Argentinean-born pianist and composer Emilio Teubal creates music that shines with lyrical beauty, sparkling solos and interplay plus rhythms that make you dance and sway. His 2013 BJU release, "Musica Para un Dragon Dormido", is one of my all-time favorite albums. Teubal has been busy since moving to the United States over two decades. He writes constantly and has worked with artists such as bassist Pedro Giraudo, cellist Erik Friedlander, and various tango organizations and groups in the New York City area. Currently, he leads a trio with bassist Pedro Lanouguere and drummer Chris Michael.
Those two musicians are the foundation of his new recording "Futuro" (Not Yet Records). Recorded in several sessions in December 2021 and May 2022 (drummer Michael has been dealing with long COVID so Brian Shankar Adler appears on five of the 10 tracks, all recorded at the later sessions). Joining the trio on three tracks is Sam Sadigursky (clarinet) and Fede Diaz (guitar) while vibraphonist Chris Dingman adds his sound to three other cuts. From the opening measure of the opening cut (the title track), the listener is transported to sunnier climes. The dancing clarinet and percussive guitar wrap around the warming piano figures. Bassist Lanouguere, who leads a quintet that Teubal is part of, is a rich melodic player with a full tone on both acoustic and electric; he also contributes fine bow work (he and the pianist play the opening melody of "Children of MMXX"––he then solos sans bow and is quite impressive there as well.
Photo: Sergio R. Reyes
Of the three tracks Dingman appears on, "Remolinos" stands out for its hypnotic piano figures and circular melody. There is a Steve Reich in the piano lines that is repeated by the vibes and the electric bass throughout. It certainly feels like all four musicians are percussionists and melody makers at the same time. The vibraphonist also appears on the handsome take of Sir Paul McCartney's "Blackbird". While the piece is the shortest track in the program (2:35), the arrangement allows everyone to shine and the melody to stand out.
Photo: Sergio R. Reyes
The blend of the acoustic guitar and clarinet on "Los que Fluyen" hints at tango as well as Brazilian folk forms––Teubal's solo rises out of the main theme, dancing atop the guitar and electric bass then steps aside for Sadigursky to create a masterful, emotional, solo. The quintet imbues "Tokyo Trenque" with such a gentle quality, caressing the melody while Adler's hand percussion clicks underneath. The music picks up with intensity during Lanouguere's acoustic bass solo from which Teubal moves farther away without going "free" but much more impressionistic. The clarinet solo seems to move the rest of the band back to melody; after a quick climax, the music gently sighs to a close.
The album closes with "Los Ultimos Seran Los Primeros" ("The last will be the first"), a wistful Trio piece dedicated to the pianist's father who passed in 2021. The insistent quality in the piano solo allows the listener to hear touches of Keith Jarrett in the delightful two-hand work of Teubal. As you listen to this track (and others), one can really tell that these musicians are in tune with each and with the material. "Futuro" stands out as a work that celebrates life and melodic adventure without sacrificing the rhythms that have sparked the curiosity of Emilio Teubal since he was a boy. Listen to "Rio" below––it's indicative of how the music incorporates its many influences to create sounds that please, hug, and brings joy!
What do you get when mix drummer Matt Wilson, bassist Mimi Jones, and saxophonist Jeff Lederer, give them two nights at the end of February 2020 in the newly reopened Cafe Bohemia in New York City, and let them loose. It's the Leap Day Trio and now you can hear the results on "Leap Day Trio: Live at The Cafe Bohemia" (Giant Steps Arts). The music on the recording is spirited, lively, at times thoughtful, and very human. Messrs. Wilson and Lederer have been friends and musical partners on and off for three decades; adding Ms. Jones to their special mix neither tempers nor hinders their musical fun. Instead, she's a solid foundational player and a melodic soloist (check her out on "The Dream Weaver" and "Leap of Faith").
The nine song, 68 minute program, opens with Wilson's "Dewey Spirit", (listen below) a tune the drummer dedicates to one of his earliest mentors and employers, tenor saxophonist Dewey Redman. Commencing with percussion and Lederer's spiky tenor sax sounds, the piece opens in rubato with Ms. Jones dancing underneath the melody line. When the main theme kicks in, one hears a running bass line, swinging drums, and the saxophonist flying all around his horn. Everyone solos, the energy is contagious, and the crowd enjoys it all.
Two of the next three tracks are ballads ("Leap of Faith" and "Ghost Town") but the track in between ("The Dream Weaver") rumbles along atop the pulsing bass and percussion. "Ghost Town" is a fascinating journey through the musical terrains of blues, post-bop, and during the bass solo, the feel of Native American music. Lederer lets loose on the opening of "Strival For Survival"––that sets the tempo for the rhythm section and they rocket forward. When the tempo slows down for Ms. Jones fine solo, listen for Wilson's delightful work on the cymbals.
Photo: Jimmy Katz
The program closes with the spirited "For Friends"––again, Lederer leads off the piece with a solo introduction but one can hear from his exciting forward lean, the music is going to be fiery. Even when the gentlemen step aside for Ms. Jones spirited solo, the music has great drive.
One hopes that the Leap Day Trio doesn't only convene every four years. In the meantime, celebrate the group's music on "Live at The Cafe Bohemia".
Hear Matt Wilson's musical tribute to Dewey Redman:
Trumpter, composer, mentor, and author Jeremy Pelt has just issued Volume III of "Griot: Celebrating the Lives of Jazz's Great Storytellers". 15 more interviews with artists whose ages range from 89 (Wayne Shorter) to 28 (Elena Pinderhughes) sharing insights into their musical and spiritual upbringing, how they each developed a singular voice, and the changes they have seen in this art form created by black musicians at the start of the 20th Century. These are stories of resilience in the face of the racism that has never truly been eradicated in this country and in places around the world. Many of the artists speak of how the changes that other musical forms (styles) have brought to the music keeps it alive in the face of listeners and label owners apathy. But you also read of how musicians have been mentored by their musical elders, about the rigors of the road, and the cost, mental and physical, of a musician's calling. Still, there are joys galore in their retelling stories of their formative days and nights on and off the bandstand.
Photo: Ra-Re Valverde
I have written before how "Griot" will remind older Black Music fans of "Notes and Tones: Musician-to-Musician Interviews", the 1977 classic interviews drummer Art Taylor compiled that featured 29 of the greats who helped push the music forward in the middle decades of the 20th Century. Jeremy Pelt has given us the 21st equivalent of Mr. Taylor's book and, hopefully, he will continue to converse with his elders, contemporaries, and young people for years to come!
There was a lot of very good-to-excellent music to listen to and write about this year; so much so, that I'll play catch-up through January 2021. Here's the rest of the recordings (in no particular order) I believe made this year so much better.
Brian Asher – "Brian Asher's Skrontch Music" - (Sinking City Records) – Even though this large ensemble album was issued in October of 2019, I did not create a review until late January of 2020. Asher has created a fascinating recording illuminating how the Black music that grew up in New Orleans permeates much of what we listen to. The 5-song "suite", created for a 10-piece ensemble, combines the issues of anti-Jim Crow activism with the growth of jazz from the turn of the 20th Century forward. Considering the craziness of this year, the music is hardly dated but right on target.
Rudy Royston – "PaNOptic" - (Greenleaf Music) – Mr. Royston is one of the finest drummers playing at this time. He is the supersonic engine beneath numerous Posi-Tone Records recording sessions yet can play gently and melodically when working with people such as Bill Frisell and Dave Douglas. When the pandemic hit, the drummer decided to release these solo tracks he made several years before. It's a percussive "autobiography" with Mr. Roystron paying tribute to the blues, to influences Max Roach and Elvin Jones, Herbie Hancock, Prince, and Jack DeJohnette, to dancing and more. 100% of the proceeds from the sale of the album goers to the Music Cares COVID-19 Musicians Fund. To listen to and purchase this splendid project, go to
Jorge Roeder – "El Suelo Mio" - (Self-released) - Bassist Roeder, who has regular gigs with guitarist Julian Lage as well as trombonist Ryan Keberle's Catharsis, created this musical gem before the pandemic struck yet it's a perfect example of an artist making creative statements on an instrument that often is overlooked for its versatility. Like a snifter of Cognac, aged single-malt Scotch, or vintage Port, this is music to be savored in the quiet moments of the day, early morning and late evening. Thoughtful, melodic, soulful, exciting and more, this music shines! For more information, go to www.jorgeroeder.com. To hear more and purchase, go to https://jorgeroeder.bandcamp.com/album/el-suelo-mio. Take a look:
The Dayna Stephens Quartet – "Right Now! Live at The Village Vanguard "- (Contagious Music) - Listening to this album for the first time five months into the pandemic made me long for live venues and for groups such as this who are musical explorers. Stephens (saxophones, EWI), joined here by Aaron Parks (piano), Ben Street (bass), and Gregory Hutchinson (drums), dances, swings, and sings his way through pieces from throughout his expanding catalogue. What a treat! Stephens work on the EWI has always been fascinating and the two tracks on this 2-CD set are excellent. To find out more, go to www.daynastephens.net. To hear more and purchase, go to
Chris Dingman – "Embrace" & "Peace" - (Inner-Arts.org) - Vibraphonist Dingman issued two projects this year, "Embrace", a trio recording with bassist Linda May Han Oh and drummer Tim Keipers plus the solo project "Peace" that he created for his father during his time in hospice. Both albums are infused with melodic invention, with hypnotic sounds, and with love. The trio disk is mesmerizing yet has moments of great excitement. "Peace" is a five-CD, nearly five hour project that is concerned with soothing and healing the body and mind. "Beautiful" is the word that comes to mind when this music is playing––it's not about technique or flash but all about how one person can help others when they are vulnerable, ailing, and in the last days of their life. For more information, go to https://chrisdingman.bandcamp.com/.
Here's a trio track:
Kurt Elling with Danilo Perez – "Secrets are The Best Stories" - (Edition Records) - Elling's debut for the British-based Edition Records is a fascinating reminder just how wide-ranging his creative mind can be. Teamed up with pianist Danilo Pérez, the material combines jazz compositions that the vocalist adds his poetry to. Social conscious works sit comfortably next to tributes to Toni Morrison and Robert Bly. Percussionist Rogerio Boccato is on the majority and there are appearances by bassist Clark Sommers, drummer Johnathan Blake, and alto saxophonist Miguel Zenón but the work of Elling and Perez is exemplary––this music gets better and deeper with each listen. For more information and to purchase the album, go to https://kurtelling.bandcamp.com/album/secrets-are-the-best-stories.
Here's the video for powerful "Song of the Rio Grande":
Dave Douglas – "Dizzy Atmosphere: Dizzy Gillespie at Zero Gravity" - (Greenleaf Music) - There are few people busier in the music world than Dave Douglas. The trumpeter-composer runs Greenleaf Music, hosts a monthly podcast, seems to be composing all the time, and teaches as well. 2020 saw three releases, tow initially for Greenleaf Music subscribers only, and this delight-filled tribute to John Birks "Dizzy" Gillespie. Joining him are Dave Adewumi (trumpet), Matthew Stevens (guitar), Fabian Almazan (piano), Carmen Rothwell (bass), and Joey Baron (drums). While only two of the nine pieces are Gillespie compositions, one can hear the Master's influence throughout the album. To find out more and to purchase the recording, go to
(Honorable mention: Dave Douglas – "Overcome" (Greenleaf Music) – This six-song album, released in December, was recorded "in quarantine" with each musician adding his or her part to the "blueprint" tracks that the trumpeter sent. What a lineup––Fay Victor and Camila Meza (vocals), Jorge Roeder (bass), Ryan Keberle (trombone), and Rudy Royston (drums)––playing music that ranges from "protest" songs to "prayers" to "free improvisation." The recording is now available at https://davedouglas.bandcamp.com/album/overcome. Check it out!)
Orrin Evans and The Captain Black Big Band – "The Intangible Between" - (Smoke Sessions Records) – Pianist, composer, and sometime arranger Evans has managed to keep this large ensemble going for nearly a decade. For this album, it's more of large-ish band, down to nine members from its usual 16-18. But, as always, these pieces are noisy, raucous, emotionally powerful, and chock-full of excellent soloists. There's Monk ("Off Minor"), there's gospel ("This Little Light of Mine"), a tribute to Roy Hargrove (the late trumpeter's "Into Dawn"), and a statement of power and against police brutality in these uncertain time ("Tough Love", music by Andrew Hill plus several poems). This music sounds better the more you listen! For more information, go to https://smokesessionsrecords.com/shop/albums/the-intangible-between-feat-the-captain-black-big-band/.
Take a listen:
Raphaël Pannier Quartet – "Faune" - (French Paradox) - As debut albums go, this effort from French drummer and composer Pannier. Now based in New York City, Pannier enlisted Miguel Zenón as "music director", co-producer, and alto saxophonist for these sessions. From the opening moment of Ornette Coleman's "Lonely Woman", the music is exciting, exploratory, and interactive. Besides the drummer and saxophonist, the ensemble includes François Moutin (bass) and Aaron Goldberg (piano); there are also two "classical" pieces, one composed by Olivier Messiaen, the other by Maurice Ravel, both featuring pianist Giorgi Mikadze. Great playing all around as well as inventive arrangements! To hear more and to purchase this delightful album, go to https://raphaelpannier.bandcamp.com/album/faune.
Check out the classic Coleman piece:
The Awakening Orchestra – "vol. II: to call her to a higher plain" - (Biophilia Records) – The long-awaited sequel to 2014's "vol. I", this album, composed (most of it), arranged, and conducted by Kyle Saulnier for this 18-member (plus guests) ensemble, continues in the vein of the earlier album in that there is a strain of "protest music" running through these works. The program includes two four-part "suites" plus rearrangements of songs by Nine Inch Nails, Nick Drake's mother, Bill Frisell (in the style of the Liberation Music Orchestra), and choral composer Eric Whitacre. The four-part title track features the powerful violin of the composer's wife Brooke Quiggins. The album, nearly two hours in length, is quite impressive for the intricate arrangements, often-stunning musicianship, and the breadth of the compositions. To find out more about this orchestra and its creator, go to www.awakeningorchestra.com/. To listen to and purchase the digital-only album, go to https://awakeningorchestra.bandcamp.com/album/volume-ii-to-call-her-to-a-higher-plain.
Give a listen:
This year's most wonderful "Historical Release" comes, no surprise here, from Resonance Records. "Sonny Rollins: Rollins in Holland" is a combination of tracks from three different sessions, one for a radio program and two in concert. Mr. Rollins met his rhythm section––bassist Ruud Jacobs and drummer Han Bennink–moments after stepping off the plane. Sound quality ranges from very good to okay but the music shines nonetheless. On the longer tracks, the great tenor master rarely comes up for an extended breather. Kudos to the rhythm section as they really spurred Mr. Rollins on to such inspired playing. For more information, go to https://resonancerecords.org/product/sonny-rollins-rollins-in-holland/. Be sure to check out the mini-documentary!
Actually, it was quite impossible to stop after 20 (my list, including reissues and "historical releases", comes closer to 44) but, as I wrote at the top, over the next month I will attempt to catch up with 2020 releases that are well worth your attention.
Have a Happy, Healthy, and Safe New Year! Thanks for reading!
In these days of pandemic, how one deals with the inevitable loss of a loved one is often painful for all sides. In many hospitals and hospices throughout the world, visitors (until recently) have not been allowed into the room: now, at most, only one person can come in at a time and only if you are healthy. In 2018, vibraphonist, composer, and educator Chris Dingman was able to create music for his father as the elder Dingman lay in his home hospice bed. The father had such a hard time sleeping when in the ICU and, subsequently, in an inpatient hospice center but was able to rally enough to go home for the final seven weeks of his life. His son turned to the one part of his life that would help, music, and began improvising phrases and forms to help calm his father's nerves, to regulate his breathing, to take his thoughts in a different direction. The vibraphonist recorded these evening sessions onto CDs that his father could play when the son was away. Other than the disks made for the father, Chris Dingman kept the music private for several years. When I spoke to him earlier this year, he was planning on making the music, now called "Peace", available to hospitals and hospices with an eye towards in-facilities performances. Since the pandemic struck the US, he has conducted on-line performances and video chats. The album is available as a download or a five-disk set through Bandcamp.com and a percentage of the sales will go to the Boris Lawrence Henson Foundation, an organization that provides mental health services for the African American community.
"Peace"lives up to its name. The gentle melodies, the deliberate pace of the music, the swirling sound of the vibes in your ears, has a calming effect. If you just listen, you will slow down. Don't multi-task, don't read, cook, clean, chat with friends, just sit and listen. You may fall asleep; don't worry, that's fine. If you get bored, it's because you're not paying attention. The song titles came from the elder Mr. Dingman with occasional help from his son. The titles have stories and emotions involved; perhaps, you'll give them names as well.
Whatever you do with this truly exquisite music, know that is a labor of love, a conversation with a loved one, once private but now shared with a world in need of peace. And, for a good cause!
For more information, go to www.chrisdingman.com. Click on the Bandcamp link above to go directly to the album page. You, too, can make a donation to the Boris Lawrence Henson Foundation by clicking on the link in the opening paragraph.
I first heard vibraphonist and composer Chris Dingman when he was a student at Wesleyan University around the turn of the 21st Century. He studied with Anthony Braxton, Jay Hoggard, Pheroan akLaff, and others as well as played in student ensembles. The California native then attended the Thelonious Monk Institute of Jazz Performance (now named for Herbie Hancock) where he was exposed to and played with numerous artists such as Jason Moran, Stefon Harris, Jimmy Heath, Vince Mendoza, and many more. In late 2005, he was part of an ensemble that toured Vietnam and the Far East under the auspices of the United States State Department getting to play with Hancock and Wayne Shorter. Since 2007, he's lived in New York City where the vibraphonist has worked and recorded with fellow Wesleyan grad Steve Lehman, trumpeter Ambrose Akinmusire, John Zorn, Fabian Almazan, Jen Shyu, and Professor Braxton (among many others). Currently, he's part of the Envisage Collective and has a duo with vocalist Miriam Elhajli plus leads his own Trio.
His third album as a leader, "Embrace" (self-released), features bassist Linda May Han Oh and fellow Wes grad Tim Keiper (drums, percussion). Rest assured, it's one of the most beautiful albums you'll hear this or any year, filled with lovely melodies, splendid interactions, and hypnotic sounds. In the past few years during which time Dingman's father took ill and subsequently died, the vibraphonist has brought his music into hospitals and a hospice where the sounds became part of therapy. Several of the pieces in this nine-song program come from that (the opening "Inner Child" with its music-box vibes sound, "Ali" and its oh-so-gentle circular melody and backing), and the ethereal "Forgive Embrace") – Dingman has another project filled with pieces he played for his father, a five+ hour collection of improvisations, that will be released as an album later in 2020.
There are also pieces that dance forward with glee. "Hijinks and Wizardry" has a hummable melody played over the melodic bass lines of Ms. Oh and Keiper's splendid brushes strutting on his snare drum and caressing his cymbals. The drummer leads on "Find a Way" creating a skipping beat that the bass supports and that the vibes flow atop. After a handsome bass solo, Dingman and Keiper push each other to a higher level before bringing the song to gentler close. "Goddess" has a similar feel thanks to the close mics on the drums which, at times, push Keiper to the front (listen below). The program closes with "Folly of Progress" which jumps from the speakers on the throbbing bass line and martial drumming plus Dingman's powerful solo.(
Listening to "Embrace" reminds one how much fun it can be to get lost then found in a musical experience. The music that Chris Dingman, Linda May Han Oh, and Tim Keiper create alternately whispers and shouts out to to the listener to loosen the fears and worries that the world piles up on the doorstep, find a friend or group of friends, share these sounds, and celebrate life and community.
For more information, go to www.chrisdingman.com. The trio, with album producer Keith Witty (also a Wes grad) standing in for Ms. Oh, appears at the Jamaica Center for Arts and Learning in Queens, NewYork (514) and at Firehouse 12, 45 Crown Street in New Haven, CT (5/15).
Enjoy this track:
For over three decades, drummer Ben Perowsky has performed with artists from multiple genres, from Rickie Lee Jones to John Cale to James Moody to Iggy Pop to Joan as Policewoman as well as his father's big band (and many more). He's co-founder of the fusion-jazz ensemble Lost Tribe and hs own big band, the Moodswing Orchestra. He's been playing with organist John Medeski and saxophonist-clarinetist Chris Speed for almost 20 years; since his move to Woodstock, NY, the trio gets together to "let off steam", forming a group they call RedCred. They recorded an album's worth of material of songs in May of 2014 – the album is just being issued by the drummer but, thanks to the great playing of the three musicians and the timeless quality of the material, the music sounds fresh.
"Upstream" is credited to all three musicians with the drummer taking top billing. The eight-song program includes several originals by the drummer, one Medeski piece written for his main gig (Martin, Medeski, & Wood), and pieces from Jaco Pastorius, Wayne Shorter, and Miles Davis. Pastorius's "Dania" kicks off the album – and I do mean kick – the trio blazing through the melody and into the solo section. Medeski's bass lines really move and Perowsky gooses the music forward. Speed's tenor solo rocks over the rhythm section and then steps aside while the organist has his own romp. One does not miss the bassist as both the organ and drums cover the bottom.
Highlights include Perowsky's "Paul"; while the track is written in honor of Paul Motian, one hears melodic excerpts from The Beatles "I Am The Walrus" written for Paul McCartney. "Face on the Barroom Floor" comes from Wayne Shorter who recorded the piece as a duo with the keyboards of Joe Zawinul on Weather Report's 1985 "Sportin' Life" album. The trio gives the piece a bluesy edge with Speed on clarinet and Perowsky using his brushes to move between the drum set and the cymbals. The music also has an introspective feel, slowly floating to an quiet close. Medeski's contribution is the frantically paced "Worms" (from MM&W's 1993 album "It's a Jungle In Here") where the piece was taken at a similar pace and equally as zany.
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"Upstream" closes with a ballad, Perowsky's "Love and the Apocalypse", a composition that dates back to the early 1990s. It bears a bit of resemblance to John Coltrane's "After the Rain" (from his 1963 "Impressions" Lp) as well as the opening four notes played by Speed sound like lie the opening line of Stephen Sondheim's "Send In The Clowns") – there's a bit more dissonance here but the piece is also played rubato so the music doesn't move as much as the sound swells, peaks, becomes quiet, all the while, Perowsky is raising a percussive storm. Medeski's majestic organ bring the piece and the album to a close after the drums fade.
Ben Perowsky, John Medeski, and Chris Speed – RedCred – make powerful music together, much of which will make you move with a pair of pieces that offer respite from the powerful jams. "Upstream" was worth the wait as it is timeless creative music.
The trio of Clark Sommers (acoustic bass), Geof Bradfield (tenor and soprano saxophones), and Dana Hall (drums) have worked together in the Chicago area for over two decades, playing with many local and national artists. Their self-titled debut album as the Clark Sommers' Ba(SH) Trio, was issued by Origin Records in 2013 – the name comes from the first letters of each musicians last name plus the lower case "a" to create a word one could associate with music (it's fine though this trio certainly knows how to create dynamic variation in its sounds).
Ba(SH)'s second album,"Peninsula" (Outside In Music), moves in a similar path to its earlier album. Produced and composed by the bassist (the 2013 date had three pieces by Bradfield plus one each from Thelonious Monk and Billy Higgins), one can sense from the onset here are three musicians who listen, react, interact, and share a vision. Because Chicago has been each man's base for so long, it's hard not to hear the influences of tenor sax great Von Freeman in the post-bop trajectory of pieces such as "Goes Around" and the fiery "Disambiguation" that closes the album. There's a trace of John Coltrane and Coleman Hawkins in Bradfield's sound but his singing tone belongs to him alone. Note the simplicity and power of the melody of "Morning Bell" and how the saxophonist navigates the powerful rhythmic flow from the bass and drums.
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Hall's sensitive brush work stands alone at the top of "The Forgotten", moving into a bolero rhythm with the addition of the bass before the soprano sax leads the listener on a meditative journey. There's a touch of a Middle Eastern melody in saxophonist's winding solo phrases while Hall and Sommers push and dance beneath. One gets a sense of intimacy that permeates the music as if we are right there in the room as the trio is playing. "Maybe Never" starts quietly, increasing in intensity as Hall pummels and phrases behind the powerful tenor sax lines and the foundational bass lines. "Hope Dance" moves between a blues pattern and rubato to great effect – Bradfield's husky tone, Sommers' counterpoint bass, and Hall's gut-bucket drumming, all combine to draw one in to this forceful performance. Pay attention to the skittering drums alongside the melodic and conversational bass solo before the close of the track, with Sommers leading Bradfield back in to join him on a repetitive melodic fragment as the drummer rumbles and...yes...bashes beneath them.
One could put "Peninsula" on repeat and hear something new each time. Clark Sommers' Ba(SH) plays spirited music that refer to its predecessors yet is firmly situated in the here and now.
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.
One of the nicer people to wield mallets, Jay Hoggard spends a good deal of time teaching Wesleyan University students about jazz, jazz history and leading the Wesleyan Big Band. When he's not on campus, he can found in venues around the country, working with Bill Cosby and various other ensembles. He, also leads his own group and will be performing several times in August and September, including heading the New Haven Jazz Festival on Saturday August 13 (it's a free afternoon and evening of music.)
Before that, he'll appear this Monday night (July 25) in Hartford, Jazz in Bushnell Park series. With his long-time musical compatriot James Weidman (piano), they'll be "Paying Tribute to the Great Abbey Lincoln", the wonderful vocalist and songwriter who passed 11 months ago. Joining them will Bruce Cox (drums), Brad Jones (bass) and Leena Conquest (vocals.) Ms. Lincoln amassed quite a songbook over her 4+ decades as a singer so this concert looks to be an exciting evening. Opening the show at 6 p.m. will be the UMOJA Ensemble with the headliners onstage at 7:30 p.m. If you are unable to attend, tune in to WWUH 91.3 FM or online at wwuh.org. In case of bad weather, the show moves indoors to Asylum Hill Congregational Church, 814 Asylum Avenue. For more information, go to www.hartfordjazzsociety.com.
One of Professor Hoggard's students was profiled in today's Sunday New York Times (here is the link - www.nytimes.com/2011/07/24/arts/music/the-vibraphonists-jason-adasiewicz-and-chris-dingman.html.) Chris Dingman came to Wesleyan in 1998 as a drummer and soon switched to vibraphone at his Professor's suggestion. After graduation, he attended the Thelonious Monk Institute (at that time, based in Los Angeles, California) and began a career as a professional musician. Wes grad Steve Lehman (saxophone) hired him and Dingman has appeared on several of his CDs as well as being a member of his touring group. Earlier this year, Dingman self-released his debut CD, "Waking Dreams", and it is one of the best recordings of this (or any recent) year (my review is here.) Professor Hoggard and the Wesleyan Music Department gets a good deal of credit in helping young Mr. Dingman on his way. Check it out!
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The nine song, 68 minute program, opens with Wilson's "Dewey Spirit", (listen below) a tune the drummer dedicates to one of his earliest mentors and employers, tenor saxophonist Dewey Redman. Commencing with percussion and Lederer's spiky tenor sax sounds, the piece opens in rubato with Ms. Jones dancing underneath the melody line. When the main theme kicks in, one hears a running bass line, swinging drums, and the saxophonist flying all around his horn. Everyone solos, the energy is contagious, and the crowd enjoys it all.
