Summer Shorts: Living Music

 

Pianist and composer François Bourassa  has been a mainstay on the Montreal, Quebec, CA, jazz scene for nearly four decades. A graduate of McGill University, the pianist went to study with Fred Hersch, Miroslav Vitous, and George Russell at the New England Conservatory of Music in Boston, MA, before returning to Canada where he formed his first "working" trio in the 1980s. In the early 2000s, he formed a quartet with bassist Guy Boisvert, Andre Leroux (tenor and soprano saxophones, flutes) joined in 2010, and Guilliame Pilote (drums) replaced original drummer Greg Ritchie late in the same decade.

"Swirl: Live at Piccolo" (Effendi Music), recorded live over two nights in July of 2022 at Montreal's Studio Piccolo, is the fifth album by the François Bourassa Quartet and the first since 2017's "Number 9".  The music, all original material penned by the leader, is, at turns, playful, solemn, contemplative, exciting, filled with sudden twists-and-turns and intelligent interactions. You can tell they are listening to each other. Take the episodic "Pooloop" that opens the program.  Sometimes it seems the wheels are coming off but the rhythm section never wavers. The title is a palindrome and there are moments the music has a circular feel.  Leroux's soprano sax is out for most of the second half of the 12-minute performance. He switches to flute for the next cut, "Prologue"–he is by himself for the opening two+ minutes. At times, it seems as if he is "mumbling" in the background and in a give-and-take with his louder self. Bourassa enters and the dialogue shifts towards the more dramatic and even more so when the rhythm section enters for the piano solo.  The piece moves inward for a bowed bass solo (while Bourassa plays a "dampened" bass. 

If you have never heard this band, I was reminded, at different times during the tracks, of the Branford Marsalis Quartet, of Eric Dolphy's "Out to Lunch" recording, and of the work Billy Hart is doing with his Quartet. The François Bourassa Quartet does not sound like those groups but they sail in waters that those other ensembles have traversed. Listen below to "Room 58" and make up your own mind. The six-song, 60-minute "Swirl" (apt title) compels the listener to pay attention not just because the musicians play with such fire and wit "Remous", the fifth track, is such a great example of that) but also because the the leader's originals gives each musician plenty of space to "be themselves" as well as a cohesive unit.  If you like Creative music, "Swirl: Live at Piccolo" will make you feel good!

For more information, go to https://francoisbourassa.com/2011/11/24/francois-bourassa-quartet/. To hear more and to purchase the album, go to 

https://franoisbourassaquartet.bandcamp.com/album/swirl-2. 

Give a listen to "Room 58":

These Sounds & Those Words

 

Argentinean-born pianist and composer Emilio Teubal creates music that shines with lyrical beauty, sparkling solos and interplay plus rhythms that make you dance and sway. His 2013 BJU release, "Musica Para un Dragon Dormido", is one of my all-time favorite albums. Teubal has been busy since moving to the United States over two decades. He writes constantly and has worked with artists such as bassist Pedro Giraudo, cellist Erik Friedlander, and various tango organizations and groups in the New York City area.  Currently, he leads a trio with bassist Pedro Lanouguere and drummer Chris Michael.

Those two musicians are the foundation of his new recording "Futuro" (Not Yet Records).  Recorded in several sessions in December 2021 and May 2022 (drummer Michael has been dealing with long COVID so Brian Shankar Adler appears on five of the 10 tracks, all recorded at the later sessions).  Joining the trio on three tracks is Sam Sadigursky (clarinet) and Fede Diaz (guitar) while vibraphonist Chris Dingman adds his sound to three other cuts.  From the opening measure of the opening cut (the title track), the listener is transported to sunnier climes.  The dancing clarinet and percussive guitar wrap around the warming piano figures. Bassist Lanouguere, who leads a quintet that Teubal is part of, is a rich melodic player with a full tone on both acoustic and electric; he also contributes fine bow work (he and the pianist play the opening melody of "Children of MMXX"––he then solos sans bow and is quite impressive there as well.

Photo: Sergio R. Reyes

Of the three tracks Dingman appears on, "Remolinos" stands out for its hypnotic piano figures and circular melody. There is a Steve Reich in the piano lines that is repeated by the vibes and the electric bass throughout. It certainly feels like all four musicians are percussionists and melody makers at the same time.  The vibraphonist also appears on the handsome take of Sir Paul McCartney's "Blackbird".  While the piece is the shortest track in the program (2:35), the arrangement allows everyone to shine and the melody to stand out.  

Photo: Sergio R. Reyes

The blend of the acoustic guitar and clarinet on "Los que Fluyen" hints at tango as well as Brazilian folk forms––Teubal's solo rises out of the main theme, dancing atop the guitar and electric bass then steps aside for Sadigursky to create a masterful, emotional, solo.  The quintet imbues "Tokyo Trenque" with such a gentle quality, caressing the melody while Adler's hand percussion clicks underneath.  The music picks up with intensity during Lanouguere's acoustic bass solo from which Teubal moves farther away without going "free" but much more impressionistic. The clarinet solo seems to move the rest of the band back to melody; after a quick climax, the music gently sighs to a close.

The album closes with "Los Ultimos Seran Los Primeros"  ("The last will be the first"), a wistful Trio piece dedicated to the pianist's father who passed in 2021.  The insistent quality in the piano solo allows the listener to hear touches of Keith Jarrett in the delightful two-hand work of Teubal.  As you listen to this track (and others), one can really tell that these musicians are in tune with each and with the material.  "Futuro" stands out as a work that celebrates life and melodic adventure without sacrificing the rhythms that have sparked the curiosity of Emilio Teubal since he was a boy.  Listen to "Rio" below––it's indicative of how the music incorporates its many influences to create sounds that please, hug, and brings joy!

For more information, go to www.emilioteubal.com.  To hear more and to purchase the album, go to  https://emilioteubal.bandcamp.com/album/futuro-2023. 

Join the group on its journey to "Rio"

Photo: Jimmy Katz

What do you get when mix drummer Matt Wilson, bassist Mimi Jones, and saxophonist Jeff Lederer, give them two nights at the end of February 2020 in the newly reopened Cafe Bohemia in New York City, and let them loose.  It's the Leap Day Trio and now you can hear the results on "Leap Day Trio: Live at The Cafe Bohemia" (Giant Steps Arts). The music on the recording is spirited, lively, at times thoughtful, and very human. Messrs. Wilson and Lederer have been friends and musical partners on and off for three decades; adding Ms. Jones to their special mix neither tempers nor hinders their musical fun. Instead, she's a solid foundational player and a melodic soloist (check her out on "The Dream Weaver" and "Leap of Faith").

The nine song, 68 minute program, opens with Wilson's "Dewey Spirit", (listen below) a tune the drummer dedicates to one of his earliest mentors and employers, tenor saxophonist Dewey Redman. Commencing with percussion and Lederer's spiky tenor sax sounds, the piece opens in rubato with Ms. Jones dancing underneath the melody line.  When the main theme kicks in, one hears a running bass line, swinging drums, and the saxophonist flying all around his horn.  Everyone solos, the energy is contagious, and the crowd enjoys it all.

Two of the next three tracks are ballads ("Leap of Faith" and "Ghost Town") but the track in between ("The Dream Weaver") rumbles along atop the pulsing bass and percussion.  "Ghost Town" is a fascinating journey through the musical terrains of blues, post-bop, and during the bass solo, the feel of Native American music. Lederer lets loose on the opening of "Strival For Survival"––that sets the tempo for the rhythm section and they rocket forward. When the tempo slows down for Ms. Jones fine solo, listen for Wilson's delightful work on the cymbals.

Photo: Jimmy Katz

The program closes with the spirited "For Friends"––again, Lederer leads off the piece with a solo introduction but one can hear from his exciting forward lean, the music is going to be fiery.  Even when the gentlemen step aside for Ms. Jones spirited solo, the music has great drive.  

One hopes that the Leap Day Trio doesn't only convene every four years. In the meantime, celebrate the group's music on "Live at The Cafe Bohemia".  

Hear Matt Wilson's musical tribute to Dewey Redman:

Braithwaite & Katz · Leap Day Trio - Dewey Spirit

Trumpter, composer, mentor, and author Jeremy Pelt has just issued Volume III of "Griot: Celebrating the Lives of Jazz's Great Storytellers".  15 more interviews with artists whose ages range from 89 (Wayne Shorter) to 28 (Elena Pinderhughes) sharing insights into their musical and spiritual upbringing, how they each developed a singular voice, and the changes they have seen in this art form created by black musicians at the start of the 20th Century.  These are stories of resilience in the face of the racism that has never truly been eradicated in this country and in places around the world. Many of the artists speak of how the changes that other musical forms (styles) have brought to the music keeps it alive in the face of listeners and label owners apathy.  But you also read of how musicians have been mentored by their musical elders, about the rigors of the road, and the cost, mental and physical, of a musician's calling.  Still, there are joys galore in their retelling stories of their formative days and nights on and off the bandstand.  

Photo: Ra-Re Valverde

I have written before how "Griot" will remind older Black Music fans of "Notes and Tones: Musician-to-Musician Interviews", the 1977 classic interviews drummer Art Taylor compiled that featured 29 of the greats who helped push the music forward in the middle decades of the 20th Century.  Jeremy Pelt has given us the 21st equivalent of Mr. Taylor's book and, hopefully, he will continue to converse with his elders, contemporaries, and young people for years to come!

For more information and to order any one or all three volumes of "Griot", go to  http://jeremypelt.net/home.html.

Mr. Iversen Composes & Performs

 The New England Conservatory in Boston, MA, just issued the video of Ethan Iverson premier performance of his first "Piano Sonata" which took place in Jordan Hall in the Spring of this year. Countless music fans know his work with The Bad Plus, dance aficionados know of his long association with choreographer Mark Morris, and then there is his excellent blog "Do The Math".  

Mr. Iverson has absorbed a myriad of influences during his time as a performer, composer, writer, and educator; you can hear some of those influences and much more in the video below! Enjoy!

Autumn 2020 Treats

Nowadays, music comes from everywhere, from artists around the world. Two of the three groups reviewed below are transatlantic in composition while one is from a group of musicians based in Chicago but with international experience.

It's been 12 years since alto saxophonist and composer Patrick Cornelius recorded with the Transatlantic Collective.  Composed of Cornelius, bassist Michael Janisch, Estonian pianist Kristjan Randalu, and drummer Paul Wiltgen (from Luxembourg, that band spent the better part of four years recoding and touring.  Janisch and Cornelius stayed in touch; in fact, the Wisconsin-born bassist, head of Whirlwind Recordings (and now a resident of London England), has released three of Cornelius's albums as a leader. The saxophonist reached out to his three friends with a new project, music inspired by Maine's Acadia National Park; they gathered in England, rehearsed, played several gigs, entered the studio, and emerged with a new album.  The result is "Acadia: Way of the Cairns" (Whirlwind), a delightful suite (seven pieces by Cornelius, one each for Randalu and Wiltgen) that sparkles and shines from beginning to end. The group has now been dubbed Acadia after this project, 

First thing one should notice is how clean and clear the sound––you can hear all four musicians without an issue.  Janisch's bass playing is particularly strong; he is the first soloist on the opening title track, his melodic lines and thick tone set the pace for the band.  The skipping rhythms of "Blueberry Mountain" are propelled forward by Wiltgen with a touch of hip hop in his attack. Note how Cornelius dances over the rhythm section plus Randalu's short but dazzling solo that starts low in his left hand, gleefully darting up the keyboard. The rhythmic attack on this tune as well as the opening moments of "On The Precipice" features echoes of pianist Keith Jarrett's European Quartet with Jan Garbarek, Jon Christensen, and Palle Danielson.  The powerful "Darkest Night" is in the middle of the program, introduced by the circular piano lines with the bass introducing the main melody before Cornelius introduces the second part of the theme.  The saxophonist's exciting solo is underpinned by the heft of the piano chords.

Randalu introduces his composition "Valse Hésitante" with a lilting melody before the saxophonist joins in counterpoint. There's a touch of Erik Satie in the gentle melody as well as the opening phrases of the piano solo. Check out the formal sound of the saxophone solo, almost as if this was a recital.  The drummer's contribution, "Ten Years Later", might refer to the band's extended hiatus. The ballad, which closes the program, is a finely constructed piece in which all four musicians move the melody forward.  Cornelius steps out for a short, soulful, solo that closes on a bluesy return to the original melody.  

"Acadia: Way of the Cairns" moves with purpose, style, energy, and soul. Patrick Cornelius writes to the strengths of his musical partners and they respond in kind.  This music pulls the listener, leaving one satisfied but ready to dig right back in.  That's what the best music does!

For more information, go to www.patrickcornelius.com/projects/acadia. To listen to more music and purchase the album, go to https://patrickcornelius-whirlwind.bandcamp.com/album/way-of-the-cairns. 

Here's the quartet playing "Darkest Night":

Greg Osby (United States: soprano and alto saxophones) and Florian Arbenz (Switzerland: drums, percussion) have played together for over 22 years, playing concerts in Europe and the United States.  "Reflections of the Eternal Lines" (Hammer Recordings) is their first duo recording but they have recorded together before with the drummer's cooperative trio VEIN. This album was inspired by the paintings of Swiss artist Stephan Spicher, whose workshop was the host for the recording. The pieces, composed by the drummer, run the gamut from the hard driving "Groove Conductor" to the dancing rhythms of "Wooden Lines" to the quiet kalimba/ soprano sax piece "The Passage of Light" (which has the feel of a ballad by Billy Strayhorn).  The mysterious "Chant" rumbles forward on the sounds of a gong, orchestra bells, and cymbals while Osby creates a lovely melody.  

Black American Music has had a number of fine saxophone/ drums duos; examples include John Coltrane and Rashied Ali ("Interstellar Space"), Max Roach with both Anthony Braxton and Archie Shepp (for Hat Hut Records), plus Dewey Redman and Ed Blackwell.  "Reflections of The Eternal Line" will remind you of those albums yet has its own beauty and mystery.  The duo of Greg Osby and Florian Arbenz recorded alongside Stephan Spicher (see and hear below), each artist inspired by the others.  Sit down, turn the speakers up loud (or wear head phones), and the sounds create paintings in your mind. What an aural treat!

For more information, go to www.florianarbenz.com/osby/.  To purchase, go to https://florianarbenz.bandcamp.com/. 

Here's the delightful opening track:

The city of Chicago, Illinois, reverberates throughout "Forward", the new album by trumpeter/ flugelhornist Chad McCullough.  It's his debut on Outside In Music and features a stellar cast of Windy City regulars including pianist Rob Clearfield, bassist Matt Ulery, and drummer Jon Deitemyer plus, on three of the six tracks, Ryan Cohan (keyboards, programming, co-producer).  The program, all McCullough originals, features three quartet pieces and three that add Cohan to the mix.  First time through, one can hear the influence of the late Kenny Wheeler, especially in the open-ended nature of the music and performances––Cohan's synthesized strings actually add to the airiness, giving an ethereal feel to "Oak Park", a symphonic grandeur to "Grave at the Gavel or Grace at the Gallows", and a winter-like atmosphere to "Water Tower Sunset."  

Like Wheeler, McCullough does not dominate this music, allowing the rhythm section to set the tone of each piece. If you have paid any attention to Rob Clearfield, you'll know he's one of the most lyrical pianists on the scene. Not only does he create a solid foundation for the trumpet to ride on but he also creates space for Ulery and Deitemeyer to move independently––you'll hear that on pieces such as "Gentle" and the fast-paced "Focal Point."  On the latter piece, the rhythm section plays with great energy and purpose––Clearfield dominates the first several minutes, engaging in a musical conversation with the bass and drums that is exhilarating. McCullough picks up on that energy, creating his own dialogue with the group.

Photograph: Roberta Ciprus

If you have any familiarity with the city of Chicago, several of the songs will create a mental picture of the city.  "Oak Park" is where Frank Lloyd Wright, "November Lake" will remind you of the breezes off Lake Michigan that make you catch your breath, and "Water Tower Sunset" will posit one in the bustle of North Michigan Avenue. 

What impresses most about "Forward" is how the music, whether the pace be slow or fast, is so alive with ideas, melody, and sense of purpose. At this time, when music is one of the few ways to "travel" safely, Chad McCullough has created a journey that is emotionally uplifting and ultimately satisfying.  

Here's a taste of "Grace at the Gavel or Grace at the Gallows":

Chad McCullough, with Jon Deitemyer, Matt Ulery, pianist Paul Bedal, and synth artist Paul Mutzabaugh, played an "Album Release Concert" in mid-October (two weeks ago, as of this writing) at the Fulton Street Collective in Chicago. Below is an excerpt of the full show, the lively "Focal Point":

A Gift of Trio Music to Celebrate 10 Years

In 2008, pianist Fred Hersch began to deal with bad reactions from the medications he was taking for his AIDS-related issues.  In the beginning of that year, he became psychotic and paranoid, holing up in his New York City apartment.  The doctors changed his medications and, by the end of March, he was feeling better. He was able to record with his Pocket Orchestra in May but several weeks after that gig, the pianist fell into a coma where he remained for over two months. His recovery took the better part of eight months, many of which were spent away from the piano.  When he was feeling better, he organized a new trio, an ensemble that features bassist John Hébert and drummer Eric McPherson.  That trio celebrates its 10th anniversary in 2019 and its label, Palmetto Records, has decided to release the Trio's albums in a six-CD box set titled "10 Years / 6 Discs".

Over the decade, I have reviewed five of the six albums released here, the only not covered was the Trio's debut "Whirl." That album, recorded in January of 2010 (less than year after Mr. Hersch began playing again), set the tone for the next decade (save for the fact there's not a piece by Thelonious Monk, one of the pianist's musical mentors).  Yet, one can hear the wonderful interactions of the rhythm section, the wonderful and adventurous solos from the pianist that hint at classical music – he has such a fine left hand and Hébert's attentive and melodic bass work gives the leader plenty of inventive space. Pay attention to McPherson as well, his sensitivity and swing, how he "decorates" ballads with his brush work, ands intelligent use of cymbals.

Photo: John Abbott

Many writers compare Fred Hersch to Bill Evans and/or Keith Jarrett; yet, I've been listening to Mr. Hersch since his early albums since his early albums with Art Farmer and  Jane Ira Bloom.  One can hear that he is a close listener, attentive to the needs of the person leading the group or acting an equal partner in a duo setting.  Plus he can swing with the best of them (there are times he reminds this writer of Hank Jones – perhaps it's his ability to play songs from different genres and make them his own, whatever, they are both such intelligent musicians.

"10 Years / 6 Discs" is the perfect gift for someone who wants to hear contemporary jazz at its finest.  there's not a weak moment among the albums and few, if any cliches. It's very hard to pick one album over the other.  The Fred Hersch Trio is one of the best "piano trios" on the scene today and one always hopes to hear mote from them.  Buy the album and go see them live. In fact, no matter who Fred Hersch is playing with (or even playing solo), go see him – his music will make you smile, sigh, give you hope, and make you move your feet.

For more information, go to fredhersch.com.

Here's the Trio in action from 2017 with "Skipping", a song that appeared on both "Whirl" and the Trio's 2018 "Live in Europe" albums:

A Break, A Concert, A Journey!!

My wife and I are in Chicago this weekend to celebrate the third Birthday of our granddaughter Margo.  She was born on the first day of summer and, honestly, has been a bright addition to our family.

It's a very busy weekend in the Windy City. The Cubs are playing the New York Mets, the Rolling Stones kicked off their delayed US Tour last night (6/21) in the comfort of Soldiers Field (40,000 capacity), Yo-Yo Ma played Bach and planted a tree in Unity Park (read about the unique concert here), Hugh Jackman performed at the United Center, Cuban pianist Cucho Valdes plays in Millennium Park on Monday night (6/24), and, as usual, the clubs and concert halls are busy throughout the city.

Tonight, we are going to see the Fabian Almazan Trio perform at Constellation. Mr. Almazan (also born in Cuba), bassist Linda May Han Oh, and drummer Henry Cole are in the midst of a tour that takes them around the country in support of his new Biophilia album "This Land Abounds With Life."  Inspired by the pianist's return to his homeland after 23 years, the music jumps with life and sounds, history and mystery, and much more.  I have seen these three musicians play before but never together and am looking forward to an evening of power and grace, flowing melodies and bustling rhythms.

Here's one of the tunes from the album:



If you're in Chicago tonight (6/22), go to www.constellation-chicago.com for ticket availability.  Then check out the sight to see wh else is gracing the stage of the performance venue this summer.

To learn more about the artist, go to www.fabianalmazan.com.

Resonating Through The Decades

Over the past seven years, Resonance Records has done a excellent job of rejuvenating the jazz career of guitarist Wes Montgomery. Not that his more famous CTI records demeaned him but this slew of albums serves as a reminder of just how good a soloist he could be, how adventurous he and the various musicians he played with could be, and, in several cases, serves as a history lesson for present-day listeners. Several of the albums comes from the period just before (or immediately after) the guitarist signed with Riverside Records.

The new two-CD set, "Back on Indiana Avenue: The Carroll deCamp Collection", is the sixth release from Resonance and hearkens back to their 2012 album "Echoes of Indiana Avenue."  As in many of the label's releases, there is a great back story to his the tapes were made and how they came into the hands of Zev Feldman at Resonance - watch the video below for more information.   As for the sessions, they are broken into three different sections, including "piano quartets with guitar, piano, bass, and drums plus organ trio and two tracks of piano sextet all on disk one while the overwhelming majority of disk two is "Nat "King" Cole-style trios with piano, bass, and guitar.  Because Mr deCamp did not keep notes (or they were never discovered), no-one is positive of who plays on what track (save for organist Melvin Rhyne, trombonist David Baker, and tenor saxophonist David Young.  Bass players include Wes's brother Monk and Mingo Jones while drummers are identified as Paul Parker and Sonny Johnson.   Pianists are a bit harder to pin down but the ones that are listed include Earl Van Riper, John Bunch, Carl Perkins, and another Montgomery brother Monk (who just may be the pianist on the two horn sextet tracks

Photo: Franklin Daily Journal

For those of us who grew up in the 1960s and later, many do not how about the myriad clubs in African American communities around the US.  Cities such as Chicago, Detroit, Washington D.C., Baltimore, Philadelphia, Kansas City, and elsewhere had a street or streets dedicated to bars that presented live music, often seven days a week.  Musicians were able to hone their skills, work on new material, entertain and educate audiences night after night.  Indianapolis, Indiana, the city in which the Montgomery Brothers were born and where they returned after the family moved to Columbus, Ohio, had several clubs in the Indiana Avenue area that catered to jazz and late night sessions.

"Back on Indiana Avenue" features music recorded from the mid-to-late 1960s (and, perhaps some tracks from the early 60s).  Wes's signature octave playing is in full bloom but so are his rapid-fire single-note runs and delightful rhythm work. One can hear the influence of Charlie Christian on his attack as well as the horn-like solo style of Les Paul. Check out the piano quartet on "Stompin' At The Savoy"for the Christian influence but make sure to dig brother Monk romping on the piano.  Dr. Lewis Porter's excellent notes state a number of these tracks may have recorded at Montgomery's home.  Dr. Porter, who is an excellent pianist and educator, theorizes that Buch appears on several cuts on these recordings plus Carl Perkins, another fine Indianapolis native, swings lustily on the final cut, "The Song Is You."  No matter who's playing, the music really turn on the audience (someone or ones is clapping in rhythm in the piano solo).

If you're a Wes Montgomery fan, you'll want "Back on Indiana Avenue - the Carroll deCamp Recordings" for many reasons.  If you're new to his music, perhaps the studio recordings on Riversde and Verve are the place to start.  Nevertheless, this is music that is filled with spirit and joy as well as a numerous splendid solos.  Dig it!

Photo: Steinway & Sons

Pianist and composer Bill Evans (1929-1980) is another artist whom Resonance Records has shown in a new light.  Two albums, "Some Other Time: The Lost Session from The Black Forest" (2016) and "Another Time: The Hilversum Concert" (2017), added to the mystique created by 1968's "Live at The Montreux Jazz Festival" (Verve Records), hitherto the only recording to feature Evans and bassist Eddie Gomez with drummer Jack DeJohnette. The more recent albums were both recorded within five days of the Verve release and show the Trio in full flight, the pianist truly enjoying the experience, especially on the "The Hilversum...." session.

DeJohnette was gone by the end of that summer. Marty Morell joined the group, staying for nearly seven years. The first Evans release on Resonance was 2012's "Live at Art D’Lugoff’s Top of The Gate" - that album, recorded in October of 1968, just weeks after the Morell entered the scene, comes from tapes made by label owner George Klabin, then 18 years old.  Now, the label presents "Evans in England", an 18-song two CD recorded when the Trio spent four weeks (basically the month of December) in residence at Ronnie Scotts in London.  The musicians are in sync throughout, having not only spent the past year playing together but also having the luxury of playing the same venue for an extended period of time. 

You can really hear the camaraderie of the three musicians on these songs.  How much they swing together, how both Gomez and Morell play quietly on the ballads, and how much the rhythm section pushes the pianist during his solos.  There are several Evans classics, such as "Re: Person I Knew", "Waltz For Debby", and "Polka Dots and Moonbeams" that closes the second disk.  "Waltz..." has a delightful unaccompanied piano opening that leads to a more spirited reading of the tune.  When Gomez steps out to solo, the song speeds up appreciably.  It's a treat to hear Morell's brushes dancing on the snare and cymbals before he returns to hs sticks.  It's fun to hear the trio play Thelonious Monk's "Round Midnight" - the pianist had great respect for Monk's piano work as well as his compositions. Evans plays up the melodic and harmonic sides of the song while the bass and drums play with the rhythms, making the song flow and swing.

Two previously unrecorded Evans compositions made their debut during the Trio's residency.  Both "Sugar Plum" and "The Two Lonely People" are featured on Evans 1091 Columbia Records Lp, "The Bill Evans Album".  The unaccompanied piano opening  on the former tune followed by a delightful conversation between the piano and bass shows just locked in the musicians are.  Gomez plays counterpoint to Evans lovely thematic material and swings mightily during the lively solo.  The opening moments of "...Lonely People" are breathtaking in its lyricism - when the bass and drums enter, the music begins to swing but the pianist maintains his more introspective approach. Evans expands upon his solo near its close, picking up on the energy that his bandmates are sending his way.  If you listened or have listened to much of the music this trio made over its time together (1968-74), you'll know they pushed each other constantly while respecting each other's space yet honoring the music and spirit of jazz.

"Evans in England" is a worthy addition to the Bill Evans legacy.  Now that there are three albums of material from 1968 and 69, you can really hear that the pianist was fully in creative flight during that time, that he had finally recovered from the untimely death of bassist Scott LaFaro in 1961.  Eddie Gomez not only plays with great verve but is so delightfully melodic that his frequent solos unfailingly stand out.  Marty Morell is the consummate accompanist, rarely "showing off" but always into the music. Absolutely recommended!



If you want to learn more about Bill Evans, blogger and author Marc Myers is the person to read (he adds much to the album liner notes). Go to www.jazzwax.com and search for the numerous postings he's done on the pianist!

These are a Lot of My Favorite Recordings of 2018

Like many critics/reviewers (I'm in the latter camp), I make a year-end list of my favorite recordings of the past 12 months.  Since I rarely, if ever, review an album I truly dislike (or even are lukewarm about), it's hard to keep that list at 10 or 20.  In June of this year, I remarked to a good friend that I could probably create a 2018 "Best of" list with all Big Band or large ensemble albums alone. Nonetheless, this year, I present you the entire list with spare comments. This list, unlike the one I created for the NPS Jazz Critics Poll (which was truly a Top 10 and will be published soon) is in no particular order.

Top Albums 2018

Felipe Salles Interconnections Ensemble – “The Lullaby Project (and Other Works for Large Ensemble)” (Tapestry Records) - Such brilliant section writing as well as memorable melodies

Jim McNeely & The Frankfurt Radio (HR) Big Band – “Barefoot Dances and Other Visions” (Planet Arts) - Same as above but with the Ellingtonian legacy of "knowing" who you re writing for

Kate McGarry, Keith Ganz, & Gary Versace – “The Subject Tonight is Love” (Binxtown Records) - The joy of intimate collaboration and emotionally strong material makes this collection something to listen over and over

Dafnis Prieto Big Band – “Back To The Sunset” (Dafnison Music) - Power and precision, melodies fired by rhythms led by an amazing drummer

Ambrose Akinmusire – “Origami Harvest” (Blue Note Records) - Mr. Akinmusire is really in a class by himself, moving in multiple directions without diluting his vision

Rudy Royston – “Flatbed Buggy” (Greenleaf Music) - Mr. Royston, known for his fiery and exuberant drumming, is maturing into a fine composer blending a variety of influences with a splendid ensemble of musical colleagues 

Kind Folk – “Why Not” – (Fresh Sound New Talent) - The spirit of the late Kenny Wheeler is celebrated here by four young musicians who gelled long before entering the studio

Andrew Rathbun Large Ensemble – “Atwood Suites” (Origin Records) - Mr. Rathbun takes a number of chances never missing his mark to bring Margaret Atwood's writing to a listing audience

Miguel Zenon & The Spektral Quartet – “Yo Soy La Tradicion”  (Miel Music) - Mr. Zenon with a string quartet playing traditional religious music and ore from his native land of Puerto Rico is chock-full of brilliant writing and playing

Edward Simon (w/ Afinidad and Imani Winds) – “Sorrows and Triumphs” (Sunnyside Records) - A subtly beautiful recording which sounds better with each listen

Thumbscrew - “Ours” + “Theirs” – (Cuneiform Records) - Amazing musicality and interplay between three masterful musicians who often think as one
Mary Halvorson - "Code Girl" (Firehouse 12 Records) - A new quintet that utilizes her Thumbscrew mates plus the expressive trumpet of Ambrose Akinmusire and amazing voice of Amirtha Kidambi. Prog-rock roots (I hear the influence of Robert Fripp in the opening guitar sounds) plus much more

Miles Okazaki – “Work: The Complete Works of Thelonious Monk”  (self-released/Bandcamp) - Wow!  So much thought and vision in this project, giving the listener an even better understanding how Thelonious Monk continues inspire generations of musicians and music

Frank Kimbrough - "Monk's Dreams: The Complete Compositions of Thelonious Sphere Monk” (Sunnyside Records - See above - Mr. Kimbrough shares the spotlight with three colleagues including the amazing multi-instrumentalist Scott Robinson

Noah Preminger – “Genuinity” – (CrissCross Records) - Moving back to Boston has energized young Mr. Preminger as both a composer and saxophonist. The addition of Dan Weiss has lit a fire under his quartet (which already boasts the great bassist Kim Cass and trumpeter supreme Jason Palmer)

Cecile McLorin Salvant – “The Window” (Mack Avenue) - What a voice! What an actress, a composer, an interpreter, and judos as well to the versatile Sullivan Fortner

Benjamin Boone/Philip Levine – “The Poetry of Jazz”  (Origin Records) - The late Philip Levine is one of my favorite poets yet it took me nine months to dig into this amazing blend of the poet's voice and the intelligent compositions and arrangements of Mr. Boone

Jeff Baker – “Phrases”  (Oa2 Records) - Another album that took its way to burrow under my skin and in my ears. Baker's emotional delivery and a great band featuring pianist Darrell Grant and drummer Brian Blade
Lorraine Feather – “Math Camp” (Relarion Records) - Ms. Feather is such a delightfully intelligent and humorous lyricist, not to forget she sings nicely as well. With science at its core, this album sparkles
Tessa Souter – “Pictures In Black and White” – (self-released) - Heartfelt, honest, adventurous, smartly arranged set of songs that allows the listener into Ms. Souter's complicated life story and her triumphs

Darrell Katz and the JCA Orchestra – “Rats Live On No Evil Star” (JCA Records) - Mr. Katz utilizes his orchestra to tell stories that range from political satire to treatises on friendship. A good number of these musicians have appeared on previous Katz/JCA recordings and he writes knowing their voices. Also, the voice of Katz's late wife, poet Paula Tatarunis, is heard in the impressive vocal work of Rebecca Shrimpton

Henry Conerway III.  "With Pride For Dignity" (self-released) – Best Debut Recording! Such joy, gospel, blues, and jazz with life experience makes for a splendid album.  

Carn Davidson 9 – “Murphy” (self-released) - I love how this ensemble blends all its voices int such a delightful stew - special shout-out to drummer Ernesto Cervini for his powerhouse yet subtle drumming

Ingrid Jensen & Steve Treseler - “Invisible Sounds: For Kenny Wheeler” (Whirlwind Recordings) - A fine quintet of musicians including the four members of saxophonist Steve Treseler's quartet plus trumpeter Ingrid Jensen pay tribute to the late Kenny Wheeler with an excellent selection of his songs

NYSQ – "Seven Steps to Heaven” (Whirlwind Recordings) - Nothing standard about this "standards" and the New York Standard Quintet - they make this material fresh and new.

Owen Broder – “Heritage: The American Roots Project” (ArtistShare) - Intelligent arrangements! Great musicianship!  Music that speaks of today by going back and examining material that mines the American spirit

Benje Danneman’s SearchParty – “Light In The Darkness”  (Self-released) - Heartfelt & thoughtful project played an amazing quintet of musicians

Anne Mette Iversen & the Norrbotten Big Band – “Everything In Between” (Prophone) -Brilliant section writing and arranging - this band loves to play!

Marshall Gilkes & the WDR Big Band – “Always Forward” (Alternate Sides Records/WDR - see comment just above

Judy Niemack & the Danish Radio Big Band – “New York Stories” (Sunnyside Records) - More great work from Jim McNeely plus great lyrics to T Monk tunes from Ms. Niemack

John Hollenbeck Large Ensemble – “All Can Work” (New Amsterdam) - Certainly one of the most intriguing group of arrangements

Joe Lovano & Dave Douglas: Sound Prints – “Scandal” (Greenleaf Music) - Two masters and great young band plus such passionate material

Jon Irabagon Quartet (with Tim Hagans) – “Dr. Quixotic’s Traveling Exotics”  (Irabbagast Records) - Perhaps the most powerful performances on record this year

Henry Threadgill Ensemble Double Up – “Double Up, Plays Double Up Plus”  (Pi Recordings)

Henry Threadgill 14 or 15 Kestra: Egg – "Dirt….And More Dirt" (Pi Recordings) - Mr. Threadgill continues to grow, expanding his interests as well as his sonic palette.

Steve Coleman & Five Elements – “ Live at The Village Vanguard (The Embedded Sets)"  (Pi Recordings) - Intense music from start to finish, a great front line paired with an equally great rhythm section

Jonathan Finlayson – “3 Times Round” (Pi Recordings) - Mr. Finlayson continues to grow as a composer and performer

Walter Smith III – “Twio” (Whirlwind Recordings) - Music that is so filled with the joy of playing together
Michael Musilami Trio + 2 - "Life Anthem" (Playscape Recordings) - Guitarist and composer Musillami bounces back after a life-threatening brain tumor - the album features his long-time trio plus cornetist Kirk Knuffke and multi-reed player Jason Robinson. Like the composer/musician, the music is so filled with life!

Jamie Baum Septet + - “Bridges”  (Sunnyside Records) - Ms. Baum's music continues to expand as she challenges her musicians and the audiences

Andy Biskin - "16 Tons: Songs from the Alan Lomax Collection" (AnDorfin Music) - Modern American music has so many influences and Mr. Biskin on reeds with a four-trumpet choir manages to mash a whole bunch together!

Geoff Bradfield – “Yes, and...Music for Nine Improvisers”  (Delmark Records) - Mr. Bradfield is a true student of jazz eras, writers and soloists. His latest mines the various strains that have developed in Chicago

Art Hirahara – “Sunward Bound”  (Posi-Tone Records) - Great band, great pianist, great material!

Tom Tallitsch – "Self-titled" (Posi-Tone) - Another artist who continues to mature with every album

Adam O'Farrill - "El Maquech" (Biophilia Records) - Great young band led by a trumpeter who already has an identifiable sound

Reissues and Historical

John Coltrane – “Both Directions At Once – The Lost Album” (Impulse) - Coltrane was always in transition and this is a fascinating example of a band in its prime

Wes Montgomery - "Wes Montgomery In Paris: The Definitive ORTF Recording” (Resonance Records) - What a treat to hear Wes let loose!

Fred Hersch Trio - “Heartsongs” (Sunnyside Records) - His first trio record, a unspoken tribute to several of his major influences as well as a reminder that Mr. Hersch's trios have been collaborative from the beginning

Sonny Rollins – “Way Out West (Deluxe Edition)” (Craft Recordings) - A favorite since forever, a one-shot trio that made history. 

Beyond Category

Yo-Yo Ma – “Six Evolutions – Bach: Cello Suites” (Sony Music) - Third time is a charm for Yo-Yo Ma in his life-long quest to plumb the depths of these amazing dance pieces - one could argue that one and second times through the music are also pretty great.
Tyshawn Sorey - "Pillars" (Firehouse 12 Records) - 21st Century Creative music with subtle influences from around the world doesn't do justice to the sounds that Mr. Sorey (drums, trombone, dungchen - low Tibetan horn, percussion, conductor) and his seven collaborators create on this trio of 75-minute + pieces

Label of the Year

Hard to choose - let's congratulate Pi Recordings, Sunnyside Records (a perennial favorite), Greenleaf Music, Whirlwind Recordings, and Resonance Records for their continuing excellence!

Best News of the Year!

Jason Crane and The Jazz Session has returned - it's still a joy to listen to.  I am so jealous of his interviewing skills and his continuing good taste (and not just because he chose to interview me.....no, really, I've written that before).

  

CT Gig Alerts (Friday & Saturday 10/05 & 6)

Autumn is here and the time is right for jazz in concert venues and performance spaces!  This weekend in Connecticut promises little foliage but three fine shows, all of which are worth your time and effort to attend.

Saxophonist, bassist, composer, and educator Mark Zaleski returns to The Side Door Jazz Club in Old Lyme.  His band includes brother Glenn on piano, tenor saxophonist Jon Bean, guitarist Ciao Aifune, bassist Danny Weller, and drummer Oscar Suchanek.  They'll play music from Mr. Zaleski's second album, 2017's "Days, Month, and Years" as well as his latest project which is a collection  of rearrangements, reconstructions, and deconstructions of Michael Jackson's songs.  What you'll hear over the course of the two sets is great interactions, smart melodies, and powerful solos. Plus it's great fun.

For tickets, call 860-434-2600 or go to thesidedoorjazz.com. To learn more about MZ, go to www.markzaleskimusic.com.

Here's the Mark Zaleski Band live in 2016;

Firehouse 12 in New Haven continues its Fall 2018 Concerts Series this Friday night with a visit from drummer Devin Gray and his quartet know as Dirigo Rataplan.  He's celebrating the release of the group's second album "Dirigo Rataplan II"  - besides Gray, the group features bassist Michael Formanek, tenor saxophonist Ellery Eskelin, and trumpeter Dave Ballou (the same lineup as on the 2015 self-titled album released onSkirl Records). This is one of those delightful groups that blurs the lines between styles (or genres, if you'd rather) so you'll hear snatches of blues, "free" jazz, funk, folk elements, a trace of Ornette Coleman-like interplay, and impressive interactions.

Dirigo Rataplan takes the stage for the first set at 8:30 p.m.  The second set - a separate charge - starts at 10 p.m.  You should enjoy this exploratory music not only for the way the band digs into the music but also because each musician has a distinctive "voice".  The crisp attack and sound of Ballou, the smooth yet searching tones of Eskelin, the melodic majesty of Formanek's bass playing, and Gray's exciting yet thoughtful drumming.  To find out more, go to devingraymusic.com.  For tickets, call 203-785-0468 or go to firehouse12.com.

Here's a short compilation of the album (which, on Bandcamp, is titled "Dirigo Rataplan II" - go figure.

On Saturday evening, The Buttonwood Tree, 605 Main Street in Middletown, welcomes the duo of Christian Artmann (flutes) and Laszlo Gardony (piano).  They will be celebrating Mr. Artmann's new Sunnyside Recording, "Our Story", a quartet album (with guest vocalist) that Mr. Gardony (who often graces the piano seat at The Buttonwood with his exciting and melodic playing) is an important member of the group.  For the Middletown date, it's the two of them sans rhythm section (or guest vocalist).  Mr. Artmann's music is quite handsome, ethereal at times, and his flute sound is graceful and gracious.  He can also swing when the music calls for it.

Mr. Artmann studied classical music in his native Germany as he was growing up, discovering in his teens. He's studied at Harvard Law School, Princeton University, and the Berklee School of Music.  He has toured Europe playing in both classical and jazz settings as well as clubs and performance venues in the United States.  "Our Story" is his fourth album as a leader since 2010, three of them with the delightful rhythm section of bassist Johannes Weidenmuller and drummer Jeff Hirschfield. To find out more about the flutist, go to artmannjazz.com.

The music commences at 8 p.m. on Saturday.  For tickets and more information, go to buttonwood.org/event/laszlo-gardony-and-christian-artmann/.

Here's the opening track from the new album: