"Sleight of Hand" is the sixth album from the New York Standards Quartet (NYSQ), a quartet formed in 2006 by David Berkman (piano), Tim Armacost (tenor and soprano saxophones), and Gene Jackson (drums). For this CD, their third for Whirlwind Recordings, they welcome back bassist Daiki Yasukagawa for his third album with the band.
As the group's name implies, most of their material comes from either the Great American Songbook or from classic jazz composers, such as Thelonious Monk, Duke Ellington, or Hank Mobley (all of whom are represented on this album). And, as they have done on all their recording and on their numerous gigs (in the United States, Europe, and Asia), these musicians approach the songs with fresh ears and ideas.
NYSQ loves to swing. "Soul Eyes" (Mal Waldron) jumps from the get-go, Armacost's tenor leading the way. Check out the rhythm section - they are cooking up as storm with Jackson leading the way, Yasukagawa laying down a stunning walking bass line, and Berkman providing the percussive chords in the background. After the tenor reaches the end of his improvisational journey, the pianist takes his own joyful romp over the active rhythm section. The pianist imparts a "rent party" feel to his short but sweet opening to Monk's "Ask Me Now." Jackson plays with the rhythms, giving them a bit more bounce while the bassist plays delightfully melodic lines beside him. Yasukagawa's muscular bass lines lead the band into Mobley's "This I Dig Of You" - when the rest of the group jumps, the piece takes off in a big hurry with a powerful swing and smart musicality. There is a Charlie Parker feel to the melody line of Berkman's "Sleight of Hand" (played by both piano and tenor); it's so much fun to hear how much fun the band is having playing together.
The ballads on the program also stand out. "In a Sentimental Mood", a piece that has, arguably, been recorded thousands of time, is emotionally strong. The splashing cymbals and impressionistic piano support the tenor as it moves gently though the melody with just the right amount of improvised commentary at the end of lines. Berkman paints a little darker shade of framing around Jule Styne's "I Fall In Love Too Easily" before Armacost, on soprano here, alternately dances through or caresses the melody. Halfway through the piece, Jackson and Yasukagawa kick up their heels with the piece really picking up steam. Check out the blazing version of "Lover Man" that closes the disc for a lesson on how a drummer can motivate soloists. There is a gentle swing to "Detour Ahead" (composed in the 1940s by Herb Ellis, John Frigo, and Lou Carter), the quiet opening leading to Armacost (on tenor) reading the plaintive melody as Jackson's brushes deftly tap dance underneath.
When you listen to as much music as I do, every once in a while it's nice to be entertained. That is exactly what the NYSQ do with the music on "Sleight of Hand" - they entertain. The Quartet does not "dumb down" the music or resort to worn-out cliches. They don't worry about being either too simple or too complicated, too "avant-garde" or too "straight-ahead." They play and do so magnificently. Jump in with both ears and this music will make you smile nice and wide!
The Side Door Jazz Club in Old Lyme welcomes back saxophonist and composer Noah Preminger this coming Friday (4/14). Been a busy time for the Canton, CT, native with the release of "Meditations on Freedom" in January of this year, a response and reaction to the 2016 election in the United States. Recorded with his current Quartet - Jason Palmer (trumpet), Kim Cass (bass), and Ian Froman (drums) - the music is, at turns, reflective, angry, sad, resolute, and a call to action.
At times, the recording is reminiscent of the music Sonny Rollins created in the late 1950s, music that verges on exploding, that challenges the listener yet pulls one in on the power of the melodies and improvisations. Whether it's the solemnity of "A Change Is Gonna Come" or the deconstructed "The Way It Is" that seems to fight against the definition of the title or the gentle push and pull of "Women's March", Preminger and company are asking to rethink the way we interact with our community, the politicians in our district and in Washington, and the world. Is the joy of George Harrison's "Give Me Love" enough to get us through the day or the resolve of "We Have a Dream" going to get us out of our seats? There is power in Preminger's music and its messages.
The doors open at 7:30 p.m. and the band takes the stage for the first set an hour later. Sitting in for Jason Palmer (who is out of the country teaching) will be the impressive young trumpeter Billy Buss. For ticket information and reservations, call 860-434-2600.
On Saturday (4/15), the Side Door presents bassist and composer Linda May Han Oh and her Group as she celebrates the release of her new album "Walk Against Wind" (see below). Ms. Oh, born in Malaysia and raised in Australia, came to the United States in the mid-2000s to study at the Manhattan School of Music and has gone on to play with Joe Lovano, Dave Douglas, and is currently in guitarist Pat Methany's new Quartet. Her 2009 debut album, "Entry", recorded with trumpeter Ambrose Akinmusire and Obed Calvaire, was an auspicious one displaying her compositional talents and fine bass work.
Image by Shervin Lainez
In 2013, she introduced her new Quartet with saxophonist Ben Wendel and released "Sun Pictures" (Greenleaf Music). One could hear the growth in her compositions and arrangements which is continued on the new album. Mr.Wendel is on the recording and will be on The Side Door bandstand as will drummer Rudy Royston, guitarist Gilad Hekselman, and pianist Fabian Almazan. One should expect to hear music that defies expectations and ignores genres while valuing melody and interactions. The Linda May Han Oh Group commences playing at 8:30 p.m. To find out more, go to thesidedoorjazz.com.
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Inspired by the art of Marcel Marceau (and his brilliant piece "Walking Against The Wind"), Linda May Han Oh has titled her fourth album as a leader "Walk Against Wind." It's her first recording for Fabian Almazan's Biophilia Records and features Ben Wendel (tenor saxophone), Matthew Stevens (guitar), and Justin Brown (drums) with label head Almazan on piano and keyboards (three tracks) and Minji Park (percussion on "Mantis").
The album starts with "Lucid Lullaby", the bassist leading the melody in as Brown skitters and scrambles underneath. After sharing the theme with the tenor sax, Ms. Oh takes the first solo and the piece unfolds slowly, stopping and starting as the bass gives way to the guitar solo. Yet, listen to the rhythm section as they dance below Stevens's fluid lines.
The emotions and moods shift throughout the album. There's the joyous interactions on "Speech Impediment" replete with wordless vocals from the leader and Brown's powerful drumming. That song also features a fine slow blues section near the end. The rapid-pace melody of "Firedancer" is played by the bass and piano before the band takes off on an exciting journey. The entrancing ballad "Deepsea Dancers"(dedicated to Izumi Uchida, the bassist's manager who passed several years ago) is a lovely ballad and one can hear the influence of Malaysian and Japanese traditional music in the melody and supporting lines). There is beauty as well on "Midnight Reasons", a somber lead by the Stevens's guitar with counterpoint from Ms Oh over long notes held by the tenor sax. Wendel then steps out, adding a third melodic voice to the front line. There is give-and-take here normally reserved for uptempo pieces. The high-energy of "Midnight" follows powered by a strong bass line and Brown's explosive drums. Listen to the melody, how intelligently it plays with and against the rhythm section, the changes in tempo and how Almazan's distorted Fender Rhodes suggests the sounds of Keith Jarrett and Chick Corea when they worked with Miles Davis in 1970 and 71.
The album comes to a close on the M-Base influenced funky bop of "Western", whose thematic material grows from the percussive work of Brown and Ms. Oh's thick and active electric bass lines (it's one of several tracks that feature her electric work; check out the rapid-fire excitement of "Perpluzzle" below). The interaction of bass and drums gives the piece its propulsion and you should enjoy how all four members of the band take turns interpreting the melody.
Linda May Han Oh has made quite an impression since coming to the United States. The first thing many people noticed was her impressive bass playing but the quality and breadth of her compositions has emerged to equal that of her instrumental work. She certainly knows how to anchor a rhythm section but the melodic work she does as both a composer and performer is well worth paying attention to. "Walk Against Water" is a special recording, one that demands and deserves many close listens.
For more information, go to lindamayhanoh.com. The album package, like all the new releases on Biophilia this year, is a fanciful origami-like construction that is fun to play with, somewhat tough to read, and heck to fold back up. But, then again, I'm a klutz when it comes to puzzle-like packages.
Trio M - Myra Melford (piano), Mark Dresser (bass), and Matt Wilson (drums) - will perform this Friday March 31 as part of the Spring 2017 Concert Series at Firehouse 12. Collectively, it's the ensemble's second appearance at the Crown Street venue (April 2012) and, overall, the 19th time one, two, or all three have appeared in the Elm City performance space. Each musician is a leader but, when they work together, it's a joy to listen. Their music blends so many influences, can be "free" or highly structured, with ensemble playing that leads to great solos and songs that tell stories. It's not always easy for three fine musicians to mesh but these Ms challenge each other even as they support each other.
The Side Door Jazz Club in Old Lyme continues its weekly forays into contemporary jazz with two more great shows this weekend. On Friday, it's the Donald Vega Trio. A deft pianist and fine composer, Vega is not only a leader but also the 1/3rd of bassist's Ron Carter's Trio. His most recent CD, 2015's "With Respect to Monty" (Resonance Records), is Vega's investigation lf the music of fellow pianist Monty Alexander. The recording is a delight from start to finish, not just because Vega is such a fine pianist but for the way he makes the Alexander sound fresh and invigorating.
Mr. Vega and his as yet unidentified rhythm section takes the Side Door stage at 8:30 for the opening set. For more information, go to thesidedoorjazz.com.
Here's a neat video about the latest album:
The great tenor saxophonist Ricky Ford comes to The Side Door on Saturday April 1. The Boston, MA, native, has had a fascinating career starting with his studies at the New England Conservatory of Music in his hometown to his work with Charles Mingus and the Duke Ellington Orchestra (when Duke's son Mercer led the band). Ford has also worked with pianists McCoy Tyner, Abdullah Ibrahim, Mal Waldron, and many others. Plus he has recorded numerous albums for various labels, from Muse Records to the Candid label. Ford has been living i France and teaching in Turkey for the better part of the last decade, leading a big band, and recording with numerous ex-patriates.
As of this writing, not sure who's in the Quartet behind Ricky Ford but whoever they are, Mr. Ford's booming tenor and intelligent writing will keep them on their toes. Set #1 commences at 8:30 p.m. For ticket information, call 860-434-2600.
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Bassist and composer Daniel Toledo, born in Ecuador, came to the United States to study at the Berklee College of Music in Boston and is now is a full Professor of Music at the Universidad San Francisco de Quito. He also is the leader of the Daniel Toledo Trio & Pianohooligan. The ensemble has just issued its second CD, "Atrium" (For Tune Records) - joining the bassist is pianist Piotr Orzechowski (turns out he is the "pianohooligan") and drummer Paul Svanberg. Mr. Orzechowski is quite an accomplished musician playing classical, "free" jazz, and more throughout Europe while drummer Svanberg is known for his work with pianist Lars Jansson's Trio.
Pablo Larrea image
What stands out on this seven-song program of original material (all by the leader) is how melodic this music is and also how interact the trio can be. One can hear suggestions of The Bad Plus, of the Bill Evans Trio, of Keith Jarrett, Chick Corea, but these influences are never overt and disappear on repeated listenings. Pieces such as the title track that opens the CD and the impressionistic "Abridged Perspective" move away from any specific genre into a form of storytelling that eschews technique in favor of thematic material. The dancing phrases from Orzechowski enliven "Tawny" as do his occasional "earnest", almost classical, riffs he throws into his solo. Meanwhile, the rhythm section does its own dance delightfully in support. Take notice of how the piano and bass go in somewhat different melodic directions on "Horyzont" during the verse, held together by the steady drums. Svanberg changes his approach under the expansive piano solo, switching to brushes and toying with the beat as the bass bounces gently along.
Introspection takes a back seat on the rollicking "Margins" - the drummer pushes from the opening moment while Orzechowski dances through the melody line. Toledo keeps a steady pace while the piece drops in intensity picking up just in time for his powerful solo. Dig the swing of the final cut "Near Focus" and how its bluesy feel opens to a smart melody. The playful interaction of the trio is so attractive and disarming.
"Atrium" can refer to the open roof of an ancient house or the central chambers of the human heart. The music created by Daniel Toledo Trio + Pianohooligan is filled with heart and with soul while its openness is so inviting. In a day and age when piano trio music is so abundant, this is a recording to discover and enjoy.
Trombonist and composer Joe Fiedler, a native of Pittsburgh, PA, is one busy musician. Since moving to New York City in 1993, he has worked with the likes of Cecil Taylor, Eddie Palmieri, Ed Palermo's Big Band, the Mingus Big Band, and has been the music director for television's "Sesame Street." In addition, he leads his own trio plus a quartet of "low" brass quartet (three trombones and a tuba) known as Big Sackbut.
This Friday (3/24), Fiedler releases a new album, "Like, Strange" (Multiphonics Music), celebrates his 52nd birthday, and performs with the quintet from that album at Firehouse 12 in New Haven, CT. Besides his regular rhythm section of Rob Jost (bass, flugelhorn) and Michael Sarin (drums), the ensemble includes the always fascinating Jeff Lederer (saxophones, clarinet) and Pete McCann (guitar).
The album is a delight from the opening track, the feisty "Go Get It", to the closing sonic adventure (replete with wacky "salsa" dancing rhythms) "Yinz." One cannot help but notice how rhythmical this music can be. There's the sly humor of "Maple Avenue Tango", its slinky melody rising atop the dancing bass and drums plus McCann's "clicking" guitar lines. How about the funky strut of the title track replete with "wah-wah" guitar riffs?The tune has a melody section that sounds like a cross between The Meters and the Crusaders. The interlocking tenor and trombone dance through the melody lines on "Guiro Neuvo" while Lederer switches to soprano to join Fiedler's 'bone on "A Ladybug In My Notebook", both pieces with a pronounced forward motion - in fact, Jost and Sarin are essential to the vitality of this music, often pushing the soloists throughout with their forceful support. On "..Ladybug..", McCann's rollicking solo stands out as does his "slippery" rhythm support and raucous and rocking solo on "Quasi." Lederer and Fiedler deliver powerful solos on that track, the saxophonist trading "4s" with Sarin near the end. Even the bassist gets in on the fun with a short but pulsating solo. The front line also enlivens the vivacious and Latin-flavored "Tuna Fish Cans" yet listen as well to the delightful work of the rhythm section.
The energy of the music on "Like, Strange" leads one to believe that the live gigs for this band will be exciting, even a bit frisky. Joe Fiedler and his Quintet are in the midst of an East Coast tour and, judging by the material and interactions of the album, this music will positively alter your mood and set your feet dancing. We could all use a bit of fun as this long winter comes to a close.
To find out more about Mr. Feidler and his music, go to www.joefiedler.com.
The Firehouse 12 show on Friday starts at 8:30 p.m. with a second set (separate admission) at 10 p.m. For more information and tickets, go to firehouse12.org or call 203-785-0468.
The Side Door Jazz Club in Old Lyme welcomes back the Fred Hersch Trio on Friday. Pianist and composer Hersch has been a regular at the club since its opening appearing with his splendid rhythm section - bassist John Hébert and drummer Eric McPherson - on numerous occasion as well as the rare solo gig. The Trio's sets combine standards, originals, the obligatory Thelonious Monk tune (the pianist is one of the best contemporary practitioners of that composer's music), and a few surprises. An educator, producer, composer, conceptualist, and performer, Fred Hersch makes music that plumbs the depths of his mind and soul whether he is caressing a melody or "swinging" with abandon.
The Trio hits the stage at 8:30 p.m. For more information, go to www.fredhersch.com.
Call 860-434-2600 for reservations (if you can get one) - these shows always sell out.
Here's the Trio in action:
On Saturday night, The Side Door presents a return visit from Expansions: Dave Liebman Group. The great tenor and soprano saxophonist, who has been active on the contemporary music scene since the early 1970s, has become one of the finer educator and mentor of and for young musicians. This quintet, which features veteran acoustic and electric bassist Tony Marino, includes a trio of excellent younger musicians including pianist Bobby Avey, alto saxophonist and flutist Matt Vashlishan, and drummer/percussionist Alex Ritz. This group's repertoire lives up to its name as it is quite expansive, building upon the legacy of Miles Davis, Thelonious Monk, Wayne Shorter as well as the work that its leader did with Richie Bierach & Lookout Farm, and Quest. The band explores swing, hard bop, funk, modern classical music, standards (check out the version of "Love Me Tender" below) and much more.
The first set starts at 8:30 p.m. For reservations, call the number above or go to thesidedoorjazz.com.
Here's two videos of Expansions (courtesy of Eddie Owens Productions):
In my lifetime, there have been 17 Inauguration Days plus two swearings-in (one after the assassination of John F. Kennedy and the other after the resignation of Richard M. Nixon). These special days are often filled with excitement, the prospect of change, the hope of unity in an often-divided country, and a sigh of relief from many that our democratic process continues to work after two-plus centuries.
Then, there is "politics", a word that, for some, is a epithet for something unseemly and obscene. If one pays attention to the machinations of Washington politics, it can leave you with a sour taste in your mouth. The press does its best (many would disagree with that statement) to let is know what's going on but there is so much happening at any moment. Yet, it is quite obvious these days that the United States is a divided country, that "conservative" and "liberal" as well as "party politics" is part of what looks like a big game, a game with obscene payouts for the lucky and agony for the losers (think of how healthcare is constantly tossed about in the House of Representatives and the Senate).
How artists look at this nation has, for me, always been a fascination. From the populist anthems of Irving Berlin to the wide-eyed wonder of George Gershwin to the sly observations of Will Rogers to the dreams of Woody Guthrie to the inequalities reported by Billie Holiday to the satire of Randy Newman to the simmering anger of Nina Simone to the shouts of Public Enemy to the chest-thumping of Toby Keith to the clear-eyed visions of Gil Scott-Heron (and so many others), singers and songwriters speak to social issues by cutting to the emotional core of any situation. During the most recent Presidential election cycle, artists took a stand for or against the candidates with a ferocity one has not seen since 1968 and 1984 (also, the Bush years post 9/11/01 were filled with vitriol as well as unqualified praise).
President-elect Trump (who will be sworn-in just hours from when I am writing this) has certainly polarized this country (in many peoples eyes, President Obama did as well) but many reactions have bordered on the apocalyptic. At least, there was "hope" in the changes his predecessor spoke of but that has been replaced by fear, the fear of moving backwards, that the "great again America" being spoken of is one where women, minority groups, and immigrants will not be treated with the "equality" our Forefathers hoped for (dreamed of) when the United States was in its infancy. Mobilization against the changes being sought has been swift (we'll wait and see how strong it is) and artist's reactions are beginning to emerge.
Five weeks after Election Day, saxophonist and composer Noah Preminger gathered the other members of his most recent Quartet - trumpeter Jason Palmer, bassist Kim Cass, and drummer Ian Froman - to record his musical reactions to the results. "Meditations on Freedom" (Dry Bridge Records) features melodies by Bob Dylan, Bruce Hornsby, George Harrison, and a particularly handsome reading of Sam Cooke's "A Change is Gonna Come" plus five originals. Is this music a call to action, a wake-up call, a lament, a warning shot across the bow or just dreaming out loud? One could answer "yes" to every part of that question but the album - released today (January 20) - is more than that. It's a reminder that the musicians are citizens, that creative music is "political" more often than not, that the "freedoms" stitched into these performances are as vital as picket signs and fiery speeches, that the rhythms of these songs are built from the ground up; the formation of this quartet to play this music is really the creation of a community built on shared visions, on trust, on taking risks as musicians, on compromises built from honest discussion. This is music also built on the belief that "We Shall Overcome", that this country has "overcome" in the past and will again in the future, that we as individuals and communities have the ability to pull ourselves up and face any challenge. There is no question that the United States faces challenges within and without but also no question if we face these challenges together, the results should be better.
In a future post, I will explore the music one hears on "Meditations on Freedom", especially the original material that grows stronger in my ears on every time I listen. While the impetus for these songs and performances was a reflection on the elections, the album also serves as a call to action, a powerful reminder that we must be ever vigilant and protect the rights of all people who live here, work on our farms, in factories, in our cities, people who raise families and educate them, to all who suffer from illnesses, from poverty, from oppression; in other words, protect the rights of everyone not just a privileged group who can afford it. It should come as no surprise that this music also has its roots in the "blues", music created out of oppression that spoke of the glory of freedom, music that is both simple and complex, that pushes individual boundaries yet speaks to our humanity.
For the third week in a row, Firehouse 12 in New Haven welcomes a group either led by a drummer/composer and/or an ensemble where the drums are the lynchpin of the music. On 10/21, the Elm City venue presented the Claudia Quintet with John Hollenbeck and the following week, the performance space shook from the power of Dan Weiss's drums in service of pianist Matt Mitchell's Quartet. This Friday (11/04), it's Brian Adler's SHANKAR, a quintet led by drummer/composer/educator Brian Adler and featuring Matt Moran (vibraphone, who plays with Claudia), Rob Jost (bass), Jonathan Goldberger (guitar), and Santiago Leibson (piano). The ensemble has a brand-new EP, "Mysteries of the Deep" (Circavision), four songs that mine the various musical veins the composer has been studying for years.
The four songs move in waves, flowing rather than swinging, with pieces that invite introspection ("Windy Path") while another makes you move your feet with delight ("Rudram"). The interactions of the instrumentalists feel as if they are breathing as one even when the music heads "out" ("Pulses").
Adler has also released a Trio date, titled "Binary", at the same, whose five short tracks feature the drummer in conversation with the Argentinean-born Leibson and bassist Jost. Both are available by going to brianshankaradler.bandcamp.com.
The Quintet will play two sets - 8:30 and 10 p.m. - you can get more information by going to firehouse12.com or calling 203-785-0468.
Hard to believe that it's been over two decades since pianist Jacky Terrasson burst onto the scene. Initially, he was yet another fine, fleet-fingered, soloist whose style seemed to grow out of Bud Powell and other post-bop players. Over the years, Terrasson has proven himself to be a master of many styles, working with vocalists as diverse as Betty Carter, Cassandra Wilson, and, most recently, with Rigmor Gustafsson. He's coming to The Side Door Jazz Club in Old Lyme this Friday night with as a yet un-named rhythm section.
The first set starts at 8:30 p.m. and it should be chock-full of good music and smart interactions.
On Saturday evening, Jan and Ken welcome The Bridge Trio. Born and based in New Orleans, TBT features the impressive rhythm section of drummer Joe Dyson Jr. (Donald Harrison, Christian Scott) and bassist Max Moran (Herlin Riley, Donald Harrison) plus keyboard artist Conun Pappas Jr. "Bridge" is an apropos name as the group's music has its roots in the Crescent City's plethora of styles. Their latest recording, 2015's "The Search: Departure", opens with the funky "Access Approved" (popping electric bass and soaring synths over a dancing beat) moving on to the soul-gospel feel of "Warrior" and on to the fiery post-bop of "Ode To Black" and the sweet r'n'b feel of "Hipness." Find out more about this youthful triumvirate by going to thebridgetrio.tumblr.com.
Doors open at 7:30 p.m. and the music starts 60 minutes later. For more information, go to thesidedoorjazz.com or call 860-434-0886.
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During the most contentious Presidential election in modern history, saxophonist, flutist, composer, and arranger Ted Nash has created a project to remind one and all of the power of rhetoric, how leaders can make their nations sit up and pay attention to words that bring people together. "Presidential Suite: Eight Variations on Freedom" (Motema Music) takes the words of John F. Kennedy, Jawaharlal Nehru, Franklin D. Roosevelt, Ronald Reagan, Winston Churchill, Aung San Suu Kyi, Lyndon B. Johnson, and Nelson Mandela and sets them to a music that is, at times, stirring, highly emotional, hopeful, stunning, and seriously swinging in its breadth and vitality. The "swing" is provided by the Ted Nash Big Band, really the Lincoln Center Jazz Orchestra minus its leader Wynton Marsalis (who does appear as a guest soloist).
Nash wisely chose to include snippets of each person's speech to introduce the songs (when you watch the video, you'll get a good idea of his "composing style) and the readings and readers make the music even more powerful. After the short musical "Overture" (that brims with promise), Former Senator Joe Lieberman of Connecticut reads JFK's "Ask Not" section of his 1961 Inaugural Address and, for many of us who came of age in the 1960s, the words move us yet again. The music Nash supplies is brash, bluesy, and self-assured, not unlike the man who wrote the words who seemed to make America young again after two terms of the grandfatherly Dwight D. Eisenhower. Interesting how the music stops as it is ready to move to something new, the composer saddened by the sudden death of the President.
Elsewhere, Ambassador William vanden Heuvel (pictured left with Nash and Executive Producer Kabir Sehgal) reads FDR's "Four Freedoms" (from the 1941 Inaugural speech) and the music speaks of the blues and swing of the Depression. Presidential historian Douglas Brinkley reads the "Tear Down the Wall" speech of President Reagan and the subsequent music is surprisingly subdued, filled with gravitas as well as a brilliant trumpet solo from Marcus Printup. Sam Waterson takes on "The American Promise" speech of LBJ, the one that starts "I speak tonight for the dignity of man and the destiny of democracy", the same speech that the Electric Flag made the derisive opening of its debut album in 1968. It's really a brilliant speech (written by Richard Goodwin) with words that bear repeating today. The music blends a country-and-western riff with sophisticated swing (a la Duke Ellington) and a sparkling solo from Marsalis.
Deepak Chopra recites Nehru's brilliant speech on the freedom of India ("Spoken at Midnight") and Nash's music uses South India music as a touchstone to a handsome melody and his own soaring soprano sax solo. After David Miliband (former Secretary of State for Foreign and Commonwealth Affairs) reads Churchill's stunning speech in the wake of the "miracle at Dunkirk", the music opens with a powerful statement from the saxophone section (in the fashion of Julius Hemphill's arrangements for the World Saxophone Quartet), baritone saxophonist Joe Temperley (who passed 20 months after the recording session) plays the opening melody before giving way to Nash's alto sax (the late saxophonist also plays counterpoint throughout).
Glenn Close reads the words of Suu Kyi ("Water in Cupped Hands" ) and the subsequent music may remind some of Ellington's "Far East Suite" and the Duke's music impressions of his band's trip to the Middle and Far East (although they did not touch down in Myanmar, Burma in the time of his trip). Former Mayor of Atlanta, GA, and US Ambassador to the United Nations Andrew Young reads an excerpt from Nelson Mandela's 1994 Inaugural Address. The song title, "The Time for The Healing of the Wounds", is so hopeful and the music that follows blends South African and reggae rhythms. Trombonist Chris Crenshaw not only plays the melody but reiterates the words that Ambassador Young had read just moments before. The piece brings the album to a loping close, an easy rhythmic gait that fades on on the trombone's swagger.
"Presidential Suite" will mean many things to different people but the words plus the music remind us that America can be great when our leaders work to unite citizens. Even when this country's (and the others represented on this album) problems are front-and-center, we have had leaders step up to inspire us. This music, with many songs based on the rhythms and words of African Americans, fills one with hope even in treacherous times. Ted Nash has done listeners a great service with this music, illustrating that words and music can have a positive effect on us all. Please listen.
For more information, go to www.presidential-suite.net. The album package comes with an excellent booklet plus a second disk of the music without the spoken words.
Trumpets:
Ryan Kisor (lead), Kenny Rampton, Marcus Printup, Greg Gisbert
Trombones:
Vince Gardner (lead), Chris Crenshaw, Eliot Mason
Piano:
Dan Nimmer
Acoustic & Electric Bass:
Carlos Henriquez
Drums & Percussion:
Ali Jackson
Zach Adelman (percussion on "Water in Cupped Hands")
Ansel Scholl (cowbell on "The Time for The Healing of the Wounds")
The Fall 2016 Concert Season at Firehouse 12 begins this Friday (9/16) with an appearance by the Ben Wendel Group. The tenor saxophonist, bassoonist, and composer may be best known for his work with Kneebody; he appeared at the Elm City venue three times including in a duet with pianist Dan Tepfer, as part of Linda Oh's Sun Pictures group, and with his friends in Kneebody. He's a busy musician and producer - I saw him recently subbing for Donny McCaslin in Maria Schneider's Orchestra and he fit in nicely with the ensemble.
Wendell is touring on the strength of his new album (just came out last week) "What We Bring", his debut on Motéma Music after three releases on SunnySide Records. The recording features Gerald Clayton (piano), Joe Sanders (bass), Henry Cole (drums, and, on two tracks, Nate Wood (percussion). Clayton and Sanders will be along for the New Haven gig while Wood will man the drum set.
What a delight the music is on the new album. Six originals and two fascinating covers, one of Miles Davis's "Solar" (which closes the recording) and a lovely reading of "Doubt" by the duo known as Wye Oak. From the opening moments of "Amian", the quartet (and, in this instance, Wood) are firing on all cylinders. Sanders and Cole (who is a member of Miguel Zenon's Quartet) set a throbbing rhythm while Clayton rumbles underneath. During Wendel's solo, the pianist is silent while the tenor flies above the fray. If you play close attention, you can hear the overdubbed reeds as well as the percussive piano. The melody of "Fall" rises over a funky beat. Clayton and Wendel share the melody and, at the end of the verse, they each take a quick solo turn. Clayton takes off into a rollicking, dancing, solo - when the tenor, one hears a section that is reminiscent of Keith Jarrett's European Quartet (Jan Garbarek, Jon Christiansen, and Palle Danielson) from the 1970s. One hears that in the opening of "Spring", in the sprightly melody line and how Clayton jumps into his solo over the active brushes and fundamental bass.
There's a hint of Caribbean rhythm on "Song Song" while the melody dances atop the bells and bouncing bass lines (acoustic bass and Clayton's left hand). "Soli" charges out of the gate thanks to the forceful drumming yet it's quite a pleasure to hear how the four musicians vary the dynamics. "Austin" is a such a pretty piece, the articulated piano lines and the breathy tenor create an atmosphere of gentle contemplation. Clayton is the perfect foil throughout the record, his choice of notes and chords serve the songs so well and his solos are so smart. Because Sanders and Cole are so adept at creating the foundation for ever song, both the pianist and saxophonist are free to explore.
The splendid interpretation of "Solar" brings the album to a close on a rousing rhythm. Just listen to how Cole pushes the piece away from its hard-bop roots and into new territory, one marked by the influence of hip hop. "What We Bring" is modern music, celebrating the tradition as it expands its territory. Ben Wendel has an expansive mind, attracting musicians to his vision who enjoy taking the music in unexpected and often exciting directions. This album is a delight from start to finish.
The Ben Wendel Group plays 2 sets at Firehouse 12 with the first at 8:30 p.m. and the second (separate admission) at 10 p.m. For more information, call 203-785-0468 or go to firehouse12.com.
As luck would have it, alto saxophonist, composer, and the newly appointed Director of Jazz at Princeton University, Rudresh Mahanthappa brings his Bird Calls quintet to The Side Door Jazz Club in Old Lyme on Friday night, performing his first set at the same time as Ben Wendel will be playing in New Haven. Joining him will be three of the four musicians who recorded the 2015 ACT CD that gives the band its name; they include pianist Matt Mitchell, bassist François Moutin, and the impressive young trumpeter Adam O'Farrill. Replacing drummer Rudy Royston will be Dan Weiss so there will be no loss in the powerful drive that propelled the band on the album. The music, based on the leader's study of the music of alto saxophonist Charlie "Yardbird" Parker (the subtitle of the CD is "The Charlie Parker Project"), does not sound like it comes from the 1940s or 50s but has a modern sensibility. Parker always created new songs off the chords of older ones (he loved "I Got Rhythm" for example) and Mahanthappa does the same. It's a smart approach, filled with great melodies and strong solos - this is quite a band.
Doors open at 7:30 p.m. and the first notes should resound at 8:30. For tickets and more information, go to thesidedoorjazz.com or call 860-434-0886. To learn more about Professor Mahanthappa, go to rudreshm.com.
Here's a short look at the album:
On Saturday night, The Side Door welcomes back the Clifton Anderson Sextet with saxophonist Antoine Roney. The trombonist, best known for his work with his uncle, saxophonist Sonny Rollins, has always maintained a career as a leader, moreso over the past several years since his former employer has stopped playing concerts.
The music starts at 8:30 p.m. Check the website for more information.
As the CDs pile up on my desk, one keeps rising to the top. "1954" (Tone Rogue Records) is the second album for guitarist and composer Ricardo Grilli. Grilli, a native of Sao Paulo, Brazil. moved to New York City to study at NYU in its Music and Performing Arts Department (after studying at the Berklee College of Music). He graduated in 2013, the same year he issued his debut album, "If On A Winter's Night A Traveler" (self-issued). He's worked with pianist Jon Cowherd, saxophonists Chris Cheek and Chris Potter, and drummer EJ Strickland. He's a melodic streak a mile wide and it's very evident on both his albums.
The new album features an impressive band including Aaron Parks (piano), Joe Martin (bass) and Eric Harland (drums). The guitarist has supplied with nine originals pieces and, while you may hear a hint of Pat Metheny and Kurt Rosenwinkel every now and then, these compositions are mature, thoughtful, and filled with wonderful melodies. Several of the cuts sound as if there should be a vocalist. Pieces such as "Rings" and the elegant samba "Breathe" are telling a story, one that the listener can get wrapped in. Gentle chords and simple yet effective hand drumming leads in "Rings" - nothing is rushed, the melodic bass lines underpinning the melody played by the leader and Parks, whose phrases rise over the guitar lines and loops. "Cosmonauts" has a classical feel with Martin's sweet solo right at the beginning as the piano plays quiet figures that lead into the melody, one that is effortless and poetic in nature. Harland helps to push the melody forward with his active work while his cymbals splash easily during the piano solo.
There are also moments when the music takes a harder turn. The opening track "Arcturus" (possibly named for the red-giant star in the Boötes constellation) has a strong 4/4 feel in Harland's drums, a pulsating drive that one might hear on a Jeff Beck track (not the guitar sound, though). "Vertigo" features a solid drum attack yet still has a well-turned melody. Harland keeps up the intensity during the piano solo but does not overpower Parks. Grilli feeds off the the drummer's energy and creates a ringing solo, filled with powerful phrases that rise and fall and rise again. There's a "prog-rock" feel to the drums on "Radiance", a tune on which the sustain of the guitar notes give the song a fuller sound. The program closes with "Pulse", a rapid-fire tune that has a hard-bop feel, flying on the scrambling drums and "running" bass lines. Parks digs into his solo, urged on the forceful rhythm section and chunky guitar chords.
Get a copy of "1954" (it's released in early October) and let the sounds and melodies wash over you. Don't look for influences, just listen and you'll hear a confident musician playing with a rhythm section that supports, pushes, and gives its all. Notice the melodies - the majority are truly intelligent, well-drawn, and not flashy guitar riffs that lead to long solos. Ricardo Grilli, remember that name. Judging by his 2 albums, he's a fine composer, a smart player, an excellent arranger, and, chances are good, he'll be making great music for a long time.
Jan and Ken are taking a well-deserved rest (actually, a busman's holiday) this weekend (7/29-30); therefore, The Side Door Jazz Club in Old Lyme is closed. Jan Mullen, who searches for and books the talent, is going to the Newport Jazz Festival to scout the talent and hopefully, judging by the lineup (click on the name above), invite artists who have yet to play in the handsome performance space.
When she returns (chances are also good owner Ken Kitchings will be there as well), The Side Door has quite a group of artists scheduled for August through mid-September including trumpeter Dominick Farinacci (8/06), saxophonist Tia Fuller (8/13), vocalist and pianist Champian Fulton (8/26), and saxophonist Rudresh Mahanthappa's "Bird Calls" with trumpeter Adam O'Farrill and (perhaps) pianist Matt Mitchell (9/16). And, there's plenty more! Go to thesidedoorjazz.com to check to all out.
On the weekend of August 19-20, Jan and Ken welcome back the Black Art Jazz Collective. The sextet, organized in 2012 by Wayne Escoffery (saxophones), Jeremy Pelt (trumpet), Johnathan Blake (drums) and the late bassist Dwayne Burno, first played in Old Lyme in late November 2014, almost a year after the bassist passed. Mr. Burno was replaced by Vicente Archer with the other members being James Burton III (trombone) and Xavier Davis (piano). The band recorded live one night and then, the next day, used the space to record even more.
The results of those sessions can now be heard on the sextet's debut album. Titled "Black Art Jazz Collective: Presented by The Side Door Jazz Club" (Sunnyside Records), the CD includes eight original compositions (two by Escoffery and Davis plus one each from the rest of the band, including Burno but not Archer). Most, if not all, of the group are bandleaders so this "collective" understands that one puts aside egos and focusses on the music. The recording starts with two pieces by the saxophonist, the fiery "Double Consciousness" and the forceful "Awaiting Change" - pay attention to the work of Davis, Archer, and, especially Blake. as the music swells, pulsates and flows. Both Escoffery and Pelt play with great fire on the latter track while Burton III's more mellow approach is an excellent contrast to the blasts of the sax and trumpet on the opener. Yet, listen to how Blake fires up the band Iand he does so throughout the album.
This album is filled with exciting music with influences from Hank Mobley, Jackie McLean, Wayne Shorter and other creative musicians from the 1960s and 70s. "Salvador Da Bahia", from the pen of Davis, changes tempi with the two-handed piano chords leading the way. Hints of McCoy Tyner's mid-1970s music enters this track, especially in the interaction of Escoffery with Davis, Blake, and Archer. The pianist's "No Small Change" is a handsome ballad with the trombonist and bassist taking excellent solos. Both this song and "Awaiting Change" were inspired by Barack Obama while the trombonist's rollicking "Going Somewhere" cites Sojourner Truth as its inspiration. Pelt's solo has a bluesy edge but moves forward with great energy. Both Escoffery and Burton match that energy while Davis dances through his solo with great joy.
The album closes with its longest track (12:16); "The Shadower" (inspired by saxophonist Joe Henderson) is the cut from the "live" show. The enthusiastic audience really enjoys the long solo from Pelt, especially the long moaning drone he plays for 90 seconds before launching into a series of phrases, melodic fragments that romp over the powerful rhythm section. By the end of the solo, (over five minutes) the audience is ecstatic. Escoffery pours his soul out over the funky drums and bass (sounding like something Miles Davis played before going electric. The saxophonist also stretches out but leaves room for a fantastic piano solo. Davis starts out unaccompanied, somewhat introspective, but he soon takes a more rhythmic with Blake and Archer joining as he moves in-and-out of tempo. Everyone returns for the final minute, taking the set out on a rousing note.
Black Art Jazz Collective has the power and intelligence to stir an audience, making music that nods towards its influences yet sounds fresh and refreshing. The Side Door Jazz Club in Old Lyme, CT, opened in May of 2013 with the mission of not only presenting first-class musicians from around the world but also shining its spotlights on younger musicians, especially those who have gone through the Jackie McLean Institute of Jazz at the Hartt School, the New England Conservatory, Berklee, Manhattan School of Music, and elsewhere. Ken and Jan's first recording project opens a new door and one hopes that this portal stays off its latch a good long time.
A generous helping of youth and age is on tap for two CT venues this week. On Friday July 22, The Side Door Jazz Club in Old Lyme presents saxophonist and composer Jovan Alexandre and Collective Consciousness. Young Mr. Alexande, a native of Wallingford CT, is a veteran of the Hartford Jazz scene having first travel to the Insurance City to study at Jackie McLean's Artists Collective and then went on to the McLean Institute of Jazz at the Hartt School of the University of Hartford. He's had the opportunity to record with drummers Ralph Peterson Jr and Wnard Harper as well as legendary saxophonist Frank Wess.
Collective Consciousness - Andrew Renfroe (guitar), Taber Gable (piano), Matt Dwonszyck (bass), and Jonathan Barber (drums) - has been a unit for several years, releasing its debut self-titled album in February of 2015. The music is powerful and melodic, with its youthful exuberance standing out even as the musicians get more work under their belts.
They'll take The Side Door Stage at 8:30 p.m. For more information, call 860-434-0886. To learn about the leader and his music, go to jovanalexandre.com.
Freddy Cole, the younger brother of Nat "King" Cole (who's amazingly been gone for over 5 decades), has built quite a successful career of his own since the early 1950s. To his credit, he's followed own path, creating his own niche as a pianist and vocalist. The younger Mr. Cole does not have that silky, smooth, voice of his elder brother but has a charming stage demeanor, a bluseier approach to his material, and has recorded a wide variety of pieces. For the last decade+, he's recorded for the High Note label with his latest CD "He Was The King" (released this past March), the first time he's recorded a full album dedicated to music associated with his brother.
Freddy Cole and his Quartet, which usually features guitarist Randy Napoleon, bassist Elias Bailey, and drummer Quentin Baxter (the latter two musicians work with vocalist René Marie as well, return to The Side Door Jazz Club for an 8:30 p.m. show this Saturday (7/22) - chances are good that this show will sell out so call 860-434-0886 or go to thesidedoorjazz.com and make your reservation. This music is well worth the drive to the CT shoreline.
To learn more about Freddy Cole's impressive career, go to freddycolemusic.com.
Greeleytribune.com
This should be a nice weekend to journey up to the Litchfield Hills in northwestern CT. Sarah's Wine Bar, inside Bernard's Restaurant, 20 West Lane (Route 35) in Litchfield, has started presenting live music. This Sunday evening as part of its Jazz Masters Seies, the venue presents the duo of Dick Hyman (piano) and Ken Peplowski (clarinet, tenor saxophone) - do I have to write anything more? Really? Mr. Hyman, who is eight months away from his 90th birthday, has been involved with contemporary music as well as music of the 1920s and 30s since the 1940s, has worked with artists such as Charlie Parker, Ruth Brown, Woody Allen, and so many others. Mr. Peplowski (32 years younger) is one of the finest clarinet players in the world - he can and does play just about every style of modern music. Together, they probably know several thousand songs.
You'll definitely need reservations so call 203-438-8282 or go to www.bernardsridgefield.com/#/jazz-masters-series/.
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Having recently spent several weeks in Chicago and its environs, I read about and listened to a number of artists from the Midwest (I recommend checking out Peter Margasak at The Chicago Reader (go here) and Howard Reich at The Chicago Tribune (look here). Pianist and composer Bryan Nichols is from Minneapolis, Minnesota. He spent from 2001 - 2005 working, studying, and playing in Chicago but returned home and has been very busy teaching and performing. His debut CD, "Bright Places", is a quintet album of originals issued in 2011. His follow-up,
"Looking North" (Shifting Paradigm Records), is a solo piano recording and one of the finer releases of 2016.
The 10-song program includes with originals and 2 fascinating covers. Nichols plays with drummer/composer Dave King (The Bad Plus) is his Gang Font quartet (not on their 2007 album); here, he performs King's ballad "Lullaby For Sharks" (first recorded by TBP on its debut CD and it's a shimmering work, the melody moving so slowly as it moves up and outwards, never losing its gentle Aaron Copland-inspired melody. The other "cover" is "Lonesome Tremolo Blues" from the Minnesota-based trio The Pines. Nichols creates quite a gentle flow in his left hand, pushing the melody forward with a gospel tinge.
Nichols is no hurry throughout the album, imbuing the music with a contemplative feel. Several tracks start out energetically, such as "Act Natural" and, about halfway through, the pianist slows down to build up there solo that goes in such intriguing directions. The solemnity of "We Live Here", the even-tempered "Fractures", and the poetic "Lake View" treats the listener to the composer's views of Minnesota, allowing nature to enter into the music (not unlike how Maria Schneider has created her autobiographical works). There's a touch of Erik Satie's minimalist approach on "Very Low Impact", especially the opening melodic section. Elsewhere on the recording, there are few moments of dissonance but this music just seems to flow out of the speakers.
"Looking North" is music that allows the listener to relax, to listen, to create images, to enter a musical world where melody is much more important than technical prowess. This is not music for the car but can be played when the sun shines through the window in the morning or as the moon rises in the late winter afternoon. or after the children go to sleep. If you like solo piano music that forgoes "standards" but has its foundation in folk song, blues, and contemporary music, yet sounds quite original, it's all here in the music of Bryan Nichols.
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