Leading From The Bass

Bassist and composer Dan Loomis (Wee Trio, Joel Frahm Trio) has a story to tell that's a Biblical tale of an old adage "Why do bad things happen to good people?"    The bassist, who is one of the more melodic players on the contemporary scene, retells the story of Job, a righteous man, wealthy, with a big family, who is put to the test by an angel (in the Hebrew Bible, it's an angel while in the New Testament, it's Satan). Job loses everything bu, despite the severity of his losses, never gives up his faith.  In the Old Testament, he does not confront God but, in the New Testament, Job gets an audience with God to whom he reiterates his unbroken faith. His wealth is returned, he creates a new family, and lives a long life.  The Old Testament is filled with stories such as this where a mortal's faith is tested (Abraham's binding of Isaac, Moses and the Israelites in Egypt and wandering through the desert).  

Loomis has taken the true believer's story and created "Job's Trial: A Jazz Song Cycle" (self-released). To tell the story, the bassist has assembled a group that includes the voices of Yoon Sun Choi and Song Yi Jeon, guitarist Jeff Miles, drummer (and close friend) Jared Schonig plus narrator Daniel Breaker ("Shrek: The Musical" and "Hamilton"). Breaker's delightful voice (deep and sonorous, filled with humor and wonder) is heard telling the story during the various  "Interludes" (the 7 tracks all have titles) while the full songs have the vocalists singing Biblical text plus wordless improvisations.  The music ranges from the bouncy "Abundance Overture" to the sweet then raucous "Naked Turn" to the dissonant blues of "Blood Groove" and on to the sweet prayer "Dear Lord" that closes the story and the album.

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Everyone plays his or her role with relish and joy.  Miles's guitar often creates great swells and harsh sounds while the elasticity of the vocalists not only illuminate the words but also serve as counterpoints to the instrumentals (on "Words Without Knowledge", the voices bring to mind the expansive vocals of Fay Victor).  There is drama and excitement in this music that often comes from Schonig's expressive drum work.  Loomis is such an expressive and melodic bassist; his solos stand out plus his interaction with Miles beneath Breaker's narration is playful.

You do not need to be religious to enjoy "Job's Trials."  Listen with an open mind and open ears. Dan Loomis looks for the truth in this story and translates it in ways we can appreciate, so pay attention!

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

Give a listen:

Bassist and composer Mark Godfrey, a native of Canada, has been a presence on the Toronto jazz scene since graduating from the much-acclaimed University of Toronto Jazz Program in 2006.  He's received numerous awards through his young career including a 2015 grant that helped him spend extended time in New York City studying with bassists Scott Colley and Matt Brewer.  In 2009, he was co-founder of Pram Trio and released two recordings with that group including 2016's "Saga Thirteen." That same year, Godfrey assembled his own Quartet with Allison Au (alto saxophone), Chris Pruden (piano), and Nick Fraser (drums) – that group issued its debut EP "Prologue" in September of 2018.

Also in 2018, Godfrey added tenor saxophonist Matt Woroshyl to the ensemble and recorded the group's first full-length album.  "Square Peg" (self-released) features 10 original songs for which the bassist creates memorable melodies and many opportunities for the individual members to interact and produce fine solos. The blend of alto and tenor plus the powerful piano over an active rhythm section makes this music exciting from the start.  Listen to how the rhythm section works beneath the soloists, attentive to every move, change in timbre and intensity.  Godfrey is the foundation on every track save for the final cut, "Bucket List", which is a solo bass piece; his solid accompaniment opens the door for Fraser and Pruden to move with each piece, whether supporting the soloist or really pushing them forward.

The program opens with "Black Stars", a piece with a theme that pairs the saxophones playing a melody in harmony. There's a bit of studio wizardry at the end but, before that, the song is impressive for both the melody and flow.  The title track builds off its melody with an ascending bass line, Fraser's dancing cymbal work, and an "airy" sound that is hypnotic. Pruden, who cites Keith Jarrett, Oscar Peterson, and Herbie Hancock as influences, plays with open ears, creating solos that moves in many directions – he does just that here, playing two-fisted. words tentinkling in the highter register of the piano. As the program rolls forward, each member of the ensemble gets the opportunity.  Woroshyl's quiet, soulful, intro to "One Game Away From The Winter" moves into a handsome ballad; the first solo is from Ms. Au and glides easily over the rhythm section. A fine bass solo follows then the two saxophonists weave melodic lines around each other until the gentle finish.  Pruden leads the way into "Driving Westbound", a piece that evokes the open ranges that the Trans-Canada Highway offers as one moves away from the more populated Eastern provinces.

Before the album closes with the afore-mentioned solo bass track, the quintet dances its way through "McDuff", the saxophonists sharing the melody while the piano dances around them and the rhythm section pushes the music forward.  It brings a lot of joy just to sit back and this music wash over you;  "Square Peg" sounds great, the solos are impressive as is the work of the rhythm section (Nick Fraser keeps one's attention throughout as does Chris Pruden).  Mark Godfrey is a strong bassist but more impressive are his compositions.  These songs have intelligent melodies, smartly articulated by saxophonists Allison Au and Mark Woroshyl and that makes one want to reenter this musical atmosphere again and again.

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

Mr. Godfrey, who drives a mini-van like the ones on the album cover (got to have room for the double bass), offers up the following track:

Bassist, producer, and engineer Paul Bryan is, perhaps, best known for his production work for Aimee Mann and guitarist Jeff Parker plus playing bass and/or keyboards on recordings by Mighty Sam McClain, Norah Jones, Betty LaVette, Sam Phillips, Meshelle Ndegeocello, and others.  He's toured with Lucinda Williams, Rufus Wainwright, and Ms. Mann.  He's worked extensively with guitarist Parker, producing and engineering his 2016 album "The New Breed" and co-producing, engineering, mixing, and performing on the guitarist's new "Suite for Max Brown" recording.

"Cri$el Gems" (self-released) is Paul Bryan's first album under his own name in nearly 17 years.  Besides Jeff Parker, the band is composed of Lee Pardini (electric piano), Matt Mayhall (drums), Davey Chegwidden (congas), and Jay Bellerose (percussion. Bryan's electric bass is prominent in the mix as are Mayhall's drums but not to the detriment of the other instruments.  The grooves are deep throughout the album yet Bryan's melodies stand out.  Dig the swampy funk of the opener, "Phife"; note how the leader and the drummer lock in and create a cushion of the guitar and piano to improvise.  "Tilt Shift" has a melody line that brings Steely Dan to mind but is a multi-tempo musical adventure that bounces along thanks to Mayhall and Chegwidden. Parker's guitar work shines throughout the program while Pardini is his equal.  There's a touch of Frank Zappa in the sounds and melody of "Lucky Thirteen" – Bryan's solo comes over "ticking" drums and Bellerose's shaken percussion.

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The 8-song program includes two handsome ballads.  "It's So Easy to Die" is oh-so-slow with a touch of blues. Parker's guitar support has the feel of the work done at Stax Records or in Muscle Shoals, AL, in the 1960s. Pardini caresses the melody and produces a heartfelt solo. After that, the music takes a bit of a left turn as the drummer solos beneath the rippling piano before a shot reprise of the opening.  The album closes with "TV Baby"; this time, Pardini and Parker share the leisurely melody line. Again, it's the pianist who solos and he has a bit of distortion with note-bending as the bass and drums play steadily below him.  Parker's spare chords also stand out, sweet and soulful.

"Cri$el Gems" is a pleasing selection of soulful instruments that are not "smooth jazz" but offers much to listen to and absorb.  If you're a fan of the past several Jeff Parker albums, you'll enjoy his work here as well. Make sure to pay attention to what Lee Pardini and Matt Mayhall bring to the session.  Kudos to Paul Bryan for creating a program that is soul-satisfying!

For more information, go to www.paulbryan.us.

Here's one of the ballads mentioned above:

Guitar Stories

Ross Hammond, guitarist, composer, entrepreneur, and family man, is based in Sacramento, CA. Much of what you really need to know about as a musician can be found by looking at his discography. He's recorded a slew of solo acoustic tracks, a good number of duo experiments, and earlier in the 2010s, several quartet and quintet albums.  Hammond has recorded in coffeehouses, concert venues, studios, and on his front porch. Over the past few years, he's been switching between acoustic and steel-bodied guitars, creating music that obliterates borders in the manner of the late John Fahey and the very-present Duck Baker.

His latest sonic adventure, "Our Place On The Wheel" (self-released), finds him in the studio with Oliver Lake (alto saxophone) and Mike Pride (drums, percussion) – the program uses the acoustic blues of people like John Lee Hooker, Charlie Patton, Fred McDowell, and others as the stepping-off point for a series of improvisations. They hit the "record" button and 90 minutes later, an album was created.  One might ask "how does this music sound so good when it was just a spontaneous concert"?  Hammond had worked with both but never recorded together.  Yet, his decision to place his love of the blues forms in this setting with these "big-eared" listeners, interpreters, and creators, is deeply impressive.

Press "play", sit back, and listen. Absorb the sounds. Don't worry about song titles or length of the performances, just pay attention. Find your favorites, listen again, listen to how the musicians interact, to how the ageless (77) Mr. Lake plus with verve, fire, and imagination, to how Pride not only pushes his friends but creates a powerful flow beneath them; he swings, pounds, whispers, and creates cushions of sound.  Notice how Hammond not only creates a drone but weaves his way in and around the saxophone, responding to the power of the drums plus the language Mr. Lake creates.  His slide work evokes artists such as Skip James, Ry Cooder, Muddy Waters, and more, without imitating any of them.

In these days of deceit, disease, and unease, lose yourself in the musical landscape of "Our Place On The Wheel" – this music reminds one how friendship and trust, listening and responding, as well as the deep emotions conjured up by the artists who serve as signposts for this adventure, can create magic.  Listen to the title track below and see if you agree.

For more information, go to www.rosshammond.com. Also, you can listen and purchase his music by going to rosshammond.bandcamp.com.

Here is the title cut:

Guitarist, composer, and arranger Jeff Parker puts himself in so many fascinating musical situations.  He's worked and recorded with Chicago Underground, Isotope 217, Tortoise, Dave Douglas, Nicole Mitchell, Meshell Ndegeocello, Brazilian conceptualist Tom Zé, Makaya McCraven, and many more. Spending many years in Chicago, he recorded for the Denmark, Atavastic, and Thrill Jockey labels plus has albums on Clean Feed, Eremite, Rogue Art, and International Anthem.

"Suite for Max Brown" is the first release through the partnership of International Anthem and Nonesuch Records. It's a delightful collection of solo pieces, collaborations, vocals, and instrumentals. There are through-composed pieces, studio "jams", and the  smashing take on John Coltrane's "After The Rain".  That last piece, featuring Paul Bryan (electric bass), Josh Johnson (electric piano), and Jamire Williams (drums), captures the dream-like atmosphere of the original, retaining the emotional power as well. The album opens with "Build a Nest", a funky duo with vocalist Ruby Parker (who is the guitarist's daughter) – the senior Parker builds a background with piano, drums, guitar, backing vocals, and a drum machine yet the simplicity of piece is striking.

This program changes directions on every track.  There's the fiery, Tortoise-like funk of "Fusion Swirl" (another tune with Parker on all instruments), the 70s funk of "Gnarciss" featuring the trumpet of Rob Mazurek and the drumming of Makaya McCraven, and the fiery Brazilian-style fusion of "Go Away" with bassist Bryan, drummer McCraven, and the leader on guitars, sampler, and the occasional shouted song title.  There are several other duos, two with Bryan, the afore-mentioned opening cut, and the slow drag of "3 For L" featuring drummer Jay Bellerose.  That piece features a long and melodic guitar solo, a quiet yet effective synth bass line, a complimentary percussion from the studio vet Bellerose (who has worked closely with singer-songwriter-producer Joe Henry).

Photo: Lee-Anne Schmitt

The album closes with the title track which, at 10:38, is the longest piece.  The song opens with the guitars and synths; soon, alto saxophonist Josh Johnson and trumpeter Nate Walcott take over the melody. Williams's drums enter during Johnson's fine solo. There's a trumpet solo followed by a short guitar interlude and then Johnson takes turns with Walcott in the solo space. Over 2/3rds of the way through, the piece moves into another section with the beat now modified under the guitar and synth. This section acts as a coda; the music takes on a trance-like feel and no one instrumental voice standing out, confining until the fade. Check out the video below and see how the music underscores the images.

"Suite for Max Brown" finds Jeff Parker continuing his creative search, changing the way he puts an album together, paying closer attention to detail and groove.  His solos, as well as those by the various participants, move organically out of the mix, none overstaying their welcome or concerned with technical fanciness.  This "Suite..." feels like a series of short (with a few notable exceptions) "sound poems" – open your ears let the music in.

For more information, go to intlanthem.bandcamp.com/album/suite-for-max-brown where you can listen and purchase the album.

Here's Jeff Parker in the studio:



Here's the video from musician-filmmaker Mikael Patrick Avery: