Rush Hours, Part 1 - Nonet & Octet

 Lots of music yet so little time –– here begins a series of shorter reviews of the more exciting releases of the past several months. 

Commissioned by SF Jazz and the Hewlett Foundation, Miguel Zenón composed "Golden City" for sextet and a three-member trombone section (two of whom double on other brass - see below).  A musical history of San Francisco, the piece made it debut at SF Jazz in 2022 and was recorded a year later for the composer's Miel Music label.  Zenón makes sure each member of the ensemble has a feature, often at the beginning of the track. The album opens "Sacred Land" – the leader's sweet alto tone plays the intro alone before the brass enter for support and then the whole band arrives.  The story moves quickly to "Rush" (yes, the 1800s Gold Rush) to "Acts of Exclusion" (the 1862 law that curtailed the immigration of Chinese works) to "9066" (FDR's Executive Order that authorized the interment of Japanese Americans, the majority of who were already American Citizens).  One can sense the urgency and poignancy in the melodies and musicianship.

Photo: Herminio Rodriguez

Not only is the writing excellent but the performances stand out. Drummer Dan Weiss stands out as a master framer of the pieces and as a melodic presence. Pianist Matt Mitchell is the other "builder" of the foundation; along with bassist Chris Tordini, the two give the "front line" great support throughout. Percussionist Daniel Diaz creates rhythmical excitement but also adds colors that are necessary to the success of the music. Guitarist Miles Okazaki is solid in support and his ensemble work plus his solos stand out.  The three brass players – Diego Urcola, Alan Ferber, and Jacob Garchik – truly fill out the sound thanks to the splendid arrangements.  Perhaps the best part of this project is how Zenón gives so much room to the band that when his "voice" appears, his playing delights in flights of joy, power, sweetness, all while being highly melodic.

There's so much to like on "Golden City" from how Miguel Zenón tells the sprawling story to how the musicians give so much life and heart to the music to the wonderful playing over the course of 69 minutes.  Highly recommended! 

For more information, go to https://miguelzenon.com/. To hear more and to buy the music, go to  https://miguelzenon.bandcamp.com/album/golden-city. 

Listen to "Acts of Exclusion":

Personnel:

Miguel Zenón - alto saxophone
Matt Mitchell - piano
Chris Tordini - bass
Dan Weiss - drums
Miles Okazaki - guitar
Daniel Díaz - congas, tripandero and percussion
Diego Urcola - trumpet and valve trombone
Alan Ferber - trombone 
Jacob Garchik - tuba and trombone

Trombonist, composer, and band(s)leader Ryan Keberle is quite busy but he must have jumped at the opportunity to make this album for Marc Free and Posi-Tone Records. He's been doing a lot of smaller group work with Reverso (trio), Collectiv Do Brasil (quartet), and Catharsis (now a quintet) but it's been 14 years since his last Double Quartet album. "Bright Moments" is his first album as a leader on the label and, arguably, it's one of the 10 best Marc Free has ever released. Why?  Because Keberle had the opportunity to arrange the songs, all originals, to utilize the talents of a brilliant rhythm section – pianist Art Hirahara, bassist Boris Kozlov, and drummer Rudy Royston –  and have his melodies "sung" by the great "voices" of Pat Cornelius (reeds, flute), Diego Rivera (tenor sax, flute), Alex Norris (trumpet, flugelhorn), and Michael Dease (baritone sax).  All but one of the songs have appeared on previous albums – the new versions give both the composer and the audience a different perspective.

You can hear the influence of Keberle's immersion into Brazilian music on "Edu" – the music rolls forward on the power of the drums and the deep baritone sounds. The expansive melody is shared by the reeds and brass before Norris steps out for a handsome solo. "Despite the Dream", which the trombonist composed for Catharsis's 2020 "The Hope I Hold". This powerful ballad opens up in the middle as the tempo speeds up and short solos lines are created by Cornelius (alto sax) and Norris. Later, Cornelius and Dease (whose bari work is mighty impressive) take longer solos. "Sisters of Mine" was originally recorded by Reverso. Here, the tribute to the composer's two sibs serves as a vehicle for a lovely tenor solo from Rivera. To get there, the melody is presented by Cornelius (soprano sax), Norris, and Keberle (such a lovely tone).  Melody sharing abounds on this album.  The bass clarinet (Cornelius), trumpet, and flutes (Rivera and Cornelius) each introduce the melody on "All Ears", which is repeated twice without a solo. Yet, the piece is so satisfying because of how all the voices are utilized to make the piece so successful.

Photo" Anna Yatskevich

"Bright Moments" closes with the oldest piece in the collection. "When I'm Away" is from 2006 and was on the first of Keberle's two Double Quartet albums.  The arrangement is similar but the 2024 "voices" includes reeds whereas the older take has a four-piece brass section. Either way, it's a beautiful piece of music and features an excellent from the leader, brilliant backing from the great rhythm section.

If you're a Ryan Keberle fan, this is yet another gem in his growing discography (plus there's a new Catharsis album coming in October). Great music played by a great band – "Bright Moments" indeed!

For more information, go to https://ryankeberle.com/.  To hear more and purchase the album, go to https://ryankeberlejazz.bandcamp.com/album/bright-moments. 

Here's the opening track, "Quintessence":

Personnel:

Ryan Keberle - trombone
Alex Norris - trumpet; flugelhorn 
Michael Dease - baritone saxophone
Patrick Cornelius - alto saxophone, soprano saxophone, bass clarinet, and alto flute
Diego Rivera - tenor saxophone; flute 
Art Hirahara - piano
Boris Kozlov - bass
Rudy Royston - drums

Saxophones A'Plenty (Part One)

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

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

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

Photo: Alexx Duvall

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

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

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

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

Here's the title track:

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

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

Photo: Anna Yatskevich

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

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

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

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

Dive into "The Imitation Game":

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

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

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

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

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

Listen closely to "The Children of Uvalde":

Playing, Praying, & Time Passages

Two very different projects are reviewed below; initially, what is interesting is how both projects dealt with time. 

Over the course of 2018-9, pianist, composer, and educator Noah Baerman spent a lot of time and energy putting together a project to honor his former student and collaborator Claire Randall who died in 2016 as a result of domestic violence.  That project, "Love Right", is a 17-song program featuring dozens of vocalists and musicians with as many styles of music as songs.  At the final recording session in late September 2019, producer Baerman found himself with two hours of unused studio time.  He and long-time collaborator, bassist Henry Lugo, put together a seven-song program; 90 minutes later, they had "Alter Ego" (RMI Records). 

What stands out in this music is the obvious communication between the two friends and how the music makes one feel so comfortable and never bored.  It's a fascinating septet of songs ranging from the opening "My Romance" (from Richard Rodgers and Lorenzo Hart) to the title track (composed by one of Baerman's influences, the late James Williams) to two pieces associated with Duke Ellington (Juan Tizol's "Caravan" and the great bandleader's "Prelude to a Kiss").  There is no feeling of being rushed or any intent to dazzle the listener with show of technical bravado––no, these songs make one listen closely, to absorb the handsome melodies and/or tap your feet. One. cam sense the duo is stretching out, having fun, shaking off the stress caused by the scope and intense emotions of the "Love Right" project.  

One can hear the blues influence of another one of the pianist's influences, Phineas Newborn, Jr. in pieces such as "Prelude..." and the funky take of Stevie Wonder's "Creepin'"(listen below).  Lugo, who has developed over the past decade into an excellent and melodic soloist, is solid and playful throughout (his "dancing" solo on "My Romance" is a highlight). 

The program closes with Tom Waits "I Want You" (a piece composed in 1971 but not released for over a decade) and it'a a delightful choice.  The music blends gospel and "pop" influences giving the duo the opportunity to expand upon the original ballad, imbuing the music with a hopeful feel.

"Alter Ego" is a lovely portrait of two friends doing what they love to do, playing music in the moment, and hoping to soothe frayed souls.  Noah Baerman and Henry Lugo have created a little gem that sounds good any time of day, any day of the year.  

For more information and to purchase the album, go to 

https://noahbaerman.bandcamp.com/album/alter-ego. 

Hear the duo go "Creepin'":

Over the three-plus decades of trumpeter and composer Dave Douglas's career, he has led several notable ensembles ranging from the Tiny Bell Trio to Charms of the Night Sky to the "Magic Triangle" quartet to Keystone to the first Quintet (including Donny McCaslin, Uri Caine, James Genus, and Clarence Penn) to Brass Ecstasy to Sound Prints (the quintet he co-leads with Joe Lovano. In 2011, Douglas organized a new Quintet with saxophonist Jon Irabagon, pianist Matt Mitchell, bassist Linda May Han Oh, and drummer Rudy Royston when he wrote and arranged the music for "Be Still", a group of hymns and folk songs the trumpeter played for his mother's funeral (the resulting album featured the vocals of Aoife O'Donovan). In 2015, the Quintet released "Brazen Heart", a collection of originals tunes and two hymns dedicated to the trumpeter's older brother Damon who had passed earlier that year. 

While creating the music that became the album "Secular Psalms" (released in April of this year), Douglas was also reading the 15 Psalms that make up "Songs of Ascents", a series of prayers sung by Jewish pilgrims on their way to the temple in Jerusalem on the three "Pilgrimage" holidays (Passover, Shavuot, and Sukkot).  The trumpeter was so moved that he began writing a new program of music that he thought would be perfect for the new Quintet (now a decade old). Once he had all the music, the world was in the early stages of the Pandemic. So, starting in May of 2020, Douglas recorded all his parts (including solos); he then sent the pieces to Irabagon (tenor, soprano, and soprillo saxes) for his contributions. From there, the music went to pianist Mitchell, then to Ms. Oh for her bass parts, and to Royston for his percussive touches. Once the drummer finished, the tapes returned to Douglas and engineer Tyler McDiarmid (who also mixed and mastered the project)

It's amazing how alive and collaborative this album sounds. For the project, titled "Songs of Ascent: Book 1 – Degrees" (Greenleaf Music), Douglas has created such splendid melodies while his musical partners on these journeys play with such sensitivity and intelligence that the music jumps out of the speakers (as if the band was in the same studio and not separated by distance and time––the project took over 12 months to complete).  Listen below to "Peace Within Your Walls"; note the well-constructed melody, the brilliant interactions of the trumpet and tenor saxophone, and listen to how the rhythm section is supportive and inventive. 

Photo: John Abbott

And the music has fire as well. The album opener, "Never Let Me Go" (the one composition not based on one of the Psalms), introduces the inspired interaction that comes from the musicians being comfortable with each and willing to challenge each other. "A Fowler's Snare" smokes from the opening note, hinting at being a free-for-all with a rollicking melody played by everyone save for Royston.  Both Douglas and Irabagon solo as the rhythm section threatens to fall apart. Ms. Oh's bass solo pulls the music together for a moment before launches back into the theme. "Lift Up My Eyes" moves from its "playing a scale" opening into a twisting and roiling exhibition of power. The final track, "Mouths Full of Joy", has a similar opening (listen to the fiery drumming), before the leader steps out for a hard-edged solo supported by Mitchell's angular piano chords. Irabagon's tenor spot is playful as Royston takes apart the rhythm.  Mitchell steps out next as the drums seem to explode beneath him while Ms. Oh keeps the the rhythm section from flying away. 

"Songs of Ascent" Book 1 – Degrees" stands out as yet another musical triumph for Dave Douglas. Even if you don't know the story behind the recording, this project is so alive, so musical, so collaborative, so fascinating.  Besides the leader, every other member of the Quintet is a leader in her and his right yet they come together as a coherent musical unit, supporting and stimulating each other. The Dave Douglas Quintet will be touring Europe in early 2023 and one hopes those live shows are archived for all of us to hear the five musicians sound playing this music together on stage. In the meantime, find this recording and dig in.

For more information, go to https://davedouglas.com/. To hear more and purchase the album, go to https://davedouglas.bandcamp.com/album/songs-of-ascent-book-1-degrees. 

Hear "Peace Within Your Walls":

There is a "Book 2 - Steps", eight more Douglas originals written for the Quintet and the music is just as impressive. However, the only way to listen to the album is to become a subscriber to Greenleaf Music. There are three tiers to choose ranging from $75 to $175–each level gives you access to all the recordings on the label through Bandcamp.com as well as special "live sets", alternate takes, and unreleased material.  The more you spend the more perks you get.  There is also access to monthly "Subscribers Sessions", right now on ZOOM only, in which you can meet and interact with musicians who record for the label and special segments of Douglas's "A Noise From The Deep" podcast now in its 10th year of interviews. 

As a subscriber myself, it's well worth the investment–you get access to some of the most fascinating music being released today. To find out more, go to https://greenleafmusic.com/subscribe/.   

Mario Pavone "Legacy Stories"

Photo: Steve Sussman

As these words appear on the page, it's five weeks since Mario Pavone passed (May 15, 2021) after a multi-year, multi-episode, fight with cancer.  Bassist, composer, and educator (he was closely involved with the Litchfield Jazz Camp), he had a long career working alongside creative artists, most notably Bill Dixon, Anthony Braxton, Paul Bley, and Thomas Chapin. After Chapin's death in 1998, Mr. Pavone became a leader – he had already begun recording his own music back in 1979 on labels such as Alacra, New World/Crosscurrents, and Knitting Factory. From 2002-2017, the bassist recorded 13 albums (as a leader or co-leader for his good friend Michael Musillami's Playscape Recordings; he also did the artwork for many of the label's releases. When queried about his writing, he told me his pieces were "composed from the bass upwards" and, when you listen closely, you hear how the rhythm section always participates in the melody.  His music is propulsive, even fierce at times but always with a melodic center.

Last time we spoke in person (three years ago at Firehouse 12 in New Haven, CT –– he was a concert attendee not a player), he was thrilled about his latest Trio.  He loved writing for and playing alongside pianist Matt Mitchell and drummer Tyshawn Sorey.  He felt that they brought the ferocity and emotional balance that his new compositions called for.  They first recorded as a unit on 2015's "Blue Dialect" (Clean Feed Records) and followed that with 2019's "Philosophy" (Clean Feed).

2020 was a very tough year for the bassist. His cancer had returned plus his 23-year old granddaughter Isabella died. Mr. Pavone poured himself into his music writing enough material for two albums, two groups.  In late February, he went into the studio with his son Michael (guitar), Mike DiRubbo (alto saxophone), and Michael Sarin (drummer who was the third member of the Thomas Chapin Trio) and recorded an album for Clean Feed ("Isabella", to be released later this month). Four weeks after that session (3/25-26/21), he went into the studio with Mitchell, Sorey, and trumpeter/ arranger Dave Ballou (who served as arranger for "Isabella" as well) and recorded "Blue Vertical" (Out of Your Heads Records).  Credited to the Dialect Trio + 1, the nine-song program sounds full of life, jammed with melodies, rhythmic twists-and-turns, powerful solos, and Mr. Pavone's trademark propulsive. forward motion. He never looked back, making the music for the time and the future.

Photo: Maurice D. Robertson

The addition of Ballou's excellent trumpet work to the Trio fired the composer's imagination. Pieces such as the opener "Twardzik" and "Good Treble" show his versatility and wit; the former features a delightful solo, with notes tumbling out of the horn and onto the rumbling rhythm section while the latter dances ahead on a Latin-tinged rhythm, the muted trumpet locking in with the piano for the melody. Ballou's solo over the jagged rhythm exudes swagger and a New Orleans-like frisson opening the door for Mitchell's rippling lines over Sorey's mighty drums.  "Isabella" shows the bassist at his best, his counterpoint to the melody setting the tenor for the solos.  The pianist's impressionistic lines connect with the bass lines, creating a duet that is ethereal.  Ballou's muted trumpet joins that conversation, his long tones supported by the whispering cymbals. Sorey's whip-snapping drums at the onset of "Legacy Stories" set the pace for an exciting performance (note how the bass and drums fall into a "swing" rhythm right before the piano solo).

Photo: Victoria Lindsey

The album closes with "Face Music", the composer's percussive plucked notes and the tolling piano chords wrapping around the somber trumpet melody.  The music moves slowly, tentatively but with purpose until Sorey's rapid-fire high-hat dance pushes the trumpet solo higher and, eventually, the piano and bass join the mix.  The piece closes on Mitchell's abrupt note with the expectation that there was more to be said.  

Mario Pavone lives on in his music and the fact that people will continue to explore his oeuvre, perhaps even recording pieces from his repertoire, gives this writer great hope.  If you are not familiar with his music, know that from his earliest recordings as a leader to "Blue Vertical", Mario Pavone led from the heart.  

For more information, go to www.mariopavone.com.  To hear more and purchase the new album, go to https://outofyourheadrecords.bandcamp.com/album/blue-vertical. 

Hear "Philosophy Series":

Drums, Chanting, Vodou, & Ches Smith

Photo: Mimi Chakarova

When drummer, percussionist, and composer Ches Smith lived in the San Francisco Bay Area in 2000, one of his gigs was to accompany a Haitian dance class. He soon moved to NewYork City where he began to play and record with guitarists Mary Halvorson, Nels Cline, and Marc Ribot plus saxophonists Tim Berne, John Zorn, and Darius Jones.  Smith also began to immerse himself in Haitian music, picking up several mentors along the way and began to incorporate the various rhythms in his music.  In 2015, he went into the studio with pianist Matt Mitchell and master percussionists Daniel Brevil and Markus Schwartz to record an album of instrumentals and chants under the monicker of We All Break.  Issued only on Bandcamp, the album received very little publicity.

We All Break has expanded to twice its original size with the addition of vocalist Sirene Dantor Rene, acoustic bassist Nick Dunston, drummer/ vocalist Fanfan Jean-Guy Rene, and alto saxophonist Miguel Zenón.  The octet's new album, "Path of Seven Colors" (Pyroclastic Records), expands upon the ideas of the debut album (included at no extra cost if you purchase the CD –– you should do that because it's one of the loveliest packages on the market today).  One can know hear how Smith and company are able to be more melodic and more experimental.  From the opening minutes of the first track "Woule Poe Mwen" ("Roll it for Me") when the hand percussion and rolling piano lines usher in the lead singer and vocal responses, you hear the more traditional Haitian music. Whereas the first voice you hear on the following track "Here's The Light" is Miguel Zenon's expressive alto saxophone. The male and female leads tell their story with the choir gently ululating in response.  The saxophonist's expansive solo over the poly-rhythmic piano, bass, and drums not only channels the voices but also the spirit of traditional music

Photo: YouTube

Four of the eight tracks are over nine minutes and are episodic in that they incorporate several melodies and rhythms. "Leaves Arrive" (9:39) with Ms. Dantour leading the chorus in a chant praising the great forest and the spirit over minimalist accompaniment.  The rhythm picks up led by the voices and clapping hands. When the voices depart, Zenón and Dunston lead the melody in; both solo over the powerful drumming aided by Mitchell's percussive piano lines. "Lord of Healing" (13:36) is the longest track. Mitchell quietly leads in the melody, Daniel Brevil takes over, first singing by himself and then joined by the choir.  There's a long section for solos –– Mitchell and Zenón create impressive improvisations over the drums and bass (Dunston is described in the liner notes as the "fifth drummer" – he's all that and a melodic powerhouse as well) and the music becomes more exciting and intense. 

 

Daniel Brevil and Ches Smith

The music rolls forward throughout the album. The program is a delightful hybrid, asking the listener to accept the traditional songs with the modern themes of Ches Smith's original music.  And it works very well.  The vocals, with deep roots in the tradition,  help to "ground" the music, giving the musicians the freedom to explore. When you listen to the title track, the piano opening is modern and angular but when the drums enter, the music, with its blend of ancient and contemporary, feels timeless (Mitchell's solo work is stunning throughout).  

"Path of Seven Colors" is an absorbing, exciting, musical adventure.  Blending the spiritual and community aspects of Vodou music with Black American music and concepts Ches Smith & We All Break has surprised the listener and soothed him/her at the same time.  Go, get lost in the amazing aural adventure.

For more information about the leader, go to www.chessmith.com.  Bobby Sanabria just published an excellent overview and has a link to the documentary film by Mimi Chakarova on the WBGO-FM website –– go to www.wbgo.org/music/2021-06-09/ches-smith-and-we-all-break-meld-haitian-vodou-and-jazz-on-path-of-seven-colors. 

Hear "Here's the Light":

Sounds Of Change, Of Life, Of Dedication, Of "Stretch Goals"

Photo: Anna Yatskevich

Trumpeter, composer, and podcaster Dave Douglas has truly big ears.  Over a career that spans nearly three decades, he has played with and recorded numerous ensembles of all sizes, making music that can be very political in nature, exploratory, soulful, classical, and highly interactive.  He started his own label, Greenleaf Music, in 2005 not just for his own different projects  but also to spotlight work by a diverse group of contemporary ranging from Donny McCaslin to Linda May Han Oh to Rudy Royston toRyan Keberle & Catharsis to Greg Ward.  His blog, "A Noise From The Deep", is notable for his in-depth interviews with artists of all stripes within the contemporary music scene.

The majority of his albums feature Douglas with younger musicians. However, his latest project, "Devotion", features the trumpeter in an interchange of musical ideas with pianist Uri Caine (a long-time compatriot) and master drummer Andrew Cyrille.  Caine and Douglas have a long-running duo but adding Cyrille takes the music in many fascinating directions. There's the tango-like "False Allegiances" - inspired by Carla Bley, the trumpet lines snake through the rich piano accompaniment and the quiet yet pounding drum part.  Douglas, who claims Mary Lou Willams as a major influence, composed "Rose and Thorn" with the great pianist and composer in mind.  The dancing rhythms created by Caine and, especially, Cyrille and exciting and fun.  The piano solo goes from boogie-woogie to gospel and beyond.

The lovely ballad,"We Pray" is inspired by Dizzy Gillespie. With its handsome trumpet melody, rich piano chords, and the soft brush-on-cymbals and snare work, the music pulls the listener in.  The muted trumpet and gentle brush work at the onset of "D'Andrea" (dedicated to pianist Franco D'Andrea) gives way to a bluesy waltz.  Caine's solo is a delight while Cyrille's soft-shoe accompaniment is a witty touch.

Photo: Marek Lasarki

Andrew Cyrille, an active participant in the creative music scene, remains creative and adventurous at the age of 79 (he turns 80 in November of this year).  His delightfully subtle style shines throughout the album, even when he is playing as soft as a whisper.  Tune in to "Prefontaine" (inspired by long-distance runner Steve Prefonataine who passed tragically at the age of 24). Listen how the drummer interacts with Caine during the trumpet solo, the piano's percussive riffs flowed by rapid-fire runs echoed by the cymbals and snare.

The title track, a hymn composed by Alexander Johnson (1791-1832) in 1816, closes the album.  The musicians respect the original melody but also open it up to interpretation.  Why not? That's what they do all throughout "Devotion".  Dave Douglas, Uri Caine, and Andrew Cyrille are master musicians and communicators.  We are the beneficiaries of their hard work, interactions, and, yes, devotion.

For more information, go to greenleafmusic.com.

Here's one of the delightful tracks:

Ben Kono, composer, reed player, is a native of Vermont who has been based in New York City for two decades.  One of the more versatile players on the contemporary - he plays tenor and soprano saxophones, clarinets, flutes, oboe plus English Horn - has worked with and recorded with Darcy James Argue's Secret Society, Joseph Phillips' Numinous, and the John Hollenbeck Large Ensemble.  Because of his ability to play so many different instruments, he has played in the "pit orchestra" or "pit band" in numerous Broadway productions.

Kono also has a quintet to play his original music.  An earlier version of the group (guitarist Pete McCann, pianist Henry Hey, bassist John Hébert, and drummer John Hollenbeck) is featured on Kono's 2011 debut recording "Crossing" (1918 Records), an album that received great praise (including my review - click here) not just for the musicianship but also for quality of the compositions.  There are several overtly political songs but also pieces dedicated to family and the many places Kono had visited as a child and as a young adult.

"Don't Blink" (self-released), Kono's second album, had its beginnings in 2011 from a remark that the composer's daughter made about a photo he took as a youngster on a trip to Glacier National Park in Montana.  After doing research, Kono realized that the ice formations he had photographed were starting to disappear due to climate change.  He began to compose pieces around environmental themes and recorded them in February 2015 with his quintet (at that time, the group included McCann (acoustic and electric guitars), Hey (piano, Fender Rhodes), Kermit Driscoll (acoustic and electric basses), and Satoshi Takeishi (drums, percussion). Kono could not find a label to release the album and it languished until this year when he released the album himself.

The 15 tracks (five are one minute long or less) cover a wide swath of topics, from "Spirit Animals to Iron Eyes Cody to the extinction of many species including the dodo and the passenger pigeon plus deforestation. The song titles and explanations take a somber approach to the present as well as the possibilities of a future while the music roars, shimmers, shudders, dances, and moves inward. Pieces such as "Last Flight of the Dodo" and "River of Fire" have a tremendous urgency thanks to the insistent percussion and the powerful bass lines. "River..." has a stunning guitar solo plus Kono's bass clarinet-through-an-amplifier sound that emulates Jimi Hendrix.

"Tipping Point" has a hard bop feel: the song, inspired by Charles Keeling (1928-2005) the American scientist who first reported on the rise of CO2 levels in the atmosphere....in 1958! Te song would be out of place on a Blue Note Records album from the mid-1960s i.e. Wayne Shorter or Herbie Hancock.  Kono's powerful tenor leads the way and takes in a free-for-all with the band (especially McCann and Hey) near the close of the piece.  Meanwhile, the short "Spirit Animal" pieces are dedicated to the marmot, the condor, leviathan (whale), and beluga - three of the four are played on English Horn (double-reed woodwind) with "Leviathan" on bass clarinet.

The album closes with hope in the form of "Renewal."  McCann's acoustic guitar supports Hey's piano work with Kono playing the theme on flute. At the close of the piece, one hears a tape of the leader's daughter Sami sings the simple melody that served as the impetus for the composition.

Yes, the song titles carry a power of their own. But, even without knowing the inspiration for each song, "Don't Blink" is filled with attractive melodies, impressive solos, fine interaction, and a mature yet adventurous attitude of on the part of Ben Kono and the ensemble. There are many of us who believe that the half-steps forward and full steps backward taken by the last two Presidential administrations (with the support of the Senate and the House of Representatives) have not come close to solving the issues inherent in the song titles.  But, listener, keep an open mind when approaching this album - the rewards are many.

For more information, go to dontblinkmusic.org.  If you purchase the physical through Ben Kono's Bandcamp page - benkono.bandcamp.com - 50% of purchase price will be donated to Riverkeeper.org and the Sierra Club. 

Here's a track to pique your interest:

Photo: John Rogers

When one listens to as much music as I do, you begin to notice when certain musicians crop up on various albums.  For the past few years, one of those musicians is pianist and keyboard player Matt Mitchell.  Currently, he's a member of Tim Berne's Snake Oil, Jonathan Finlayson's Sicilian Defense, and Anna Webber's Simple Trio plus he's recorded with Steve Coleman's Natal Eclipse, Rudresh Mahanthappa's Bird Calls, the Dave Douglas Quintet, Mario Pavone's Blue Dialects Trio, and a slew more.  Not only does Mitchell have "big ears", he's also an amazing improviser and a fascinating composer.

His latest recorded adventure, "Phalanx Ambassadors", is his fourth album for Pi Recordings.  It's a quintet adventure with Mitchell playing piano, Mellotron, and Prophet-6 synthesizer joined by Miles Okazaki (acoustic and electric guitars), Patricia Brennan (vibraphone, marimba), Kim Cass (acoustic and electric basses), and Kate Gentile (drums, percussion, album art and layout).  The seven-song program combines five longer pieces (all over five minutes) with two very short works ("Taut Pry" and "Zoom Romp"). The former (1:45) has a 1980s British "prog-rock" sound (think Hatfield & The North sans vocals) while the latter (1:26) is a big slab of funk mixed with a strong melody line and raucous interactions.

Mitchell truly writes for each voice in the ensemble so the pieces are not just head-solos-head.  Even the longest cut, ""Phasic Haze Romps" (15:53), is an episodic adventure with the instrumentalists movie in and around each other. While Ms. Gentile fills the bottom of the piece moving around her drum kit, Cass upholds the foundation of the music plus adds his harmonies, Mitchell and Ms. Brennan play counterpoint along with Okazaki.  There's a classical feel as well as an urgency in the music that makes it sound as if the quintet were sailing headlong into outer space. There are moments throughout the album (save for the short tracks) that are hypnotic, pulsing, and, ultimately, powerful.

Photo: YouTube

The best person to talk about "Phalanx Ambassadors" is Matt Mitchell.  His essay on the recording can be found at pirecordings.com/albums/phalanx-ambassadors/ opens numerous doors of understanding for the listener.  The sound is thick, thick with the five musicians playing all at once but also thick with ideas.  Take time to explore this often-fascinating album.

For even more information, go to www.mattmitchell.us.

Gig Alert!! (5/18 & 5/21)

Bassist and composer Mario Pavone returns to Firehouse 12, 45 Crown Street in New Haven, this Friday (5/21) with his Dialect Trio.  Pianist Matt Mitchell and drummer Tyshawn Sorey join the CT native for an evening of sonic explorations, edgy melodies, compelling solos, and absorbing interactions. I have always maintained that Pavone writes from the bass outward and love how his thick lines propel the melody as well as what his associates do with his compositional approach.

The Trio's second CD, "Chrome" (Playscape Recordings) , was issued in the Autumn of 2017 and is, arguably, one of Pavone's most exciting recordings.  This is a group that knows how to push each other, they listen, respond to, and inspire each other plus create  excellent solos.   Engineer Nick Lloyd (of Firehouse 12 Studios) does an amazing capturing the sound of Pavone's bass so you can not only hear his solos but also how he interacts with Mitchell and Sorey.  There's a great sense of rhythm as well as "freedom" in this music. The compositions save one are Pavone originals and the one is a group improvisation inspired by and named for pianist Paul Bley who passed six months prior to the recording.

This should be quite a musical experience and is the last date on a short CD release tour.  For ticket information, go to firehouse12.org or call 203-785-0468.

Here's the Trio from 4 years ago right before recording their first album together:

I love getting emails from Brian Charette - he's such a busy guy, making so many different kinds of music with so many people.  His latest missive included the poster above and links to the CD that the CT-born organist recorded with tenor saxophone master George Coleman.  Mr. Coleman, a Memphis, Tennessee, native turned 83 in March and is in the midst of a career that stretches over six decades.  He has recorded with B.B. King, Lee Morgan, Max Roach, Slide Hampton, Miles Davis, Herbie Hancock, Elvin Jones, so many others.  Steeplechase Records owner and producer Nils Winthers captured Mr. Coleman in the studio last December with Charette, guitarist Vic Juris, and drummer George Coleman Jr.  The results of their day together can be heard on "Groovin' With Big G" and, if you read the poster closely, the quartet celebrates the new CD with a date at the Blue Note, 131 West 3rd Street in New York City this coming Monday night. They'll play two sets - 8 and 10:30 p.m. - for more information, go to www.bluenote.net/newyork/index.shtml or call 212-475-8892. 

Mr. Coleman and Mr. Charette also play in a trio setting on Saturday May 26 at 7 p.m. in The Jazz Loft, 275 Christian Avenue in Stony Brook, NY.  To find out more and make reservations, go to www.thejazzloft.org or call 631-751-1895.  

Give a listen to the Quartet live in the WBGO-FM studios: