Over the past five years, guitarist, vocalist, and composer Camila Meza has steadily worked her way into the consciousness of people who listen to contemporary music. The Chilean-born Meza first came to the United States in the early 2010s to study and soon found herself collaborating with numerous artists. Her work with Ryan Keberle & Catharsis plus her brilliant 2016 album "Traces" (Sunnyside Records) as well as her work with pianist Fabian Almazan stands out in the plethora of recordings that have filled the market. Even before her work with Keberle, she laid the seeds for her collaboration with bassist Noam Wiesenberg and the Yellow Nectar Orchestra, an ensemble that features a jazz quartet (guitar, keyboards, bass, and drums) with a string quartet (and arrangements by the bassist). On a 2013 video
The results of Ms. Meza's work with Wiesenberg can be heard on "Ámbar" (Sony Masterworks). Recorded in June 2017 and funded by a Kickstarter campaign, the 12-song program covers a wide territory of the sonic landscape with original works blending with classic songs by Milton Nascimento, Antonio Carlos Jobim, Elliot Smith, Tomás Méndez, and the fascinating collaboration of David Bowie with Pat Metheny and Lyle Mays ("This Is Not America" from the 1985 movie "The Falcon and The Snowman"). That last song fits nicely with Ms. Meza's latest adventures with Keberle & Catharsis that have an emphasis on socially and politically conscious music. One also notices on the track the influence of Metheny on her guitar playing. In fact, pay close to her guitar work and how it synchronizes with the vocals – it surely stands out on "Traces" and on her earlier albums but most writers seem to ignore that aspect of Ms. Meza's presentation.
The excellent string arrangements are an important aspect of this music. They stand out on "Waltz #1" (the Smith piece) not just for the colors they provide but for how their sound blends percussive and melodic elements. The strings (played by violinists Tomoko Omura and Fung Chern Hwei, violist Benjamin von Gutzeit, and cellist Brian Sanders) caress the voice on the opening of "Atardecer".coming back time and again to create a sweet counterpoint. The arrangements do not treat anyone as just an accompanist: every voice is important, from the rich sonorities of the cello to the flowing lines of the violins and viola.
Photo: WBGO/NPR
The entire ensemble dances with delight on "Awaken", thanks to the percussive magic of Keita Ogawa. It's important to note that, by the time of the recording sessions, the main ensemble of Meza, Ogawa, Wiesenberg plus Eden Ladin (piano, keyboards) has been working/rehearsing as a unit since 2013. Listen to the understated power that the octet utilizes on Nascimento's "Milagro Dos Peixes", a tune from earlier in the Brazilian composer and performer's career. It's easy to get lost in the voice, how the strings move in and out of the arrangement, and how the rhythm section move the piece forward.
The album closes with a solo performance of Méndez's "Cucurrucucú Paloma" (composed in 1954), just Camila Meza and nylon string guitar. The song tells of the story of the mourning dove (the title translate as the "Coo-coo dove") and the singer's loss of a loved one. The piece seres as a lovely coda to a delightful recording. "Ámbar" may have taken two years to come to light (six, if you count how long Camila Meza & The Nectar Orchestra have worked on the material) but the wait has certainly been worth it. A delight from start to finish!
For more information, go to www.camilameza.com.
Here's the NPR Jazz Night In America performance by the ensemble:
For her fifth album, vocalist Judy Wexler went to work with frequent collaborator Alan Pasqua (the pianist has been a major contributor to three of her previous albums). After she spoke with author and jazz historian Ted Gioia about what makes a 'jazz standard", Ms. Wexler and Ms. Pasqua spent the better part of a year sharing song ideas back and forth. Finally, the co-producers organized a group of musicians, many of whom have appeared on her other recordings, and put the process in motion. In addition, Ms. Wexler worked with PledgeMusic to fund the album.
"Crowded Heart" (named for the Sinne Eeg/Mads Mathias song that appears on the album) is a delightful blend of songs composed by current artists and composers. Besides the title track, one hears pieces by Kurt Elling (one with Richard Galliano, the other with Mr. Pasqua), Gregory Porter, Luciana Souza, Fred Hersch & Norma Winstone, Alan Broadbent, Enrico Pieranunzi & Lorraine Feather, Larry Goldings, plus René Marie. Highlights include is Ms. Eeg's tune, notable for the lovely blend of voice with acoustic guitar (played by Larry Koonse) and the piano. Also, there's sweet and funky reading of Porter's "Painted On Canvas" – the rhythm section of bassist Derek Oles and drummer Steve Hass lay down quite a beat and there's delightful alto saxophone playing from Josh Johnson.
Ms. Wexler transforms Ms. Feather's "I Took Your Hand" (a song that the lyricist added words to Enrico Pieranunzi's "Fellini's Waltz"). Here, the rhythm has opened up – note how the vocal lines dance above the rich piano accompaniment with the alto sax as partner. Piano and voice open a lovely reading of Fred Hersch and Norma Winstone's "Stars", the melody suggesting the bossa nova feel of the rhythmic background. The original version is just voice and piano but the addition of the drums and bass allows the music more breathing room. Ms. Marie's "Take My Breath Away" is quite a love song (as only the composer can write – her best songs link love and lust, desire and joy and Ms. Wexler has such fun with it. Yes, she understands what she is singing and takes great pleasure from it.
On an album whose focus is on the voice, one cannot diminish the role Alan Pasqua plays in its success. Both his piano solo and whistling are one of highlights of the opening track, Ms. Souza's "Circus Life." He unpacks his melodica for a delightful, accordion-inspired, solo on Galliano/Elling's "Parisian Heartbreak." Pasqua's collaboration with Kurt Elling and Philip Edward Galdston, "And We Will Fly" brings the program to a close. The Brazilian feel, heightened by the dancing rhythm section, also includes the fine acoustic guitar work of Koonse (shadowed by the deep cello tones played by Stefanie Fife).
"Crowded Heart" shows Judy Wexler at her finest. Never one to overwhelm her songs with vocal trickery, Ms. Wexler caresses melodies, reaches for the emotional heart of each song, and, with the aid of Alan Pasqua, gives listeners an experience that resonates beyond the recording, settling in one's own crowded heart.
The Bird and The Bee is a duo from Los Angeles, CA, consisting of Inara George (vocals, compositions) and Greg Kurstin (synths, compositions) that have been creating "indie pop" (really music that blend pop, jazz, folk, and electronics)since 2005. The duo's recorded debut was a self-titled album on Blue Note Records in 2006. Ms. George, who is the daughter of the late Little Feat founder Lowell George, started out interested in theater but had formed several bands before the end of the 20th Century. She has released four albums of her own including 2018's "Dearest Everybody" that deals with the loss of her father. Mr. Kurstin, a producer who has won multiple GRAMMY awards, has worked with Paul McCartney, Beck, Kelly Clarkson, Foo Fighters, and Adele. He also founded the 2000s indie band Geggy Tah. Before that, he studied with pianist Jaki Byard, vibraphonist Bobby Hutcherson, and saxophonist George Coleman.
Drummer Charles Ruggiero, who has worked with Chuck Mangione and Ozzy Ozbourne, first heard The Bird and The Bee on the radio in 2007. The drummer had an epiphany that he could take these malleable songs and create jazz arrangements around them. He called his friend Hilary Gardner (yes, she who is 1/3rd of Duchess) to help him record one of the band's tunes for his 2014 debut EP "Boom Band, Boom Bang" (well, he is a drummer) – Ruggiero was thrilled to discover that Ms. Gardner also loves the band's music. Thus was born the seeds of their duo album "Charles Ruggiero and Hilary Gardner Play the Music of The Bird and The Bee".
Released on Spike Wilner's SmallsLive label, the album finds the duo, along with pianist Jeremy Manasia (who has worked with recorded with the drummer o several occasions) and bassist Neal Miner, playing eight songs from three of TB&TB's four albums (that duo also recorded a tribute to Hall & Oates in 2010). Manasia's flowing piano lines enliven many of the songs. "Lovey Dovey" has sweeping phrases from the piano as Ms. Gardner explores the story of a woman who cannot wait for her partner to get home from work so they be together without the hustle-and-bustle of the world. "Would You Ever Be My) F**king Boyfriend" opens with a bouncing bass line with the feel of Peggy Lee's classic "Fever". Not being sure if the offensive word (to some) in the title is a verb or adjective and that's part of the fun of the piece. So is the irressistible rhythm and the splendid piano solo. "4th of July" swings with such a spirit that one cannot help but snap his fingers.
Hilary Gardner is one of those vocalists who makes you believe everything she sings. Nothing is forced and the emotions are real. Even pieces such as ".....Boyfriend" and Ms. George's paean to Van Halen vocalist Davie Lee Roth "Diamond Dave" ring true. The original version of the latter tune is up-tempo and has an hilarious video to go with it. But here, Ms. Gardner and the band frame the song as a ballad, a mournful, bluesy, tale of a childhood idol. If you do not know the original version, this is quite a tribute.
There are so many joys to behear on "Charles Ruggiero and Hilary Gardner Play the Music of There Bird And The Bee" from the splendid piano work of Jeremy Manasia to the understated yet intense work of Neal Miner and the drummer/co-leader as well as the sweet, sassy, and honest vocals of the other co-leader. Those myriad joys are also the result of the excellent source material. This album stands nicely on its own but you should also introduce yourself to Inara George and Greg Kurstin's witty duo.
The Holiday season is upon us, the winter is fast approaching (getting dark in CT by 5 p.m.), and we are continually being assaulted by advertisements plus bombarded by bad news. This Saturday evening at 8 p.m., one can leave all the negatives behind to "accentuate the positive" with the Duchess Trio. Duchess - Amy Cervini, Hilary Gardner, and Melissa Stylianou - is bringing their delightful sounds to the Milford Center for the Arts, 40 Railroad Avenue in Milford CT. Billed as a "Holiday Show", these delightful songstresses will mix and mingle music from their two Anzic albums with songs of the seasons. One of the most engaging elements of their music is how they blend songs from the 1930s and 40s, some you may know, many you might not, and make one tap his feet or smile from the emotional tug at the heartstrings. On top of that, all three are wonderful solo singers and, collectively, create sweet harmonies.
Joining them in concert will be pianist Michael Cabe, guitarist Jesse Lewis, and bassist Noah Garabedian. Yes, no drummer, so the music will be on a more intimate level (but it will still swing with glee) plus it's a "cabaret" setting and one might feel as if he/she was sitting in a 1920s jazz club (just maybe).
No matter what, Duchess will brighten your mood, make you laugh (check out their podcast "Harmony & Hijinks" for a healthy taste of the trio's stage banter as well as a closer look into their creative process plus interviews with fellow musicians and producer Oded Lev-Ari) and, ultimately, feel good. Can't ask for more than that!
In this year of the Thelonious Monk Centennial, there is no more fascinating tribute than "Solo: Reflections and Meditations on Monk" (Tum Records) from trumpeter Wadada Leo Smith. Just trumpet. Smith, who is a major force on the creative music scene (and has been since the early 1970s), interprets four Monk classics ("Ruby, My Dear", "Reflections", "Crepuscule With Nellie", and "'Round Midnight") plus creates four original "reflections" of his own inspired by his relationship to Monk's music. Beautifully recorded over three sessions (in November of 2014 and August 2015), the package includes excellent notes by Smith and a fairly extensive bio.
Paul Ryan Photography
So much stands out on this very personal recording. Start with how in this setting, one can hear how the blues infiltrates Monk's music. Note how beautifully the trumpeter blends sounds and silence - there are many moments that the listener hangs on the notes, even after they fade. One also hears how this music connects with the philosophies of the AACM and with Smith's creative philosophies as well as with the sounds of another creative musician celebrating his 100th birthday, John Birks "Dizzy" Gillespie. The avid Monk fan knows that both Dizzy and Miles Davis recorded "'Round Midnight" yet the performance here apes none of the numerous recordings and live concert versions. The plaintive melody pours over the listener; Smith takes his time, caressing each note who producing a sound that is so intimate on an instrument that can shake the rafters.
The original pieces range from the intense yet tender "Monk and His Five Point Ring at The Five Spot Café" to the gentle ballad "Adagio: Monkishness - A Cinematic Vision of Monk Playing Solo Piano." That latter track is quiet, with notes that ring out, gently fade, and create a heartfelt melody. "Adagio: Monk, the Composer in Sepia - A Second Vision" is not only influenced by the blues of a Monk ballad but also by the "muted" tones of old photographs of the pianist. The muted trumpet sounds fragile but sympathetic, with strength in the higher notes. Following that is a piece inspired by a dream: "Monk and Bud Powell at Shea Stadium - A Mystery" unites the two pianists, great friends, both who dealt with ailments, who were stalked by the police as well as demons, yet who created such vital music. The playful quality that Smith interjects into this piece reflects the creative adventure of the pianists. Still, as the piece comes to its close (it sounds as if the music ends in the middle of a phrase), one can hear both musicians lives were often interrupted.
"Solo" Reflections and Meditations on Monk" is music to savor, to sit and breathe in, to inhabit. Once you surrender to the sounds, you grow to not only appreciate the immense contributions that Thelonious Monk made to contemporary music but also how Wadada Leo Smith made his explorations of this man and his music personal and universal at the same time.
In many big cities around the world, there are jazz clubs and other venues that stay open very late, well into darkness of the new day. Even if you have not spent time in one of these often intimate performance spaces, you probably have hear the music created in the last set of the evening can be extremely powerful, personal and, often, quite romantic.
Listening to the nine songs on "The Late Set", the new Anzic Records album from vocalist Hilary Gardner and pianist Ehud Asherie, one is transported to a late-night joint: the tables are close together, almost all of them near the bandstand, with candles burning down to their final moments, and several nearly-empty glasses that the listeners are caressing gently. The songs were not chosen to spotlight the many talents of the duo but to tell stories that an audience can connect to. Perhaps it's the loneliness of Lorenz Hart and Richard Rodgers's "A Ship Without a Sail" or the sweet reverie of "I Never Has Seen Snow" (from the musical "House of Flowers", music by Harold Arlen and words by Truman Capote) but Ms. Gardner and Mr. Asherie caress each tune, making sure the melody is given its due and you can hear every word.
After you've taken in these classic tunes (all composed between 1928 and 1950), then listen to how fine an accompanist and soloist Mr. Asherie in. There are touches of Thelonious Monk on the opening "Shadow Waltz" and Fats Waller on "After You've Gone"; also notice how he sets the mood on pieces such as the tender ballad "Seems Like Old Times" or the jauntiness he infuses into Irving Berlin's "I Used to Be Color Blind." On the latter tune, he accompanies the vocal with a countermelody that is a perfect match for the joyful vocal. The duo returns to Hart & Rodgers for the spunky "Everything I've Got", a delightful story of a love-struck but determined woman and her philandering boyfriend. The joy in both the vocal and the piano are infectious!
If you are not moved by the sassy, sexy, seductive, and swinging version of "Sweet and Slow" (from the prolific team of Al Dubin and Harry Warren), you might want to go to the doctor. Yes, it's about slow dancing late at night but not only on the dance floor. Though one of the earliest versions of this song was recorded by Fats Waller, the piano accompaniment displays the influence of George Gershwin.
"The Late Set" is a delight from start to finish. Hilary Gardner has such a mature, honest, and, yes, playful voice while Ehud Asherie is such an intelligent accompanist, partner, and soloist. If younger listeners want to understand the power of the Great American Songbook and how songs not only captured the hearts of many listeners but also their imaginations, this album is one of the best contemporary showcases of that power.
Violinist and composer Sam Bardfeld graduated from Wesleyan University in 1990. He had studied with a number of people while there including jazz saxophonist Bill Barron. He played (and still plays) all sorts of music, from Latin and Afro-Cuban to the avant-garde works of Anthony Braxton and John Zorn to the Americana of Bruce Springsteen. While he has recorded with the likes of Johnny Pacheco, Roy Nathanson & The Jazz Passengers, and Joel Harrison, the arrival of "The Great Enthusiasms" (BJU Records) is a delightful surprise. It's his first CD as a leader since 2005 and features the dynamic pianist Kris Davis and intelligent yet playful percussionist Michael Sarin.
The opening track, "Fails While Daring Greatly", takes its name from President Richard Nixon's resignation speech and sets the tone for the entire program. The piece has a medium-tempo shuffle beat, a jaunty melody, and delightful interplay. Ms. Davis lays out while the violinist and drummer dance about, returning to the shuffle rhythm at the close of the solo before stepping out with a Monk-like dancing solo. Sarin is the glue of the music but also serves as a provocateur throughout. His "second-line" bounce enlivens "Resignation Rag", a platform for the leader's swooping violin lines. That beat makes the "resignation" more of a "celebration" (remember that the "second line" shows up on the way home from a New Orleans funeral). Ms. Davis's unaccompanied solo is a treat; she messes with the tempos, moves from percussive sounds to melodic fragments, and, when the drummer returns, leads hi a chase through the middle of the performance. The title track manages to combine traces of "country swing" fiddle music and the Teutonic beats of Kurt Weill, leading the listener through challenging yet enjoyable passageways.
BJU Records
Beside the five Bardfeld originals, the trio "covers" two pieces from the 1970s. Bruce Springsteen's "Because the Night" was a Top 10 "smash" for Patti Smith - here, the melody is deconstructed, made darker and somewhat scarier by the unaccompanied piano solo plus listen to how the violinist leads the trio back into the melody in frenetic fashion. The funky take of Robbie Robertson's "King Harvest Has Surely Come" (the song that closes the classic second album by The Band) rides on the powerful drums and Ms. Davis's left hand. Bardfeld soars over the rhythm section until he and Sarin drop for an impressionistic and solemn piano solo that takes the piece out (and takes the listener's breath away).
There's plenty of melody, rhythms, interactions, humor, and sadness spread throughout "The Great Enthusiasms"; much of that surprises the listener first time through but, once you return for several more journeys through this daring program, you begin to understand that this music displays the leader's myriad influences without being beholden to any of them. Kris Davis and Michael Sarin are perfect partners for the"dancing on the edge" approach of this music. The music of Sam Bardfeld dazzles, delights, and definitely deserves to be heard.
Among the orders I have to follow over this hiatus, sitting still and lying down are among the top 10. So, I have been watching some television and poking around YouTube as well as other sites. But, I have been also listening to podcasts. I am hooked on Leo Sidran's "The Third Story" as he is not only a musician but also a fine interviewer.
This morning, I checked out his interview with Duchess Trio, that delightful vocal group featuring Amy Cervini, Hilary Gardner, and Melissa Stylianou. One learns a lot about how to keep a group together, about the history of each vocalist, and even an impromptu (sort of) performance. Go to www.third-story.com/listen/duchess and check it out. While you're at the site, check out the other people he has interviewed (including his father, Ben Sidran). There's a lot to learning from listening.
That should logically lead you to this: www.duchesstrio.com/harmonyandhijinks/. They are such engaging people, it's easy to sit and listen to several episodes at a time. It's summertime, time for lazing about, time for enjoyment but, with all the political and social unrest at the moment, one might feel as if frivolity is just wasted time. It's not, nor should it ever be. If we lose our senses of humor and perspective, we run the risk of becoming one-dimensional and, frankly, dull. So, my prescription would be "one episode per day. morning, noon, or night."
Here's a video to enjoy as well:
I started this series with a short set from the Vadim Neselovskyi Trio. Here's a new video the Ukranian-born pianist posted this week from his January 2017 release "Get Up and Go" - this track features the lovely voice of Sara Serpa:
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