Flutist, composer, and arranger Jamie Baum first formed her Septet in 1999: the ensemble made its recording debut for the now-defunct Omnitone label then moved to Sunnyside Records for the 2008 release of "Solace." In 2010, trumpeter Amir ElSaffar joined the ensemble, adding not only his instrument but also his great knowledge of Middle Eastern Maqam. Five years later, the group had evolved in Septet+ and issued the amazing "In This Life." Influenced by Ms. Baum's travels to Southeast Asia and her studies of the work of Pakistani vocalist Nusrat Fateh Ali Khan, the album won numerous accolades. The arrangements blended fiery rhythms, elongated melody lines, and intelligent use of the higher sounds (flute, piano, and trumpet) with lower sounds (alto flute, French Horn and bass clarinet) to create adventurous music.
Ms. Baum's latest project, "Bridges", attracts from the moment one sees Masashi Karabuki's stunning cover photograph ("In This Life" also possess a striking cover - take a look). The nine-song program is split into three distinct sections. The first three tracks, "From The Well", "Song Without Words", and "There Are No Words") are influenced by the composer's recent personal experiences. The opening track celebrates Ms. Baum's explorations into Maqam, Jewish, and South Asian music. While one absorbs the exciting melody line, make sure to pay attention to the splendid leadership and support from the rhythm section (pianist John Escreet, guitarist Brad Shepik, bassist Zach Lober, and drummer Jeff Hirschfield plus guest percussionist Jamey Haddad). There are excellent solos from the leader, bass clarinetist Sam Sadigursky (the newest member of the ensemble), and ElSaffar, whose phrases, at times, reminds this listener of the Muslim call-to-prayer yet also move into "freer" territory. The trumpeter, who ins increasingly showcasing his vocal talents, gets the lead on the second track, which carries the subtitle "for S. James Baum." Here, the vocal line is influenced by Hebrew prayer (but not "The Mourner's Kaddish"), a way to give thanks for the life of a parent or loved one. Besides the stunning vocal, there are excellent (and emotional) solos from Sadigursky (bass clarinet) and Ms. Baum (alto flute). "There Are No Words" also refers to the mourning process but here there is a sense of renewal and purpose. Bassist Lober takes the first solo, a handsome melodic turn. Ms. Baum follows, her flute electronically split into two registers. Escreet steps out next for a fleet-fingered dance.
The next three tracks are dedicated to "Honoring Nepal" The Shiva Suite". Ms. Baum has performed several times at Katmandu Jazz Festival and, like many people, was deeply touched by the destruction caused by the 2015 earthquake. The "Suite" was commissioned by the Rubin Museum of Himalayan Art in NewYork City. Part 1 "The Earthquake" is a powerful musical depiction of the clam before the devastation as well as the shaking, shuddering, shifting earth before the mournful lament at the close. "Renewal" begins with gentle hand percussion and soft piano sounds (many made with Escreet's hand dampening the strings) the moves forward on the strength of a delightful and percussive melody supplied by the piano and guitar. Bells and piano introduce "Contemplation", a piece that includes melodies and harmonies for the front line and a finishing section that is both up-tempo and uplifting.
Tabla drummer, percussionist, and vocalist Navin Chettri joins the ensemble for the next two tracks, the powerful "Joyful Lament" and the peaceful "Mantra." The former cut opens with voice and tabla before the band is led in by Shepik. Hirschfield's hard-edged drumming fuels the piece which blends South Indian music with American blues in a playful yet serious fashion (the guitar solo roars out of the ensemble somewhat like what John McLaughlin did with his Mahavishnu Orchestra in the early 70s). It's just Chettri on voice and tanpura (the Indian stringed instrument that creates drones) and Ms. Baum on singing bowl and flute for the latter track. No tension here only a sense of quiet clam and reflection.
The album closes with "Ucross Me", an uptempo piece created by Ms. Baum during a residency at the Ucross Artist Colony in Wyoming. The piece moves in and out of the rhythm stepping away for solos by ElSaffar plus a wonderful call-and-response before Shepik rocks out once more. But, pay attention to the interactions of the rhythm section, the reeds and brass.
"Bridges", the album, does what bridges, the structure, are built to do i.e. break down barriers, cross borders, bring people and ideas together, and to take people to new places to have new experiences. Jamie Baum Septet+ continues to make exceptional music, music that makes us think, makes us contemplate, and moves us in so many ways.
For more information, go to jamiebaum.com. There you will see that the ensemble will have a CD Release Weekend at the end of May (5/25-27) with two of the shows in Connecticut.
Enjoy this track from the album:
Personnel:
Jamie Baum - flutes, singing bowl Amir ElSaffar - trumpet, vocals Sam Sadigursky - alto sax, bass clarinet Chris Komer - French horn Brad Shepik -guitar John Escreet - piano Zack Lober - bass, singing bowl Jeff Hirschfeld - drums + Jamey Haddad - percussion Navin Chettri - percussion, tanpura, vocals
Chant Records has released two new recordings led by violinist and composer Meg Okura, her improvised concert with husband Sam Newsome (soprano sax) and pianist Jean-Michel Pilc ("NPO Trio", reviewed here) and "Ima Ima", a studio recording by her 10-member Pan Asian Chamber Ensemble. It's quite an engaging project that blends the sounds of Newsome's soprano sax, Tom Harrell (trumpet, flugelhorn), Sam Sadigursky (clarinet, bass clarinet), and Annie Drummond (flute, alto flute, piccolo) with the rhythm section of Brian Marsella (piano, electric piano), Rez Abbasi (guitar), Pablo Aslan (bass), and Jared Schonig (drums) plus several appearances by Riza Printup (harp).
The album's title combines Ms. Okura's native upbringing ("ima" means "now" in Japanese) with her adopted religion ("Ima" is "mother" in Hebrew) while the music blends her myriad of interests, from the folk and classical music she grew up with as well as the jazz that is her passion and life. The title track has a lovely melody line that is supported by an active rhythm section. Ms. Drummond's flute blends with the soprano sax and violin introduce the main theme before Newsome steps out for a lengthy and far-reaching solo. The composer's impressions of her time in Israel are the basis of "A Summer in Jerusalem", a piece that opens as a sound montage: then the bass clarinet introduces the bass line and the ensemble powers forward. The arrangement shows the strong influence of Gil Evans behind the strong solos from Marsella (electric piano), Abbasi, and the leader. After Ms. Okura brings her an end, everyone drops out save Ms. Printup's harp. She introduces the fine flugelhorn solo while the ensemble slowly climbs back into the picture (note the lovely wordless vocal from Ms. Okura).
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One can hear Japanese influences on "Tomiya" what Ms. Okura describes n the liner notes as a taiko-drum rhythm: yet it also sounds like a tango plus there is also a mainstream jazz feel. It's so enjoyable to hear there arrangement opens to allow each voice to have a piece of the melody. Both Harrell and Ms. Okura solo yet the multi-sectioned piece allows for tempo changes and delightful interplay. Another episodic work, "Birth of Shakayamuni", has its roots in Buddhism. The sprightly melody is passed around from bass clarinet to flute to piano to violin before the piece moves to a solo section for Sadigursky's clarinet. More th intelligent backing from the guitar and harp. Abbasi's solo comes over a rapid-fire rhythm then gives way to a fiery solo from Ms. Drummond. The violin leads the way on the final section but, again, each voice in the ensemble has a piece of the melody. "Black Rain" takes its inspiration from the atomic bomb attacks that brought World War II to its shocking conclusion. The poignant melody is shared by the soprano saxophone and violin. Yet, like the other pieces, the melody moves around until Marsella's captivating solo that opens with a more traditional Japanese feel before moving on. Before Ms. Okura takes her solo, she shares a short conversation with the flutist (listen to how they move around each other with trills and musical curlicues).
"Ima Ima" makes for engaging listening. Filled with strong melodies, excellent arrangements, and fine musicianship, the album is a journey inward and outward with Meg Okura telling her young daughter the story of her ancestors, the story of the challenges her mother went through to come to the United States, and how hard it was to begin a new life. There is no bitterness, no losing faith: instead, the music can be viewed and listened to as a celebration of survival, renewal, and hope for a brighter future.
Clarinetist-soprano saxophonist Mike McGinnis walked into Systems Two Studio in Brooklyn, NY, on March 28, 2016, in the company of pianist Art Lande and bassist Steve Swallow. When they exited the building later that very same day, they had recorded a bushel of songs. Eight were released in April of 2017 on "Recurring Dreams" (Sunnyside Records). 13 months later, McGinnis and his musical partners have issued 12 more tracks under the title of "Singular Awakening." The majority of these tracks come from the first hour of the session when the three musicians just started playing - in fact, eight of the pieces are improvisations. What stands out here, as it did on the trio's initial offering (my review here), is how much fun they have playing music.
The program opens and closes with a song each from Swallow and Lande. "Here Comes Everybody" is a joyous romp that bounces atop Swallow's melodic and thick electric bass. Lande's Monk-like accompaniment is a treat over the fiery clarinet solo. The bassist's rollicking "Bite Your Grandmother" has the feel of a Charlie Parker tune with jumping solos from Lande and McGinnis (on soprano). The pianist's contributions, "Shining Lights" and "For Elise", have strong melody lines: in fact, all three musicians share the statement of the melody on the former track while the latter is a lovely ballad (reminiscent of Randy Newman). This song reminds the listener how much influence reed master Jimmy Giuffre has on the trio. The classical quality of the musicians' interactions and the clarity of their notes stands out.
In between, the improvisations range from the free-wheeling "Shockinawe" (and its furious interplay) to the lovely ballad "A First Memory" to the siren-like clarinet that introduces "O'Flaherty Decides to Play Jazz", a tune that also has McGinnis playing "rhythm" clarinet while Swallow walks and Lande dances across the keys. "Slow Dance In a Whisper" is also quite a beautiful ballad with Swallow creating the melody over sparse piano chords (McGinnis sits out this track) - the bassist's instrument sounds so acoustic. The dream-like piece is airy, with sustained piano notes and intelligent use of space and silence.
If you did not hear this trio's first album, that's okay: but I'd suggest buy them both. This is music that speaks to the creative listener, those people who enjoy when musicians take chances and leaps-of-faith the way Mike McGinnis, Art Lande, and Steve Swallow usually do and definitely do here. "Singular Awakening" shines brightly!
Here's a taste of one of the improvised tracks:
Pianist and composer Roberta Piket is a musician who can play in any type of ensemble as well as solo. Still, it's fun to hear her in a trio. "West Coast Trio" (13th Note Records) gives the listener a big clue in its title. The pianist ventured west from her NYC digs to Los Angeles for a West Coast tour. She lined up drummer Joe La Barbera who recommended bassist Darek Oleszkiewicz: they went into the studio, then hit the road. Ms. Piket came back to the East Coast with a good memories of her tour and a delightful recording.
The nine tracks include two Piket originals, the attractively flowing tribute to her teacher Richie Bierach titled "Mentor" and the handsome ballad "A Bridge to Nowhere" (one of the two tracks to feature guitarist Larry Koonse). Note La Barbera's splendid cymbal work on the latter track as well as the wonderful chordal work from the leader beneath the guitar solo. The other seven tracks feature a number of recognizable standards ( i.e. "Windmills of Your Mind" and "My Buddy") and some surprises (Chick Corea's hard-driving "Humpty Dumpty" and John Hicks's sweetly melodic "Yemenja") plus a swinging reading of George Shearing's "Conception" (the other track to feature guitarist Koonse) as well as a lovely reading of "Flor de Lis" by Brazilian composer ands vocalist Djavan (Billy Mintz joins the trio on percussion to add percussive spice to the mix).
Photo: Jason Kahn
For some reason, the track that really impresses me is the swinging reading of Richard Rodgers's "Falling In Love With Love" - the trio plays so inspired, they interacting as if they were breathing as one, and their joy jumps out of the speakers. Oleszkiewicz's solo is splendid, quite melodic (as he is throughout the album) while the standard 8 bars trio - 8 bars drum solo is anything but standard. It's the give-and-take that audiences enjoy so much and that this trio generously supplies. "Windmills.." also gets an uptempo reading: again, the three musicians sound so in sync that you want to immediately replay the song to hear what each individual is playing.
The best "piano trios" are the ones in which the listener gets lost in the group's sound before he starts to listen to the solos. "West Coast Trio" is one of those recordings. You expect that, based on previous recordings and live gigs one may have seen and/or heard, these musicians will play well. Roberta Piket chose her companions and the material wisely and we are the beneficiaries.
Here's Roberta talking about the trio, the music, and the conception:
NPO Trio is Meg Okura (violin), Sam Newsome (soprano saxophone) and Jean-Michel Pilc (piano and its debut is an often dazzling, free-wheeling, improvisational collection titled "Live at The Stone" (Chant Records). Ms Okura, born in Japan, is married to Mr. Newsome and both have known and played with the pianist for the past two decades. After her move to the United States, the violinist converted to Judaism. Besides leading various ensembles (including her Pan-Asian Chamber Jazz Ensemble and the J-Orchestra), she has worked with a wide variety of musicians, from the late Michael Brecker to the Jewish/Middle Eastern band Pharaoh's Daughter.
The album features three fascinating musical adventures including the untitled six-part, 49-minute suite that opens the program. Based on the Yiddish tune "Oyfn Pripetchik" (a song about a parent teaching her children the alphabet), the music is often spell-binding aa the piano rolls beneath the high notes of the violin and the soprano sax alternately wails and sighs. The opening section, "A Four Forty", is the prelude: about five minutes in, the original melody makes its first of numerous appearances. The plaintive tune rises out of the din of the aptly-titled "Bells, Whistles, and Sirens", after the riveting piano, the hard-edged soprano, and the high-notes of the violin have taken the listener on a journey through a chaotic world. Along the way, the musicians portray a world where so many people are dealing with relocation with the hope of a new life ("Travels" and "Exodus and Emancipation") - the journey the trio "plays" is not an easy one but fragments of the original melody help to soothe the troubled heart. By the time you reach the last section, "Pleading" (which is mostly a duet for soprano sax and piano), you begin to understand that this is not the climax of the journey but that your plea is a prayer fore the strength to go on. Newsome's tremendous range of notes and emotions are amazing to follow, to be absorbed in, to be able to tell such a powerful story that one hangs on every note.
The track following the suite, "Unkind Gestures", is the shortest improvisation (6:54) but its power comes from its anger and the musicians attempt to reconcile that emotion the power of creativity to transform the players and the listeners. If you listen closely, on occasion you hear snippets from John Coltrane's "Giant Steps", the melody line often fragmented but recognizable. "Yiddish Mama No Tsuki", the final track, combines Ms. Okura native and adopted heritages taking two songs dedicated to mothers which the trio play and then create variations. It opens with solo violin followed by solo piano; then, Ms. Okura and Pilc play a tango which Newsome's "clicking" soprano joins after a moment. It is fascinating to hear the soprano saxophonist go from the keys clicking to a soaring melody to an abrasive set of sounds and back to melody. The trio changes directions and moods several times during the last half of the piece, closing on a rippling piano line, more clicking saxophone, and chords plus the violinist hitting the strings with her bow .
One hopes that is just the beginning for NPO, that Meg Okura, Sam Newsome, and Jean-Michel Pilc continue to play together, to make challenging and such rewarding music. "Live at The Stone" is an aural magic show that reaches for your heart and your mind.
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Ms. Baum's latest project, "Bridges", attracts from the moment one sees Masashi Karabuki's stunning cover photograph ("In This Life" also possess a striking cover - take a look). The nine-song program is split into three distinct sections. The first three tracks, "From The Well", "Song Without Words", and "There Are No Words") are influenced by the composer's recent personal experiences. The opening track celebrates Ms. Baum's explorations into Maqam, Jewish, and South Asian music. While one absorbs the exciting melody line, make sure to pay attention to the splendid leadership and support from the rhythm section (pianist John Escreet, guitarist Brad Shepik, bassist Zach Lober, and drummer Jeff Hirschfield plus guest percussionist Jamey Haddad). There are excellent solos from the leader, bass clarinetist Sam Sadigursky (the newest member of the ensemble), and ElSaffar, whose phrases, at times, reminds this listener of the Muslim call-to-prayer yet also move into "freer" territory. The trumpeter, who ins increasingly showcasing his vocal talents, gets the lead on the second track, which carries the subtitle "for S. James Baum." Here, the vocal line is influenced by Hebrew prayer (but not "The Mourner's Kaddish"), a way to give thanks for the life of a parent or loved one. Besides the stunning vocal, there are excellent (and emotional) solos from Sadigursky (bass clarinet) and Ms. Baum (alto flute). "There Are No Words" also refers to the mourning process but here there is a sense of renewal and purpose. Bassist Lober takes the first solo, a handsome melodic turn. Ms. Baum follows, her flute electronically split into two registers. Escreet steps out next for a fleet-fingered dance. 
The album's title combines Ms. Okura's native upbringing ("ima" means "now" in Japanese) with her adopted religion ("Ima" is "mother" in Hebrew) while the music blends her myriad of interests, from the folk and classical music she grew up with as well as the jazz that is her passion and life. The title track has a lovely melody line that is supported by an active rhythm section. Ms. Drummond's flute blends with the soprano sax and violin introduce the main theme before Newsome steps out for a lengthy and far-reaching solo. The composer's impressions of her time in Israel are the basis of "A Summer in Jerusalem", a piece that opens as a sound montage: then the bass clarinet introduces the bass line and the ensemble powers forward. The arrangement shows the strong influence of Gil Evans behind the strong solos from Marsella (electric piano), Abbasi, and the leader. After Ms. Okura brings her an end, everyone drops out save Ms. Printup's harp. She introduces the fine flugelhorn solo while the ensemble slowly climbs back into the picture (note the lovely wordless vocal from Ms. Okura). 
