Last year was, overall, a great year for music and a stressful one for this writer. No need to go into details as my paucity of postings since the summer speaks volumes. Nevertheless, there were numerous recordings that absolutely captivated my brain; the best of them are listed below (and in a subsequent posting).
Buselli-Wallarab Jazz Orchestra – "The Gennett Suite" (Patois Records) – Have to say this album captivated me from the opening notes to the final fade. The BWJO tells the story of Bloomington, Indiana-based Gennett Records that, in the 1920s, was the first label to record King Oliver with Louis Armstrong, Hoagy Carmichael, Bix Beiderbecke plus Ferdinand "Jelly Roll" Morton. Arranger Mark Wallarab does a splendid job making the music sound fresh (Carmichael's "Stardust" is a real gem) and the band, made up mostly of musicians from the Midwest, in particular Indianapolis and Chicago, plays with fervor, joy, and love. Listen closely and you'll hear echoes of Duke Ellington, Chick Webb, Thad Jones-Mel Lewis Orchestra, and more; that makes sense as those artists and many others built their music around any and all of the artists featured on this album.
Anthony Branker & Imagine – "What Place Can Be For Us" (Origin Records) – As I wrote when the album was released "As you should be able to tell by the title, the themes of this new collection are inclusion, immigration, belonging, citizenship, and the never-ending racism that permeates the United States." Dr. Branker, currently on the Music Faculty of Rutgers University, continues to impress with his ability to blend music and story to illuminate the Black experience in America. With a cracking band including Fabian Almazan (piano), Linda May Han Oh (bass), Pete McCann (guitars), Philip Dizack (trumpet), Walter Smith III (tenor sax), Remy Le Boeuf (alto and soprano saxes), Donald Edwards (drums), and the voice of Alison Crockett, Dr. Branker's music sparkles, shivers, roars, soothes, and shines throughout. What he and the musicians should keep the involved listeners on their toes in this election.
James Brandon Lewis Red Lily Quintet – "For Mahalia, With Love" (Tao Forms) – Tenor saxophonist Lewis returns to the Red Lily Quintet –– Kirk Knuffke (cornet), Chris Hoffman (cello), William Parker (bass), and Chad Taylor (drums) –– the same group that recorded "Jesup Wagon", his tribute to Dr. George Washington Carver. For this brilliant recording, Lewis not only pays tribute to the great 20th Century gospel artist but also to his grandmother who instilled the love of music into the young boy who was amazed by her love of the music. Lewis and the RLQ do not play it safe, taking inspiration not only from the gospel material but from the power of improvisation as well as the work of Archie Shepp, John Coltrane, Albert Ayler, and other great tenor players who felt the fire emanating from the church music.
Rudy Royston Flatbed Buggy – "Day" (Greeenleaf Music) – The second gem to be recorded by drummer/ composer Royston and his simpatico ensemble composed of John Ellis (bass clarinet and clarinet), Hank Roberts (cello), Gary Versace (accordion), and Joe Martin (bass), the 10-song album is more of an "interior" album than the Quintet's 2018 debut. While still inspired by his childhood in Texas, the new album is built upon compositions that the drummer created during the pandemic with these musicians in mind. Whi]lew the music is quite impressive, the sound of this ensemble really stands out. Each instrument is distinct in the mix, each musician contributes to the success of the music, and it's a true joy to listen to these people play!
Tyshawn Sorey Trio – "Continuing" (Pi Recordings) – Jazz piano trio fans, take notice –– here's an ensemble that has much to offer. Drummer and conceptualist Sorey plays in so many types of settings that one might consider his albums with pianist Aaron Diehl and bassist Matt Brewer as a move back toward the mainstream. Who cares? This is a fascinating program; four long performances of pieces by Ahmad Jamal, Harold Mabern, Wayne Shorter, and the classic standard "Angel Eyes" by Matt Dennis, each one with standout performances. Diehl shines throughout (gives this person a MacArthur Genius Grant so he can realize his full potential –– it certainly worked for Sorey) while Brewer and drummer are solid without being intrusive. In fact, Sorey gives his bandmates plenty of solo space, rarely stepping out but always keeping the music moving forward. The Mabern piece, "In What Direction Are You Headed", seriously kicks and is an excellent tribute to one of Sorey's mentors.
When one thinks of the early years of Jazz, we think of New Orleans (before the brothels were closed), Chicago (especially after Prohibition was announced), and New York City (where many of the major record labels were located). However, a case can be made (and has been–see below) for Richmond, Indiana, especially after the establishment of Gennett Records. The brainchild of three sons of an Italian immigrant family, Gennett managed to record King Oliver and Louis Armstrong, Jelly Roll Morton, Bix Beiderbecke, and Hoagy Carmichael all before the end of the 1920s. Recording conditions were not the best (the studio was located near a very busy railroad bridge) but much of the music was stellar.
Nearly three decades after Gennett finally closed its doors (they had stopped recording jazz, blues, etc. in the Depression), trumpeter Mark Buselli and trombonist/ arranger Brent Wallarab organized the Buselli/Wallarab Jazz Orchestra in Bloomington, IN, in 1994 before moving its base of operations to Indianapolis several years later. Since its inception, the BWJO has recorded seven albums including two tributes to the composer and educator David Baker and one dedicated to Hoagy Carmichael. When working on the latter album, Wallarab decided to begin research on Gennett Records and the amazing lineup of artists that passed through its doors from 1918 through the 1920s. Wallarab, who received immeasurable training working as a transcriptionist of early Big Band music for the Smithsonian Institute of Jazz in Washington, D.C., had no desire to re-record the Gennett "classics"––instead, he used the originals as the blueprint for a modern take of what is, arguably, timeless music.
For the ensemble's eighth album, Wallarab created "The Gennett Suite" (Patois Records), a two-CD set that features four "Movements", 11 songs, that utilizes 11 songs from the 1920s records of Louis Armstrong with Joe "King" Oliver, Leon "Bix" Beiderbecke, Ferdinand "Jelly Roll" Morton, and Hoagland "Hoagy" Carmichael. The "Suite" opens with "Movement 1: Royal Blue", a 17-minute that features the two-part "Tin Roof Blues"––powered by the deep bass tones of Jeremy Allen and the powerful drumming of Sean Dobbin, Wallarab dresses the melody made famous by "King" Oliver's Creole Jazz Band in elegant washes of brass and reeds then leaves room for fine solos from Ned Boyd (baritone saxophone on "Part 1") and Tom Walsh (tenor sax on "Part 2"). You can hear tinges of Duke Ellington, Leonard Bernstein, and Thad Jones in the feisty sectional writing. After the solo, the piece morphs into "The Chime Blues", notable for a number of reasons including the fact that 1923 session was the first recorded example of a Louis Armstrong solo. BWJO take on the tune includes excellent solos from Scott Belck (flugelhorn), Greg Ward (soprano sax), and co-leader Buselli (trumpet). The latter two soloists trade "8s" before the entire band struts to the close. "Dippermouth Blues" follows with a frisky New Orleans strut and the melody played by the trumpet section. Trombonist Andrew Danforth steps out for a playful solo with the reeds in sweet support. Tenor saxophonist Todd Williams follows; his fine solo opens with just the drums in support but, as he powers forward, the trombones riff behind him. The ensemble dances forward to the close where pianist Allen plays the song's main riff in the style of George Gershwin's "Rhapsody in Blue".
Photo: Greg Reynolds
"Movement 2: Blues Faux Bix" includes "Davenport Blues", "The Jazz Me Blues", and "Wolverine Blues" plus a short unaccompanied bass solo right before the final cut. "Davenport.." is a spotlight for Buselli's smooth, sweet, flugelhorn solo–he gets the chance to stretch out and does so with great style. The tempo picks up for "Jazz Me..." with the trumpets introducing the melody supported by responses from the reeds and trombones. Amanda Gardier (alto sax) gets the first solo navigating several tempo changes before the rhythm section kicks the tune into a higher gear. Pianist Luke Gillespie steps out next with a spirited solo stepping aside for a rollicking spot from trumpeter Belck. After Allen's bass "Interlude", he introduces "Wolverine Blues" (composed by Jelly Roll Morton but recorded for Gennett by Bix) which opens a slower blues before Dobbin kicks the ensemble in––the same soloists plus Allen are in the spotlight on this track as the previous cut Belck taking the first solo, M. Gardier next, then Allen, and finally Gillespie who jumps in. Such sweet sounds!!
The second disc includes "Movement 3: Hoagland" and "Movement 4: Mr. Jelly Roll". Among the highlights is the stunning rendition of "Stardust"––listen below to how Wallarab's arrangement makes the oft-recorded "chestnut" sound new; on top of that, there is a terrific alto sax solo from Greg Ward. Tom Walsh's alto flute work on the theme also stands out. As the the music moves forward, one hears a touch of Maria Schneider's sound in the sectional writing behind Ward's solo.
A rousing reading of Morton's "Grandpa's Spells" brings the program to its close but not before Walsh and trumpeter John Raymond deliver vigorous solos. Be sure to the power of the rhythm section as they set the pace and support the band.
There have already been a slew of fine large ensemble recordings issued in 2023 but none better than "The Gennett Suite" by the Buselli/Wallarab Jazz Orchestra. The music the project is based on may now be 100 years old but the formidable and highly enjoyable arrangements plus the overall excellence of the soloists makes the songs spark and sparkle. There is an detailed booklet that comes with the CD set that tells the stories behind the labels, artists, and songs. Find this album––this is music that's good for the soul!
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