Trio M - Myra Melford (piano), Mark Dresser (bass), and Matt Wilson (drums) - will perform this Friday March 31 as part of the Spring 2017 Concert Series at Firehouse 12. Collectively, it's the ensemble's second appearance at the Crown Street venue (April 2012) and, overall, the 19th time one, two, or all three have appeared in the Elm City performance space. Each musician is a leader but, when they work together, it's a joy to listen. Their music blends so many influences, can be "free" or highly structured, with ensemble playing that leads to great solos and songs that tell stories. It's not always easy for three fine musicians to mesh but these Ms challenge each other even as they support each other.
The Side Door Jazz Club in Old Lyme continues its weekly forays into contemporary jazz with two more great shows this weekend. On Friday, it's the Donald Vega Trio. A deft pianist and fine composer, Vega is not only a leader but also the 1/3rd of bassist's Ron Carter's Trio. His most recent CD, 2015's "With Respect to Monty" (Resonance Records), is Vega's investigation lf the music of fellow pianist Monty Alexander. The recording is a delight from start to finish, not just because Vega is such a fine pianist but for the way he makes the Alexander sound fresh and invigorating.
Mr. Vega and his as yet unidentified rhythm section takes the Side Door stage at 8:30 for the opening set. For more information, go to thesidedoorjazz.com.
Here's a neat video about the latest album:
The great tenor saxophonist Ricky Ford comes to The Side Door on Saturday April 1. The Boston, MA, native, has had a fascinating career starting with his studies at the New England Conservatory of Music in his hometown to his work with Charles Mingus and the Duke Ellington Orchestra (when Duke's son Mercer led the band). Ford has also worked with pianists McCoy Tyner, Abdullah Ibrahim, Mal Waldron, and many others. Plus he has recorded numerous albums for various labels, from Muse Records to the Candid label. Ford has been living i France and teaching in Turkey for the better part of the last decade, leading a big band, and recording with numerous ex-patriates.
As of this writing, not sure who's in the Quartet behind Ricky Ford but whoever they are, Mr. Ford's booming tenor and intelligent writing will keep them on their toes. Set #1 commences at 8:30 p.m. For ticket information, call 860-434-2600.
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Bassist and composer Daniel Toledo, born in Ecuador, came to the United States to study at the Berklee College of Music in Boston and is now is a full Professor of Music at the Universidad San Francisco de Quito. He also is the leader of the Daniel Toledo Trio & Pianohooligan. The ensemble has just issued its second CD, "Atrium" (For Tune Records) - joining the bassist is pianist Piotr Orzechowski (turns out he is the "pianohooligan") and drummer Paul Svanberg. Mr. Orzechowski is quite an accomplished musician playing classical, "free" jazz, and more throughout Europe while drummer Svanberg is known for his work with pianist Lars Jansson's Trio.
Pablo Larrea image
What stands out on this seven-song program of original material (all by the leader) is how melodic this music is and also how interact the trio can be. One can hear suggestions of The Bad Plus, of the Bill Evans Trio, of Keith Jarrett, Chick Corea, but these influences are never overt and disappear on repeated listenings. Pieces such as the title track that opens the CD and the impressionistic "Abridged Perspective" move away from any specific genre into a form of storytelling that eschews technique in favor of thematic material. The dancing phrases from Orzechowski enliven "Tawny" as do his occasional "earnest", almost classical, riffs he throws into his solo. Meanwhile, the rhythm section does its own dance delightfully in support. Take notice of how the piano and bass go in somewhat different melodic directions on "Horyzont" during the verse, held together by the steady drums. Svanberg changes his approach under the expansive piano solo, switching to brushes and toying with the beat as the bass bounces gently along.
Introspection takes a back seat on the rollicking "Margins" - the drummer pushes from the opening moment while Orzechowski dances through the melody line. Toledo keeps a steady pace while the piece drops in intensity picking up just in time for his powerful solo. Dig the swing of the final cut "Near Focus" and how its bluesy feel opens to a smart melody. The playful interaction of the trio is so attractive and disarming.
"Atrium" can refer to the open roof of an ancient house or the central chambers of the human heart. The music created by Daniel Toledo Trio + Pianohooligan is filled with heart and with soul while its openness is so inviting. In a day and age when piano trio music is so abundant, this is a recording to discover and enjoy.
Friday, April 6, 2012 - "Why is this night different from all other nights?" In households around the world, families seated at the dinner table ask this (and other questions) on the first night of Passover.
For creative music aficionados in the New Haven, CT, area, the answer is quite exciting - on this night, Trio M comes to perform 2 sets, 8:30 and 10 p.m., in the sonically sweet confines of Firehouse 12, 45 Crown Street.
Formed in 2006 by pianist Myra Melford, bassist Mark Dresser and drummer/percussionist Matt Wilson, the musicians toss the "traditional" concept of a piano trio out the door and play it by ear (rather big "ears" at that.) They are touring in support of their 2nd CD, "The Guest House" (Yellow Bird/ENJA), recorded and mixed at the Firehouse in June 2011. All 3 contribute pieces to the repertoire, ranging from Ms. Melford's playful title track (which has echoes of her first Trio recordings as well as the Tizol/Ellington classic "Caravan") to Wilson's dedication to Albert Ayler ("Al") to Dresser's 2-part "Tele Mojo", a track that opens and closes quietly while going through a series of fascinating changes in-between.
Other highlights include Wilson's "Hope (for the Cause)", a tender ballad composed for Cancer's Society "Relay for Life" (Wilson's wife was diagnosed with leukemia several years and in, thankfully, in remission), features lovely arco bass work and spare piano lines. Another soft piece is Ms. Melford's "Even Birds Have Homes (to return to)", inspired by the late Iraqi poet Muhammad Mahdi Al-Jawahiri (1899 - 1997) features Satie-like piano lines, more fine arco bass and quiet yet effective percussion. "Don Knotts" is a Wilson piece with a circular melody, joyous "parade"-style drumming, and a muscular bass line. The interaction of the 3 is playful, conversational, and ever-so-musical. Listen to how Wilson underscores both the bass and piano solos while never losing his propulsion.
In a year filled (so far) with splendid piano trio CDs (Vijay Iyer, Ahmad Jamal, Corea/Gomez/Motian, Masabumi Kikuchi), add "The Guest House" to your list of must-haves. For more information, go to myramarkmatt.tumblr.com to learn more and get a taste of Trio M's tasty aural treats. If you are close to the Elm City on Friday (and/or finish your seder early enough), go see and hear them play live - Trio M is creativity personified. For ticket information, go to firehouse12.com or call 203-785-0468.
"Meridies", the new release on Origin Records by Illinois-born pianist/composer Dan Cray, opens with an up-tempo reading of Charlie Chaplin's "Smile." With the snappy percussion of Mark Ferber and melodic bass work of Clark Sommers, the song has a verve and bounce that gives the normally-melancholy piece a hopeful feel. It's his first CD for Origin and also his first since moving to Brooklyn, New York, in 2009. As one moves through this program, which also features tenor saxophonist Noah Preminger on most tracks, you hear an intense pianist, comfortable in his skin and his abilities, not afraid to swing and accentuate his left hand work. His interplay with Ferber and Sommers (who's played with him for over a decade) shines on every track; the "freedom" he gives them raises not only the intensity but also the quality. The multi-sectioned "Winter Rose (1728)" has the feel of a short story, with a calm opening but soon the intensity rises through the piano solo as does the interplay of the bass and drums - Preminger's solo takes the piece on a slightly-different path, his swirling lines of cascading notes over the dancing drums leading back to the leader's impressionistic closing lines.
The slow blues of "Amor Fati", with Preminger's breathy tenor sax and Cray's lyrical piano lines sans rhythm section, is gentle and quite melodic. Notice Cray's sweet solo and how Preminger insinuates the melody back into the song; it displays the maturity of both the performers and the composition. The quartet hits hard on Joe Henderson's "Serenity" with a touch of Bud Powell in the piano solo and Ferber's crisp drumming. Sommer's martial drumming leads in "March of the Archetypes" and one might expect from his attack a hard-edged piece but the song moves in on a brisk but not powerful melodic line. As the soloists hit their stride, the intensity picks up. The interaction of tenor sax and piano during Preminger's solo is impressive. "East 69" opens with a lovely melodic discourse from Cray (he really articulates each note); the rhythm section seems to enter on tip-toes right up through the bass solo but the energy picks up during the piano solo (the music does not get "wild" - it's the reaction of the piano to Ferber's more energetic approach.)
"Meredies" is a delight, a program to sit with and soak in the rich melodies and fine interactions of all involved. Do let it soak as you may not hear all the nuances first or second time through. The original piece (6 of the 8 tracks are Dan Cray compositions) are impressive, well-constructed and not over-thought. One can really appreciate the excellent rhythm section while Noah Preminger continues to impress as a melodic yet adventurous player. If you've not heard any of Dan Cray's previous 4 CDs (like me), "Merdies" is a great way to get introduced to his music. For more information, go to www.dancray.com or originarts.com.
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