it. For more information, go to lindamayhanoh.com. Here's the title track:
Bassist and composer André Carvalho came to the United States in 2014 on a Fulbright Scholarship where he studied at the Manhattan School of Music. Born and raised in Lisbon, Portugal, he'd already built quite a career as a sideman and leader in both the jazz and classical worlds, winning grants to tour Egypt and working with the likes of Brazilian singer-songwriter Gilberto Gil and the Ibero-American Orchestra, Gustavo Dudamel conductor. He released two albums as a leader in Portugal (2011 and 2013), both shoeing the influences of jazz and classical music.
His first U.S. release is "The Garden of Earthly Delights" (Outside In Music) and inspired by the painting of the same name from Hieronymus Bosch. Painted between 1490-1500, the triptych visualizes the creation of the world, life's joys and sorrows' and the dangers of sin. Carvalho, like the Dutch painter (1450-1515 or 16), juxtaposes light and dark, harmony and atonality, composition and improvisation, complexity and simplicity, to paint his 11-part Suite. He's aided and abetted by an excellent ensemble including André Matos (guitar), Oskar Stenmark (trumpet, flugelhorn), Eitan Gofman (tenor sax, flute, and bass clarinet), Jeremy Powell (soprano sax, tenor sax, and flute), and Rodrigo Recabarren (drums, percussion).
There's much to capture your attention over the course of the 58+ minutes of the album. There's he handsome opening track "Prelude" with the reeds (soprano sax and bass clarinet) and trumpet blending their voices over the rubato opening before the rhythm section drops into a slow-paced exploration of long tones. "The Fools of Venus" follows, opening as a playful dance before dropping back to a slower tempo. There's quite a touch of blues and funk in the music plus several strong solos (Recabarren's drums are a big plus as well). There's a lightness that permeates "Of Mermaids and Mermen", a playfulness that dissipates several minutes into the piece as Gofman enters his tenor solo atop spare bass notes, chattering drums, and ethereal guitar chords
After the short yet strangely constructed "The Thinker in the Tavern", a piece for percussion, guitar (with and without effects), and bass, "The Forlorn Mill" comes roaring out of the gate with Matos's guitar roaring atop the fiery drums and thumping bass. Add the trumpet, tenor and soprano saxes who then share the solos in a call-and-response with the rhythm section. It's fun and crazy, noisy, playful, and a bit scary all at once.
"The Garden of Earthly Delights" closes with "Phowa", a handsome ballad with a a gentle pace, a handsome melody shared by the trumpet and bass clarinet with quiet drums, counterpoint from the bass, and Matos's alternating chords and phrases. It's a gentle landing for an album that covers a lot of musical territory. André Carvalho is an impressive composer and arranger (go to his Bandcamp page to check his earlier releases) plus a fine bassist. This music is a group effort and everyone's voices are heard. Quite an aural treat, a delight!
Bassist Pablo Aslan, a native of Buenos Aires, Argentina, has lived in the United States for nearly four decades. In that time, he has become the foremost interpreters of tango music, playing both traditional and new works as well as being an educator, producer, sideman, and researcher. He possesses a beautiful tone as well as a technique that allows his instrumental voice to stand out without sounding over-amplified or "gimmicky". As a leader or co-leader, Aslan has recorded five albums and produced several others.
His latest venture, "Contrabajo: Works for Bass and String Quartet" (Soundbrush Recordings), finds the bassist in the company of Quarteto Petrus, a string quartet based in Buenos Aires and composed of violinists Pablo Saravi and Herman Briático, violist Adrián Felizia, and cellist Gloria Pankeava. Te 10-song program consists of compositions by Heitor Villa-Lobos, Duke Ellington,Roger Davidson,Gabriel Senanes, Gerardo Matos Rodriguez, Alexis Cuadrado, and one piece by the leader. The two pieces by Cuadrado (one of Aslan's closest friends), "Confluenceas" and "Reflejos", come back-to-back and are the first "classical" pieces composed by the fine Spanish jazz bassist. The former track has a delightful bounce and lilting melody that is shared by all five musicians while the latter is slower, with a percussive feel from the cellist. The bassist has the lead throughout the piece, first playing arco (bowed) and then pizzicato (listen closely, it sounds as if the string quartet is "looped").
Photo: Anita Kalikies
Paquito D'Rivera appears on the Aslan composition "Tanguajira", his delightful lines rising above the quintet as well and becoming part of the ensemble. His dancing solo is a highlight; while the leader bows the bottom and the percussion, the other strings sway and pluck in support. Senanes, who wrote two of the pieces and arranged three others infusing the lush reading of Ellington's "Come Sunday." In the liner notes, Aslan writes that the arranger steered him towards the vocals of Mahalia Jackson as the inspiration for his playing. Senanes's "Contratango" features the bassist throughout either bowing, plucking, or being the percussion section. The body of the bass makes quite a resonant drum! Aslan's long-time musical partner Raul Juarena arranged the classic Matos Rodriguez (1897-1948) piece "La Cumparsita" that closes the album. He also appears on the bandoneon sharing the solo duties with the bassist. The bright and bouncy music is both melodic and dramatic.
"Contrabajo" is a treat from start to finish. Tango music can be quite attractive with its blend offloading melodies and percussive intensity. While there is no drummer, one can easily see people dancing to these often-rousing sounds. Pablo Aslan's assertive sound, his excellent bowing technique, and articulate pizzicato leads the way while Quarteto Petrus adds vibrant colors and its own splendid melodic qualities. Enjoy!!
Posts
