Lots and lots of new music to absorb and enjoy. This is the beginning of a series of short reviews of new release.
Photo: Volha Talatynik
Organist, composer, pianist, and arranger Brian Charette has kept himself busy during the pandemic making videos of his songs surrounded by keyboards in his apartment. When I spoke to him last year, he was waiting for SteepleChase Records to release his third recording with his "reeds" sextet. "Power From the Air" has just been issued and it's well worth the wait. Charette plays organ throughout, composed eight of the 10 tracks, is joined by drummer Brian Fishler in the rhythm section; the "Air" comes from Ital Kriss (flute), Mike DiRubbo (alto saxophone), Karel Ruzicka (bass clarinet), and Kenny Brooks (tenor saxophone).
If you are familiar with the organist's music, you know that he likes to "swing" but also can be very funky. His piece "As If To Say" rolls forward on a burbling organ bass line before dropping into a hard-bop free-for-all. The saxes and flute play a trance-like repetitive line while the organ introduces the melody. The solos are short but powerful. That's followed by Earle Hagen's classic "Harlem Nocturne" –– dig the slight dissonance in the reeds arrangement. The four-piece section really dig into the bluesiness of the piece yet also take a slight "free" turn before Charette's restating of the theme. The other "standard" is Ray Noble's "Cherokee" which jumps delightfully with the reeds playing a slightly altered arrangement of the main theme. The leader takes a splendid joyride through the changes with Fishler's dancing drums as his co-pilot. Ruzicka dances through his solo followed by DiRubbo, Brooks, and Kriss – they make time to "trade 4s" with Fishler.
Photo: Volha Talatnick
The melody for the funky and soulful "Want" is shared by the reeds before the drummer gets "down and dirty for the organ solo. Back to the original rhythm for Kriss's delightful flute solo, DiRubbo's funky spotlight, Brooks short but pithy solo that leads into Ruzicka's tour-de-force that srars low in the bass clarinet's range and rises throughout. The album closes with "Low Tide", the only track other than "Harlem Nocturne" that has a ballad feel. There's a lot going on in this piece and the music builds in intensity throughout right up to the drums-fueled ending.
"Power In The Air" is yet another feather in the chapeau of Brian Charette. The performances bristle with energy and creativity, the organ work is strong, and the drumming contains an energetic snap. Give this album several close listens and it will work its way into your soul and your feet.
Here's the ensemble live in 2019 from Dizzy's @ Lincoln Center in February 2019:
The trio of Kelly Jefferson (tenor and soprano saxophones), Artie Roth (acoustic bass), and Ernesto Cervini (drums, percussion, bass clarinet), a.k.a. TuneTown, are three of the busiest and creative musicians on the contemporary Canadian scene. Together since 2016, the trio released its debut in late Summer of 2019. That recording displayed myriad influences as well as the trio's delight in creating its own sound. By the time that album was issued, they had already recorded their follow-up.
"Entering Utopia" (Three Pine Records) follows a similar format with originals from both Cervini and Roth, several group improvisations, and two standards. All three musicians are leaders, all are excellent musicians and improvisors, so this music breathes with excitement and adventure. The opener "Hello, Today" opens with Cervini hand-held percussion followed by a bluesy theme from Jefferson. When Roth joins, the drummer turns to the drums set, kicking his bandmates forward. Everybody solos but the last half of the track show hows closely the musicians listen to each other. Cervini's "Layla Tov" ("Good Morning" or "Good Night" in Hebrew) opens with the bass and tenor sax holding one note while Cervini plays a melody on glockenspiel. The bassist introduces the main melody which Jefferson then picks up on soprano. Roth's solo is quite melodic with just brushes-on-snare for accompaniment. The soprano solo that follows is emotionally rich, melodic, and heartfelt. Interspersed through the piece are the sounds of the drummer's family at the beach (the baby's infectious laughter is contagious).
Charlie Parker's "Cheryl" opens with a slow bass solo but soon the trio step out with Jefferson's tenor rising above the rampaging rhythm section. Cervini's "Billyish" is a good companion piece, it's boppish head leading to a thundering drum solo before Jefferson's tenor steps out. Roth's thick bass sound gives the other two players a strong foundation to get creative. "Flood, Deluge" is the longest of four group improvisations on the album –– Roth's droning then frantic arco bass sounds spark his companions to create their own paths in the song's maze-like construction. The bassist's "Memories Remain" is a lovely ballad during which the tenor sax and bass intertwine the melody through the opening several minutes. Roth's highly melodic bass solo is supported by quiet brushes work and Jefferson's breathy tenor notes. The bass counterpoint behind Jefferson's lovely solo is stunning (and pay attention to how the drummer also gets in on the melody.
Roth's short (30 seconds) multi-tracked bass feature, titled "Looking Glass", serves as an introduction to "Blue Gardenia", the album's final track. Composed in 1953 by Lester Lee and Bob Russell for the Fritz Lang movie of the same name, the piece was performed by Nat "King" Cole. Several years later, Dinah Washington had a big hit with the song, so big that he became one of her "signature songs" through to the end of her career (1963). Cervini plays the melody on bass clarinet with Roth's strummed bass as the only accompaniment until Jefferson enters on tenor to play harmony and counterpoint. The two reeds wind around each other throughout with Roth creating a comfortable cushion for their tuneful interactions.
"Entering Utopia" is a delightful musical vacation trip. Our three tour guides play with fervor, emotion, and plenty of joy plus the sound of the performances is powerful, clean, and clear. TuneTown is an apropos name for this fine trio!
Pianist and composer Paul Bedal is another one of the fascinating artists that reside in Chicago. After earning his undergraduate degree in Studio Music and Jazz Performance from the University of Miami, he returned to the Windy City to earn his Master's Degree in Film Composition form Columbia College Chicago. He's co-led a band with saxophonist Caroline Davis, played and recorded with trumpeter Paul Dietrich as well as bassist Matt Ulery. The pianist issued his debut CD, "Chatter", in 2014, a quintet date featuring Ms. Davis and bassist Ulery. Bedal has since signed with the Chicago label BACE Records and issued another quintet album (2018's "Mirrors") plus his first album (2019's "In Reverse") with the quartet of Ulery, alto saxophonist NickMazzarella and drummer Charles Rumback.
The same lineup returned to the studio in January of 2020 to create Bedal's new recording on BACE, "Cerulean Stars." The pianist certainly created this music for these musicians with each of the seven compositions playing to their strength. Both Rumback and Mazzarella have been on the Chicago scene for over a decade and are often heard in "freer" music settings. Ulery, who is known for his excellent writing for large and small ensembles, is a "foundational" bassist, more concerned with keeping the beat steady and creating a solid bottom. Still, on the opening track "Iris", his counterpoint during the solos is a highlight. The saxophonist leans more in a melodic direction throughout the album yet there are moments, such as during his solo on "Panorama", when he rides the powerful drums and moves away from the melody. That melody, by the way, is quite well-drawn, giving the pianist a great base to create an impressive solo. Speaking of impressive melodies, the title track comes in on a dancing alto sax song (carries a trace of Randy Newman) then moves forward into Mazzarella's solo with a bounce in rhythm section. Pay attention to the leader's intelligent fills and short runs underneath then hear how they inform his enchanting solo.
I have been listening to this music as well as Bedal's previous quartet album on my daily walks. There are moments when the music reminds me of Herbie Hancock's mid-60s Blue Note Lps (post "Watermelon Man") –– you can hear the resemblance in the flow of the material, in how the members of the quartet interact, and the movement of the rhythm section. As a soloist, Bedal leans more towards Keith Jarrett, Fred Hersch, and occasionally, Bill Evans. The combination of melody and rhythm on pieces such as "Summer Fade" and "Citrine" offers so much possibility that one would love to hear the band play live.
"Cerulean Stars" closes with "Free" –– the piece begins slowly and solemnly, in rubato, picks up somewhat in intensity during the sax solo but the rippling piano figure lead the listener to a soft close. This album is a joy from start to finish –– Paul Bedal is a mature composer with his ears attuned to his musicians and not to what's popular or hip. Not to say this music is "square"; no, instead from the opening moments, these songs enter the long and, hopefully, timeless river of Creative American Music, music that is always loving back and forward but never static.
Posi-Tone Records, based in Los Angeles, CA, continues to carry on in the jazz tradition of Blue Note, Prestige, Mainstream, and other labels from the 1940s-1960s. Co-owner and producer Marc Free gathers great, often young, talent, gives them guidance, a studio, and the big ears of co-owner/ Chief Engineer Nick O'Toole, smart packaging, and tireless promotion. Over the past 15 years (the label opened for business in 1995 but really rebooted in early 2006), starting with the debut album by pianist Ehud Asherie's"Lockout"), Free and O'Toole have recorded and released albums by organists Jared Gold and Brian Charette, trombonists Steve Davis, Nick Finzer, and Michael Dease, saxophonists Doug Webb, Roxy Coss, Ralph Bowen, and Tom Tallitsch, pianists Orrin Evans, Art Hirahira, and Jon Davis, bassists Ben Wolfe and Peter Brendler, trumpeter Jim Rotondi, and so many others. The label has also debuted projects by Evans's Captain Black Big Band, trumpeter Josh Lawrence, vibraphonist Behn Gillece, pianist Theo Hill, and saxophonist Alexa Tarantino. Over the past several years, Free has been putting together artists from the label's roster and creating a series of "studio" groups starting with 2018's "Straight Forward" by the sextet New Faces that combined the talents of Ms. Coss, Lawrence, Gillette, Brendler, Hill, and drummer Vinnie Sperrazza.
Now, in 2020, Posi-Tone continues to do what the co-owners do best––make good music that swings! Happy Birthday to them!
Photo: Anna Yatskevich
Farnell Newton was born in Miami, FL and then moved to Philadelphia, PA. He is a big man and gets a big sound out of his trumpet. After graduating from Oberln Conservatory of Music, Newton moved to Portland, OR, where he and family still live. Newton has played with lots of people from various genres including Bootsy Collins, Jill Scott, Stevie Wonder, Galactic, and the Portland String Quartet plus he leads his bow funk band, The Othership Connection. He's self-released a number of different albums and singles on his Portland-based label and signed to Posi-Tone in 2017. His first album for the label, a quintet date titled "Back To Earth", featured his West Coast band on a program that really swung.
"Rippin' & Runnin'" is his second date for Marc Free; this time, Newton is supported by Brian Charette (organ) and Rudy Royston (drums) while his front-line partner is Brandon Wright (tenor saxophone), all veterans of numerous recordings on Posi-Tone. The eight-song program features four Newton tunes and one each from Wright, Ezra Weiss, Tom Tallitsch, and Duke Ellington. The music ranges from the greasy funk of Tallitsch's "Gas Station Hot Dog" (check out the organ and drums–oh my!) to the leader's fast-paced title track to Weiss's New Orleans-soaked "The 5 A.M. Strut" (marvelous trumpet work and it's a pleasure to hear Wright strut his stuff). Charette and Royston are a delight throughout (Mr. Producer, give them their own album, please).
Photo: Anna Yatskevich
On such a powerful album, the ballads are bound to standout. Te leader's "Little Bird Rose" moves ever-so-slowly, its sound and feel more aligned to soul/ r'n'b music than to jazz. The only solo goes to Charette (just his keys and Royston's quiet brush work) while the trumpet and tenor sax read the theme and reprise it at the end. The program closes with Ellington's masterful "Come Sunday." Newton arranges the melody section that he plays the opening two lines alone and then Wright joins in on the last; the sax leads the way into the chorus and the trumpet joins for the last line. The trumpet solo is pure gospel (with a touch of Louis Armstrong and Lester Bowie) while the tenor solo has shades of the blues throughout. Perfect close to a fun listen!
"Rippin' & Runnin'" might not heal any diseases but chances are quite good you'll feel a lot better listening to this quartet having so much fun making music. Farnell Newton sounds great and his bandmates are top-drawer––all in all, get in the groove and move to this music!
To mix old quotations, Idle Hands makes "such sweet music". There are six sets "Hands" in this Marc Free-organized ensembles; the sextet includes Will Bernard (guitar), Sam Dillon (tenor saxophone), Behn Gillece (vibraphone), Art Hirahara (piano), Boris Kozlov (bass) and Donald Edwards (drums). Like most of Free's "groups", each musician has with recorded for or with the label. This rhythm section is a true knock-out, Kozlov well-known for his work with the Mingus Big Band while Edwards is best known for his solo albums on Criss Cross plus his dates with pianist Orrin Evans (the drummer also has worked with the Mingus BB). Hirahara is a stalwart whose Post-Tone albums are quite impressive. Gillece, who is in several of these label "groups" continues to impress while Dillon is the "kid" here but his elders give him plenty of room to play. Bernard, whose funk-driven albums are delightful, is an excellent voice in this mix.
"Solid Moments" is a good name for the sextet's debut. The 12-song program features, at least, one original from each member plus pieces composedly Stevie Wonder and Freddie Hubbard. Of Gillece's two pieces, "Maxwell Street" swings in a slippery, funky, fashion and features strong solos from Dillon, Hirahara, and the composer while his "Barreling Through" opens the album in an exciting fashion with a bopping melody and several tempo changes. Bernard's "Silver Bullet" jumps right along with a fiery solo from Dillon and a "cool" solo from the composer. You'll love the bounce in the ensemble's steps on Edward's "Dock's House" – the music moves is such a sinuous fashion thanks to the rhythm section (after all, the drummer was born in New Orleans). Fine solos all around from Dillon, Bernard, Gillece, and, especially, Hirahira whose fingers are dancing with glee.
Photo: Anna Yatskevich
Two pieces that stand out for this listener are the pianist's (pictured left) "Event Horizon" and Kozlov's handsome ballad "Ashes". The former rides in on a long melody, well-designed, melody; Dillon gets the first solo with support from the composer's excellent work in the background, Gillece's ringing vibes, and Bernard well-placed chords. Hirahara's solo piano introduction on the latter track is quite dramatic leading to a gentle, powerful, melody line played by guitar, vibes, and piano. The rhythm section drops and the piano has a short interaction with the vibes before the band comes back in for Dillon's take on the melody.
Idle Hands are hardly dormant on "Solid Moments"––in fact, they seem to be having an enjoyable time playing together. This album stands out not only the musicianship but also the overall high quality of the compositions. One hopes that someday this sextet will get to perform in person but, in the meantime, wrap your hands around the album!
Here's the Art Hirahara original:
Photo: Anna Yatskevich
Works For Me, one more group organized and named by Marc Free (after one of his favorite John Scofield recordings), is a fascinating blend of veterans and newcomers, women and men. Featuring Alexa Tarantino (alto and soprano saxophones, flute), Caili O'Doherty (piano), Adi Myerson (bass), Tony Davis (guitar), and Joe Strasser (drums), the quintet explores on its debut a nine-song program including seven originals (three by the bassist plus two each by the pianist and guitarist) as well the opening "Jinrikisha" (Joe Henderson) and the closing "Send One Your Love" (Stevie Wonder).
Ms. O'Doherty composed the title track, a medium-fast piece with fine soprano sax work from Ms. Tarantino, dancing drums, and a graceful melody. The pianist, whose 2015 debut album "Padme" (Sunnyside) was quite impressive, is an excellent soloist as is Davis whose guitar phrases truly push the piece forward. His tune, "Lake Sebago", has a handsome melody played by Ms. Tarantino on flute – listen to the chordal structure of the piece as it's quite intelligently constructed. Davis also composed "El Gran Birane", a piece that its roots in contemporary r'n'b yet retains a jazz feel. Thick piano chords and solid drumming support the guitar solo while Ms. O'Doherty creates her adventurous solo over just bass and drums. Ms. Tarantino really digs down deep – there are moments when her alto sounds more like a tenor sax – for a short yet pithy pair of choruses.
Photo: Anna Yatskevich
Ms. Myerson's "Your Smile (Keeps Me Sane)" is a lovely ballad with delicate work from the rhythm section plus smart solos from the alto saxophonist and the pianist (pictured left) with the guitar only utilized during the readings of the song's melody.
The quintet delivers a sweet version of Mr. Wonder's "Send One Your Love" (an apropos message for these times). Strasser and Ms. Myerson create a solid cushion for the front line and Davis take full advantage, creating a delightful solo that hints at Wes Montgomery as well as being quite soulful.
"Reach Within" is a good debut with the only caveat that several of the pieces could stretch out a bit more. That aside, Works For Me is a quintet filled with promise and this writer looks forward to hearing more from each artist over the coming decades.
Here's the title track (composed by Ms. O'Doherty):
There are artists who use their music as a platform for their politics, for their emotions, for their hedonistic tendencies, and more. Then there are artists who use their music to heal, to soothe, to fire imaginations with all the possibilities of what good can come out of interaction and working together. Noah Baerman, pianist, composer, educator, author, ad the founder of Resonant Motion, is one person whose actions speak louder than words, whose music goes to the core of his humanity, and who never fails to impress old cynics (such as the author) with his ability to move forward, even in times of personal, physical, and political times of crisis. The music he creates challenges his listeners to be better people, to understand that life, like creative endeavors, is always moving forwards on the shoulders of those who came before us.
His latest recorded project for Resonant Motion Records is the six-person Envisage Collective. In existence since 2012, the sextet now features Baerman (piano), Kris Allen (alto saxophone), Chris Dingman (vibraphone), Nadje Noordhuis (trumpet), Ike Sturm (bass), and Allan Mednard (drums). The ensemble's debut album features eight original pieces (two each from Baerman, Dingman, and Allen plus one each from Sturm and Ms. Noordhuis) – while the drummer does not have a composer credit, his playing is often the spark plug for this music, most of which jumps out of the speakers with joy and robust forward motion. Listen to his support of the vibraphone solo on Baerman's "The Omnivore's Dilemma" to get a better understanding of Mednard's importance to this band's sound. Click on the track below, the album opener, to hear how his "snap and pop" makes the music dance.
It's a delight throughout the program to hear how the lead voices mix and mingle, how they step back for solos, how the melodies expand into solos and return. Allen's "Habitat" moves from the opening melody into a lively three-way dialogue with his alto plus bass and drums. Dingman rides in on on the last note of the alto solo to create his own dance – here, Sturm and Mednard use Baerman's full chordal support to step out before the lively piano solo joins in. All that in the first four minutes of the song before the sax and trumpet reenter to restate the song's theme. One of the prettiest pieces on the album is Dingman's "Wish". a medium tempo ballad, that has quiet but powerful contributions from the "front line" while the rhythm section keeps a steady, martial, rhythm. The weaving lines of vibes, piano, sax, and trumpet build with intention to a unison melody before everyone drops out for the bass and drums; then, the swirling melody of the vibes leads the unison line back in. It's easy lose one's self in the hypnotic lines and, as time drops away, be transported into a musical "new" world. The "soulful" closing minute of the piece leaves one satisfied but wanting more. That "more" comes in the form of Baerman's bluesy piano intro to his piece "Step On A Crack" - the "Memphis" tinge gives way to a bopping rhythm with a melody sung by trumpet and alto sax while Baerman responds at the end of each phrase with a riff of his own.
Photo: YouTube
"Reach Out" does exactly what the title says it will – this music, created by six friends who have created a collective voice, "reaches out" to every listener and asks you to open your mind and your heart to the possibilities of good all around us. Can music change the world? Noah Baerman, Resonant Motion, and the Envisage Collective believe so; this album just might convince you as well!
The music that Brian Charette can caress out of his keyboards is always a joy to dig into. Whether he is playing organ with his Sextette or piano in a trio or delving into electronics (as he does with his Kürrent trio), he does so with a sense of exploration, respect, and a playfulness that keeps the listeners on their toes or sitting back with a satisfied smile. He can be heard on numerous Posi-tone Records disks (as both a leader and sideman) plus on numerous albums for the Danish SteepleChase label.
His latest sonic adventure is a solo Hammond organ album "Beyond Borderline" (SteepleChase), a follow-up to 2013's "Borderline" for the same label. Like the previous recording, the program is a mix of standards and originals but no "pop" songs like on the earlier endeavor. That's fine – Charette's explorations of "classics" such as "Chelsea Bridge" and "Prelude to a Kiss" not only show his respect for the masters (in this instance Billy Strayhorn and Duke Ellington) are delightful. On the latter tune, one can imagine him playing the song in between innings at a Yankees game as much as in the wee hours of the morning in a basement club. Charette's bass lines (a combination of feet and left hand) really keep the music on an even keel.
Photo: C. Andrew Hovan
Not surprising that the 12 tracks are all "first takes" – Charette's creativity comes to the fore every time. There is a tinge of Larry Young's exciting style on the album opener "Yolk." The rhythm line he creates is persistent and insistent while the melody on top of that jumps forward. Listen as he dances through "Public Transportation" like a subway train careering through the underground. Another original "Hungarian Bolero" creates a sensual sound world with melodic phrases that curl around the rhythm. At seven minutes, it's the longest track on the program but you'll like how it continues to move forward. "Aligned Arpeggio" is a soulful delight, the whispery bass lines supporting a sweet melody line and the powerful solo that follows. The piece picks up in intensity as the bass lines become more forceful allowing Charette to move out and in with an ear towards both timbre and emotional strength.
Put on "Beyond Borderline" first thing in the morning and the music will ease you into the day. Listen to this music during a leisurely dinner and it will add spice to the conversation. End the day with the sweet burbling tones of the Hammond B-3 echoing in your ears and mind; the sounds just might make your dreams a bit sweeter. Brian Charette continues to impress with his musicianship, his boundless energy, his creativity, and his sheer joy for music. Make the effort to find this album and you'll be rewarded each time you listen!
For more information, go to www.briancharette.com. The album is available at Charette's website plus iTunes and Amazon.com as well – the latter two are good places to go for sound clips.
Composer, arranger, educator, and pianist Jim McNeely is one of the busier people in jazz. Currently, he serves as music director for the Frankfurt Radio (HR) Big Band and teaches at both the Manhattan School of Music (NYC) and William Paterson University in New Jersey. He has played and composed for the Thad Jones-Mel Lewis Orchestra which became the Mel Lewis Jazz Orchestra (after the drummer's death, the organization became the Vanguard Jazz Orchestra). He toured with Stan Getz plus had tenures leading the Danish Radio Big Band and the Swiss Jazz Orchestra.
Hard to believe but it's nearly two decades since Jim McNeely created "Group Therapy" for his Tentet. Released on the forward-looking OmniTone label, the composer and pianist gathered 10 New York City-based musicians and recorded the eight-song program that includes five McNeely originals plus three exciting arrangements of songs by Bud Powell, John Coltrane, and the oft-recorded standard "Body and Soul" (music composed in 1930 by Johnny Green). The ensemble included saxophonists Billy Drewes, Dick Oatts, and Scott Robinson, two trumpets (Tony Kadleck, Greg Gisbert or Scott Wendholt), Tom Varner on French horn, trombonist Ed Neumeister, bassist Cameron Brown, drummer John Hollenbeck (a veteran of Bob Brookmeyer's New Art Orchestra and the Meredith Monk Ensemble as well as his own groups), and the leader on piano.
Photo: New Jersey Star-Ledger
Jim McNeely brings the 2019 version of the Tentet to Wesleyan University's Center for the Arts/Crowell Concert Hall this Saturday as the featured group for the Wesleyan Jazz Weekend. The concert begins at 7:30 pm. The festivities open the night before with a free concert featuring the Wesleyan Jazz Orchestra, Jay Hoggard director, and the Wesleyan Jazz Ensemble, Noah Baerman director. The WJO will also open Saturday's show.
Give a listen to an interview with Mr. McNeely, Jay Hoggard, and CFA Director of Arts Communication Andy Chatfield.
Brian Charette, a native of Meriden, CT, returns to the state Saturday with his "electric" trio Kürrent to play two sets at The Side Door Jazz Club in Old Lyme. Charette and Kürrent - Jordan Young (drums) and Ben Monder (guitar) - released its debut album in July of 2017. The "fusion-jazz" recording, with Charette on organ, synths, electric keyboards, was a departure from his organ trio recordings on Posi-Tone and his Sextette disks for SteepleChase. Young and Charette are old friends and musical partners so the drummer is not afraid to challenge the leader to "go for it." Monder, who plays such tasty accompaniments, steps out now and then to great effect; he does not always "shred" yet there is great energy in his playing.
For the Old Lyme gig, Vic Juris steps in for Monder bringing his own delightful take on jazz guitar. Juris, who has worked alongside Dizzy Gillespie, Jimmy Smith, Sarah Vaughan, Nancy Wilson, and Dave Liebman, has recorded numerous albums as a leader and sideman for SteepleChase including the organist's collaboration with tenor saxophonist George Coleman. He plays with both power and elegance so he should fit right in with Charette and Young.
Kürrent will play two sets with the first starting at 8:30 p.m. For more information, go to thesidedoorjazz.com or call 860-434-2600.
Bassist and composer Mario Pavone returns to Firehouse 12, 45 Crown Street in New Haven, this Friday (5/21) with his Dialect Trio. Pianist Matt Mitchell and drummer Tyshawn Sorey join the CT native for an evening of sonic explorations, edgy melodies, compelling solos, and absorbing interactions. I have always maintained that Pavone writes from the bass outward and love how his thick lines propel the melody as well as what his associates do with his compositional approach.
The Trio's second CD, "Chrome" (Playscape Recordings) , was issued in the Autumn of 2017 and is, arguably, one of Pavone's most exciting recordings. This is a group that knows how to push each other, they listen, respond to, and inspire each other plus create excellent solos. Engineer Nick Lloyd (of Firehouse 12 Studios) does an amazing capturing the sound of Pavone's bass so you can not only hear his solos but also how he interacts with Mitchell and Sorey. There's a great sense of rhythm as well as "freedom" in this music. The compositions save one are Pavone originals and the one is a group improvisation inspired by and named for pianist Paul Bley who passed six months prior to the recording.
This should be quite a musical experience and is the last date on a short CD release tour. For ticket information, go to firehouse12.org or call 203-785-0468.
Here's the Trio from 4 years ago right before recording their first album together:
I love getting emails from Brian Charette - he's such a busy guy, making so many different kinds of music with so many people. His latest missive included the poster above and links to the CD that the CT-born organist recorded with tenor saxophone master George Coleman. Mr. Coleman, a Memphis, Tennessee, native turned 83 in March and is in the midst of a career that stretches over six decades. He has recorded with B.B. King, Lee Morgan, Max Roach, Slide Hampton, Miles Davis, Herbie Hancock, Elvin Jones, so many others. Steeplechase Records owner and producer Nils Winthers captured Mr. Coleman in the studio last December with Charette, guitarist Vic Juris, and drummer George Coleman Jr. The results of their day together can be heard on "Groovin' With Big G" and, if you read the poster closely, the quartet celebrates the new CD with a date at the Blue Note, 131 West 3rd Street in New York City this coming Monday night. They'll play two sets - 8 and 10:30 p.m. - for more information, go to www.bluenote.net/newyork/index.shtml or call 212-475-8892.
Mr. Coleman and Mr. Charette also play in a trio setting on Saturday May 26 at 7 p.m. in The Jazz Loft, 275 Christian Avenue in Stony Brook, NY. To find out more and make reservations, go to www.thejazzloft.org or call 631-751-1895.
Give a listen to the Quartet live in the WBGO-FM studios:
Firehouse 12 in New Haven takes a turn towards the "funky side" this Friday (5/29) when Meriden CT native Brian Charette brings his Mighty Grinders to the Elm City. Helping him dish out the rhythms is guitarist Will Bernard (Stanton Moore Trio) and drummer Eric Kalb (Charlie Hunter, John Scofield). Charette, who began his career as a pianist, learned to play organ after moving to New York City and getting several gigs on instrument.
Charette has a new recording out this week. "Alphabet City" is his 3rd trio date with Posi-Tone Records and the first to feature Bernard and drummer Rudy Royston (both the organist and drummer appear on Bernard's 2011 Posi-Tone release "Just Like Downtown.") While Charette's previous CD, "Good Tipper" blended pop and jazz standards with originals, the new album features all Charette tunes. Pieces such as "Sharpie Mustache" and "Disco Nap" are danceable ditties with the accent firmly on the "groove" but not at the cost of melody. Most of the tracks go in very interesting directions including the Booker T & The MGs-inspired "Split Black" (interesting sound effects) and the playful, verging on "free form" sounds of "Hungarian Major" (love the vintage horror movie organ tones!) There's such a bouncy, springtime feel to "West Village" while the high-energy "They Left Fred Out" kicks serious butt. Royston is the perfect drummer for this trio as he plays with great taste and equally great fire. Bernard plays impressive rhythm guitar, often supplying the rhythm while the drummer struts. He's also a strong soloist, as displayed on the ballad "White Lies" and the Philly Soul-infused "Detours." This is great music for driving through the country with the windows wide open. For more information, go to www.briancharette.com.
As for the Firehouse 12 gig, Brian Charette's Mighty Grinders play 2 sets with the first commencing at 8:30 p.m. For more information, go to firehouse12.com or call 203-785-0468.
The musical excitement at The Side Door Jazz Club in Old Lyme does not let up as the weather warms up. This weekend, Jan and Ken host 2 fine artists. On Friday, they open the door to tenor saxophonist Benny Sharoni. The Israeli native, who has lived in the Boston, MA, area for almost 30 years, has a wonderfully round tone, is a big proponent of playing melody yet is a forceful soloist. He's been playing a number of gigs over the past month and will continue through the summer in support of his most recent self-released album "Slant Signature." He's bringing most of the musicians who played on the disk and that includes Todd Baker (bass), Steve Langone (drums) and the excellent pianist Joe Barbato. This unit has worked together for a number of years and it shows in their fine interactions. They'll take the stage at 8:30 p.m. To find out ore about the leader, go to bennysharoni.com.
On Saturday evening, The Side Door welcomes back drummer Clarence Penn, last seen and heard at the performance venue last August supporting Kavita Shah. This time, he's the leader of Penn Station, a fine quartet featuring pianist Shai Maestro, bassist Yasushi Nakamura, and multi-reed artist Ben Wendel. Mr. Penn is one of those drummers who can play anything, whether it's behind a vocalist like Ms. Shah or kicking hard underneath the Dave Douglas Quintet or moving through the intricate arrangements of the Maria Schneider Orchestra. Though he has been "on the scene" since the early 1990s, he's only released 4 CDs as a leader, 3 with the Dutch Criss Cross label - his most recent album, "Monk: The Lost Files", came out in Fall of 2014 on the Origin label. Not what the Quartet will play at this show but I expect it will contain several pieces from the playful "Monk" recording. For more information about Clarence Penn and his busy schedule, go to clarencepenn.com.
Doors open at 7:30 p.m. and the band begins to play 60 minutes later. For more information and reservations, go to thesidedoorjazz.com or call 860-434-0886.
Here's a bit of Monk from the latest album:
It's back to the Trio format for the new CD from organist Jared Gold. "Metropolitan Rhythm" is the 8th release on Posi-Tone Records and the 4th to feature guitarist Dave Stryker. Filling out the rhythm section is the young drummer Kush Abadey (known for his work with trumpeter Wallace Roney and the son of drummer/composer/educator Nasal Abadey. Gold is quite the melodic player and he works well with Stryker. The New Jersey native, who has worked with numerous artists including saxophonist Oliver Lake, has chosen an intelligent mix of pieces for the new disk ranging from pop tunes such as "Maybe I'm Amazed" to high-energy romps such as Joe Henderson's "Granted" to the rich gospel melody of Isiah Jones'"God Has Smiled on Me." Gold et al have a fun yet sophisticated time with Thelonious Monk's "Let's Call This", changing tempos and giving the piece sections where the trio gets deep into the groove. Where the Charette trio CD above has a funky feel, the Gold trio likes to swing, often with a vengeance. On Stryker's "As Is", Abadey sets a wicked pace, propelling the guitarist and organist forward with great glee. Soft guitar lines and gentle brush work lead the way into "Risco", a sweet samba that may take listeners back to the 1960s sounds of organist Walter Wanderley.
"Metropolitan Rhythm" is one of those sneakily seductive albums in that the music might not blow you away on first listen but grows on you each time you return. The CD has 9 tunes in 48 minutes and only one (the Monk piece) over 6. Dave Stryker shows his worth as both a rhythm guitarist and soloist while Kush Abadey keeps the music percolating without much fuss but great flair. Jared Gold has proven himself to be a fine soloist and he continues to mature as a composer (his "In A Daze" is a bluesy treat). This music sounds great on the back porch on an early summer afternoon.
Posts
