In The Presence of Creativity, Beauty, and Joy

(By way of apology, read on.) Christopher Zuar, composer and arranger, released his second album as a leader, "Exuberance" (Tonal Conversations) in May of this year. At the time, I had been listening to the music for a month while recuperating from the first of two fractures.  With everything piling up (including student Final Papers), the album kept getting shunted aside. Yet, I kept returning to the music, especially in the quiet morning hours where the only other sounds one hears is the songs of various birds.  Now is my chance to tell you this album is one of the best of this year!

First off, who is Christopher Zuar? A native of Long Island, NY, Zuar has been composing since his youth, winning numerous awards. He did his undergraduate work at the New England Conservatory and earned his Masters of Music degree at the Manhattan school of Music. Along the way, he has studied with Jim McNeely, Maria Schneider, and Mike Holober and had his works performed by the WDR Big Band, the Danish Radio Big Band, and the Brussels Jazz Orchestra. He has arranged for artists such as Miho Hazama (a great arranger in her own right), Joel Ross, Theo Bleckmann, and more.  His debut recording, "Musings", was issued in 2016 by Sunnyside Records to great critical acclaim. In his music, one can hear traces of the influences of his mentors but also of the 20th Century classical composers he listened to as well as more "popular music" artists.

The initial sessions for "Exuberance" took place in August of 2018 but due to numerous complications and the pandemic, did re-commence until three years later (August '21).  The project is a partnership with animation filmmaker Annie Beal (they were married in 2022) when both had fellowships to the MacDowell Colony in New Hampshire (go to https://vimeo.com/260899301 to see them at work). By then, they had created Tonal Conversations, an outlet for their creativity. The album is filled with brilliant musical conversations throughout played by an incredible 18-member band (see "personnel" below), many of them who have worked with each other on large ensemble projects. Guests include violinist Sara Caswell who has also shown up on numerous jazz and classical albums over the past few years. Conductor Mike Holober, who had produced Zuar's 2016 album, led the band for the recording sessions.

Photo: Maria Baranova

This music is quite melodic. The horn and brass sections often push the melodies forward –– they also often set the tone and mood of the music. The opening track, "In Winter Bloom", opens with with a static piano figure before the sections set the piece in motion. Their choruses set the the stage for solos from bassist Drew Gress and tenor saxophonist Jason Rigby.  Listen below to "Communion", how the flutes and piccolos riuse aboe the horns to set the stage for Ms. Caswell's playing of the theme. Pianist Glenn Zaleski plays a second theme before the brass and flutes carry it forward, again opening the path for the piano solo. The violin solo that follows kicks the piece into the stratosphere as Gress and drummer Mark Ferber create a powerful thunderstorm. 

Photo: Maria Baranova

One of the best aspects of this seven-song, 59-minute, program is that each song stands out on its own and as part of the overarching theme. "Simple Machines"  blends the sound of Appalachian bluegrass with big band swing with Ben Kono creating a powerful tenor sax solo over a funky beat followed several minutes by a short fiddle hoedown (shades of Aaron Copland). That leads into a delightful mandolin spot from guest Joe Brent followed by a rollicking solo from Ms. Caswell.  The episodic "Before Dawn" opens with a thunderstorm but, as the "day" breaks, the music becomes more tranquil. Guitarist Pete McCann creates a long, flowing, solo over the rhythm section until the horns and brass enter which then kicks his sound and attack into overdrive with drummer Ferber with him all the way through. One hears the storm fading as ther song closes.

Vocalist Emma Frank joins the Orchestra for the final track, the song that gives the album its title.  The delightful love songs, lyrics by Ms. Beal, talks about how we all need to be nice, even as storms swirl around us as well as inside us. Ms. Frank flows along with the melody with the brass in unison behind her. The ensemble kicks into a higher gear for a hard-hitting alto sax solo courtesy of Dave Pietro followed by a fascinating trumpet spot from Scott Wendholt that actually starts on the powerful side, stays there for several minutes then slows down to reintroduce Ms. Frank to sing "Will you dance with me?/ Will you guide through the crowded floor?/ I will dance with you".  The piece rides out on a wordless vocal over the whispering ensemble, a gentle finish to a splendid piece of music and entire album. 

Exuberance is defined as "the quality of being full of energy, excitement, and cheerfulness". "Exuberance", the album from the Christopher Zuar Orchestra, is all that and much more, downright joyous.  Christopher Zuar is becoming one of the finest composers and arrangers of this time and the future bodes ever-so-well!

For more information, go to www.christopherzuar.com/. To learn more about what Ms. Beal and Mr. Zuar are creating, go to www.tonalconversations.com/.  To hear more and to purchase the album, go to  https://christopherzuar.bandcamp.com/album/exuberance. 

Personnel:

Dave Pietro - Alto/Soprano Saxophone, Piccolo, Flute, Alto Flute

Charles Pillow - Alto/Soprano Saxophone, Flute, Alto Flute, Oboe
Jason Rigby - Tenor Saxophone, Flute, Clarinet
Ben Kono - Tenor/Alto Saxophone, Flute, Alto Flute, Clarinet
Carl Maraghi - Baritone Saxophone, Bass Clarinet
Tony Kadleck - Trumpet, Flugelhorn
Jon Owens - Trumpet, Flugelhorn
Scott Wendholt - Trumpet, Flugelhorn
Matt Holman - Trumpet, Flugelhorn
Matt McDonald - Trombone
Mark Patterson - Trombone
Alan Ferber - Trombone
Max Seigel - Bass Trombone
Pete McCann - Electric/Nylon String Guitar, Banjo, Mandolin, Dobro
Glenn Zaleski - Piano, Fender Rhodes
Drew Gress - Bass
Mark Ferber - Drums
Rogerio Boccato - Percussion
Mike Holober - Conductor

Featuring:
Sara Caswell - Violin ("Communion" & "Simple Machines")
Max ZT - Hammered Dulcimer ("Simple Machines")
Joe Brent - Mandolin ("Simple Machines")
Keita Ogawa - Percussion ("Simple Machines")
Emma Frank - Voice ("Exuberance")

Listen here to "Communion":

Off-Kilter Yet On Point

Photo: Peter Koloff

Trombonist and composer John Yao is a busy musician and teacher. He leads several different ensembles including a hard-hitting 17-member big band, he has played in and continues to play in numerous ensembles including Terraza 7 Big Band, the Vanguard Jazz Orchestra, and Manuel Valera's New Cuban Express Big Band. Yao has issued five albums as a leader or co-leader including two with his Quintet, one with the Big Band, and one with the piano-less quintet known as Triceratops.  That group has a unique front line––besides the trombonist/composer stands Jon Irabagon (tenor and soprillo saxophones) and Billy Drewes (alto and soprano saxophones). Their 2019 debut album, "How We Do" (See Tao Records) featured the rhythm section of Peter Brendler (bass) and Mark Ferber (drums); my review stated "the eight-song program is a delight from start to finish" and upon listening again recently, I stand by that review (read here).  

Triceratops second album, "Off-Kilter" (See Tao), finds the original lineup intact save for Robert Sabin who is now the bassist.  The sound of the band has not changed with the blend of the reeds with the trombone creating fascinating interplay. What stands out for this listener is that Yao's compositions (he composed eight of the nine pieces on this album with Billy Drewes contributing the other). His melodies are so strong, well-developed, and not just quick themes for blowing over. Take "Crosstalk" with its interweaving lines for the front line, bopping beat, and the solid walking bass line.  Listen below to "Labyrinth" and how the playful intro gives way to a delightful blues with a few side-trips (into tempo changes, speed-ups, slow-downs). The quintet keeps one on the edge of your seat to see where the music is going  next. A piece such as "The Morphing Line" has the feel of Dave Holland's Prime Directive especially in the flexibility of the rhythm section (Ferber is fantastic throughout the program).  It's not imitative, just uses Holland's sound as a springboard. 

The title track closes the album. The music moves at a high speed and the solo peels off from the melody.  Drewes' alto spot leaps above the rumbling bass line and the rapid-fire drumming.  The solo concludes with a return to the opening theme and––no surprise––the tempo downshifts for a moment so that the front line can play a short chorale with Ferber adding to the melody.  Then, a rapid ascending bass line leads the band back to the original tempo and the opening melody with cut-outs for a call-and-response with Ferber.  

"Off-Kilter" is right on target, modern music for adventurous minds.  John Yao's Triceratops is quite alive, playing with fire, with joy, spirited interactions that jump out of the speakers.  Throughout the program, the blend that Billy Drewes and Jon Irabgon get with the leader is fun to listen to and, at times, quite exciting.  Give this music a good, close, listen and the rewards will be plentiful!

For more information, go to www.johnyao.com.  To hear more and to purchase this and other albums by Mr. Yao, go to https://johnyao.bandcamp.com/album/off-kilter. 

Hear the mysterious yet playful "Labyrinth":