Mario Pavone Legacy Stories (Pt 2) + Joel Frahm Digs In

In late February of 2021, bassist and composer Mario Pavone enters a studio in Tampa, FL, to record an album with his son Michael (guitar), Mike DiRubbo (alto saxophone), and long-time associate Michael Sarin (drums).  The bassist knew he was losing his long battle with cancer plus he had been deeply saddened by the 2020 loss of his granddaughter Isabella. Pavone organized a book of new compositions, sent them to trumpeter/ arranger Dave Ballou to prepare for a recording session. The bassist and arranger agreed that the pieces would be recorded by two different quartets, the first with the three Michaels and the second (recorded four weeks later)with Pavone's Dialect Trio (pianist Matt Mitchell and drummer Tyshawn Sorey with Ballou as guest performer), an album titled "Blue Vertical" and released by Out of Our Heads Records (my review is here).  

"Isabella" (Clean Feed Records), like "Blue Vertical", is a powerful collection of original pieces filled with strong melodies and excellent musicianship.  Most Pavone fans will buy both albums and compare them yet each stands on its own merits.  Michael Pavone has had a busy sideman career playing with the likes of saxophonist Dewey Redman and and vocalist Bobby McFerrin; the only album that I can find where he is the leader is a 2001 Trio date with his father and drummer Marcello Pellitteri that appeared on Playscape Recordings.  His sound is clean, not unlike, at times, John Abercrombie and his father's close friend Michael Musillami–– check him out on "2/3rds Radial", you'll hear the former while on the hard-rocking "Philosophy Series", there is the influence of the latter. Saxophonist DiRubbo has also worked and recorded with the bassist in numerous occasion; his bright sound and rapid-fire lines enlighten pieces such as "Good Treble" and "Twardzik". 

As for Michael Sarin, he and bassist Pavone have a relationship that stretches back three decades to the drummer's debut with the Thomas Chapin Trio.  He really shines on all these pieces, driving hard when needs be or supporting with his whisper-soft brushes work (check him out on the title track).  You can hear how he leaves room for the bass –– if you have listened to any of Pavone's recordings, you know what a powerful and creative player he is. There is no diminution in his bass work on either album but he is more present in the mix on "Isabella" and that could be due to the fact the guitar is quieter than the piano on "Blue Vertical".  

"Isabella" is a delightful collection with great playing and subtle, witty, interplay from Mario Pavone and the three Michaels.  If you already own "Blue Vertical" which has a similar program, it's educational as well as entertaining to listen to both recordings.  Since his passing, I have been listening to the many and varied recordings from Mario Pavone's career and these two final albums are right up there with his best efforts.

For more information, go to www.mariopavone.com.  To hear more tracks and to purchase the recording, go to https://cleanfeedrecords.bandcamp.com/album/isabella. 

Hear "Philosophy Series":

Saxophonist Joel Frahm, a graduate of the prestigious Hall High School Jazz Program in West Hartford, has a delightful career playing alongside bassist Ben Allison, fellow Hall High grad Brad Mehldau, Andrew Hill, Betty Carter, Matt Wilson, Dafnis Prieto (in his Big Band), and so many more.  He joined drummer Ernesto Cervini's Quartet in 2008 and is also a member of Cervini's sextet Turboprop.  Frahm has not released an album as a leader since 2011's "Live at Small's", a quartet date with guitarist Kurt Rosenwinkel. His new album, "The Bright Side" (Anzic Records), came about after a Turboprop workshop in Toronto, Canada, when Cervini and bassist Dan Loomis decided to book gigs with the saxophonist as a trio

The new recording, recorded in 2019, consists of original works,  seven from the leader, two from Loomis, and one from Cervini. The 10-song program opens with Frahm's "Blow Poppa Joe" which jumps right out of the gate with powerful tenor sax work (a la Sonny Rollins), thunderous drums, and splendid counterpoint from the bass. The first two notes of the next track, "Waiting for Benny", sound like we're in for an old television theme song ("The Andy Griffith Show") but quickly moves into a medium-paced romp over which Frahm's tenor soars, dances, his phrases twisting and turning with glee.  There's also a delightful bass solo (Loomis can be quite melodic in the spotlight) over Cervini's whispering brush work. The drummer then "trades 4s" with his mates. The leader brings out his soprano sax for Loomis's "Silk Road", an emotionally rich ballad with a mysterious feel, gentle playing, and, again, intelligent interplay. There's a moment in the final 90 seconds when it sounds as if the music is turning in a "free" direction before the soprano tamps down the intensity.  The bassist's other contribution is the hard-bopping "X Friends", a smoker with delightful solos from Frahm and the drummer. 

Cervini contributes "The Beautiful Mystery" which is truly a beautiful ballad, moves ever-so-slowly but never drags. Opening with Loomis's rich bass overtones, the saxophonist enter with the somber melody while the composer moves around the cymbals and floor tom.  Again, listen for the bass counterpoint as it is quite impressive.

If you have ever seen Joel Frahm live in person, you know he's got quite the sense of humor. The title track closes the album, its rhythm patterns based on Lou Reed's delightful groove on his "Walk on the Wild Side".  The rhythm section dances right along with the soulful sax riffs.

"The Bright Side" has many "bright moments" throughout as the program displays the saxophonist's joyful sound.  Over the years, he's developed into a fine composer and soloist. And he's quite "in the groove" with Dan Loomis and Ernesto Cervini who he has played with for over a decade.  Sit down, pour a cool glass of your favorite libation, and allow this fine album 

to lift your soul!

For more information, go to joelfrahm.com.  

Dig the title track:

Leading From The Bass

Bassist and composer Dan Loomis (Wee Trio, Joel Frahm Trio) has a story to tell that's a Biblical tale of an old adage "Why do bad things happen to good people?"    The bassist, who is one of the more melodic players on the contemporary scene, retells the story of Job, a righteous man, wealthy, with a big family, who is put to the test by an angel (in the Hebrew Bible, it's an angel while in the New Testament, it's Satan). Job loses everything bu, despite the severity of his losses, never gives up his faith.  In the Old Testament, he does not confront God but, in the New Testament, Job gets an audience with God to whom he reiterates his unbroken faith. His wealth is returned, he creates a new family, and lives a long life.  The Old Testament is filled with stories such as this where a mortal's faith is tested (Abraham's binding of Isaac, Moses and the Israelites in Egypt and wandering through the desert).  

Loomis has taken the true believer's story and created "Job's Trial: A Jazz Song Cycle" (self-released). To tell the story, the bassist has assembled a group that includes the voices of Yoon Sun Choi and Song Yi Jeon, guitarist Jeff Miles, drummer (and close friend) Jared Schonig plus narrator Daniel Breaker ("Shrek: The Musical" and "Hamilton"). Breaker's delightful voice (deep and sonorous, filled with humor and wonder) is heard telling the story during the various  "Interludes" (the 7 tracks all have titles) while the full songs have the vocalists singing Biblical text plus wordless improvisations.  The music ranges from the bouncy "Abundance Overture" to the sweet then raucous "Naked Turn" to the dissonant blues of "Blood Groove" and on to the sweet prayer "Dear Lord" that closes the story and the album.

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Everyone plays his or her role with relish and joy.  Miles's guitar often creates great swells and harsh sounds while the elasticity of the vocalists not only illuminate the words but also serve as counterpoints to the instrumentals (on "Words Without Knowledge", the voices bring to mind the expansive vocals of Fay Victor).  There is drama and excitement in this music that often comes from Schonig's expressive drum work.  Loomis is such an expressive and melodic bassist; his solos stand out plus his interaction with Miles beneath Breaker's narration is playful.

You do not need to be religious to enjoy "Job's Trials."  Listen with an open mind and open ears. Dan Loomis looks for the truth in this story and translates it in ways we can appreciate, so pay attention!

For more information, go to www.danloomismusic.com.

Give a listen:

Bassist and composer Mark Godfrey, a native of Canada, has been a presence on the Toronto jazz scene since graduating from the much-acclaimed University of Toronto Jazz Program in 2006.  He's received numerous awards through his young career including a 2015 grant that helped him spend extended time in New York City studying with bassists Scott Colley and Matt Brewer.  In 2009, he was co-founder of Pram Trio and released two recordings with that group including 2016's "Saga Thirteen." That same year, Godfrey assembled his own Quartet with Allison Au (alto saxophone), Chris Pruden (piano), and Nick Fraser (drums) – that group issued its debut EP "Prologue" in September of 2018.

Also in 2018, Godfrey added tenor saxophonist Matt Woroshyl to the ensemble and recorded the group's first full-length album.  "Square Peg" (self-released) features 10 original songs for which the bassist creates memorable melodies and many opportunities for the individual members to interact and produce fine solos. The blend of alto and tenor plus the powerful piano over an active rhythm section makes this music exciting from the start.  Listen to how the rhythm section works beneath the soloists, attentive to every move, change in timbre and intensity.  Godfrey is the foundation on every track save for the final cut, "Bucket List", which is a solo bass piece; his solid accompaniment opens the door for Fraser and Pruden to move with each piece, whether supporting the soloist or really pushing them forward.

The program opens with "Black Stars", a piece with a theme that pairs the saxophones playing a melody in harmony. There's a bit of studio wizardry at the end but, before that, the song is impressive for both the melody and flow.  The title track builds off its melody with an ascending bass line, Fraser's dancing cymbal work, and an "airy" sound that is hypnotic. Pruden, who cites Keith Jarrett, Oscar Peterson, and Herbie Hancock as influences, plays with open ears, creating solos that moves in many directions – he does just that here, playing two-fisted. words tentinkling in the highter register of the piano. As the program rolls forward, each member of the ensemble gets the opportunity.  Woroshyl's quiet, soulful, intro to "One Game Away From The Winter" moves into a handsome ballad; the first solo is from Ms. Au and glides easily over the rhythm section. A fine bass solo follows then the two saxophonists weave melodic lines around each other until the gentle finish.  Pruden leads the way into "Driving Westbound", a piece that evokes the open ranges that the Trans-Canada Highway offers as one moves away from the more populated Eastern provinces.

Before the album closes with the afore-mentioned solo bass track, the quintet dances its way through "McDuff", the saxophonists sharing the melody while the piano dances around them and the rhythm section pushes the music forward.  It brings a lot of joy just to sit back and this music wash over you;  "Square Peg" sounds great, the solos are impressive as is the work of the rhythm section (Nick Fraser keeps one's attention throughout as does Chris Pruden).  Mark Godfrey is a strong bassist but more impressive are his compositions.  These songs have intelligent melodies, smartly articulated by saxophonists Allison Au and Mark Woroshyl and that makes one want to reenter this musical atmosphere again and again.

For more information, go to www.markgodfreybass.com.

Mr. Godfrey, who drives a mini-van like the ones on the album cover (got to have room for the double bass), offers up the following track:

Bassist, producer, and engineer Paul Bryan is, perhaps, best known for his production work for Aimee Mann and guitarist Jeff Parker plus playing bass and/or keyboards on recordings by Mighty Sam McClain, Norah Jones, Betty LaVette, Sam Phillips, Meshelle Ndegeocello, and others.  He's toured with Lucinda Williams, Rufus Wainwright, and Ms. Mann.  He's worked extensively with guitarist Parker, producing and engineering his 2016 album "The New Breed" and co-producing, engineering, mixing, and performing on the guitarist's new "Suite for Max Brown" recording.

"Cri$el Gems" (self-released) is Paul Bryan's first album under his own name in nearly 17 years.  Besides Jeff Parker, the band is composed of Lee Pardini (electric piano), Matt Mayhall (drums), Davey Chegwidden (congas), and Jay Bellerose (percussion. Bryan's electric bass is prominent in the mix as are Mayhall's drums but not to the detriment of the other instruments.  The grooves are deep throughout the album yet Bryan's melodies stand out.  Dig the swampy funk of the opener, "Phife"; note how the leader and the drummer lock in and create a cushion of the guitar and piano to improvise.  "Tilt Shift" has a melody line that brings Steely Dan to mind but is a multi-tempo musical adventure that bounces along thanks to Mayhall and Chegwidden. Parker's guitar work shines throughout the program while Pardini is his equal.  There's a touch of Frank Zappa in the sounds and melody of "Lucky Thirteen" – Bryan's solo comes over "ticking" drums and Bellerose's shaken percussion.

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The 8-song program includes two handsome ballads.  "It's So Easy to Die" is oh-so-slow with a touch of blues. Parker's guitar support has the feel of the work done at Stax Records or in Muscle Shoals, AL, in the 1960s. Pardini caresses the melody and produces a heartfelt solo. After that, the music takes a bit of a left turn as the drummer solos beneath the rippling piano before a shot reprise of the opening.  The album closes with "TV Baby"; this time, Pardini and Parker share the leisurely melody line. Again, it's the pianist who solos and he has a bit of distortion with note-bending as the bass and drums play steadily below him.  Parker's spare chords also stand out, sweet and soulful.

"Cri$el Gems" is a pleasing selection of soulful instruments that are not "smooth jazz" but offers much to listen to and absorb.  If you're a fan of the past several Jeff Parker albums, you'll enjoy his work here as well. Make sure to pay attention to what Lee Pardini and Matt Mayhall bring to the session.  Kudos to Paul Bryan for creating a program that is soul-satisfying!

For more information, go to www.paulbryan.us.

Here's one of the ballads mentioned above: