Large Ensemble 2024 (Part 2): Melody Stands Out + Monk Inspires

Three more large ensemble recordings, each with its own outstanding qualities. 

Several years ago, I interviewed trombonist and composer Marshall Gilkes upon the release of his 2022 album, "Cyclic Matters".  In the midst of the discussion, he mentioned he had back in Germany to record a new  album with the WDR Big Band, the 17-piece ensemble in Cologne Germany.  He had spent four years (2010-13) in the trombone section –– the month after his stint was up, the Band invited him back for a "farewell concert" which resulted in the 2015 album, "Köln", a 10-song program that soared from the opening moment. The album won a GRAMMY nomination and led to the 2018 follow-up, "Always Forward".  Gilkes told me that he writes to the strength of each member of the band and that they love how his arrangements make them sound.  Upon receiving the invitation to create a third program for the WDR, Gilkes thought about all that had happened in the world since his 2017 trip that produced the second album.  The Pandemic, wars, democracies under siege, yet music and the arts still manages to thrive, to grow, to bring people together, to bend into new shapes for people to explore.

The results of Gilkes' thinking and writing can be heard on "LifeSongs" (WDR/ Alternate Side Records).  To these ears, it's the high point of the composer/ arranger's work with the Big Band.  The music is rich with melody and possibilities, the section arrangements often sing brightly, and the soloists are on the top of their game.  This music has soul, has heart, and imagination at its center.  The opening "Fresh Start" is just that!  A rollicking, Gospel-like melody and arrangement, with the leader's trombone in front but the real joy can be found in the interaction of soloists and the various sections.  "Back in the Groove" follows, a healthy portion of latge 60s-early 70s soul music in the melody and response over a thunderous rhythm section. Alto saxophonist Jonas Hörlen builds his solo off the main melody, riding the powerful piano of Billy Test, the solid bass of John Goldsby, and the slamming drums of Hans Dekker.  The proceedings cool down for the piano solo but Test moves quickly into overdrive with a joyous romp with the brass and reeds "testifying" right alongside him.

Listen to "Cora's Tune" below.  Pay attention to how Gilkes structures the melody, creates his fine solo, and how he utilizes the WDR sections to add excitement, and then creates a lovely trombone chorale in the midst of the piece.  Yet the music does not sit still, it changes, evolves, swings, and soars to its conclusion. Several tracks later, vocalist Sabeth Pérez joins the Band for a sweet take on the traditional lullaby "All The Pretty Horses". One can hear the influence of Maria Schneider (Gilkes is a long-time member of the MSO) in the arrangement. 

Delights abound in this program. "Middle Ground" follows, opening with a Brass chorale b efore picking up steam. The influences of Blues and Gospel can be hear in the melody lines as well as the section writing.  In the middle of the piece, the trombones take off into an exciting Latin rhythm, the sound splayting across the spectrum. The band kicks in and the 'bones trade 4s until the entire ensemble dances back into the melody, fading intoi the background for a return to Brass chorale. Then, it's into "San Filtro",  a multi-sectioned piece that, at times, reminds this listener of Chick Corea's "My Spanish Heart".  The leader's trombone is front-and-center throughout whether playing the main melody, soloing, or leading yet another splendid brass chorale.  You'll want to shout "hurrah" at the bravura closing section.

And there's more. I would be remiss not to mention the lovely version of Rodgers & Hammerstein's "This Nearly Was Mine" (from "South Pacific").  The song serves as a vehicle for an exquisite flugelhorn solo from Andy Haderer.  Those of you who buy the digital version (link below) get two more tracks, an extra 14 minutes of music (including the stomping "Taconic Turns").  No matter which version you purchase, "LifeSongs" is a soul satisfying, emotionally rich, and musically delightful program.  Marshall Gilkes truly shines in this setting as do his friends in the WDR Big Band –– if you dig Big Band, jump on this!

For more information, go to www.marshallgilkes.com.  To hear more and to purchase the album, go to  https://marshallgilkes.bandcamp.com/album/lifesongs.

Personnel:

Marshall Gilkes composer, arranger, trombone, conductor

Johan Hörlén • alto saxophone, flute, clarinet Pascal Bartoszak • alto saxophone, flute, clarinet,

Ben Fitzpatrick • tenor saxophone, clarinet, Paul Heller • tenor saxophone, clarinet
Jens Neufang • baritone saxophone, bass clarinet
Andy Haderer • trumpet, piccolo trumpet, flugelhorn, Wim Both • trumpet, flugelhorn
Rob Bruynen • trumpet, flugelhorn, Ruud Breuls • trumpet, flugelhorn
Ludwig Nuss • trombone, Raphael Klemm • trombone, Peter Hedrich • trombone
Andy Hunter • trombone (one track)
Mattis Cederberg • bass trombone, tuba
John Goldsby • bass 

Billy Test • piano 

Hans Dekker • drums
Sabeth Pérez • vocals on "All the Pretty Horses"

Give a listen to "Cora's Tune":

As a special treat, here's the video for "Sugar Rush", the final track on the CD:

On his first two Big Band recordings (2019's "Assembly of Shadows" and 2021's "Architecture of Storms"), saxophonist, composer, and arranger Remy Le Boeuf showed a pleasing knack for well-defined melodies, smart arrangements, and for creating space for soloists to interact with the music and the musicians.  There were moments, especially on the second release, that the music had a "pop music" sensibility, with melodies that cried out for lyrics (one song did have a guest vocalist) –– nothing seemed "dumbed down" for mass consumption but the songs sounded like they could have fit easily into contemporary radio airplay.

On his third Big Band effort (the ensemble has taken on the name of its first album: Assembly of Shadows), "Heartland Radio" (SoundSpore Records), the title track opens the album with a decided backbeat and a hummable melody (ah, but the glorious section harmonies!).  Listen below to "Stop & Go" –– the rhythm section plays beats reminiscent of the work by the British band New Order but the main melody and chorus would not sound out of place on a Gamble & Huff production of the 1970s.  The music also sounds great pouring out of car speakers when one is driving down the road (this writer's prerogative), especially guest guitarist Max Light's solo.  "New Beginnings" bears traces of the work of Burt Bacharach; one can his influence on the handsome melody and arrangements, in the tempo changes, and in the great trumpet solo (uncredited).  

Vocalist Julia Easterlin joins the group for "Barbara" (lyrics by poet Sara Pirkle). The Bacharach influence can be felt a bit here as well but Le Boeuf's arrangement is all his own (his section writing is splendid).  The leader also created an arrangement for "Little Song"; composed by trumpeter Nadje Noordhuis for her Newvelle Records album "Full Circle", the melody is a rich blend of sadness and longing that is emphasized here by the sweeping brass lines and gueat Danielle Wertz's wordless vocal.  The leader's alto saxophine is out in front through the middle of the track, his solo soaring like a bird freed in the wild.  

"Heartland Radio" (so named for the leader's journey across the United States to Denver, Colorado, where he is now on the music faculty of the University of Denver) comes to a close with "Walking on Water". There's a gospel feel to the both the melody and arrangements as well as a powerful saxophone solo with the gentle alto sax coda bringing the listener to the final long chord. Remy LeBoeuf said that the music on the album was inspired by the sounds he heard driving to his destination. These excellent sounds attest to the fact that the composer/ arranger had a fertile and thriving imagination. 

For more information, go to www.remyleboeuf.com.  To purchase the album, go to  https://remyleboeuf.bandcamp.com/album/heartland-radio.

Personnel:

Gregory Robbins – conductor

Vocals
Julia Easterlin (vocal on one track)
Danielle Wertz (vocal on one track)

Remy Le Boeuf / Alto Sax, Flute, Alto Flute
Alejandro Aviles / Flute, Alto Sax
Lucas Pino / Tenor Sax, Clarinet
John Lowery / Tenor Sax, Clarinet
Carl Maraghi / Bari Sax, Bass Clarinet

Trumpets
Tony Kadleck, Tony Glausi, Philip Dizack,  Mike Rodriguez

Trombones
Mike Fahie, Alan Ferber, Javier Nero
Jennifer Wharton (bass trombone)

Guitar
Alex Goodman
Max Light (one track)

Piano
Martha Kato

Bass
Dan Montgomery

Drums
Peter Kronreif

Keyboards
Pascal Le Boeuf (first two tracks)

Get into the groove with "Stop & Go":

Pianist, composer, arranger, and now conductor Frank Carlberg has spent the better part of his life engrossed in and studying the music and recordings of Thelonious Monk.  Many of his recordings are inspired by and feature music of the composer –– in 2019, Carlberg put together his Large Ensemble to record and issue "Monk Dreams, Hallucinations and Nightmares" on his Red Piano Records label. I loved that album and love it even more now. Carlberg has the knack of making Monk's music sound fresh and contemporary while still shoeing respect for the composer.

Now we have "Elegy for Thelonious" (Sunnyside Records). I have an image of Carlberg in his room slicing up pieces of Monk tunes, pinning particular phrases to the wall, and creating original arrangements around.  In the recording studio, he places the fragments, his arrangements, and some sections he composed in front of the musicians and says "Let's play!"  And they do.  That's not to say that recording is unfocused or cacophonous. Not at all.  What it is is fun, creative adventures taking on the guise of fun.  What a band Carlberg has in front of him.  Besides the impressive arrangements and re-arrangements, the secret weapon in this music is drummer Michael Sarin. Throughout the seven-song program, he's the linchpin as well as the glue that keeps the Ensemble from descending into chaos.  Listen below to "Spooky Rift We Pat", an engaging mashup of "Tea For Two" and Monk's "Skippy". Christine Correa leads off with a deconstruction of a verse from the standard; then the ensemble enters and we're off to the races. After a playful solo from tenor saxophonist Adam Kolker and a lively diversion with trumpeter David Adewumi, the whole ensemble returns and different voices rise out of the din. All the while, Sarin is driving the bus, making sure no one loses their way.

The fun continues on "Out of Steam", a funky tune replete with synth washes from Leo Genovese and vocals from the leader's daughter Priya Carlberg.  The different figures the leader has the reeds and brass play behind the powerful alto sax solo from Nathan Reising stand out because they are often brash and bratty.  

The centerpiece of the recording is the title track. The music is not so solemn as there's muted trumpet squawks and clarinet trills behind Ms. Correa's recitation of poet Yusef Komunyakaa's "Elegy for Thelonious". A few moments later, the two vocalists sing the chorus from the hymn "Abide with Me" (a piece – composed by 19th Century English church organist William H. Monk, no relation, which the American Mr. Monk recorded on 1957's "Monk's Music").  Along the way, there are fine solos from trombonist Brian Drye, cornettist Kirk Knuffke, and Jeremy Udden on lyricon.  The music gets cluttered by the end of the vocals but the brass exclamations and solid drumming keeps the music on keel.  

Every one of the seven tracks on "Elegy for Thelonious" is worth writing about – for instance, Hery Paz's solo on "Brake Tune" is stunning as is trumpeter John Carlson's smoking take on "Wrinkle on Trinkle". The Frank Carlberg Ensemble is filled with great musicians, great soloists, and Carlberg gives them plenty of room to shine while his section writing is exemplary throughout.  I mentioned drummer Michael Sarin earlier but his rhythm section partner, bassist Kim Cass, deserves similar kudos. What a treat!!

For more information, go to www.macdowell.org/artists/frank-carlberg. To hear more and to purchase the album, go to https://sunnysiderecords.bandcamp.com/album/elegy-for-thelonious.

Personnel:

Frank Carlberg - conductor, composer
Sam Hoyt, John Carlson, David Adewumi - trumpet

Kirk Knuffke – cornet
Brian Drye, Chris Washburne, Tyler Bonilla, Max Seigel - trombone
Nathan Reising, Jeremy Udden, Adam Tolker, Hery Paz, Andrew Hadro - woodwinds
Leo Genovese - piano, keyboards
Kim Cass - bass
Michael Sarin - drums
Christine Correa, Priya Carlberg - voice

Take a listen to "Spooky Rift We Pat":

Two Pandemic Albums + One Pre-pandemic Album for Good Measure!

As 2020 mercifully (or mercilessly, depending on conditions where you live) crawls to a close, albums are being released that were recorded in the Spring and Summer of this most unusual year. Since live venues have been shuttered around the world, many musicians and ensembles lost a major portion of their income.  Some venues have reopened but, mostly, for streaming concerts; with the promise of several vaccines, one can only hope that Spring 2021 will be a renewed time for live music and theater.

In the meantime, multi-instrumentalist Chris Potter and trombonist Marshall Gilkes were able to create and record new music in the midst of the pandemic––a look at their respective albums is below as well as a fine new recording from L.A.N. Trio (recorded in November 2019).

Chris Potter, born on New Year's Day in 1971 in Chicago, IL, has fashioned quite a career.  He started playing saxophone at the age of 10 and began winning awards as well as garnering critical acclaim in his teenage years.  Although he won a scholarship to attend the New School in New York City, trumpeter Red Rodney invited Potter to join his band.  As he was learning the ins-and-outs of bebop, he was meeting musicians such as Ornette Coleman, playing in the horn section of Steely Dan, working with pianist Marian McPartland, drummer Paul Motian, trumpeter Dave Douglas, saxophonist David Binney, and his long association with bassist Dave Holland.  Since his 1993 Criss Cross debut, Potter has issued 20 albums as a leader and appeared on over 100 more.  Though he is mostly known as a tenor saxophonist, he plays soprano and alto saxes, clarinets, flutes, piano, electric keyboards, electric and acoustic guitar, and percussion (including drum set),

All of those instruments are on display on Potter's 22nd release "There Is a Tide" (Edition Records).  When the touring stopped, the musician began composing and, in May of this year, began assembling all the pieces for the new recording.  Over the course of six weeks (!), Potter played, arranged, and engineered the 10 songs that make up the 54-minute program.  In the promotional material that accompanies the album, the musician talks about all the limitations that recording at home can have including not having a "proper" studio environment.  If you did not read that comment or know the fact that Potter creates every sound you hear, chances are good you'll still be impressed by the results.  This music rocks, swings, soars, dances, excites, soothes, and sounds so good.  

Photo: Dave Stapleton

Although the artist was locked away in his recording area, the opening and closing songs on "...Tide" illustrates he's still in touch with the outside world.  The opening track, "I Had a Dream", can be understood as a response to the murders of George Floyd, Breonna Taylor, and Ahmaud Arbery and the protests that followed through the United States. Yet, the song has a lilting feel, its infectious rhythms seeming to give us hope as the soprano sax solo rises up in the mix.  The closing track, "New Live (In the Wake of Devastation)", has a more emotional pull.  One cannot "appeal" for change but must make an effort to live it.  The dramatic tenor sax solo leads to a fascinating orchestration featuring saxophones, clarinets, flutes, and keys while Potter uses guitars to push the rhythm.  

What stands out throughout the recording is the textured layers of sounds, the "sectional" arrangements, and the excellent melodies.   The dancing percussion and electric piano opening of "Mother of Waters" suggests Weather Report and its "Black Market" album while the funky "Rising Over You" channels the Brecker Brothers––dig Potter's rapid sax lines on either side of the sound spectrum plus his fine keyboard work.  "Rest Your Head" is a lovely ballad with excellent guitar work plus a melody line reminds this listener of Paul McCartney.  The clarinet solo is emotionally and melodically rich.  The following track, "As the Moon Ascends", blends flute, clarinet, and percussion in its opening minute into a fascinating mini-concerto before settling into a medium tempo in which multiple flutes introduce a handsome soprano sax solo.

"There is a Tide"is quite an impressive album; not just because Chris Potter plays all the instruments and plays them well but also because of the strength of the songs, the smart orchestrations, and the lively solos. Many creative music albums are recorded on the fly. Considering the amount of tracks Potter laid down in the six-week process, this project came together quickly.  Nevertheless, he is able to fill out the sound spectrum so the music has a richer, fuller, sound without sounding cluttered.   Sit down, relax, let these sounds roll through your mind––you'll be surprised and comforted by the joy this music contains.

For more information, go to www.chrispottermusic.com.  To listen to more and to purchase the album, go to  https://chrispotterjazz.bandcamp.com/. 

Here's a taste:

Trombonist and composer Marshall Gilkes (pronounced Jillks) firs picked up his instrument––actually his father's 'bone––when his dad was playing with the Air Force band, the Falconaires.  The younger Gilkes went on to study both jazz and classical music at the Juilliard School in New York City.  He has worked with numerous large ensembles including Darcy James Argue's Secret Society, The Lincoln Center Jazz Orchestra, and currently performs with the Maria Schneider Orchestra as well as performing with Barbra Streisand and Richard Bona.

As a leader, Gilkes has issued five albums, the previous two with the WDR Big Band with whom he performed from 2010-2013. Album #six, "Waiting To Continue" (self-released), finds him in a trio setting with bassist Yasushi Nakamura (bass) and Clarence Penn (drums). The group was originally scheduled to record in April of this year but no studios were open. Gilkes heard that the Bunker Studio in Brooklyn was reopening in July so he called the rhythm section who were ready and willing.  In the studio, everyone wore masks when not playing and they were quite separated.  The trombonist fed the musicians so there was little downtime.  The results are a delightful mix of styles and melodies with both Penn and Nakamura really part of the creative process.    

As for the music, the program is all originals. Some of the pieces swings like mad such as the rollicking "Taconic Turns" (New Yorkers and other drivers will tell you that the Taconic Parkway is not for the faint of heart. "Archie's Theme" is along the same lines although the melody flows a bit smoother. Penn drives this piece with abandon, navigating the composer's dynamics and tempo changes with grace and subtle power.  The title song opens the album; five overdubbed trombones create a chorale for the leader to play the lovely melody.  Gilkes restates the theme with just the bassist before Penn enters with his sweet brush and cymbal work.  After the trio floats through the tune, the trombone chorale closes the piece.  There is a hint of Ms. Schneider's "natural" music in the writing for the trombones.

CD back cover

The trombone chorale returns for "Anya's Tune", a sweet ballad composed for Gilkes's wife.  While the ballad gently strolls forward, the extra brass appear at various times throughout the pice while the rhythm section creates a gentle cushion.  "Cora's Tune", composed for his daughter, is more playful, especially in its juxtaposition of the lovely melody and the playful drums.  Nakamura's thick bass tones ring out beneath the melody.  

"Waiting To Continue" closes with "New Normal". Like the opening title track, this song was composed during the pandemic. The music is not morbid or sad but playful (especially Penn's playful drumming) and hopeful, perhaps dreaming when the venues will open around the world so that music as rich as what Marshall Gilkes and company have recorded here can be played "live" to attentive listeners.  Climb into this program with open ears and it will make you smile, maybe even feel better about the survival of the creative musician.

For more information, go to www.marshallgilkes.com.  To hear more and purchase this fine music, go to https://marshallgilkes.bandcamp.com/album/waiting-to-continue.  

 

Here's the title track:

 

Our "plus 1" for this post is the delightful new recording by the trio of Mário Laginha (piano), Julian Argüelles (soprano and tenor saxophone), and Helge Andreas Norbakken (percussion) a.k.a. the L.A.N. Trio.  "Atlântico" (Edition Records) is the Trio's second album, the first being 2017's "Setembro" for the same label.  Whereas the debut album contained 10 tunes, eight of which were composed by the pianist, the new one is more democratic with four by Lahgina, four by Argüelles, two co-created by Norbakken with the pianist and two more by the drummer with the saxophonist.

The new album gets off to a playful start with the pianist's "Jaamm Rek". There's more than a slab of funk propelled forward by Norbakken's thunderous drums.  Laginha creates a circular piano riff that Argüelle's powerful tenor sax frolics atop.  The pianist also penned the following track, "Caes a Solta" (Free Dogs?) which is a much sweeter song than the title implies. Argüelles creates a lovely soprano sax solo as does the composer while the percussionist shakes and rattles beneath them. Norbakken gets composing credits on the three "Improviso" pieces as well for the highly melodic "La Graziela" which he co-wrote with the saxophonist.  They also created the first of the "Improvisos"during which the soprano saxophone is accompanied by powerful sounds of drums and hand percussion.

The opening of Laginha's "Juroom" hearkens back to Keith Jarrett's "The Windup", especially in its spiky, percussive, melody line––on this tune, Norbakken pounds away beside the pulsating rhythms created by the pianist while Argüelles's raspy soprano sax solo rises above the hypnotic fray. The saxophonist's "The Three J's"; opening with a long unaccompanied piano solo,, the drummer enters with a solid rhythm that eventually leads to the composer's handsome tenor sax.  Listen to the colors the rhythm section creates as Argüelles climbs through his solo."

The program closes with the pianist's "Silencio", a gentle ballad with a most fascinating percussion backing. Throughout the album, Norbakken creates stunning backdrops and rhythms. It's obvious he's not playing a traditional trap set (check the photo––no snare drum but definitely floor toms, hand drums, cymbals, and various shakers) so the music moves in unexpected directions. He's certainly the "heartbeat" of the group while the saxophonist and pianist often glide through the melodies and improvisation.  

Kudos to Mário Laginha, Julian Argüelles, and Helge Andreas Norbakken for creating the delightful and optimistic sounds of "Atlântico".  Their first album, at times, seems more structured (although there are some delightful uptempo pieces), this music is often looser, airier; they sound more like a collective, one in which all ideas are welcome. They're probably great fun in concert!  Sit yourself down and surrender to the joyous sounds.

For more information, go to www.julian.arguelles.com and/or https://editionrecords.com/artists/mario-laginha-julian-arguelles-and-helge-andreas-norbakken/.  To hear more and to purchase the album, go to https://lantrio.bandcamp.com/album/atl-ntico. 

Here's the delightful "Juróom":

Big Bands with American Roots & European Musicians

The Norrbotten Big Band, based in Luleå, Sweden, has the distinction of being the northernmost large jazz ensemble in the world. The city of 75,000, over 450 miles away from from Stockholm, is located up in the northern corner of Sweden close to the Arctic Circle.  Thanks to the Gulf Stream winds, it has a milder climate than one might expect for a city that far north.  A busy port city, there's plenty to do all year long, especially rich with  arts and cultural offerings. The NBB has been in existence since the late 1980s but first made critics sit up and take notice when American trumpeter and composer Tim Hagans became artistic director in 1996. Currently, the 16-member ensemble's AD is saxophonist and composer Joakim Milder.

Photo: Antonio Porcar Cano

Bassist and composer Anne Mette Iversen moved to the United States from her native Denmark in 1998. During her 15 years living and working in the New York City area, she was one of the 10 co-founders of the Brooklyn Jazz Underground, helping to establish a cooperative where musicians and artists could present their work. The group founded BJU Records in 2008, a label that has released nearly 70 recordings including eight by Ms. Iversen and featuring several of her different ensembles. In 2012, she and her family moved to Berlin, Germany where she maintains a busy schedule, still working with her American Quartet + 1 (featuring saxophonist John Ellis, pianist Danny Grissett, drummer Otis Brown III, and trombonist Peter Dahlgren) plus her Ternion Quartet (with saxophonist Silke Eberhard, trombonist Geoffroy De Masure, and drummer Roland Schneider, all Berlin-based musicians).

In 2016, Ms. Iversen was invited to be the composer-in-residence for the Norrbotten Big Band's 2016-17 season.  In her various trips to Luleå, she experienced all four seasons. The different climatic conditions reminded her of the many places she has visited during her career and she began to create music that reflected her responses to those fascinating seasons.  The results can be heard on "Everything In Between" (Prophone Records). The 10-song, 98 minute program, is spread over two CDs. The music begins in Spring (two songs), moves to Summer (four songs), on to Fall (two songs), and concludes with Winter (two songs).  What stands out throughout the album is the fine musicianship - all but one member  of the NBB here is European; the lone exception is drummer E.J. Strickland.  He and trombonist Dahlgen are the only two who have worked or still work with Ms Iversen.  

The album, while very much a suite, was recorded live in three separate venues (one on11/12/2016 in Luleå and two in Denmark on 7/22-23/17).  One of the most delightful aspects of this music is that the songs cover so much territory. Yes, you hear traces of Duke Ellington/ Billy Strayhorn, Bob Brookmeyer, Kenny Wheeler, Thad Jones, and others but nothing overt (to my ears).  And, the music is so melodic. Listen throughout to hear how Ms. Iversen orchestrates each song, often using the brass or the reeds to state the thematic material, how often there are two or three instruments soloing over the ensemble.

Photo: Solving Hockings

From the opening notes of "The Big (Band) Bang I", the music glides, flows, jumps, and dances on the power of the rhythm section (pianist Adam Forkelid, bassist Petter Olofsson, and drummer Strickland).  There are certainly a number of strong solos on every track (the credits lists the personnel but not who solos on each song) but, again it's the section writing and execution that really make this music so impressive. The Ellingtonian opening of "A Lighthouse Blinks In The Northern Sky" uses a blend of muted trumpets and reeds over an African drum rhythm to paint a lovely and lively picture but Janne Thelin's unaccompanied contrabass clarinet spot moves the piece into a more contemplative direction. He's soon joined by the flutes and rhythm section for a quiet ballad section. A few moments later, after the muted trumpets have had a short interlude, the piece moves forward on a fine alto sax solo.Forkelid also has a lovely spotlight, his piano lines rippling over the sympathetic bass and drums; only at the end do the earlier voices (trumpets, reeds, and the drums rhythms) return for a short reprise.

If you enjoy adventurous large ensemble music, then "Everything In Between" should really grab your attention.  Like many suites it's best listened to all the way through but one can also jump in on any track and be pleased.  Anne Mette Iversen sets aside her bass for the conductor's baton to lead the Norrbotten Big Band through this delightful aural journey; there are moments throughout when one can sense the waves crashing or the countless stars in the cool, clear, night sky.

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

Here's the opening track:


Personnel:
Anne Mette Iversen - composer and conductor

Reeds:
Hakan Brostrom - alto and soprano sax, alto flute (only for the 11/12/16 concert)
Johan Christoffersson - alto and soprano sax, alto flute
Janne Thelin - alto sax, Bb clarinet, bass clarinet, contrabass clarinet
Mats Garberg - tenor sax, flute
Robert Nordmann - tenor sax, Bb clarinet, flute
Per Morberg - baritone saxophone, flute

Trumpets and flugelhorns:
Magnus Ekholm (only for the 11/12/16 concert)
Bo Strandberg
Frank Brohdahl
Dan Johansson
Jacek Onuszkiewicz

Trombones:
Peter Dahlgren
Arvid Ingberg (also euphonium)
Christine Carlsson
Urban Widborg (only for the 11/12/16 concert)
Bjorn Hangsel - bass trombone, flute

Rhythm section:
Adam Forkelid - piano
Petter Olofsson - acoustic bass
E.J. Strickland - drums

Trombonist and composer Marshall Gilkes came to love jazz and his instrument through his father who was a trombonist and conductor of the Air Force Band. The Gilkes family traveled the world going to Air Force bases and concert halls while the budding trombonist began to absorb all types of music. After studying at The Juilliard School in New York City, Gilkes settled there and played in dozens of ensembles as well as recording several small group albums between 2004-2012.  He's also a prominent member of the trombone section in the Maria Schneider Orchestra and tours with the Edmar Castañeda Trio. 

In 2019, he played with the WDR Big Band based in Köln (Cologne) Germany for a concert with vocalist Patty Austin. The following year, he came back to play in the band behind guitarist Mike Stern and was invited to be a full-time member.  During his tenure that lasted until 2013, Gilkes played numerous concerts throughout Europe.  He was invited back one month later to play a "farewell concert" of his original music and the resulting album, "Köln", was issued in 2015

"Always Forward" (Alternate Sides Records/WDR) reunites Gilkes with the WDR Big Band and was recorded over three days in early September 2017. As with the previous album, the program features mostly originals compositions and all arrangements by the trombonist (he also conducts the band) plus two standards.  In one instance, the 19-member ensemble dances its way through Cole Porter's "Easy To Love."  The melody is introduced by the brass sections (note how drummer Hans Dekker accentuates the melody). The song then is handed over to the reeds before alto saxophonist Johan Hörlen steps out for a delightful solo. The other is the oft-recorded "Portrait of Jennie", the title song of a 1948 movie that has been covered by Nat "King" Cole, Clifford Brown, Freddie Hubbard, Wes Montgomery, and many, many others. Here it serves as a showcase for a classically inspired opening plus an impressive flugelhorn solo from Andy Haderer.  

I imagine just how much fun it must have been for Gilkes to stand in front of the band but even more fun to solo on four of the 10 tracks. The album opens with the powerful and playful  "Puddle Jumping"; Gilkes' solo is a tour-de-force, blending the sweeter sounds of the 'bone with long flowing lines and octave leaps, "blats" and deep low notes. He returns for the beautiful "Morning Smiles."  This piece, composed for his infant son, would not be out of place on a Maria Schneider album. The lovely flute-dominated opening and the handsome trombone melody lead the listener into a wonderland of sounds. The elegant use of reeds and brass in the background before the rhythm section enters is simply stunning while the solo will make you sit forward and follow the musician all the way through.

The centerpiece of the album is the three-part "Denali Suite."  Not surprisingly, the song is inspired by a trip Gilkes and his wife took to Alaska for a wedding followed by a vacation.  The composer states in the liner notes that the "melody in the middle section is one  came up with while on the trip.." On his return home, he fleshed out the melody and orchestration, adding the opening and closing sections.  "Part II", in particular, is a thoughtful ballad played mostly by the brass yet, when the rhythm section comes in, the flutes are utilized to introduce the piano solo.

Photo: All About Jazz

The Maria Schneider influence is loud and clear on the title song which is also the album closer. Again, Gilkes is the only soloist but he gives the different sections various parts of the melody.  On many of the songs, the brass takes the lead but here it is a subtle blend that moves the song forward. Gilkes begins his solo with only bassist John Goldsby offering support in the form of counterpoint. The drums and piano enter next then the reeds and the brass. All the while, the leader builds a dynamic, emotionally rich solo, one that dances even as it sings. The brass and reeds reintroduce the opening melody before the trombonist reenters for a quick recapitulation of his opening theme.  The song closes as the trombone fades yet the piece does not resolve; it is left "open to remind all of us to think and act "always forward!"

Marshall Gilkes has matured before our very ears. He has long proven to be a dynamic and thoughtful soloist. Yet, these two albums with the WDR Big Band has shown us that he is a splendid orchestrator, arranger, and composer. "Always Forward" may be his credo In this time of global indecision and a turn away from democratic principles, this music makes a great case for art informing people, teaching people, even while entertaining people.

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

Enjoy this lovely ballad:



Personnel:

Marshall Gilkes composer, arranger, conductor, trombone

WDR Big Band Personnel 
Johan Hörlén-alto saxophone/flute/clarinet 
Karolina Strassmayer-alto saxophone/flute/clarinet 
Olivier Peters-tenor saxophone/clarinet 
Paul Heller-tenor saxophone/clarinet/bass clarinet 
Jens Neufang-baritone saxophone/bass clarinet 

Ludwig Nuss-trombone 
Shannon Barnett-trombone 
Andy Hunter-trombone 
Mattis Cederberg-bass trombone 

Andy Haderer-trumpet/flugelhorn 
Rob Bruynen-trumpet/flugelhorn 
Lorenzo Ludemann trumpet/flugelhorn 
Ruud Breuls- trumpet/flugelhorn 
John Marshall-trumpet/flugelhorn 

Simon Seidl-piano 
Paul Shigihara-guitar 
John Goldsby-bass 
Hans Dekker-drums

Winter Heat

For his 8th recording as a leader, alto saxophonist and composer Rudresh Mahanthappa look back and forward at the same time.  "Bird Calls" (ACT Music) takes its musical cues from Charlie Parker (his daring playing, his willingness to experiment and his often dazzling technique) and adds the myriad influences the leader has encountered in the years since he first started playing.  The group Mahanthappa has assembled for this project plays with grace and fire; bassist François Moutin and drummer Rudy Royston are long-time acquaintances and musical cohorts while the saxophonist started playing with pianist Matt Mitchell 4 years ago (first as a member of guitarist Rez Abbasi's band, then with Mahanthappa and Bunky Green in the "Apex" band). The secret weapon in this ensemble is the 20-year old trumpeter Adam O'Farrill (son of pianist/bandleader Arturo O'Farrill) - his cool, confident, musicianship is a fine counterpoint to the fiery work of Mahanthappa. The music does not ignore the leader's Asian-Indian heritage - in fact, the opening track of the CD, "Bird Calls #1", serves as an overture and one can clearly hear echoes of the shehnai, the double-reed instrument in the music of India, Pakistan, Bangladesh and Iran.

Besides the 5 short "Bird Calls" (which, besides the group opener, include a sax-trumpet duet plus solo pieces for saxophone, bass and piano, each serving as a lead-in to a longer quintet piece), there are 8 pieces for the group.  Mahanthappa, who composed the entire program, claims to base each track off a Charlie Parker composition but I would not listen for direct parallels in the melody.  Instead, concentrate on the tremendous work of the rhythm section who are the engine of this music, check out Mitchell's splendid support and solos, and listen to how each melody creates a fertile garden for the soloists.  "On The DL" has the sound of a Mahavishnu Orchestra track (play it loud, you'll see), especially in the melody line, the leader's incendiary solo and Royston's poly-rhythythmic attack.  The trance-like quality of the pianist's lines lead to a stunning solo until the pace slows for O'Farrill's softer, more impressionistic spotlight.  His circular lines pick up in intensity and the rhythm section guides the band back in. The interaction of saxophone and trumpet on "Chillin'" has a folk-blues feel, especially in the call-and-response of the theme.  Mitchell's ringing chords, Moutin's throbbing bass and Royston's majestic drum work push the piece forward (there are moments when the chord pattern beneath the solos sounds like Weather Report's "Birdland.")

Mahanthappa's visceral solos, with his full yet sharp tone, often have a percussive feel (not unlike solos by his contemporary, Miguel Zenón) as if influenced by a tabla player's attack.  Still, on a ballad like "Sure Why Not", with its strong hint of the blues in the melody, he displays an emotional richness and sweeter tones.  The interaction of the trumpet and piano, echoing the saxophone lines in "Gopuram", is a pleasing touch while the intense rhythm section work during the solos serves as kindling for the improvisers.  The "funky bop" of "Maybe Later", which builds off of Royston's rousing drum work and utilizes Moutin's forceful bass lines as its foundation, is exhilarating.

"Bird Calls" starts out by making the listener sit up and listen with its powerful groove; even the final track, "Man, Thanks for Coming", puts one on the edge of his chair for 1:38.  Do not play this CD to relax but to set your mind on fire.  Rudresh Mahanthappa, who is known for his great musicianship and for getting the most out of his compositions and cohorts, has created what, arguably, may be his finest ensemble and music.  Catch them in person if you can - this music will rock your soul.  For more information, go to rudreshm.com.

Give a listen to "Chillin'" and dig the fire! Also, Rudresh Mahanthappa is the first guest on the newly-invigorated "The Jazz Session" - it's great to have Jason Crane back and you can hear the podcast by clicking on the link at the top right of this blog.

Trombonist Marshall Gilkes, best known for his work with the Maria Schneider Orchestra and the Edmar Castaneda, has just issued his 4th CD as a leader and first with a large ensemble.  "Köln" (Alternate Side Records) is the culmination of his 4 years as a member of the WDR Big Band (Westdeutscher Rudfunk).  Based in Cologne, Germany, the 18-piece group works and records with many visiting artists as well as working with young people. Their discography includes collaborations with guitarist Hiram Bullock, vocalist Fay Classen, Maceo Parker, the New York Voices and many others.

The studio recording took place in January 2014. Gilkes's contract had expired the previous month but he had been invited back for a concert featuring his original works and an arrangement of Harold Arlen/Johnny Mercer's "My Shining Hour."  Appropriately, it's that tune which opens the program, a sprightly arrangement that features Gilkes as its only soloist.  He returns once again on the lovely performance of "Edenberry", a ballad that was the title cut of his 2005 debut album. The "Introduction" is an arrangement for brass chorale then Gilkes steps up to lead the entire band through a handsome reading of the piece. Again, he is the only soloist but the arrangement shows off his talent for creating compelling voices for the reeds and brass sections. Gilkes returns to solo on the final track, a smart new arrangement of "Downtime", a track that was a highlight of his 2012 "Sound Stories" recording.  It's fun to hear how the sections support and expand his melodic expedition.

Gilkes does not play on the rest of the tracks but creates impressive pieces that spotlight different members of the Big Band.  Pianist Frank Chastenier and the flugelhorn of John Marshall are featured on the prayer-like "Vespers" yet the section work also stands out.  "4711 Special" has a strong melody but builds smartly from the playful rhythm work of the pianist, bassist John Goldsby and drummer Hans Dekker. Pleasing solos by trombonist Ludwig Nuss and alto saxophonist Johan Hörlen add spice to the piece named for the famous Original Eau de Cologne from the region.  Goldsby is front-and-center on the bluesy (strong hints of Thad Jones in the melody) "Plant Bassed" that also features a stand-out trumpet solo by special guest and frequent collaborator Michael Rodriguez (who appeared on the trombonist's 2008 "Lost Words"). Rodriguez solos on flugelhorn on the lovely "Mary Louise", named for and dedicated to Gilkes' mother.  The brilliant sounds of the brass propel the melody to its soft finish, a short, sweet, second flugelhorn solo. "End in Sight", which also appeared on "Lost Words", is actually a piece from the composer's days at Juilliard  Here, it opens with the horn intro from the earlier recording but soon transform into an animated work where each section contributes to the brightness.  When the rhythm section kicks into a higher gear, the piece becomes a spotlight for an exciting alto saxophone solo from Karolina Strassmeyer followed by a vivacious turn from tenor saxophonist Paul Heller.

The old adage says there is usually "strength in numbers" and the wonderful section work on "Köln" bears witness to that.  This recording not only celebrates the music and arranging of Marshall Gilkes but also his relationship with the WDR Big Band.  There is a great amount of joy in this music, strong emotions abound, and the ensemble plays with gusto as well as sensitivity. Those who love 21st Century Big Band music will enjoy this gem of a recording. For more information, go to marshallgilkes.com.

Here's the opening track: