Every year at this time, I take stock of my life and the health of the United States of America. For every person who tells you that America has become greater in the past two years+, there's another who says that the freedoms of this country are disappearing through the authoritarian actions of a corrupt government. And I will wager that, every year since the beginning of this nation, that's an argument that has been waged. And will be waged long after my grandchildren have their own grandchildren.
I watch my students grapple with these issues plus ones of identity politics, racial discrimination, economic disparity, studying for jobs that are disappearing and not being trained for the new ones that are being created - these students are, mostly, freshmen, and they realize early in their first semester, college or, honestly (in most cases), being away from home for the first time is both frightening and liberating as well as the first real opportunity to stretch and become themselves. They hate to make mistakes even though that's how most of us learn what's important. They respect their teachers but much of the respect is tinged with fear - "what if I get less than an A in this class?" When they read the goals and essential learning outcomes of the First Year Seminar program that I teach/facilitate, they don't quite realize every assumption they have, every "fact" they have held dear for 18, 19, or 20 years, can and should be held under the microscope. It's uncomfortable for them. Only by showing my discomfort that their teacher, a full five decades older than they are, struggled with these issues when I was their age, and continue to struggles with certain issues to this day, that they begin to understand what a class on Critical Thinking and Inquiry is truly concerned with.
My students may not be able to put into words that some of them are scared of the lack of compassion towards their fellow man that see on their electronic devices every day and, sadly, on campuses and in governmental capitals in this country and elsewhere. They want success, happiness, a lifetime of good health, of sunny days and starry nights. They need to believe that there is someone who will clean up the air and the oceans, stop wars, cure diseases, and make the streets safe in every town and city. I tell them those people already exist in this world and there are people in this very classroom who will join them. Because, if we are not here on Earth to make life better, then why are we here? Yep, that old 60's radical-on-the-sidelines part of me slips right out. While I do not admit to them who I voted for or my political affiliation, I do say that "we are in this together". Easy to say but I mean it. One of the paths to a better world is to understand where we all came from and how we got here. That's a life-long class in critical thinking and inquiry. To many of them, that class does not sound like fun and few believe me when I tell them it's part of what keeps me going when I could easily be swamped by "the news of the world." And I always say what my parents said to me - "You'll understand when you get older." Or maybe you won't.
To all of you in this imperfect yet often amazing world, enjoy the Holiday season!
Kind Folk, a quartet that take its name from a song by Kenny Wheeler (1930-2014), came together the year that the great Canadian-born trumpeter and composer passed. All four - trumpeter/flugelhornist John Raymond, alto saxophonist Alex LoRe, bassist Noam Wiesenberg, and drummer Colin Stranahan - are leaders of their own groups. Yet, Kind Folk does not feel neither like a side project or a Kenny Wheeler tribute band. There are many reasons for that but one just might be that the freedom that the group hears in Wheeler's music spurs them find forward and helps them find their own voices in this aural landscape.
Photo: Desmond White
The group's debut album, "Why Not" (Fresh Sound New Talent), features only one tune from Wheeler but it's the one were they got their name. The tune is led by Wiesenberg's thick bass lines and Stranahan's cymbal overtones before the trumpet and alto sax come in. They play the lovely melody, mostly together, but there is a bit of call-and-response and harmony before Raymond takes the first solo. He produces such a clean trumpet sound, as much related to Clifford Brown as to Kenny Wheeler. What's really fun is to listen how he is prodded forward by the drums who, at times, converses with his lines. LoRe, who also possesses a cleaner tone, rises out of the rhythm section, his lines swooping and diving around the bass and drums. The forward motion pulls the listener along willingly.
Besides the opening track and the album closer ("Silence", from the pen of Charlie Haden), the program includes songs by each musician including three short duos, one each for trumpet and drums, trumpet and alto sax, and alto sax and drums. Those are each pleasing interludes but the meat of this group's music is the interactions that each songwriter hopes to create in the longer tunes. Stranahan's "Motian Sickness" opens with drums but when the mournful melody comes in (first lines played by Raymond on flugelhorn and the second by LoRe), one has a better understanding of the title. Raymond's "Landmarks" skitters in on the dancing brushes of Stranahan and, again, the front line shares the melody. This track has an Ornette Coleman feel, right down to the active bass work. There's a hint of Steve Reich in the opening alto sax/trumpet intro to LoRe's "#14" but that disappears as the bad leaps into the angular melody and stop-and-start rhythm.
"Silence" brings the album to a close, a soft coda with a powerful lullaby for a melody. The quartet is, at the beginning, careful with the melody while Wiesenberg's majestic bass lines over Stranahan's soft brushes. There's a hint of "freedom" in the trumpet-saxophone interaction but mostly they stick to the melody. It's a tender finish to a powerful album. "Why Not" stands out from 2018's bumper crop of new releases for the power of its message and its music. Kind Folk does not tour much, especially since each musician is busy as a leader and/or sideman - Colin Stranahan plays in John Raymond's Real Feels while Noam Wiesenberg has toured this year with Chano Dominguez and guitarist Yotam Silberstein plus his own groups. Alex LoRe plays with lots of people in he New York City but mostly with his own quartet. Find this album, then hope the group tours nears you so that you feel this music in a live setting.
Tenor saxophonist and clarinetist Steve Treseler is a Seattle, WA-based musician who is slowly but surely building a career in both music and music education. He first recorded with trumpeter Ingrid Jensen on his 2013 sophomore album "Center Song." Upon the 2014 death of Kenny Wheeler, the saxophonist called Ms. Jensen, who was touring with her quartet of Martin Wind (bass), Jon Wikan (drums), and Geoffrey Keezer (piano), and suggested they make a tribute album. They put the tracks down in March of 2015 plus played two shows in Seattle's The Royal Room. Two tracks on the 10-song program come from that live show (more about those later).
Three and 1/2 years after the recording and live shows, Whirlwind Recordings has released those sessions under the title "Invisible Sounds: For Kenny Wheeler." Treseler and Ms. Jensen created a list of thirty songs and lined them down to nine for this album. The album opens and closes with "Foxy Trot" (from Wheeler's 1984 ECM release "Double, Double You") - each version opens quietly busy soon the quintet hits the ground running. Keezer, Wikan, and Wind create a powerfully rhythmical storm for both soloists and neither one disappoints. These musicians do not pay it safe as both versions thunder forward. Ms. Jensen plays tribute to the late Wheeler by opening her solos on both track with a taste of the famous Wheeler fire before taking off on her own sonic adventures. Her sister Christine, herself a leader of a delightful Canadian-based big band, play a fiery soprano sax solo on the studio version.
NPR.org
Besides two short tracks, the 75-second "Duet" (for trumpet and tenor sax) and the 1:56 "Ingalude"), the songs stretch over seven minutes. The one exception to that statement is "546" which, at 3:51, starts as a quiet ballad that resembles John Coltrane's "Central Park West" and substitutes the sweet soprano voice of Katie Jacobson for Wikan's drums. Halfway through, Keezer's piano powers the song forward while the drummer returns to drive the band.
NPR.org
The other tune from the live session is a rollicking New Orleans-flavored "Old Times". Not just rollicking but also roaring with the pounding piano fueling Ms.Jensen's hard-edged solo while Wikan dances on below.The intensity level drops a notch or two when Treseler's tenor sax enters but the power slowly, steadily, builds back up. Back in the studio, Keezer channels McCoy Tyner for the powerful chords and rippling piano flourishes that color "Everyone's Song But My Own" (from Wheeler's 1987 Soul Note album "Flutter By, Butterfly") - after the stunning opening, the piece drops into a medium-tempo and the quintet moves forward.
There's not a dull track on the album, so let me just say that "Invisible Sounds: For Kenny Wheeler" is a delight from start to finish. Ingrid Jensen and Steve Treseler shine throughout as do Jon Wikan, Martin Wind (the foundation glue of the music), and Geoffrey Keezer (who is downright brilliant). No pale imitation here, this is real music!
Here's a track to enjoy:
Now about that live show in The Royal Room. NPR recorded for its "Jazz Night in America" series and you can watch it in its entirety below. Goes well with fresh Holiday food or the ubiquitous leftovers paired with a glass of good wine and/or craft beer!
Kenny Wheeler (1930-2014) played trumpet and flugelhorn and created an impressive body of compositions that covered a wide swath of contemporary music. Born in Toronto, Ontario, Canada, Wheeler moved to England in the early 1950s, slowly, steadily, building a career in bands led by Tubby Hayes and John Dankworth. In the 1970s, he worked with various different ensembles, ranging from the avant-garde sounds of the Spontaneous Music Ensemble and the Global Unity Orchestra as well as alongside Anthony Braxton and Dave Holland. He had a long association with pianist John Taylor and vocalist Norma Winstone performing together and recording as Azymuth. He recorded numerous Lps and CDs for ECM, starting in 1975 with "Gnu High" and his final recording, "Songs For Quintet", released in 2015 after his passing. Wheeler also recorded for Soul Note and CAM Jazz.
My favorite recordings of Mr. Wheeler's tend to be the Big Band albums. His arrangements for brass and reeds have a classical sensibility yet are flavored with the experimentation that was a large part of his life. The original compositions often blend airy melodies with thick section playing, opening up for solos that seem to ride atop the rhythm section like birds gliding on columns of thermals. Best of all, his melodies are well drawn and the music often has a swing the composer/arranger had absorbed the blues arrangements of Count Basie and Duke Ellington. And his ballad pieces often have a wistful feeling, filled with emotion and, occasionally sadness.
The University of Toronto Jazz Orchestra, Gordon Foote, director, has just issued "Sweet Ruby Suite"(self-released on UofT Jazz) an album dedicated to the music of Kenny Wheeler. Joining the 18-member ensemble for this project is Ms. Winstone and guest soloist, soprano saxophonist Dave Liebman. The 4-song program includes the 29-minute title track that Mr. Wheeler recorded in 2002 with the Maritime Jazz Orchestra plus three other shorter tracks. The arrangements, all but one by the composer, leave room for contributions by many of the band members as well as Liebman. The multi-sectioned "...Suite" does an excellent job of displaying the UTJO's strengths; those includes the excellent work of pianist Josh Smiley, bassist Victor Vrankujl, and drummer Andrew Miller plus the excellent section workHis interaction with Brad Eaton's flugelhorn on "W.W" really shines. His sweet tone meshes nicely with Ms. Winstone's scat vocals on "Canter No. 1", perhaps named for its loping rhythms - the piece, arranged by Terry Promane, makes great use of the sections in call-and-response, counterpoint, and harmonies. She also joins the brass for the melody line on the song which appeared on Mr. Wheeler's final ECM release. "Winter Sweet", also first recorded with the Maritime Jazz Orchestra, is a lovely ballad complete with strong playing from Marie Goudy (flugelhorn), Conrad Gluch (alto saxophone), and Mr. Liebman.
"Sweet Ruby Suite" shines not only on the strength of the Kenny Wheeler's compositions and arrangements but also the powerful work of the University of Toronto Jazz Orchestra. Perhaps the presence of Norma Winstone (who also wrote the lyrics) and Dave Liebman gave the musicians extra incentive; they never sound like a "backing band" for the two guests but really as equals. If you like "modern" big band, the music of Kenny Wheeler, and the work of Ms. Winstone and Mr. Liebman, this is music worth hearing.
Personnel: Saxophones: Naomi Higgins, Conrad Gluch, Patrick Smith, Connor Newton, Alec Trent Trumpets & Flugelhorns: Austin Jones, Marie Goudy, Brad Eaton, Max Forster, Josh Stuckey Trombones: Zachary Smith, Jared Kirsh, Modibo Keita, Collins Saunders Piano: Josh Smiley Guitar: Christopher Platt
Bass: Victor Vrankujl
Drums: Andrew Miller
The University of Toronto 12TET is 11 musicians and one vocalist directed by Terry Promane, a prominent Canadian trombonist, tubaist, composer, and arranger who has worked with Rob McConnell Tentet, the Hilario Duran Latin Jazz Orchestra, and Kirk MacDonald's Big Band (among many others). "Trillium Falls" (UofT Jazz) is the ensemble's second CD and features a combination of standards, originals, and smart covers of contemporary works.
The album opens with Jon Cowherd's "Crooked Creek" which the pianist composed from Brian Blade's Fellowship. Drummer Mike Rajna arranged the piece, capturing the airiness of the original as well as the energetic forward motion. Jacqueline Teh's wordless vocal blends nicely into the ensemble on the theme, her voice pairing with the reeds. Rajna's rhythm section mate, bassist Alex Lakusta, provides the arrangements for Billy Strayhorn's "Isfahan" (from Duke Ellington's "Far East Suite") and Ellington's "Star Crossed Lovers" (from "Such Sweet Thunder"). The former is fairly straight-ahead with solos from trombonist Modibo Keita, trumpeter Emily Denison, and guitarist Dan Pitt while the latter is much more atmospheric with fine solos from the arranger and from alto saxophonist Anthony Argatoff (who suggests the classic Johnny Hodges sound without reproducing the master's solo.)
The album does cover a wide swath of musical territory. Promane (pictured left) contributes two original pieces. "The Icemaker's Mistress" suggests the music of Christine Jensen and Maria Schneider in its long melodic lines and sweeping arrangement. Pianist Jacob Thompson creates a lovely solo over the splendid brush work and bass counterpoint while trumpeter Brad Eaton flies over lush sounds from the sections. After the solos, the piece opens up for a short interaction with the rhythm section and Ms. Teh plus a call-and-response from the sections. The director also contributed the title track, another "open" piece, that features a flowing melody and strong solos from Harrison Argatoff and flugelhornist Emily Denison. The ensemble swings mightily on Promane's arrangement of "Witchcraft", the drummer leading the way while tenor saxophonists Kieran Murphy and Harrison Argatoff share the main melody and the solos. UofT graduate Noam Lemish contributes "Song for Lia" (he also plays piano on the piece), a song that has a Brazilian feel in its rhythmic flow, a lovely melody that rises and falls with various voices moving in and out in the style of Maria Schneider, and smart solos from Anthony Argatoff and Pitt.
The album closes with "Hat Music", composed by Swedish saxophonist Nils Berg (for his quartet The Stoner) and arranged here by trumpeter Denison. She captures the playfulness of the original, especially the bounce in the bass line and the rapid-fire exclamations from the drums. The full ensemble plays at the beginning of the song, drops out for Harrison Argatoff's tenor solo and returns in the middle of pianist Thompson's excellent solo (which opens with just the accompaniment of bassist Lakusta).
What stands out when listening to "Trillium Falls" is that The University of Toronto 12TET, this small "big" band, is not only talented and full of promise but also willing to experiment and follow the vision of director Terry Promane. While jazz has moved out of clubs and mentorship has changed from learning on the bandstand to classrooms, there is often critical reaction that "institutionalizing" the music has made it stale. You certainly do not hear that on these recordings - there is life, joy, experimentation, and community, all necessary elements to move music forward.
Personnel: Jacqueline Teh – Vocals Emily Denison – Trumpet/Flugelhorn/arrangement Brad Eaton – Trumpet/Flugelhorn Anthony Argatoff – Alto Saxophone Harrison Argatoff – Tenor Saxophone Kieran Murphy – Tenor Saxophone Modibo Keita – Trombone Zach Smith – Trombone Dan Pitt – Guitar Jacob Thompson – Piano Alex Lakusta – Bass, arrangements Mike Rajna – Drums, arrangement Noam Lemish – Piano, arrangement ("Song for Lia") + Terry Promane– Director, compositions, arrangements
There has been a whirlwind of activity online in honor of Kenny Wheeler since his passing this past Thursday (9/18) and deservedly so. The Canadian-born Wheeler, who played trumpet and flugelhorn, had lived on London for over 6 decades and it was there where he first came to critical notice in the late 1980s. His carer really took off after signing to ECM Records and releasing "Gnu High" in 1975, a 3-song Lp that featured Keith Jarrett (according to the record company, the last time he played as a sideman), Dave Holland (whose group he played with for several years), and Jack DeJohnette. The album received much critical praise and Wheeler went on to record 8 more CDs as a leader (with his last session - recorded in December of 2013 - set to be issued in 2015.)
Although he recorded many albums with small ensembles, I'm partial to his large band recordings. Pictured left is his 1990 ECM "Music for Large and Small Ensembles", a 2-CD set that has as its rhythm section the composer's Quintet that included Holland, drummer Peter Erskine, pianist John Taylor and guitarist John Abercrombie. Wheeler's compositions (which he often called "sad songs") and arrangements are quite lovely, showing classical and jazz influences. His writing for Norma Winstone's voice (they worked together with Taylor in the grow Azimuth) is so good, her haunting wordless vocals blending in with the reeds or soaring over the brass.
Just 2 years later, Ah Um Records (a label based in Great Britain) released another large ensemble recording "Kayak", scored for 10 musicians (as opposed to 19 for the ECM). It's a great ensemble, all British save for Erskine and really tough to find but well worth the search.
Kenny Wheeler was also quite a soloist on both his horns, a surprising who often leapt into the higher register of his instrument as a spark was running throughout his body. A gracious leader, he rarely hogged the spotlight, preferring to let others lead the way. On the 1996 ECM release, "Angel Song", Wheeler does not solo on the opening track "Nicolette" until both Holland and saxophonist Lee Konitz have had their respective time in the spotlight. That particular recording also featured guitarist Bill Frisell, the perfect mate for Holland in the drummer-less session plus a great match for the "open" quality of Wheeler's compositions.
Kenny Wheeler may have passed but his music will resonate for many years. His well-constructed melodies, many with long lines, and his splendid arrangements should, like the work of Bob Brookmeyer and Gil Evans, inspire musicians to never settle for the tried-and-true but to always to attempt to venture into unknown territories.
Ottawa Citizen scribe Peter Hum has collected a number of tribute in his latest blog post - click on the link below, read it and then go listen to Kenny Wheeler's music with open ears.
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