There are weeks when all I want is music that challenges me, confronts my belief systems, and pushes at my expectations. Then, there are times I want my music that comforts, wraps its warm sound around me, has rhythms that make my feet move, and makes me laugh. Here are two trio albums that fit easily into the latter description with a little bit of the former.
Yes! Trio –– Ali Jackson (drums), Omer Avital (bass), and Aaron Goldberg (drums) –– has been a working band for nearly two decades. Yet, each member is so busy with his own group or as sidemen that they rarely get together. When they do, creative sparks fly! Their debut album, released as "Yes" under all three names on Sunnyside Records in 2012, lays out their modus operandi. The songs are often blues-based, usually quite melodic as well as rhythmical, and their repertoire blends originals and standards. The sound quality on the recordings is such that no one instrument is mixed above any other and the listener feels as if he or she is the middle of the band.
In 2019, the ensemble, now known as Yes! Trio, move to the French Jazz & People label to release "Groove du Jour", a delightful collection that often made one feel like dancing. Just in time for the change of seasons, here's the band's third album "Spring Sings" (Jazz & People) –– if at first and second, the formula works really well, why change it? Drummer Jackson composed six of the 10 songs on the program while bassist Avital added two plus plus there are two engaging takes on two recognizable standards. "The Best is Yet to Come" (from Carolyn Leigh and Cy Coleman) swings with glee propelled by the thumping bass and dancing drums. Goldberg's solo is as irrepressible as Jackson's "groove". Irving Berlin's "How Deep is the Ocean" has a Caribbean "St. Thomas" feel in the playful drumming. Goldberg and Avital engage in a pleasing give-and-take before the the drummer heads off on a 4/4 rhythm with the bass. The bass solo is so deliciously melodic using the melody to jump into various adventures. There's also an engaging "marching band" solo from the drummer before the song comes to its eventul conclusion.
The title track (composed by Jackson) opens the album. Quietly, the piece moves forward on strummed bass chords and martial drums while the pianist plays the sweet melody. Goldberg then joins with Avital's bowed bass to present a second melody; the powerful bass solo alludes to Igor Stravinky's "The Rite of Spring". Listen below to Avital's "Sheikh Ali" (a play on words celebrating his rhythm section partner) to hear how well this Trio support and respond, how their conversation is so musical. The drummer returns the compliment on his "Omeration" –– all three play the theme before the pianist dances away on a lively solo. Of course, Avital gets the spotlight as well. He is so articulate in the bass's higher register not unlike a cellist. Then, the group "trades 4s" so that Jasckson gets to "play" as well. The program closes with Jackson's "Fivin" with its generous New Orleans rhythms (such funky tambourine), dancing melody lines, and, for a special treat for close listeners, the pianist's nod to John Coltrane's "A Love Supreme" 40 second before the song ends.
I am mightily tempted to play Yes! Trio's three albums back-to-back; after all, one can truly not get enough of this band's splendid interplay, charming sense of playfulness, and its embrace of melody and rhythm. Ali Jackson, Aaron Goldberg, and Omer Avital are good friends, great musicians, and the music they make can charm a listener in so many ways. Put on this album and listen deeply –– I dare you to sit still and not crack a smile.
The trio of Rodrigo Recabarren (drums), Pablo Menares (bass), and Yago Yazquez (piano) consists of two natives of Chile and one from Galicia, Spain. The music on their second album "Familia" (Greenleaf Music–– the trio's 2017 album "Desde la Lluvia" was recorded and initially released in Chile)
reflects not only the musicians' roots but also their immersion into Black American music. The nine tracks, all originals, often uses rhythms that "dance" rather than "swing" with melodies that suggest folk tunes. The music is conversational and, on occasion, fiery but articulate and emotionally rich.
The program opens with "Santiago"; composed by the drummer, the music salutes his (and Menares's hometown) in melody and especially in rhythm. Listen below to how Vazquez caresses the melody supported by the warm bass sounds and the composer's martial drums (not unlike Brazilian "parade" drumming). With the rhythm section churning below, the piano solo is richly melodic. Vazguez's lovely "Terra" follows. The interaction between piano and bass is often stunning. Menares has a melodic streak a mile wide –– it shows in his works with vocalists Claudia Acuna and Camila Meza as well as with saxophonist Melissa Aldana. The bassist contributes "Viaje"; the opening melody suggests Milton Nascimento's "Ponta de Areia" plus there's a nod to that song's melody early in the piano solo. Recabarren's haunting ballad "Lazo" finds him on brushes at the onset as Vazquez explores the melody. The drummer switches to sticks during the opening piano solo and back to brushes for the final verse.
Vazquez's "Anninovo" moves seductively atop the rippling bass lines and the dancing drums. The piano solo not only dances but also rings with short melodic phrases. Menares solos as well; he, too, is a wealth of melody but also reflects the rhythmic elements of the pianist's original melody. The pianist's "Minho" is a ballad with a touch of Cole Porter in the melody and chords. His solo reflects a feeling of melancholy as well as a nod to Duke Ellington's "(In My) Solitude".
"Familia" closes with the bassist's "Después De Todo". The slower tempo allows for the listener to appreciate the handsome melody. The piano solo ripples forward, a blend of long single-note runs and short chordal inserts. The music slows down with 95 seconds remaining for a coda that blends blues, longing, and a touch of sadness. Sweet yet also haunting.
Rodrigo Recabarren, Pablo Menares, and Yago Vazquez have taken their myriad influences and experiences creating a program that not only reminds us how international Black American music is but also how that music benefits from the addition of elements from other cultures. Isn't that how the music first came to be, a fusion of African, European, and South American elements. The trio certainly sounds like a "Familia" and their sophomore album is quite the positive listening experience..
Hard to believe that it's been five years since Rudy Royston debuted his Flatbed Buggy quintet, the ensemble that includes John Ellis (bass clarinet), Gary Versace (accordion), Hank Roberts (cello), and Joe Martin (acoustic bass). The group's self-titled debut (issued by Greenleaf Music) certainly surprised a majority of the drummer/composer's fanbase in that the contents were far more than a "blowing session"; instead one heard a series of song stories that reflected Royston's upbringing in Texas and the images that invoked in his mind. The music felt more "Americana", in line with the music that the drummer was playing in Bill Frisell's ensemble.
"Day" (Greenleaf Music) reunites the band post-Pandemic. The 10-song program (eight by Royston with one each from Martin and Roberts) finds an ensemble comfortable in taking chances, pushing at the edges of composition to create not only delightful interplay but also strong solos. We move through the "Day" starting with "Morning", a melody that stretches out played over time by each musician. When Ellis lays down a rhythmical bass clarinet line that the other members of the band add their voices to, one gets the sense the group is "riffing" on Aaron Copland––Roberts' fine solo takes its cue from the bass clarinet line before Versace pushes the forward in a dialogue with Ellis. All the while, the rhythm section dances with abandon. "Thank You For This Day" opens with the cello melody that turns into rhythmical strumming over Martin's pulsating bass and the dancing high hat. Then, listen as the melody and solos unfold off the rollicking opening.
This album finds the quintet in more of a "barn dance" mode much of the time. "Five-Thirty Strut" kicks off with a melodic drum solo but then gets down and funky. Notice how Martin and Roberts lock into the groove (listen below and try to sit still) then get "jazzy" beneath Ellis's solo. Kudos to sound engineer and mixer for the clarity of the sound throughout the album. "Keep It Moving" is still funky but slinkier as well, the well-drawn melody moving atop a delicious "walking bass" line. Then, the cello play in unison for a while before a quick stop and into Martin's fine bass solo (hints of Charles Mingus's "Haitian Fight Song" in there).
Photo: R Royston
The album closes with Royston's short prayer-ballad "Time to Sleep" before moving into Robert's "A.M. Hours", a playful creep down the stairs for a late-night snack. The tip-toe quality of the melody is echoed in the cello and bass lines while the accordion watches from the top of the stairs with the bass clarinet looking over its shoulder. The drummer and his trap set sit this tune out, perhaps sleeping while the spirits play.
No matter what, "Day" is a splendid album, music for a breezy day, for a Summer night, sounds that caress and play with the listener like a good friend. Rudy Royston continues to grow as an artist, facilitator, arranger, and composer: Flatbed Buggy now seems to be his central mode of musical transportation and you should climb aboard!
Two very different projects are reviewed below; initially, what is interesting is how both projects dealt with time.
Over the course of 2018-9, pianist, composer, and educator Noah Baerman spent a lot of time and energy putting together a project to honor his former student and collaborator Claire Randall who died in 2016 as a result of domestic violence. That project, "Love Right", is a 17-song program featuring dozens of vocalists and musicians with as many styles of music as songs. At the final recording session in late September 2019, producer Baerman found himself with two hours of unused studio time. He and long-time collaborator, bassist Henry Lugo, put together a seven-song program; 90 minutes later, they had "Alter Ego" (RMI Records).
What stands out in this music is the obvious communication between the two friends and how the music makes one feel so comfortable and never bored. It's a fascinating septet of songs ranging from the opening "My Romance" (from Richard Rodgers and Lorenzo Hart) to the title track (composed by one of Baerman's influences, the late James Williams) to two pieces associated with Duke Ellington (Juan Tizol's "Caravan" and the great bandleader's "Prelude to a Kiss"). There is no feeling of being rushed or any intent to dazzle the listener with show of technical bravado––no, these songs make one listen closely, to absorb the handsome melodies and/or tap your feet. One. cam sense the duo is stretching out, having fun, shaking off the stress caused by the scope and intense emotions of the "Love Right" project.
One can hear the blues influence of another one of the pianist's influences, Phineas Newborn, Jr. in pieces such as "Prelude..." and the funky take of Stevie Wonder's "Creepin'"(listen below). Lugo, who has developed over the past decade into an excellent and melodic soloist, is solid and playful throughout (his "dancing" solo on "My Romance" is a highlight).
The program closes with Tom Waits "I Want You" (a piece composed in 1971 but not released for over a decade) and it'a a delightful choice. The music blends gospel and "pop" influences giving the duo the opportunity to expand upon the original ballad, imbuing the music with a hopeful feel.
"Alter Ego" is a lovely portrait of two friends doing what they love to do, playing music in the moment, and hoping to soothe frayed souls. Noah Baerman and Henry Lugo have created a little gem that sounds good any time of day, any day of the year.
For more information and to purchase the album, go to
Over the three-plus decades of trumpeter and composer Dave Douglas's career, he has led several notable ensembles ranging from the Tiny Bell Trio to Charms of the Night Sky to the "Magic Triangle" quartet to Keystone to the first Quintet (including Donny McCaslin, Uri Caine, James Genus, and Clarence Penn) to Brass Ecstasy to Sound Prints (the quintet he co-leads with Joe Lovano. In 2011, Douglas organized a new Quintet with saxophonist Jon Irabagon, pianist Matt Mitchell, bassist Linda May Han Oh, and drummer Rudy Royston when he wrote and arranged the music for "Be Still", a group of hymns and folk songs the trumpeter played for his mother's funeral (the resulting album featured the vocals of Aoife O'Donovan). In 2015, the Quintet released "Brazen Heart", a collection of originals tunes and two hymns dedicated to the trumpeter's older brother Damon who had passed earlier that year.
While creating the music that became the album "Secular Psalms" (released in April of this year), Douglas was also reading the 15 Psalms that make up "Songs of Ascents", a series of prayers sung by Jewish pilgrims on their way to the temple in Jerusalem on the three "Pilgrimage" holidays (Passover, Shavuot, and Sukkot). The trumpeter was so moved that he began writing a new program of music that he thought would be perfect for the new Quintet (now a decade old). Once he had all the music, the world was in the early stages of the Pandemic. So, starting in May of 2020, Douglas recorded all his parts (including solos); he then sent the pieces to Irabagon (tenor, soprano, and soprillo saxes) for his contributions. From there, the music went to pianist Mitchell, then to Ms. Oh for her bass parts, and to Royston for his percussive touches. Once the drummer finished, the tapes returned to Douglas and engineer Tyler McDiarmid (who also mixed and mastered the project)
It's amazing how alive and collaborative this album sounds. For the project, titled "Songs of Ascent: Book 1 – Degrees" (Greenleaf Music), Douglas has created such splendid melodies while his musical partners on these journeys play with such sensitivity and intelligence that the music jumps out of the speakers (as if the band was in the same studio and not separated by distance and time––the project took over 12 months to complete). Listen below to "Peace Within Your Walls"; note the well-constructed melody, the brilliant interactions of the trumpet and tenor saxophone, and listen to how the rhythm section is supportive and inventive.
Photo: John Abbott
And the music has fire as well. The album opener, "Never Let Me Go" (the one composition not based on one of the Psalms), introduces the inspired interaction that comes from the musicians being comfortable with each and willing to challenge each other. "A Fowler's Snare" smokes from the opening note, hinting at being a free-for-all with a rollicking melody played by everyone save for Royston. Both Douglas and Irabagon solo as the rhythm section threatens to fall apart. Ms. Oh's bass solo pulls the music together for a moment before launches back into the theme. "Lift Up My Eyes" moves from its "playing a scale" opening into a twisting and roiling exhibition of power. The final track, "Mouths Full of Joy", has a similar opening (listen to the fiery drumming), before the leader steps out for a hard-edged solo supported by Mitchell's angular piano chords. Irabagon's tenor spot is playful as Royston takes apart the rhythm. Mitchell steps out next as the drums seem to explode beneath him while Ms. Oh keeps the the rhythm section from flying away.
"Songs of Ascent" Book 1 – Degrees" stands out as yet another musical triumph for Dave Douglas. Even if you don't know the story behind the recording, this project is so alive, so musical, so collaborative, so fascinating. Besides the leader, every other member of the Quintet is a leader in her and his right yet they come together as a coherent musical unit, supporting and stimulating each other. The Dave Douglas Quintet will be touring Europe in early 2023 and one hopes those live shows are archived for all of us to hear the five musicians sound playing this music together on stage. In the meantime, find this recording and dig in.
There is a "Book 2 - Steps", eight more Douglas originals written for the Quintet and the music is just as impressive. However, the only way to listen to the album is to become a subscriber to Greenleaf Music. There are three tiers to choose ranging from $75 to $175–each level gives you access to all the recordings on the label through Bandcamp.com as well as special "live sets", alternate takes, and unreleased material. The more you spend the more perks you get. There is also access to monthly "Subscribers Sessions", right now on ZOOM only, in which you can meet and interact with musicians who record for the label and special segments of Douglas's "A Noise From The Deep" podcast now in its 10th year of interviews.
As a subscriber myself, it's well worth the investment–you get access to some of the most fascinating music being released today. To find out more, go to https://greenleafmusic.com/subscribe/.
30-plus years into a fascinating career, one is still impressed by the music Dave Douglas composes, records, and performs. When you think that trumpeter, educator, Greenleaf Music head, podcast host, festival coordinator, and so forth, is most comfortable in one of the various quintets he leads (or co-leads, in the case of Sound Prints), he'll record a solo trumpet album ("Hudson Solos") or work with an ensemble made up of students from Australia's Monash University ("The Dream: Monash Sessions") or record hard rock funk music for listening to during demonstrations with bassist Melvin Gibbs, guitarist Rhafiq Batia, and drummer Sim Cain ("Marching Music")––that's just in the last 24 months.
The trumpeter's new album, "Secular Psalms", is a 10-song program inspired by "The Adoration of the Mystic Lamb", painted between 1420-1432 and hung in Sgt. Bavo's Cathedral in Ghent, Belgium. Douglas initiated the project before the pandemic shut down the world, choosing a band (six members in all) from Europe and the United States; artists include Berlinde Deman (tuba, serpent, voice), Marta Warelis (piano, prepared piano, pump organ), Frederik Leroux (guitars, lute, electronics), Lander Gyselinck (drums, electronics), Tomeka Reid (cello), and the leader on trumpet and background vocals. The blend of tuba or serpent (a wooden brass instrument!) with amplified guitar, cello, trumpet, the various keyboards, and voice is fascinating. While the music is inspired by 14th Century composers, there is a 21st Century "avant-garde" as well as 1960s-70s "prog-rock" feel (if there was a flute, this music could easily be linked to Jethro Tull (check out "Agnus Dei" and see if you agree).
Photo: Gemma Vander Hayden
You understand you are in a different musical right from the opening seconds of "Arrival". The trumpet melody is supported by electronic sounds, cello, and the guitar with Ms. Deman's serpent playing a quiet counterpoint. The drone created by cello and serpent carries the piece as does the subtle drive of the drums. "Mercy" jumps forward with the trumpet and cello on the melody––the lyrics blend Marvin Gaye's "Mercy Mercy", "Kyrie Eleison", and a short phrase penned by Douglas. Leroux's funky, raunchy, guitar solo offsets the solemnity of the lyrics as does Ms. Reid far-ranging cello work. If you listen closely to the vocals, you can hear Douglas shadowing Ms. Deman's voice.
Photo: Johan Jacobs
If you listen closely, not only are Ms. Deman's vocals important to the sound but so are her tuba and serpent contributions (that's her on the left). Listen to how she and Ms. Reid join with Gyserlinck to create a rhythmic flow on "Instrumental Angels" and how her counterpoint enlivens "Hermits and Pilgrims". Her soulful vocal on "If I'm In Church More Often Now", based on lyrics composed by Christine de Pasan (1364-1430?), makes the poet's sentiment contemporary as we now see many people looking for answers from their spiritual leaders in these often-scary times. Douglas's original "Edge of Night" closes the album, the lyrics speaking to how music can heal, can serve to push us forward, all the while the drone created by the pump organ, the cello, and the lute takes on a chant-like feel. Leroux switches to electric, joining the trumpet, cello, percussion, and serpent in accentuating the closing lyrics "Making this music, will help us to heal/ Even as the world continues to reel/ We laugh/ We dance/ We love/ We pray/ Even as we mourn."
"Secular Psalms" is a stunning album, all the more so because all the parts were recorded remotely at different times, then edited and remixed by Tyler McDermid and Dave Douglas. The album stands out in the trumpeter's oeuvre not only because it's an amazing collection of music and performances but also because like 2012's "Be Still" and 2015's all-instrumental "Fabliaux", the songs, messages, and instrumental experimentation gives the listener deep insight into the trumpeter's inner life. Listen and be moved!
Saxophonist and composer Trish Clowes (pronounced "clues") hails from Shrewsbury, Shropshire, England. At the age of 19, she moved to London to study at the Royal Academy of Music. Seven years later (in 2010), Ms. Clowes issued her debut album "Tangent" on Basho Records––an ambitious project for sextet and, on two tracks, a full orchestra with vocalist. Two years later, not only did she release her second album as a leader ("And In the Night-Time, She Is There") which featured her touring quintet with a string quintet and guests, the saxophonist was named a BBC Radio 3 New Generation Artist. The BBC commissioned Ms. Clowes to compose for their Concert Orchestra which garnered her a British Composer Award in 2015. That piece of music can be heard on her third Basho release, 2014's "Pocket Compass", her first full album with her Quintet with three tracks featuring the BBC Concert Orchestra. Over the next few years, Ms. Clowes kept herself quite busy with many different commissions and projects including "Emulsion", a fascinating improvised music "happening" that continues to this day.
Photo: Brian Homer
In 2016, the saxophonist created MY IRIS, a quartet that features two members of her Quintet, guitarist Chris Montague and drummer James Maddren, plus pianist/ organist Ross Stanley. The bass-less ensemble's self-titled album was issued on Basho in early 2017 followed two years later by "90 Degrees Gravity" (also on Basho). The quartet was hoping to record in April of 2020 but the pandemic put that project on hold. Ms. Clowes did self-release "MY IRIS Live!", a digital-only album through Bandcamp in 2020, a "low-fi" six-track set from an October 2019 live date.
The group finally got into the studio at the end of August 2021 and the results of their efforts can be heard on "A View With a Room", Ms. Clowes debut for Greenleaf Music. Still working with MY IRIS, many of the saxophonist's eight original pieces were composed during the world's lockdown. One can hear a restlessness, an urgency, in several of the songs such as the funky title track and the driving "No Idea". The first track has such a "poppy" feel (note the bouncing piano line and dancing drums). The leader's solo is a joyful romp which leads right into pianist Stanley's spirited and playful spotlight. Montague steps out next and he makes a more intense statement and the band picks up on that fieriness. Ms. Clowes kicks off "No Idea" in musical conversation with drummer Maddren––notice how the piece then breaks into separate conversations (guitar with just drums before the piano reenters followed by sax, piano, drums, and quiet guitar).
"Amber" is dedicated to Amber Bauer, CEO of Donate4Refugees, a London-based charity that Ms. Clowes works as an ambassador––if the charity's head is an energetic as this music, she'll do well. The rhythm and main melody suggests Steely Dan (circa "Aja") and the band makes the most of the r'n'b swing of the piece. Guitarist Montague stands out on "Time", his Country-ish riffs reminiscent of Bill Frisell while there's a touch of Bruce Hornsby in Stanley's spot. The lovely ballad "Morning Song" is muted like the hour before daybreak, the handsome melody opening to a classically-inspired piano solo. The short yet hushed tenor solo makes way for a powerful guitar statement and the set of fascinating chord changes before the close.
The program closes with "Almost". The piece opens rubato, scurrying brushes on snare, scattered piano chords, atmospheric guitar phrases, and disjointed saxophones phrase that slowly take shape into a lilting ballad. Nobody rushes but the song seems to grow more soulful as Ms. Clowes rides the guitar chords and the piano glissandos forward. A shift in direction so that the guitarist can push the song forward and, as the intensity builds, the leader's soprano sax rises up above the rhythm section for a moment, like a colorful bird riding the thermals. Stunning, stirring, a momentary burst of pure joy.
Trish Clowes may be a new name to US audiences but do check out her music and, especially her work with MY IRIS. "A View With a Room" feels like a musical balm, creating a sense of joy in the midst of complicated and often dangerous world––do spend time soaking in these sounds!
I first became aware of Australian-born saxophonist Angela Davis back in 2013. At that time, she was studying for her Masters of Music at the University of the Arts in Philadelphia, PA. That was also the year Ms. Davis self-released her debut album, "The Art of the Melody". Two years later, her second album, "Lady Luck", featured the saxophonist alongside pianist Dan Tepfer, bassist Linda May Han Oh (who was also on the debut album, drummer Richie Barshay, and a string quartet. Ms. Davis moved back home, to Melbourne, where she serves as a lecturer at both University of Melbourne and Monash University. She's married to trumpeter Mat Jodrell and they have a son, Max. Since returning home, she's released one album, "Little Did They Know", for ABC Jazz, the label of the Australian Broadcasting Corporation.
Ms. Davis's fourth album is the result of a Commission from the ABC Fresh Start Fund. "Suite for Max" (ABC Jazz) is dedicated to her son born right before the pandemic. The five-movement, 36-minute, "Suite" features the saxophonist's "working" quartet including guitarist Stephen Magnusson, bassist Frank De Sario, and drummer Patrick Danao. The opening "Movement" bears the influence of the Joe Lovano/ Bill Frisell/ Paul Motian trio, especially in floating rhythmic feel and Magnusson's guitar tone. Max's father, Mat Jodrell, shows on the next track and his addition charges the album's atmosphere with Danao being more aggressive without overwhelming the music. The leader's takes the first and most lyrical of the solos. The guitarist also creates a fine solo with his rippling phrases swooping and diving about the interactive rhythm section.
"Movement 4" opens like a quiet lullaby, Ms. Davis's gentle tenor leading the way. The handsome and fully-realized gives way to short solos then to the guitar and saxophone dancing around each other and landing back at the melody. Bassist De Sario provides the counterpoint while the drummer moves from his cymbals back to a solid beat as the music draws to a close. A tender guitar melody serves as a prologue on "Movement 5" which takes its lively feel from the engaging. Ms. Davis's playing, at times, has a feathery feel as she was a leaf dancing on an Autumn breeze. Magnusson lets loose on his solo without jacking up his volume, making the most of the dancing rhythms of the bass and drums. The saxophonist leads the band through a melodic coda, reminiscent of the way Keith Jarrett led his American Quartet (there's Paul Motian again) on their mid-70s albums.
"Suite for Max" won't shake your world but that's not its purpose. The music that Angela Davis composed for this project is the result of her watching her son begin to move, begin to claim his own space in the world, all the while wide-eyed at wonders all around. Ms. Davis rarely plays on the fiery side; instead, she gravitates towards the melodic side of music. Listen to this music at the break of dawn or at the close of the day; it's such pleasant company!
Trombonist, composer, band(s)leader, and educator Ryan Keberle is the very model of a 21st Century musician. His trombone playing feels at home in Latin music ensembles, alongside contemporary songwriters such as Sufjan Stevens, leading his quintet Catharsis, or in ensembles led by Dave Douglas. It's no surprise that on a trip to Brazil in late 2017 that he would hook up with a fine trio of local musicians; even better, he returned six months later and recorded with these musicians.
The results can be heard on the exciting and expansive "Sonhos Da Esquina" (Alternate Side Records). Credited to Ryan Keberle's Collectiv do Brasil, the trombonist and the trio––Felipe Silviera (piano), Thiago Alves (bass), and Paulinho Vicente (drums)––examine three compositions from Milton Nascimento, two from Toninho Horta (a contemporary of Nascimento), and three by Keberle. One can hear the influences of Brazilian MPB, of Wayne Shorter's 1975 recording "Native Dancer", and hints of Pat Metheny's explorations into World Music, especially in the movement of the rhythm section. Even so, pieces such as "Clube Da Esquina 2" and "Aqui, Oh!" move in ways that you can hear their origins. The latter tune, originally composed by Horta for Nascimento (1969), takes off from the beautifully expressed original melody (in rubato) into a lovely samba rhythm. Both Keberle and Silviera take fine solos that handsomely swing over the activity of the rhythm section.
Several of the pieces come from Nascimento's self-titled second album such as the afore-mentioned "Aqui, Oh!" as well as the lovely ballad "Tarde" (words by Nascimento, music by Márcio Borges). The latter song sounds to this listener like it could have been composed by Duke Ellington or Billy Strayhorn––the trombonist and pianist create emotionally strong solos. "Clube Da Esquina 2" is the title track of a 1972 double album Nascimento made with singer-songwriter-guitarist Lô Borges that many consider a landmark MPB recording for its variety and myriad styles. The softer ballad opens with a bass solo that introduces the main melody with Alves plays in unison with Keberle. The piece gains in power as it moves forward but never loses its melodic aim.
The album closes with Horta's "Francisca" which Nascimento recorded for his 1976 album "Milton". It, too, is a ballad (at least, for the first 2/3rds of the tune), also quite emotional; this version features excellent melodic and contrapuntal playing from bassist Alves plus he creates a splendid solo. That's followed by an appropriately mellow piano. Note how the tempo picks up as Silviera is playing so that when Keberle takes off on his solo, the rhythm is quite powerful.
"Sonhos Da Esquina" ("Corner Songs") is a delightful journey into Brazil with Ryan Keberle's Collectiv Do Brasil. Thoughtful, passionate, and melodic music that reaches deep into your soul. Listen closely.
Two decades into his professional career, pianist, composer, arranger, and bandleader Manuel Valera is hitting his stride. His 2020 release "Jose Marti En Nuevo York", was his first big band album as well as his debut on Greenleaf Music. That album combined poetry, politics, folklore, and a splendid original score. As you can see from the personnel listed below, the 20-member plus vocalist ensemble dubbed the New Cuban Express Big Band is filled with A-list musicians from New York City–the blend of Jimmy Macbride and Samuel Torres on drums and percussion is nothing short of magnificent.
"Distancia" is the big band's second album. Although there is no "theme" that unites the program, the eight Valera compositions all stand out. Whether it's strong construction of the compositions, the fiery rhythms, the excellent section writing, or the fine solos, this music should grab your attention from the get-go and not let go. The opening track, "Expectativas", is the title track of the New Cuban Express's 2013 release (its second)––here, like there, the band jumps out with the melody shared by the brass and reeds (the lead bounces back and forth. The leader's piano keeps the music on an even keel and kudos to bassist Hamish Smith for his free-flowing lines built off the piano chords. The lush melody and harmony lines of "Gemini" really sing yet the rhythms remain exciting. There are several splendid solos including one from trumpeter Stuart Mack plus the baritone sax spot for Andrew Gutauskas and the leader's jaunt over the drums, percussion, and bass.
Camilla Meza joins the band for "From Afar", her wordless vocal supported by the reeds and guitar with the many colors of the brass. Valera layers the reeds and the brass behind the voice then steps away for a long and excellent solo from trumpeter Michael Rodriguez. When she returns, her voice is joined by the saxophones while the trumpets respond. Ms. Meza joins the the alto sax of Remy LeBouef and Valera's roller-coaster piano figures to lead the band into the medium-tempo "Pathways". Moments later, it's the flutes with the voice, then the muted trumpets, then the sections push the entire ensemble to the solo section with contributions from Jeremy Powell (tenor saxophone), bassist Stuart, and drummer Macbride.
In the long run, it's the melodies and performances that will bring you back to "Distancia". The title track (listen below) has a lovely and emotional melodies that touches the heart. The stunning soprano sax solo (Charles Pillow), the powerful trombone work (Mike Fahie), the lovely wordless vocal from soprano Bogna Kicińska, and the gentle rolling rhythms lull one into a peaceful space.
The album closes with "Remembered" but instead of the song being an elegy, the piece leaps in on the guitar of Alex Goodman plus the snap and crackle of the percussion. The middle of the piece opens for strong solos from trombonist Andy Clausen and trumpeter David Smith before the entire band dances towards the finish line. Run don't walk to grab "Distancias", easily one of the finest large ensemble albums you'll hear this year. The New Cuban Express Big Band shines throughout thanks to the great music and arrangements of its leader Manuel Valera––kudos all around!!
TRUMPETS Brian Pareschi (lead) Michael Rodriguez (3, 5, 6, 8) Stuart Mack (on all except 5 & 8) David Smith Alex Norris (on all except 3 & 6)
SAXES Michael Thomas, alto sax, soprano sax & flute Roman Filiu, alto sax & flute (3, 5, 6, 8) Remy Le Boeuf, alto sax & flute (1, 2, 4, 7) Joel Frahm, tenor saxophone (3, 5, 6, 8) Jeremy Powell, tenor saxophone, clarinet (1, 2, 4, 7) Andrew Gutauskas, baritone saxophone & bass clarinet
TROMBONES Matt Macdonald (lead) John Yao (3, 5, 6, 8) Mike Fahie (1, 2, 4, 7) Andy Clausen (3, 5, 6, 8) Sam Blakeslee (1, 2, 4, 7) Jeff Nelson, bass trombone
RHYTHM SECTION Manuel Valera, piano Alex Goodman, guitar Ricky Rodriguez, bass (3, 5, 6, 8) Hamish Smith, bass (1, 2, 4, 7) Jimmy Macbride, drums Samuel Torres, percussion
Tenor saxophonist and composer Julieta Eugenio was born, raised, and educated in Argentina. After graduating from the Manuel de Falla Conservatory, Ms. Eugenio came to the United States in 2013 to study at the Aaron Copland Conservatory at Queens College in New York City where she earned her Master's degree. She's gone on to play with pianists David Kikoski and Johnny O'Neal, drummer Leon Parker, with the SIJ Trio, and the Eyal Viner Big Band. Along the way, the saxophonist met bassist Matt Dwonszyk who introduced her to drummer Jonathan Barber––the rhythm section are both from Hartford, CT. In the beginning of the pandemic, the bassist invited Ms. Eugenio to come to the Hartford to get away from the big city. They hiked the hills and parks around Connecticut's capitol city and, in the evenings, jammed with the drummer, giving birth to her Trio and her debut album.
"JUMP" (Greenleaf Music) is the album. The hour-long program features eight originals from the leader plus two standards "Flamingo" (composed by Ted Grouya and Edmund Aderson, first recorded by Herb Jeffries and the Duke Ellington Orchestra in December of 1940) and "Crazy He Calls Me" (penned by Carl Sigman and Bob Russell in 1949, recored by numerous people including Billie Holiday and Dinah Washington). Ms. Eugenio is well-served by her rhythm section––both Dwonszyk and Barber are totally involved in the music, pushing, prodding, being both melodic and propulsive. It's notable from the opening seconds of the first track as both the well-constructed melody and the percussive attack stand out. The bassist's counterpoint is on-point while the drummer dances with glee as Ms. Eugenio's solo unfolds.
There are moments when this Trio will remind the listener of the work that Sonny Rollins did in the 1950s with bassist Wilbur Ware and drummers Elvin Jones or Pete LaRoca ("A Night at The Village Vanguard")––check out the ballad "For You" or the fun take of the classic "Flamingo" (the rhythm section is a true treat!) Pieces such as the high-powered "La Jungla" sound more modern (pay attention to the depth of Ms. Eugenio's tone) or the slinky drive of "Another Bliss" (Barber's drum work stands out for his inventive support while Dwonszyk's bass work sings under the sax solo.) The bassist's "fat" tone and buoyant lines lead Ms. Eugenio in on "Crazy..." and the two stroll through the piece together without Barber. The bass solo is a particular treat, especially for its musicality.
"JUMP" is a splendid debut for Julieta Eugenio laying the groundwork for a career that one hopes is filled with delightful music and interactions. She's absorbed her lessons and now needs to hit the road which should make her music stronger and help her make her musical voice more singular. Yet, what a great start!
A new album from vocalist Somi is always a welcome audio adventure. Born in Illinois to parents who emigrated to the US from Rwanda and Uganda, Somi first came to critical notice with her 2007 debut "Red Soil In My Eyes", an album which featured her fascinating voice with Afro-Beat, Afro-Pop, and more, reminding some reviewers of the music of Kate Bush and Peter Gabriel. Somi spend 18 months in Nigeria which led to 2014's "The Lagos Music Salon", an album that still sounds fresh with its blend of jazz, r'n'b, African rhythms, and spoken-word intervals. Social commentary, Hip Hop, funk, and American pop music entered her music with the 2017 release of "Petite Afrique" while 2020's "Holy Room: Live at Alte Oper with the Frankfurt Radio Big Band" stands out for her ability to adapt all her musical influences with a large ensemble.
March 4, 2022, was the 90th birth anniversary of the international star Miriam Makeba and also the day that Somi released "Zenzile" (Salon Africana), her tribute to the great singer. The recording takes its name from Ms. Makeba's first name (pronounced "Zen-zee-lay") and its material is taken from the varied segments of her career. Pieces such as "Pata Pata" were huge hits yet Somi's version uses the song as a vehicle for a recorded interview with Ms. Makeba with only a string quartet for support. The vocal portion features four singers plus Somi and is filled with sounds and silence. Ms. Makeba first recorded "Mbombela (Train Song)" with Harry Belafonte in 1965 in New York City––Somi's danceable take features the voice choir plus a funky band (check out the delightful organ work of Cobhams Asuquo and guitar of Herve Samb). Angelique Kidjo joins the leader on "JIKELE MAWENI (The Retreat Song)" as do more voices, a horn section, and a lively rhythm section.
There are so many highlights (and no weak moments) in the 17-song program. Click below to hear Somi with Ladysmith Black Mambazo in a faithful recreation of "Nonqonqo", also from the 1965 album Ms. Makeba made with Belafonte. Gregory Porter joins the vocalist on "Strawberries", a song from Ms. Makeba's 1962 album "The Many Voices of Miriam Makeba"––on the modern version, the voices ride atop a piano-bass-drums-percussion quartet plus the the occasional female chorus. The music is so sensual, the lyrics evocative of a warm summer night. Somi's magnificent, emotionally-rich, vocal on "Khuluma" is stunning. She's joined by South African vocalist Msaki; their voices wind around each other plus there is a power in their that makes one sit up and pay attention.
"Zenzile" closes with "Mabhongo", a song from Ms. Makeba's 1988 album "Sangoma" (a return to recording for the singer). With choruses of male and female voices for support plus the plaintive piano of Ndudozo Mahkathnini, the song opens like a prayer and, as Somi and the pianist step to the fore, the music displays a gentle beauty that touches the heart and the soul.
"Zenzile" is a stunning accomplishment as it brings the music of and the person who was Miriam Makeba to life once again. The messages in her songs are timeless and Somi makes sure you hear the rhythms and word––you need to hear both, you need to take the messages inside and don't let it go. In this time of forced migrations and totalitarian attacks, there is hope, sadness, love, joy, and positivity in this music. Pay attention!
Up in the right-hand corner of this (and all) columns is a link to "The Jazz Session"––in Episode #589, host Nicky Schrire converses with Somi and you will learn a lot about the album as well as the production of "Dreaming Zenzile" that Somi created and premiered before the pandemic (2019) that is scheduled to open Off-Broadway later this year.
Here's Somi with Ladysmith Black Mambazo on "Nonqonqo":
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