Over the course of her career (which is well into its third decade), composer, arranger, and conductor Maria Schneider has compiled an amazing track record. Nine albums, eight with her Orchestra plus one with soprano Dawn Upshaw, have garnered her six GRAMMY Awards, numerous nominations, and a devoted audience, many willing to give money to support her endeavors. Ms. Schneider was one of the first creators to sign with ArtistShare and has been working with that organization since the release of 2004s "Concert In The Garden".
Cover art: Aaron Horkey
The seeds of her new project with the 18-member Maria Schneider Orchestra, the two-disc "Data Lords", were sown in 2014 when the composer collaborated with David Bowie on his song "Sue (Or In a Season of Crime"––the track appeared on a 2014 compilation and was later re-recorded for Bowie's final album "Blackstar". The first disk, titled "The Digital World", take its edginess not only from the musical experimentation with Bowie but also from Ms. Schneider anger and frustration with the "data farmers", those companies who gather information from users, usually without anyone's permission. For the past decade, the composer has been warning of companies and websites that take your music, use it without your permission, and/ or pay a pittance for that use. Artists, especially those who are not as famous or who make music that appeals to world-wide audiences, get ripped off on a daily basis, their music shared without compensation. Ms. Schneder has appeared before the US Congressional Subcommittee on Intellectual Property speaking on the topics of "digital rights", copyright infringement, and more.
Photo: David Bazemore
The five songs of "The Digital World" have a darkness fed by the frustration Ms. Schneider feels. The growl and roar of Ben Monder's guitar is heard throughout those songs, put to good use on "A World Lost" and "Don't Be Evil". The dark sectional writing, the eerie sounds created by Gary Versace on accordion, and the powerful drumming of Johnathan Blake (his debut with the MSO), the electronics added to the trumpets of Mike Rodriguez and Greg Gisbert, feels new in Ms. Schneider's world. "...Evil", aimed at a failed ad campaign of Google, deconstructs and then reconstructs the melody of "Taps" throughout, giving the music a feeling of dread as well as a political edge. The sounds of Morse code permeates "CQ CQ Is Anybody There", a piece dedicated to the composer's father who was a devoted ham radio operator. The satisfaction that the elder Mr. Schneider got from talking to people around the world does not translate to the music. Underpinned by the bass of Jay Anderson and drummer Blake, the music intimates that the "connections" we make on the Internet are not truly equal to the ones we make "off-line". We may have 500 friends on FaceBook but are no match for sitting down and chatting through the ether with someone a world away. The dissonance of Gisbert's electronically-modified trumpet, the staccato of the Morse code, the rat-a-tat of the percussion, keep the listener on edge while serving up its dire warnings.
Photo: Siimon
Disk two, "Our Natural World", relates to earlier "pastoral" works of the MSO while still breaking new ground. "Sanzenin" is a musical tour of an ancient Buddhist temple (found in Japan) posits Versace and his accordion on front of the ensemble (pay close attention to Anderson's excellent bass playing) as one takes a walk through the gardens. The joyful sounds of "Stone Song" adds a healthy touch of levity to the "serious" music and is, arguably, the most fun piece of music the composer and Orchestra have produced to date––the interaction of Versace's accordion with the soprano sax of Steve Wilson is endearing. "Look Up" is a gentle command that we take refuge in the night skys, in the myriad stars and lights we see. Solos by Frank Kimbrough (piano) and Marshall Gilkes (trombone) stand out as do Blake's drums and the "floating" sounds of the reeds and brass. KImbrough leads the way into "Bluebird" which, after its powerful, soaring, opening melody turns into a spotlight for Wilson's delightful alto sax solo and a superb flight of improvisational fancy from Versace (note the wondrous section writing that serve as the accordionist's dancing partner).
Photo: Kyra Kverno
Two pieces inspired by poet Ted Kooser, "Braided Together" and the album closer "The Sun Waited For Me", are multi-faceted gems. The former begins slowly but, thanks to Blake's impressive drumming, picks up in intensity as Dave Pietro (alto saxophone) creates his powerful statement. The latter, which was previously recorded by Ms. Schneider with Ms. Fleming on "Winter Morning Walks" as "How Important It Must Be" (the final piece in the medley based on Mr. Kooser's poems), featured the soprano voice interacting with the clarinet of Scott Robinson––here, Gilkes's trombone takes the melody while Donny McCaslin (tenor saxophone) is the primary solo voice. The impressive work of the various reeds, brass, and accordion open the door for McCaslin's handsome and wide-ranging solo.
Photo: Whit Lane
One cannot just take in all that "Data Lords" contains in one sitting or use the albums as background music. In conversation with Maria Schneider, one can feel the excitement she must enjoy when bringing new music to her ensemble, a group that still contains a number of musicians (eight) who appeared on her 1994 debut "Evanessence". The job of the attentive listener is to hear the music with fresh ears each time you listen. The Maria Schneider Orchestra, like the Duke Ellington Orchestra, like the best works of Gil Evans, Bob Brookmeyer, and Thad Jones/ Mel Lewis, has a sound all its own. The music comes alive in the creative minds of the musicians, never sounds stale or clichéd, while Ms. Schneider works so hard with the engineers and the mastering person to make this music sound so deep and full. If you're not one of those many, many, people who gave money to bring this music to life through ArtistShare, I have no need to convince you that "Data Lords" is splendid. If you've never heard the MSO, it's time to get these sounds into your life!
Maria Schneider (composer, conductor) Steve Wilson (alto and soprano saxophones, clarinet, flute and alto flute) Dave Pietro (alto saxophone, clarinet, flute, alto flute, and piccolo) Rich Perry (tenor saxophone) Donny McCaslin (tenor saxophone, flute) Scott Robinson (Bb, bass, and contra-bass clarinet, baritone saxophone, and muson) Tony Kadleck (trumpet, flugelhorn) Greg Gisbert (trumpet, flugelhorn) Nadje Noordhuis (trumpet, flugelhorn) Mike Rodriguez (trumpet, flugelhorn) Ryan Keberle (trombone) Keith O'Quinn (trombone) Marshall Gilkes (trombone) George Flynn (bass trombone) Gary Versace (accordion) Ben Monder (guitar) Frank Kimbrough (piano) Jay Anderson (bass) Johnathan Blake (drums, percussion)
These days, it seems the world is louder than it's ever been. Many people blame the acidic political climate, the acerbic comments from on high and in the various forms of media that crowd our pockets and desktops.
Creative music reflects our times. "Protest" songs comes from rap artists, from modern country artists; jazz musicians respond today as Max Roach and Charles Mingus did in the late 1950s and1960s and the song/stories created by Gil Scott-Heron in the 1970s. Musicians and composers feel the need to live in the present and to connect with as many people as possible. The airwaves are cluttered, the choices are many, yet the messages are often drowned by the collective apathy.
Pledge Music
What to make of "The Subject Tonight is Love"? It's the new album from the trio of Kate McGarry (vocals), Keith Ganz (guitar, acoustic bass guitar), and Gary Versace (piano, electric piano, organ, accordion). The project, crowd-funded through Pledge Music and self-released on the artists' Binxtown Records, is an intimate project conceived by three friends who have worked together closely over the past decade or so (certainly on the past three albums Ms. McGarry released on Palmetto). It's my belief that this music is a response to the harsh noises of the past several years, to the rancor one sees in many social interactions, not in the manner of the psychedelic 60s "Peace & Love" but as adult artists finding that true "repair" starts at home and moves outward.
The
program is an enchanting, challenging, rewarding, and, in the long run,
soul-satisfying experience. The "Prologue",
really the title track, is an original melody by Ganz with lyrics from the 14th
Century Persian poet Hafiz (1319-1390?) sets the stage: "The
subject tonight is Love/ And for tomorrow night as
well,/ As a matter of fact/ I know of no better topic For us to
discuss/ Until we all Die!" All the songs deal with the various
forms in which people
love and live, from courageous to fleeting to fractured to new love to maternal
love and more. Seven of the 12 tracks are standards. Most of them should be familiar but what
the trio does with the music is quite magical. There's the beauty of
"Secret Love", opening with the the whispery vocal over the nylon string
guitar and then Versace entering with counterpoint. The jazzy take of "Gone
With The Wind" (from the pen of Allie Wrubel and Herb Magidson)
opens nicely into a delightful piano solo with excellent support from
Ganz's acoustic bass guitar. Ms McGarry's playful vocal is a real
treat as she moves in and out of melody and "scat" syllables.
"My Funny Valentine" is amazing (listen below),
from the arrangement of the guitar, bass, and keyboards to
the honesty and vulnerability in the vocal. Is the singer
wistful, hopeful, fretful, pleading, or all of that and more. All this
can be heard as well in the instrumental work. Pay attention to the heartfelt "Fair Weather", composed by
Benny Golson and Kenny Dorham, known as well for a brilliant recording by Chet
Baker. It's such a handsome melody with lyrics that speak of equality composed
at a time - 1958 - when the Civil Rights Movement was beginning to be noticed
in the United States. Of course, 60 years later and the message
is still poignant and still on point. There is also is a sweet take of Egberto Gismonti's "Palhaço" - Geraldo Carneiro wrote the original Portuguese lyrics while this version, retitled "Playing Palhaço", has English lyrics by Jo Lawry.
There are three pieces with original lyrics from Ms McGarry, one of which, "Climb Down", addresses her Irish ancestors and the issues they had on both sides of the Atlantic. The music may remind some of the work of Robbie Robertson and Dick Connette (Last Forever) but with a hefty blues edge. The vocalist's "Losing Strategy #4" is about lost love and turning the blame away from one's self and how that always fails. The lovely piano, bass guitar, and accordion accompaniment sets a lonely tone that resonates long after the song fades. The third original "She Always Will" looks at life, our many decisions that lead us to roads we may never expected to take; yet, this could also be a dream or a reflection the composer had standing by a pond or sitting on the porch by herself.
There are playful moments, songs where Ms. McGarry's voice soars over the organ, piano, and guitar (such as "What a Difference a Day Made") - everyone sound like they are having such fun. Perhaps it's the freedom that "doing it yourself" brings, that you're making the music you have always wanted to make, taking chances you always wanted to take, and that there is an audience who appreciates what you, will support you and embrace your stories. Kate McGarry, Keith Ganz, and Gary Versace actually recorded 30 songs as they were preparing "The Subject Tonight is Love", such an exciting prospect that the sessions certainly yielded more delightful musical stories, more aural support, smiles, and, even tears.
This is music to climb inside of and take to your heart. Really, just give in. It's good to smile!
Any new album from saxophonist and composer Steve Lehman is a major event. His latest effort is titled "Steve Lehman & Sélébéyone" (Pi Recordings) and is credited to the saxophonist as well as to rappers Gaston Bandimic (Wolof), HPrizm (English) and soprano saxophonist Maciek Lasserre. The nine tracks feature rapping in English and Wolof, the official language of Senegal, The Gambia, and Mauritania, all part of sub-Saharan Africa. As sung/rapped by Bandimic, the words have a tremendous percussive feel. HPrizm, a founding member of the Anti-Pop Consortium, is also a strong rapper. Powered by the rhythm section of Drew Gress (acoustic bass) and the brilliant drummer Damión Reid plus the keyboard and piano work of Carlos Homs who has worked with drummers Bernard "Pretty" Purdie and Jim Black and saxophonist/clarinetist Michael Moore, the music fires on all cylinders.
Five of the tracks are composed, sequenced, and produced by Lehman while Lasserre does the same for four others. Because I like to know what the words are, I recommend you go to www.stevelehman.com/selebeyone and check them out (the Wolof verses are translated into English). But, do pay attention to the music, to the burbling keyboards, to the solid bass lines, to powerful streams of phrases from Lehman's alto sax (at times sounding like Henry Threadgill) and, especially to the fascinating work of drummer Reid. Pieces such as Lehman's "Are You In Peace" where he pushes the music forward at a torrid pace while Gress holds down the bottom and plays counterpoint as well are filled with stunning tension that reflects the lyrics. Then, there is "Cognition" where his bass drum and snare reflect the bubbling keyboard. Lehman soars over the rhythm section, his acid-seared sound going way to Bandimic - his rap is punctuated by impressive bass work and snapping drums. Lasserre's pieces have more of a "space" edge; on "Dualism", his soprano sax is set against Lehman's alto, the synth washes, and HPrizm and Bandimic's vocals. "Hybrid" plays with various sound samples while the rappers push the pace. The blend of soprano and alto saxophone shadowing the lyrics, giving the words about oppression and freedom a framework, buzzes, chatters and soars.
Sounds floating in and out of the sound spectrum, the trance-like repetition of melodic fragments, jittery rhythms, powerful raps, all make "Steve Lehman & Sélébéyone" attractive. Jazz purists just might turn up their nose but adventurous listeners, especially younger ones, will find the album will bring them closer to the intersection of jazz and rap. The music of Steve Lehman is a giant mixmaster, many influences thrown in the musical stewpot, boiling over at times but never less than fascinating.
From the opening bass figure of "NoD For Nelson", the music contained on "Stephan Crump's Rhombal" (Papillon Sounds) s steeped in the blues. There are moments when the music glides over to bebop (the handsome swing of "Skippaningam") or becomes wonderfully unclassifiable (the propulsive push of "Birdwhistle" - right near the end, the tune breaks into a rhythm similar to Lou Reed's "Walk on The Wild Side" while ) but you will listen to this album for the impressive interactions of Crump (bass and compositions), Tyshawn Sorey (drums), Ellery Eskelin (tenor saxophone), and Adam O'Farrill (trumpet). Pay attention to how the solos grow out of the melodies, how the quartet mix their distinctive styles to the composer's vision of the music, and the clarity of the sound. There's a soul music edge to "Grovi" in it's laid-back beat yet listen to the melodic bass lines under the solo phrases that move from foundational to counterpoint. Also notice how Eskelin steps in behind O'Farrill's solo several bars before his own solo yet does not seem to butting in, just adding to the sound.
Sometimes, it seems as if we're stepping into a private conversation, as if the band was reflecting on previous events. The deep blues of "Loose Bay" is a good example; moving at a very slow pace atop the splashing cymbals, tom-tom beats, and long bass tones, the youthful trumpeter takes a fascinating solo that often changes in volume, rising from a near-whisper to a heartfelt cry. The saxophonist follows, drifting over the beat, slowly but surely working around the bass lines but never in an agitated state.
You'll like the funky drive of "Esquima Dream" (Sorey in a "Pretty" Purdie state of mind) and the steady shuffle of "Tschi" (with its fun switch-arounds). Really, let the music of "Rhombal" wash over you. Play it loud, let the rhythm section fill your ears, notice the Ornette Coleman connection in the blues feel of several tracks (and the instrumentation) and also the folky melodies of pieces such as "Pulling Pillars" (the solo bass piece before the final track, "Outro for Patty"). Take it all in, then go back and let the sounds resonate inside your mind and body. Sometimes, the best music sounds old and new at the same time. "Stephan Crump's Rhombal", dedicated to the bassist's late brother Patrick, is contemporary blues, "blues with a feeling."
"Calma" is the opening track of "All The Dreams", the new album from Sara Serpa (vocals, piano, Fender Rhodes) and André Matos (guitars, electric bass, percussion) to be released on Sunnyside Records in mid-September. Meaning "calm", that's a good initial reaction to the 14 tracks on the recording. Ms. Serpa's gentle and emotionally true voice, either solo or multi-tracked (as it is on several tracks), blends so nicely with Matos's electric guitar, whether it is a folky track such as "Estado De Graça" or the mysterious "Night" (two guitars in the right speaker vying for attention).
Three cuts set poems to music, with the afore-mentioned "Night" based on a William Blake poem from "The Song Of Innocence" while the minimalist "Programa" features words from Portuguese poet Luis Amaro. "Nada" is from the pen of Ālvaro de Campos (a heteronym of poet Fernando Pessoa; the duo bathes this poem about a person who has settled for a world with nothing with shimmering guitars and a straightforward vocal. One other cut, "Os Outros", employs words from a 1964 essay by Brazilian writer Clarice Lispector (1920-1977).
photo by José Sarmento Matos
While most of the album is composed of duo performances, mix engineer Pete Rende adds synthesizer to three tracks while Billy Mintz can be heard on drums and percussion on four cuts. The latter musician's excellent hand drumming can be heard on haunting "Água", bubbling beneath the vocal and guitars, and quietly accenting the voice, piano, and guitars on "Lisboa". Both he and Rende add their talents to the opening track, Mintz with the simple yet effective brushes work.
Wordless vocals are used to great effect throughout the album, from the classically-influenced "A La Montagne" to the Beatles-esque "Postlude" (kind of like "Sun King" from "Abbey Road") with its waterfall-like descending vocal lines. Listen to Ms. Serpa's voice rise out of Rende's synth on the final track, "amlaC", not exactly a backwards version of the first cut - the track serves to bring the recording full circle and brings the dreams to a close.
Because André Matos does not take many solos but uses his guitar to paint the various backgrounds, one might overlook his contributions. He wrote or co-wrote 11 of the 14 tracks, his guitar is the foundation and other voice in the conversations of the songs, and his lines flow as effortlessly as the vocals. Sara Serpa understands the duo setting having recorded with pianist Ran Blake and the various vocal choirs on the recording may remind some of the work she does with the vocal quartet Mycale. The music on "All the Dreams" is in no hurry, at times as comforting as cool summer breeze or a warm blanket on a winter night. Warm, like calm, should be how one feels after spending time with this album - warm, calm, and, ultimately, hopeful.
Received an email today asking for support in funding Wadada Leo Smith's ongoing "10 FreedomSummers" project. The 4-CD set, released last year by Cuneiform Records to great critical acclaim, is but the first part of Professor Smith's project. Here's part of the message:
Trumpeter /composer/musical innovator Wadada Leo Smith is seeking $17,000 to complete and premiere a new work for his highly acclaimed civil rights opus "Ten Freedom Summers." The new work, entitled The March on Washington D.C.- August 28, 1963, will commemorate the 50th anniversary of the March on Washington and Dr. Martin Luther King, Jr.'s "I Have a Dream" speech. This will be the 22nd composition of "Ten Freedom Summers", which the trumpeter has written over the past 34 years and calls "one of my life's defining works."
The new work-composed for quintet, along with string quartet and harp-will be performed by the Golden Quartet, the Pacific Coral Reef Ensemble, the FluxString Quartet and video artist Jesse Gilbert. Through the USA Projects funding, Smith plans to premiere this new work at Roulette in Brooklyn, NY in May 2013 to commemorate the 50th anniversary of this historic event. The funding will help Smith to improve the theatrics of the performance, which would include additional high-definition screens for video projections, and to show the Civil Rights Movement in a new light.
To donate to the project, log on to http://www.usaprojects.org/project/ten_freedom_summers by Monday, March 11, 2013
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