This Rock...

How does one use music to teach?  Can a song or song cycle change someone's mind?  Can art persuade a society to move forward?  One imagines this to be a project in futility. Still, many artists over the past six decades have written songs that point to the issues surrounding climate change and here's one new recording that stands out for its creativity, intelligence, and musicality.

Photo: Luke Marantz

Composer, arranger, pianist, and educator Mike Holober has had a fascinating musical career.  Classically trained, he's worked almost extensively with Big Bands.  He's led the Westchester (NY) Jazz Orchestra as well as having worked overseas with the hr-Big Band (Frankfurt, Germany) and the WDR Big Band (Cologne, Germany).  Holober teaches at the City College of New York and the Manhattan School of Music.  On top of all that work, he's an active outdoorsman whether it be leading canoe trips or climbing mountains. He is the leader of a Quintet, of the octet Balancing Act, and co-leads a group with trumpeter Marvin Stamm. Holober also leads The Gotham Jazz Orchestra, a large ensemble he assembled two decades ago to perform large-scale works and whose influences are many and varied.  It's that group that takes center stage on the composer's latest adventure, one that blends his love of sonic and stylistic possibilities with his love and concern for the outdoors to new heights (pun somewhat intended). It's also a way for him to add his voice to the growing of people in the US and abroad who are concerned with climate change.

"This Rock We're On: Imaginary Letters" (Palmetto Records) is an often dazzling, mesmerizing, and highly inventive two-CD collection of songs influenced by the lifework of six people who have shown us the beauty of the natural world as well have warned us of the damage that human beings can create through overuse, through destruction, and neglect.  Not only has Mike Holober composed and arranged the music, he has also composed letters in the mindsets of Rachel Carson, Wendell Berry, Sigurd Olson, as well as Castleton Tower in Utah to Terry Tempest Williams, from a tree to Robin Wall Kimmerer, and from a child to the world.  Holober also sets to music a poem from Ansel Adams to his wife Virginia Best Adams – the tenor solo on "Dear Virginia" is played by Virginia Mayhew, the Adams' granddaughter!

Photo: Luke Marantz

Seven of the 17 tracks feature vocals, the vast majority by Brazilian born Jamile Staevie Ayres who first recorded with Holober on his 2021 Sunnyside album "Don't Let Go" featuring his Balancing Act octet.  The blend of her husky tones with the cello of Jody Redhage-Ferber on "Refuge" is quite lovely. Throughout the album, the words pull the listener into the musical multiverse the composer creates. On "Another Summer", Ms. Ayres sings in the voice of Rachel Carson to her closest friend Dorothy Freeman. Two tracks later is "Another Summer Epilogue" which is the imaginary response of Ms. Freeman. Both pieces are truly love letters to each other and the support Ms. Carson felt from her closest friend.  The music Holober creates for these pieces have a classical feel strengthened by the counterpoint and responses of the cello.

There are plenty of powerful musical moments throughout the album.  Chris Potter opens the album with an adventurous tenor sax solo on "Lay of the Land". I mentioned above Ms. Mayhew's work on "Dear Virginia" – the piece features her in an intimate conversation with trumpeter Marvin Stamm and pianist Holober.  The splendid arrangement on the high-powered "Domes" (for Ansel Adams) suggests the influence of Bob Brookmeyer and features the powerful drumming of Jared Schonig, the smart vibes backing of James Shipp, snaky guitar lines from Nir Felder, and great solos from Ben Kono (alto sax) and Scott Wendholdt (trumpet). "Skywoman Falling" (for Robin Wall Kimmerer) opens with Ms. Redhage-Ferber's richly sonorous cello solo before opening into a medium tempo (inspired by Ms. Kimmerer's Native American heritage). As the piece moves forward, there are lovely moments of section playing plus fine solos from Stamm (flugelhorn) and Charles Pillow (alto flute). Note also the background wordless vocals from Ms. Ayres and James Shipp.

The album with the title song.  The lyrics are first sung by Ronan Rigby, tenor saxophonist Jason Rigby's eight year-old son and then is passed on to James Shipp. After a short solo by Carl Maraghi (baritone sax), Ms. Ayres takes over the vocal with guitarist Felder responding beneath her. The tempo slows, young Mr. Rigby returns to sing the song title only and then his father's tenor sax flutters atop the Orchestra and the story comes to a close.

While the message in the lyrics is loud and clear, take your time to absorb the music that Mike Holober has created for the Gotham Jazz Orchestra. Also take the time to read Terry Tempest Williams' "real" letter in the album booklet. Swirl the words and music around in your senses, let the rhythms pull you along and the solos take you away. Do listen and perhaps you'll understand what needs to done for the survival of what the crew of the Apollo 17 spacecraft called the "Blue Marble".

For more information, go to www.mikeholober.com. To hear more and purchase the album, go to https://mikeholober.bandcamp.com/album/this-rock-were-on-imaginary-letters.

Here's "Tower Pulse" with solos by Chris Potter (tenor sax) and Nir Felder (guitar):

PERSONNEL
Mike Holober - composer, lyricist, piano, Fender Rhodes
Jamile Staevie Ayres - voice
Jody Redhage Ferber – cello
Ronan Rigby – child voice on This Rock We’re On

Saxophones/Woodwinds
Charles Pillow - alto, soprano, flute, alto flute, bass flute, clarinet
Ben Kono - alto, soprano, flute, alto flute, clarinet (flute on Three Words for Snow)
Jason Rigby - tenor, soprano, flute, clarinet
Adam Kolker - tenor, soprano, flute, clarinet
Chris Potter - tenor, clarinet (Lay of the Land, Tower Pulse)
Virginia Mayhew - tenor (Dear Virginia, Dirt Lover’s Almanac)
Carl Maraghi - baritone, bass clarinet

Trumpet/Flugelhorn
Tony Kadleck
Liesl Whitaker
Marvin Stamm
Scott Wendholt
Stuart Mack (Skywoman Falling, Tower Pulse)

Trombones
Matt McDonald
Mark Patterson
Alan Ferber (Erosion, Domes, Boundary Waters)
Jason Jackson (Tides, Dirt Lover’s Almanac, Skywoman Falling)
Sara Jacovino (Lay of the Land, Tower Pulse, This Rock We’re On)
Jeff Nelson - bass trombone

Rhythm Section
Nir Felder - guitar
John Patitucci - bass, electric bass
Jared Schonig - drums
James Shipp - vibraphone, percussion, synth, voice

The Rest of the Music that Moved, Soothed, Educated, and Inspired in 2021!

Yes, it's a long list but my belief is that the albums I have chosen are all worth listening to, that they speak to our current world situations, that the music can give us strength to more forward.  Will this complete the job for 2021? Lord no, but all of these are albums I received to review and not ones that I purchased.  Do check these out if you haven't already!  Happy & Healthy New Year!!

Amir El Saffar River of Sound – "The Other Shore" (Outnote Music/ Outhere Records) – Trumpeter, santurist (the santur is a dulcimer), vocalist, composer, and arranger ElSaffar formed River of Sound six years ago to continue his explorations into Maqam, jazz forms, and more.  This 17-piece ensemble (plus guests) includes strings, different percussion instruments, guitar, piano, oud, reeds, brass, and the leader's fascinating wordless vocals.  This is music to savor, to get lost in, to marvel at the possibilities, and float away.  

Go to https://amirelsaffartworivers.bandcamp.com/album/rivers-of-sound-the-other-shore. 

Miguel Zenón & Luis Perdomo – "El Arte Del Bolero" (Miel Music) – This splendid live duo recording finds the alto saxophonist and his long-time quartet pianist playing six Latin "standards", caressing each melody and imbuing each song with emotional solos.  While some might say that this is good "evening" music, these tunes sure sound great early in the morning when the natural world is awakening.  

Go to https://miguelzenon.bandcamp.com/album/el-arte-del-bolero.

Artifacts – "...and then there's this" (Astral Spirits) – Artifacts (flutist Nicole Mitchell, cellist Tomeka Reid, and drummer Mike Reed), all members of Chicago's AACM, paid tribute to their elders on its 2015 debut from which they took their name. Here, they mostly concentrate on original music. One might be surprised how funky much of this music sounds yet there is depth, interplay, powerful melodies, and a sense of playfulness that transcends genres and generations.  

Go to https://astralartifacts.bandcamp.com/album/and-then-theres-this.

Matthew Shipp – "Codebreaker" (TAO Forms) – 2021 was yet another amazing year for pianist Shipp but this solo piano session ranks among his best ever.  While one can still hear the fire that characterizes his earlier album, Mr. Shipp has been exhibiting a delightful melodic streak of late. His ability to create music that eschews genres and cliches remains one of the strongest factors in Matthew Shipp's creative world.

Go to https://taoforms.bandcamp.com/album/codebreaker. 

Joe Lovano & Dave Douglas Sound Prints – "Other Worlds" (Greenleaf Music)  – The music on "Other Worlds" is a delightful mix of well-developed melodies and sparkling solos with a rhythm section (pianist Lawrence Fields, bassist Linda May Han Oh, and drummer Joey Baron) second to none.  Messrs. Lovano and Douglas say their inspiration for the quintet remains the visionary work of Wayne Shorter. No better choice for a blueprint but the music on this release is even more than that. Also, great music to get lost in!

Go to https://soundprints.bandcamp.com/album/other-worlds.

Jared Schonig – "Two Takes Volumes 1 (Big Band) & Volume 2 (Quintet)" (Anzic Records) – Drummer and composer Schonig, one of the busier players on the NYC scene pre-Pandemic, has released a most impressive debut recording; in fact, two recordings.  The Big Band session features eight original compositions , each one arranged by a different (and fairly famous) resident of the Big Apple. The Quintet album features trumpeter Marquis Hill, alto saxophonist Godwin Louis, pianist Luis Perdomo, and bassist Matt Clohesy –– with the exception of the three "Drum Interludes" and an electronically processed "Introduction..." intro to the opening track, the repertoire is the same as on the Big Band disk.  Both are worth owning with the edge going to the exhilarating Quintet date.

Go to https://jaredschonig.bandcamp.com/album/two-takes-vol-1-quintet and to  https://jaredschonig.bandcamp.com/album/two-takes-vol-2-big-band. 

Jihye Lee Orchestra – "Daring Mind" (Motema Music) – Ms. Lee, who had a good career in her native South Korea as a singer-songwriter, came to the United States to study at Berklee College of Music and discovered a new voice as a composer of large ensemble.  Her self-funded debut album, "April" was issued in 2017, receiving praise from many fellow musicians and arrangers. "Daring Mind" is a delightful blend of melodies, harmonies, and rhythms that takes musical influences from her native country, mixes that with a healthy dose of Western influences plus Ms. Lee's natural curiosity and creates new and quite fascinating.

Go to https://jihyemusic.com/. 

Miho Hazama/ Danish Radio Big Band – "Imaginary Visions" (Edition Records) – In 2019, Ms. Hazama took on a new assignment as Chief Conductor of the Danish Radio Big Band and this album bears the first fruits of that new relationship.  She s following in the footsteps of such notable composers, arrangers, and conductors as Thad Jones, Bob Brookmeyer, and Jim McNeely and if this first album with the DRB is any indication, her tenure should be quite productive and enjoyable for fans of large ensemble music.

Go to https://mihohazama.bandcamp.com/album/imaginary-visions. 

Dave Holland – "Another Land" (Edition Records) – Master bassist Holland is in the midst of a long and amazing career. This album, which features guitarist Kevin Eubanks and drummer Obed Calvaire, roars, whispers, and rushes forward in a glorious blend of sounds. The opening cut, "Grave Walker", is the funkiest music the bassist has created since his days with Miles Davis's "electric" ensemble.  And the title track is a lovely reminder that guitarist Eubanks can draw one in on the strength of his melodies and improvisations.  I can listen to this music all day and revel in its creativity and joy!

Go to https://daveholland.bandcamp.com/album/another-land. 

Sam Pilnick's Nonet Project – "The Adler Suite" (OutsideIn Music) – Composer, arranger, saxophonist, educator, and bandleader Pilnick looked to the stars for inspiration as he write the material for his Nonet Project.  Based in Chicago, he spent a number of days composing while visiting the Adler Planetarium and the results are an expansive set of compositions for his little Big Band.  The repertoire display Pilnick's wonder and curiosity and, hopefully, is the beginning of a long, productive, career creating music that transports the listener beyond the mundane.

Go to https://sampilnick.bandcamp.com/album/the-adler-suite.   

Tim Hagans & the NDR Big Band – "A Conversation" (Waiting Moon Records) – Like the Amir ElSaffar album listed above, the music on composer, arranger, and trumpeter Tim Hagan's new recording takes its time to unfold. The liner notes tell the reader that the arranger broke the Big Band into a number of different "chat rooms" (my words, not Hagan's) so that the various instrumentalists in each would react and respond to each other. It's a fascinating concept that takes the listener a while to grasp; meanwhile, the intelligent melodies and smashing arrangements draws one in to the music.  

Go to https://timhagans.bandcamp.com/album/a-conversation-2. 

Remy Le Bouef's Assembly of Shadows – "Architecture of Storms" (Soundspore Records) – The second large ensemble album from composer, arranger, and alto saxophonist Remy Le Bouef features nine tracks recorded before the pandemic in 2019 and three recorded in Spring 2021. The composer's splendid ear for melodies and smart harmonies that one heard on 2019's "Assembly of Shadows" album are here as well as is his intelligent arrangements plus sense of rhythmic drive.  This time around, the leader solos on five of the nine tracks and it's a distinct to hear his alto soaring about the ensemble.  

Go to https://remyleboeuf.bandcamp.com/album/architecture-of-storms.

Last but not least....

Roy Hargrove & Mulgrew Miller – "In Harmony" (Resonance Records) – Resonance Records is truly the gift that keeps on giving. Producer and coordinator Zev Feldman scouts the world to find live recordings that are either long out-of-print, concerts recorded for radio, and connoisseur recordings committed to tape by zealous fans.  This splendid two-CD set reminds us how great both these musicians were, how the music created through their sadly short lives was so vital, and how sorely many of us miss them. As always, the liner notes are thorough and entertaining, the sound quality excellent, and the music a pure delight!

Go to https://royhargrovemulgrewmiller.bandcamp.com/. 

Quintet & Big Band with Jared Schonig Leading!

 

Drummer and composer Jared Schonig is the exemplar of the 21st Century musician. Not only does he write music but he also plays in Broadway pit bands ("Color Purple", "Moulin Rouge: The Musical"). Schonig has worked or recorded with artists ranging from Fred Hersch to the 8-Bit Big Band, from Amy Cervini to Darcy James Argue & The Secret Society, and others plus is a Private Lessons Instructor  The drummer has toured with Kristen Chenowith, Kurt Elling, the New York Voices, Cynthia Erivo, Duchess and Laila Biali.  He is one of the co-leaders of The Wee Trio with bassist Dan Loomis and vibraphonist James Westfall.   

Earlier in 2021, Schonig self-released the three-song EP, "112 Project", featuring three different trios recorded remotely during the Pandemic.  Now, Anzic Records has released the exciting and ambitious "Two Takes, Volumes 1 & 2".  "Volume 1: The Quintet" features eight original compositions by the drummer plus a short "Intro to White Out" and three "Drum Interludes" played by the dynamic quintet of Schonig, bassist Matt Clohesy, pianist Luis Perdomo, alto saxophonist Godwin Lewis, and trumpeter Marquis Hill. Perhaps the best words to describe the program is "smoking hot" with the occasional foray into ballad territory.  The musicians play with great emotional fire throughout and Schonig's compositions are well-shaped, thoughtful, and often fiery. "Intro to White Out" opens the album with...well...a drum soliloquy leading directly into the first full track.  "White Out" leaps from the speakers moving forward on the "hot" drums and the rapid-fire melody line played by the sax and trumpet.  Louis takes the opening solo, laying down an energetic gauntlet for Hill to follow.  Perdomo quietly 'comps" until his solo that races along atop the twin engines of Clohesy and Schonig. 

Photo: Amy Schonig

Highlights abound throughout the program.  The sly, funky, "Climb" builds off the "tick-tock" clicking from the leader's drums with dynamic work from the bassist plus a splendid piano solo from Perdomo, a smoky interlude from Hill that erupts into flames creating a jumping off point from Louis's sweet solo. "Eight Twenty" also contains a slinky, soulful, rhythm as well as a handsome, singable, melody that offers the musicians the opportunity to weave in and around each other as well as the space for Louis, Hill, and Perdomo to create melodic solos. The pianst, Schonig, and Clohesy lay down quite a sneaky yet funky pace on "Sabotage" then drop into a hard-bop 4/4 for the solos.  

Photo: Leonardo Mascaro

The program also includes two fine ballads.  "Tig Mack" opens  with just bass and trumpet before Clohesy lays down a lovely circular line that the heartfelt melody rides upon. Perdomo emerges from the theme with a sweet solo that slowly picks up in intensity without boiling over.  The album closes with "Gibbs St." with its whirlwind melody line played by sax and trumpet over a simple but blues-influenced rhythm section. Louis and Hill "converse" through the middle of the song before leading the band back to the opening two-part theme.  There are traces of Dave Holland's fine ballad "Conference of the Birds" in the chordal accompaniment –– whether it's intentional or not, it's a lovely sound. 

"Two Takes, Volume 1" is rich in melodic material, ripe with strong solos, and excellent accompaniment.   Jared Schonig set a sumptuous table for his musical partners and the listener gets to partake in the feast!

Enjoy the energy of "White Out"

:

"Volume 2: Big Band" takes Schonig's Quintet material, distributes each piece (not the "Intro" or "Drum Preludes") to a different arranger (see the list below), and reimagines the songs in a big band setting.  Recorded in several different sessions (with varying personnel), the music often crackles with excitement led by the powerful drumming of the leader/ composer.  Ms. Hazama's arrangement of "Sabotage" leads off the program; it's a "speaker-shaker" with delightful solos from Quinson Nachoff (tenor sax) and Brian Pareschi (trumpet), as well as Schonig's thundering attack on his kit.  Jim McNeely does the honors of arranging "White Out" giving the skittish melody line to the muted brass and a unnamed flutist.  What follows is an exciting dialogue between the reeds and the brass before the opening theme is repeated, this time with the trumpets unmuted and adding the trombone.  Powerful solos from Troy Roberts (tenor sax) and trumpeter Scott Wendholt. Yes, there is a drum solo: this time, the brass and reeds begin by sparring with Schonig then framing his fills.  

Photo: Amy Schonig

Co-producer Mike Holober's contribution is his arrangement of "Climb": built off the simple "tick-tick" of the drums, here the reeds and brass shine on the thematic material. Charles Pillow

creates a quiet alto sax solo over the shimmering rhythm guitar (Nil Felder) and atop the pulsating Fender Rhodes work of Adam Birnbaum. Jason Rigby starts his tenor sax solo over Felder's clicking rhythm guitar and Schonig's "conversational" drums.  "Tig Mack" stands out for the adventurous nature of Darcy James Argue's smashing arrangement: how he uses the high reeds and brass in the background to swell up over the other horns a la Steve Reich.  The rhythm section behind Felder's excellent solo reminds this listener of Talking Heads circa 1980-85.  

Like "Volume 1: Quintet",  the program ends with "Gibbs St."  Brian Krock created the arrangement, maintaining the "Conference of the Birds"-feel in the rhythm section but not as pronounced as the Quintet take.  Felder creates another fine solo as does electric bassist Ike Sturm.  There's also an exciting tenor sax solo from McCaslin that invigorates the track –– listen to how subtly Krock adds the reeds and brass until they are roaring and then falling back.up until the final minute during which the music slowly fades on Sturm's bass melody.   

"Two Takes, Volume 2: Big Band" is as compelling and intriguing as the Quintet volume.  All eight arrangers put their unique spin on the music Jared Schonig composed for this project without sacrificing the intent and integrity of the drummer's works.  Both albums are worth investigating and owning. Great sounds that will brighten your attitude and your day!

For information about the leader, go to www.jaredschonig.com.  To hear more and to purchase the recording, go to https://jaredschonig.bandcamp.com/album/two-takes-vol-2-big-band. 

Here's the intriguing "Tig Mack":

aboutArrangers:  Alan Ferber, Jim McNeely, Mike Holober, Miho Hazama, Darcy James Argue, Laurence Hobgood, Brian Krock, and John Daversa.

credits

Personnel:

Reeds: Jon Gordon, Charles Pillow, Dave Pietro, Ben Kono, Donny McCaslin, Donny McCaslin, Troy Roberts, Quinson Nachoff, Carl Maraghi

Trumpets: Tony Kadleck, Jon Owens, Brian Pareschi, Jonathan Powell, Scott Wendholt

Trombones: Michael Davis, Marshall Gilkes, Keith O’Quinn, Alan Ferber, Jeff Nelson

Bass (acoustic and electric): Ike Sturm, Matt Clohesy, and Dan Loomis
Piano: Adam Birnbaum, David Cook
Guitar: Nir Felder
Drums: Jared Schonig
Conducted by Matt Holman