Hands, Hearts & Souls

Percussionist and educator Alejandro Coello, a native of Léon, Spain, has made quite a mark on the European music scene. By the age of 23, he was on the faculty of the University Franz Liszt in Weimar, Germany as well as performing in concert halls with classical, electronic, and jazz ensembles.  In 2017, he played with guitarist Diego Barber, drummer Eric Harland, and bassist Ben Williams on the guitarist's Sunnyside release, "One Minute Later", a splendid collection of songs influenced by the writing of Federico Garcia Lorca. Coello has also recorded with classical guitarist Ricardo Gallen as part of the Ensemble Iberoamericano.

Coello's debut as a leader, "Percussion Theory" (Sunnyside Records), finds him in the company of drummer Simon Phillips (on three tracks), classical artist Xavier Casal (alto saxophone, baritone saxophone - three tracks), and guitarist Barber (one track.  Art Government Percussions, a nine-member ensemble that Coello created with professionals and his own students, appears on four tracks.  The music is flat-out fascinating, quite melodic and adventurous, and such a intelligent of sounds.  The leader wrote all the material save for the album closer "Kilian's Mountain", which Barber composed and first recorded on his "Tales" sessions with pianist Craig Taborn (2014 release on Sunnyside).

And what an eclectic program this is.  Check out the sample below.  "9th Street Espresso" is a playful dance, filled with mallet instruments, Casal's airy alto sax, Coello's percussive piano, and Phillip's rock-solid drumming.  Following is the more introspective "Xochitl": this time the alto sax, vibraphones, and marimbas are supported by the leader's percussive piano. The piece is episodic with an expanding melody and light sounds from the alto sax yet, in the middle of the song, notice the bells chiming in the background like church in the distance on a clear Sunday morning.  "Denial State (Music for a Short Film)" is a soundtrack Coello composed and re-recorded for this album. Casal's alto sax leads the way over the vibes and marimba plus Coello's occasional "The Sorcerer's Apprentice"-like piano figure.  The music opens up in the middle with the percussion floating on the edges of the sound spectrum and the more powerful alto sax. Barber joins Coello on "Malpaises", the percussive and rhythmic guitar figure in a conversation with the leader's marimba.  The nylon string guitar and the wooden marimba combine to create a lovely sound sculpture.

"Percussion Theory" is quite the aural journey.  At times, there are hints of Oregon, of Steve Reich,   electronica, Brazilian rhythms, and so much more.  Alejandro Coello, a mature musician and composer at 27, is opening doors into a sound world that seemingly has no barriers.  Where he goes should be a continual journey of discovery!

For more information and education, go to alejandrocoello.com.

Listen:

Vocalist and composer Ashley Daneman first came to my attention with the release of 2015's "Beauty Indestructible." What stood out on initial listenings, and still does, is the 'presence"of her voice in every song and how it feels singing to you and you alone.  Growing up listening to both Ella Fitzgerald and Joni Mitchell, Ms. Daneman developed a supple voice. She knows how to use repetition in her lyrics and vocal rhythms to get her point across without being overbearing.

Her new album "People Are Fragile" (Flood Music) features a dynamite group of musicians, many of whom ply their trade in Chicago.  The drum duties are split between Quinlan Kirchner and Makaya McCraven while Rob Clearfield (piano, Wurlitzer, organ) and Andrew Vogt (electric bass) appear on all but two tracks. Pianist Rufus Ferguson appears on the two Gospel traditionals, "Sometimes I Fell Like a Motherless Child" and "Deep River"  - both are quite moving performances, especially the latter track with the vocalist's multi-overdub choir in full voices.   Matt Gold adds guitar or pedal steel to five tracks while percussionist Kevin Bujo Jones joins the band on DuBose Heyward/George Gershwin's "My Man's Gone Now."

What was attractive about her previous recording - her voice, songs, and musicality - are stronger here, especially her vocals.  In the promotional material, Ms. Daneman cites the influences of Joni Mitchell and Laura Mvula:  that is most obvious in how the vocals are stacked, the melody lines, and her voice "moves on tracks such as the opener "I Alone Love the Unseen in You", "Pictures in the Atmosphere", "The Feeling of Heavy", and "When You Break."  On that last track, it's also the openness of the music, the combination of keyboard, pedal steel, and the elastic bass lines. Like Ms. Mitchell, these songs and the voice sound as if they were written for the individual listener, as if the composer was looking into your heart, your mind, your life.  And you hear the afore-mentioned Laura Mvula in the delivery of different lines on various tracks. Plus, there are also traces of Lizz Wright in the ways Ms. Daneman sings about spirituality.

The simple joys, the religiosity, and the appreciation of creativity that made "Beauty Indestructible" so enjoyable, are expanded upon here. There's the "Johnny Cash" rhythm on the Gospel-inflected "Shake It All Down" (great brush work from Kirchner as well as Gold's exciting guitar). That song is placed before the "sturm und drang" of "Daddy's Gonna Die Soon", a short (1:39) and angry scree which leads into the soulful prayer "Deep River."  By the time you reach the final track "Recall", you will be moved by the love, by the mystery of the composer's experiences, whether it be childbirth, her life as a professional musician, her deep belief, and her observations of what looks like a world gone mad.

"People Are Fragile" is a true observation of our modern "lives". One can easily be broken by tragedy, by inequality, racism, sexism, rage, and, more and more, indifference.  But Ashley Daneman offers the listener solace, a respite from madness (save for the anger that permeates "Daddy's Gonna Die Soon" which, I'm sure, must have been cathartic for the performer), and the knowledge that one is not really alone in this world (unless you so choose).  Listen to this songs, be open to the messages, and enjoy the voices and wonderful musicians.

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

Pianist, composer, and educator David Berkman is a fascinating person and musician. He has traveled the world, playing and teaching, while also supporting and/or recording with artists such as bassist Cecil McBee, trumpeter Tom Harrell, and the Vanguard Jazz Orchestra - his list of sideman gigs could fill several pages.  he is a charter member of the New York Standards Quartet (NYSQ) with recordings on Whirlwind Recordings and Challenge Records.  For the past two decades, Berkman has led recording sessions, mostly for Palmetto Records plus a self-released solo piano album and a live Quartet session on SmallsLIVE.

Besides the NYSQ, Berkman also leads a trio and a sextet.  The latter is actually composed of two trios:  the rhythm section of Berkman (piano), Chris Lightcap (bass), and Kenneth Salters (drums) and the three-person reed section of Dayna Stephens (tenor saxophone, EWI), Billy Drewes (alto sax, clarinet), and Adam Kolker (soprano sax, bass clarinet).  The sextet's 2015 debut album featured the same reed section plus Brian Blade (drums) and Linda May Han Oh (bass).

"Six of One" is the group's second recording for Palmetto Records and adds percussionist Rogerio Boccato plus tenor saxophonist (and NYSQ member) Tim Armacost. The 10-song program features all Berkman originals, only one previously recorded tune ("Blue Poles" from 2000's "Communication Theory").  From the opening moments of "Blowing Smoke", the band is fully involved.  The majority of the songs have well-developed melodies which gives the soloists a lot to work with. Lightcap and Salters really makes the music swing.  The following cut, "Cynical Episode" (yes, a political statement) is driven by Kolker's bass clarinet and Salters's exciting drum work. Stephens steps on EWI before turning over the spotlight to Berkman who really gets pushed forward by the drums (also, dig the double bass lines from Lightcap and the EWI plus Bocatto's solo right at the close of the piece).

The delightful "Billy" was composed for Mr. Drewes and he gets to play the melody as well as the first solo.  The alto saxophonist gets to dance over the rhythm section before yielding to the composer for his piano spot and Stephens on tenor sax. Kolker (soprano), Drewes (alto sax), and Armacost (tenor sax) each get the spotlight on the appropriately titled "Kickstopper" - listen as well to how the rhythm section swings the devil out of this tune. The next two tracks, "Shitamacri" and "Restoration", have a Japanese connection with both songs inspired by areas of Tokyo (where the pianist goes just about every summer). The former track blends the two clarinets with Stephens's tenor juxtaposing quiet sections with more driving sounds.  The latter opens with solo piano (quite bluesy actually with a hint of Billy Joel): Kolker (soprano) and Stephens sharing the melody line and having a "conversation" as they solo togeth

Since his 1998 debut ("Handmade"), David Berkman has shown a knack for writing excellent ballads.  On this album, it's "Sincerely." Armacost and Drewes (alto) share the solo spotlight also playing the lovely countermelody at the close of the piece.

If you are a fan of intelligent, well-played, and smartly-arranged music, "Six of One" is definitely one for you. David Berkman is not only a fine composer but also an excellent pianist.  Enjoy!

Here's the opening track:

Foreground Music

Someone asked me recently how I keep up with the all the music that he and I talk about.  I responded "I spend a lot of time in my car and, instead of listening to the news, I listen to music. When some album really catches my ear, I bring it inside, listen on better speakers, really paying attention and then, time willing, write about it."

Here are two such attentions grabbers.

While Yuhan Su is a new name to me, "City Animals" (Sunnyside Records) is her third CD as a leader - the first two were issued o Inner Circle Music and are well worth exploring. The vibraphonist and composer came to the United States in 2008 from her native Taiwan to study at Berklee College in Boston, MA, and has lived here ever since.  Her Quintet includes Matt Holman (trumpet, flugelhorn), Alex LoRe (alto saxophone), Petros Klampanis (bass), and Nathan Ellman-Bell (drums), all of whom (save for LoRe) appeared on her 2016 disc, "A Room of One's Own."  Her music is composed with these musicians in mind and both albums sound as if the material was played live numerous times before entering the studio.

This is definitely 21st Century music.  The rhythm section is very active, pushing the music forward while one can hear elements of many different styles of music.  Ms. Su spreads the solos around but  does not say away from the spotlight.  On the aptly-titled "Feet Dance", her exciting solo, who accompanies dancers as they create their work, gives way to a powerful turn from LoRe, all the while the bass throbs and the drums bounce joyfully underneath.  The title track has a rollicking call-and-response with the vibes and alto playing a line and Holman's trumpet responds.  I am a fan on clear tone and great sense of the power of his instrument. yet, he can be gentle and highly melodic - "Tutu & D" is a prime example of that aspect of his work. His phrases move over the melodic bass counterpoint, the vibes adding color while the drums scurry and the cymbals swish in support.

There are so many moments to enjoy on this album.  The trio of vibes, trumpet, and saxophone into to "Viaje" during which the musicians play over and under each other's lines before the bass and drums give the song its direction stands out (the duo of sax and trumpet after the theme section is powerful).  The three-part, 18 minute-plus suite "Kuafu" (inspired by a figure from Chinese mythology) moves in multiple direction over its course. Part 1, "Rising", has a powerful forward motion with equally powerful solos from LoRe, Holman, and Ms. Su.  Part II, "Starry, Starry Night", after its rubato beginning, turns into a handsome ballad (be sure to listen to the excellent bass work of Klampanis).  The last section, "Parallel Chasing", is, if possible, even more urgent than the opening movement of the Suite - here, it's Ellman-Bell's super drumming that will catch your ears on initial listening.

"City Animal" has much to offer the passionate listener.  Hard to sit still as this band kicks in and the solos stand out throughout the program. If you listen to her 2016 effort "A Room of One's Own" and then this fine album, you'll hear that Yuhan Su is not only an excellent instrumentalist but has matured into a fine composer whose music has depth, intelligence, wit, and power.  Listen closely - you should find much to enjoy!

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

Here's the title track:

Since it's inception in 2006, NYSQ (New York Standards Quartet) has revolved the axis of David Berkman (piano), Tim Armacost (tenor saxophone, soprano saxophone), and Gene Jackson (drums). "Heaven Steps to Seven" is the group's fourth album for Whirlwind Recordings) and its first with bassist Ugonna Okwego.  The bassist has worked with the band before but has never recorded with them.  The band sees no need to change its modus operandi, its repertoire including songs from Broadway, from be-bop, post-bop, and more. What these four musicians do better than many who explore a similar milieu is to really explore, to deconstruct and reconstruct, making the most well-known pieces sound brand-new!

Listen to the first three tracks on this album.  They take Leonard Bernstein's "Tonight" (from "West Side Story") and caress the melody in the opening section (note Okwego's excellent bass work) - then, they kick into a higher gear still respecting the melody but pushing the heck out of the tune.  Armacost introduces "Cheryl", a classic Charlie Parker tune, and when the bas and drums, note how Jackson plays the melody as well.  When Berkman enters, the energy level kicks up another notch with the quartet seemingly reaching a climax. But, wait, it's just they step aside and make room for a delightful bass solo. Okwego then drops into a 4-note bass line and the rest of the group returns; yet now, the songs has a funky groove over which the pianist produces a rollicking solo.  "Peace", the classic Horace Silver tune, is a lovely ballad.  Notice how Jackson and Okwego play anything but in a standard manner underneath the handsome tenor and lyrical piano solos.

One is tempted to highlight each one of the eight tracks but, if you are a fan of NYSQ, you know to expect the unexpected.  Enjoy the artistry of Bud Powell's exquisite ballad "I'll Keep Loving You" and the pair of tunes from the pen of Cole Porter.  Every member of NYSQ is a master musician, each with a great respect for the tradition, each understanding they needn't play a piece note-for-note to show it respect but to expand on its ideas and let the listener in on the complexity as well as the enjoyment of the explorations.

If you have never heard NYSQ, you can start with "Heaven Steps to Seven" but - be warned - it'll be hard not to check out the rest of their excellent albums.  They play with great fire, with gentleness, wit, and always sound happy to be together.  Can't beat that.

For more information, go to www.nysq.org.

Here's the Quartet's splendid take of the Charlie Parker tune:

NYSQ Sets, Upsets, and Resets Standards

"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!

For more information, go to nysq.org.  You can also check them out at www.whirlwindrecordings.com/new-york-standards-quartet-nysq/.

Here's the Mobley tune: