Saxophones A'Plenty (Part One)

Over the last several months, I have received a slew of excellent albums that feature the saxophonist as a leader or co-leader.  Here are the three of the best.  

In March of 2022, Argentinean-born saxophonist and composer Julieta Eugenio's debut Trio album. "Jump", was issued on Greenleaf Music.  Backed by Hartford, CT-born Jonathan Barber (drums) and Hartford-area resident Matt Dwonszyk (bass), the music displayed the leader's melodic tendencies and softer tones on the tenor. Even better, the rhythm section joined in the conversation, making the music come alive.  Ms. Eugenio composes music that leaves plenty of space for her compatriots to display their talents –– overall, a solid effort that made one wish for more.

Now we have "Stay", her second release on her own label, Christalyn Records.  With the exception of two duets with Leo Genovese playing Fender Rhodes, the new recording features Messrs. Barber and Dwonszyk.  The two years between recording dates shows a band that has gelled even more through numerous gigs. Listen below to the title track.  Dwonszyk's bass sets the pace pushed ahead by Barber's drums while the leader paints a handsome and somewhat mysterious canvas with her Middle-Eastern sounding melodies that dance out of the tenor.  "Trapped" follows with its modified samba beat and various tempo shifts. The vocal quality of the tenor sax meshes well with the bassist's counterpoint. One can hear a tinge of Charles Lloyd in Ms. Eugenio's sweet tone.  One hears it in "Sunday Stranger" as well plus even a touch of Lester Young in the saxophonist's melodic bent.

Photo: Alexx Duvall

There are four duets, each carrying the title "Breath" ("I-IV"), scattered through the 10-song program. The first two feature Genovese; "1" opens with solo tenor before the Rhodes enters and the music takes on the feels of a walk through a rain forest.  "II" starts in a more stately manner with a classical feel and maintaining that throughout the piece. "III" and "IV" feature Ms. Eugenio in musical dialogue with Barber. The former track finds the tenor dancing atop the African-inspired drum while the latter cut dances to a darker beat. It's more sensuous, a touch of Persian rhythms for the whisper-soft tenor to improvise over.

Before "Breath IV" closes the album, Ms. Eugenio and the rhythm section dig into Duke Ellington's "Sophisticated Lady".  After a lovely unaccompanied tenor saxophone opening, the piece becomes a sweet, slow, ballad. Here you hear a touch of Ben Webster in the saxophonist's sound. Barber's brushes, at times, sound like gentle sighs while the melodic bass accompaniment pushes the saxophonist to dig deeper during her long improvisation.  The bass solo features short snippets of several other Ellington melodies before Ms. Eugenio returns on the bridge and then to a sweet final verse and cadenza.

"Stay" is an excellent leap forward for Julieta Eugenio.  Her debut Trio release introduced the world to her sound and ideas while the new album allows her more freedom of movement. Kudos to both Jonathan Barber and Matt Dwonszyk for their splendid work.  If you like saxophone-led trios that simmer instead of burn, that favor well-developed melodies instead of long solo-filled tunes,  take an extended dive into "Stay". 

For more information, go to www.julieta-eugenio.com/. To purchase the album, go to  https://julietaeugenio.bandcamp.com/album/stay.

Here's the title track:

In November of 2022, tenor saxophonist and composer Willie Morris went into a Brooklyn, New York, studio and recorded his debut album as a leader. Aptly named "Conversation Starter", the album was released on Posi-Tone Records to positive reviews.  Less than three months later, he returned to the same studio (Acoustic Recording) to record "Attentive Listening" for Posi-Tone. Alto saxophonist and flutist Patrick Cornelius plus pianist Jon Davis return from the first session while bassist Boris Kozlov takes the place of Adi Meyerson and Rudy Royston takes over the drum chair from E.J. Strickland.  The first five tracks of the 10-song program are Morris originals while both Cornelius and Davis provide two pieces each and Kenny Dorham's "La Mesha" (composed by the trumpeter for Joe Henderson's 1963 album "Page One") is a lovely ballad.  Morris, a native of St. Louis, MO, now on the faculty of his alma mater The Juilliard School in New York City, is a perfect fit for producer Marc Free's label as he can swing like crazy plus is a strong writer.  

The program opens with the John Coltrane-inspired "Water Fountain of Youth".  The rhythm section sets a fiery pace (Davis channels McCoy Tyner in his powerful chordal work) and after a quick reading of the theme, Morris takes off on a powerful solo –– to his credit, his sound leans more to the afore-mentioned Joe Henderson than "Trane".  Cornelius (on alto) and Davis follow both riding the waves of energy produced by Kozlov and Royston.  Instead of continuing in the no-holds-barred mode, "Terminal Lucidity" follows; it's a contemplative ballad that takes its time to work through the main theme. The leader's solo is introspective and so melodic. Pianist Davis follows for a short yet rich solo before the reeds return to the main theme.  Listen below to "The Imitation Game" to hear how the quintet handles a hard-bop tune.  Love how the bass and drums leap out of the speakers setting a "wicked" pace. The soloists have such a great time matching their energy to the rhythm section. It all makes the music snap, crackle, and pop! 

Photo: Anna Yatskevich

Later on in the program, Davis's "Moving Right Along" balances between two tempos during the opening thematic section before Cornelius's lively alto leads way into the solos. Morris follows, at first tamping down the energy of his enthusiastic predecessor before he catches fire which leads to a sparkling piano solo over Royston's rollicking drum work.  Cornelius switches to alto flute for  his piece "Leaving Paradise".  It's a lovely bossa nova with opportunities for delightful solos from Davis and Morris (displaying more than a hint of Stan Getz in his fine solo).  "Et Tu, Caribou?", also from Cornelius, bounces like one of the mid-1940s Charlie Parker cuts that earned so much fame. The composer leads the solo parade with a swinging romp before Morris enters ––  he sounds as if he's having time of his life dancing over the changes.  Davis follows with his own romp. There's room for Royston to strut his own stuff before the theme returns.

The album closes with Davis's "Daly Minor Blues" for two. The solo piano opening is so fine and introduces Morris who plays the main melody with the pianist.  The tenor solo opens with the gravitas of Coleman Hawkins and Ben Webster before Morris takes flight.  The composer plays a modified "barrelhouse"-style solo that is quite witty. Then, the two musicians take the tune out bring this most delightful program to a gentle close.

"Attentive Listening" calls for just that. Pay attention to what Willie Morris and this fine band are playing for a most satisfying experience. 

For more information, go to https://williemorrismusic.com/. To hear more and to purchase this album, go to https://williemorrisjazz.bandcamp.com/album/attentive-listening.

Dive into "The Imitation Game":

Here's an intriguing grouping, a trio led by Dan Weiss (drums, compositions) and featuring Miguel Zenón (alto saxophone) and Matt Mitchell (piano). For Weiss's new album, "Even Odds" (Cygnus Recordings), the drummer composed six of the 20 pieces with the remainder being created from snippets of solo drum pieces that he recorded and his bandmates soloed over.  Because the leader has such "big ears", this music goes in multiple directions. The opening piece, "It Is What It Is", jumps out of the gate like a trimmed-down but sped-up version of Keith Jarrett's "The Windup" (from his 1974 recording "Belonging" with Jan Garbarek, Jon Christensen, and Palle Danielsson). The music has a reckless abandon feel yet never loses its way (which is amazing because there are moments when the three musicians are soloing at the same time).

Listen below to hear how the trio navigates through "The Children of Uvalde".  It's a mournful tune dedicated to the victims and survivors of the 2022 school shooting in their small Texas town.  Zenón plays one of the most powerful, emotionally moving, solos of his career followed by an impressive and evocative Mitchell solo. The program features pieces named for drummers such as "Bu" (a shortened version of Art Blakey's Buhaina nickname) and "Max Roach" (self-explanatory) plus "Nusrat" (for Pakistani singer Ustad Nusrat Fateh Ali Khan).  There's the occasional drum solo ("Recover the Mindset", "Too Many Outs", and "Bribes and Ultimatums") but really the focus is on the trio.  That the three musicians could create such impressive sounds from the sketches of rhythms Weiss created is also most impressive.  Tracks such as "Runner-Runner" and "Nineteen to the Dozen", though short (56 seconds and 1:13), sound through-composed. 

This is such an interesting sonic journey, one that never runs out of ideas or surprises. "Fathers and Daughters" is another lovely ballad, more like a lullaby, with such quiet percussion, an introspective alto sax solo, and and folk-like piano chords.  "Conversing With Stillness" starts off in a hurry but slows down into a very slow pace not unlike certain piano works by Erik Satie. The afore-mentioned "Nusrat" brings the program to a close. There is a real bounce in both the alto saxophonist's melodic lines and Weiss's dancing drums yet note the shimmering piano background, sounding like a summer downpour. Such a positive close to a fascinating collection of pieces.

"Even Odds" takes its time to grow on the listener. It's not really background music; if you pay attention, the richness of the ideas, melodies, and rhythms that Dan Weiss creates with more than a little help from his friends Matt Mitchell and Miguel Zenón, is worth exploring time and again.  

Fore more information, go to www.danweiss.net/. To hear more and purchase the album, go to https://even-odds.bandcamp.com/album/even-odds.

Listen closely to "The Children of Uvalde":

Celebrating a Debut & The Music and Story of Miriam Makeba

Photo: Anna Yatskevich

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!

For more information, go to www.julieta-eugenio.com. To hear more of "JUMP" and to purchase the album, go to https://julietaeugenio.bandcamp.com/. 

Hear "La Jungla": 

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!

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

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":

Somi · Nonqonqo (feat. Ladysmith Black Mambazo)

Personnel:

Special guests include Ladysmith Black Mambazo, Angelique Kidjo, Gregory Porter, Seun Kuti, Thandsiwa Maswai, Msaki, Nduduzo Mhakathini

Herve Samb (guitars)

Nate Smith (drums)

Michael Olatuja (bass)

Keith Witty (bass, percussion)

Toru Dodo (piano)

Mino Cinelu (percussion)

Cobhams Asuquo (organ, upright piano, percussion)

Phindi Wilson (vocal chorus)

Bongi Duma (vocal chorus)

Nhalanhla Ngobeni (vocal chorus)

Vuyo Sotashe (vocal chorus)

Lakecia Benjamin (alto saxophone)

Jeremy Pelt (trumpet)

Myron Walden (soprano saxophone & tenor saxophone)

Mazz Swift (violin 1)

Juliette Jones (violin 2)

Jessica Troy (viola)

Marika Hughes (cello)