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":

Thanksgiving Day 2024; Two Alto sax-Piano duos + One Quartet

 

Been absent from this blog for two months but not for a lack of great new albums but more so for being much too busy. Teaching coillege freshmen as I do is more fun than work; when you add to that the stresses of Middle East War and the horrors perpetrated in the name of freedom, music becomes a much-needed escape but writing does not seem to be enough.

Still, it's Thanksgiving Day in the United States, a day for remembering how lucky many of us are. We have a roof over our heads, food to eat, time to read, the ability to walk most streets without fear, heat in our domiciles, lights in our living areas, and, for some, vehicles to take us out into the country.  Today is a good day to get away from the bluster of candidates, especially who treat democracy as a toy to throw in the trash when it displeases, people who flaunt their wealth, shoot off their mouth, point fingers, and make promises to sweep personal freedoms under a big rug.  

Tomorrow, the news will still be bad, the bluster will return yet we have the power to make the world less of a scary place by celebrating and protecting our freedoms, by staring hate in the eyes until it blinks and slinks away. Set an example of doing good and maybe, just maybe others will join you. No matter their religion, gender, political persuasion, we should all understand compassion and how to practice compassionate caring.  Can't hurt to try––the music is always there to fall back onto.

Photo: Jimmy Katz

I've spent a lot of time recently falling back on the music of two saxophonists, Miguel Zenón and Andrew Rathbun. In the case of the former, he has two new duo albums, one with long-time Quartet member pianist Luis Perdomo (pictured left) and the other with friend and duo pianist Dan Tepfer (pictured below).   Perdomo came to the United States from his native Venezuela in 1993 and by the end of that decade, was playing in groups led by Ravi Coltrane and soon became as founding member of Zenón's Quartet.  The pianist and saxophonist both have a love for the folkloric and popular of their home countries (Zenón is from Puerto Rico), both have a love for melody as well as rhythmical variations, and both are brilliant improvisers.  The music created and arranged for the Quartet has travelled a wide swath of territory over the course of 10 albums, winning numerous awards and lavish praise from critics and reviewers around the world.

Six months into the Pandemic, the duo went into the Jazz Gallery in New York City and recorded a program of songs from the Bolero era, a musical style that began in Cuba in the 1890s and, during the 20th Century, spread throughout the Caribbean and Latin America.  Upon its January 2021 release, "El Arte Del Bolero" (Miel Music) was celebrated not only for its musicality but for its gentle persuasions and splendid playing.  Three years later, the duo reconvened in a recording studio with the expression "to play songs we know and love" (Zenón). "El Arte Del Bolero; Volume 2" expands upon its predecessor by expanding its repertoire with songs from Mexico, Panama, and Venezuela.  The seven-song program is a true delight, especially when the duo moves beyond the melody to create fascinating solos. Listen below to "Paula C.", to how how Zenón caresses the melody as Perdomo creates a quiet symphony beneath him.  As the alto saxophonist dances into solo, the pianist is so playful, whimsical at times, beneath the flowing sax but never losing the pulse.  "En La Soledad" (from the fertile mind of Puerto Rican composer Tito Rodriguez: 1923-73) may remind some John Coltrane's "Central Park West" especially due to the rubato feel.  It's a lovely ballad that kisses one's heart.

The album closes with "Silencio"; composed by legendary Puerto Rican songwriter Rafael Hernández (1892-1965), the rapid-fire music belies song title and flows forward on the delightful alto solo atop the dancing piano lines. When Perdomo steps out, you can hear a touch of the New Orleans "Spanish Tinge", especially in his delightful left hand.   

"El Arte Del Bolero" is a joy from start to finish. The duo of Miguel Zenón and Luis Perdomo reminds us once again of the great music created in the Caribbean and Latin America; they do so with style, grace, and love!

For more information and to purchase the recording, go to https://miguelzenon.bandcamp.com/album/el-arte-del-bolero-vol-2.

Hear the duo play Rubén Blades' "Paula C.":

While the duo of Miguel Zenón and Dan Tepfer has not played together as long as the one reviewed above, these two musicians have improvised numerous times over the past decade-plus. Over two nights in June 2018, they got together at the Yamaha Artists Services in New York City and laid the tracks that make up their first album together. "Internal Melodies" (Main Door Music/self-released) combines the duo's love for spontaneous composition, pieces each composed for the occasion as well as a duo interpretation of "Fanfares" by György Ligeti and a sparkling take of "317 E 32nd St." by Lennie Tristano.

Tepfer is one of the more adventurous pianists of the 21st Century diving into the worlds of classical music, electronic music, and computer music. He's also  a great jazz pianist and, like Zenón, eschews labels. Together, they push each other to create music that is both mentally satisfying but also moves with grace and occasional rhythmic excitement.  The 12-song program opens with the short and totally improvised "Soundsheets" before they embark on the pianist's "The Thing and its Opposite"––after a particularly angular composed melody that the alto saxophonist reads with grace, Tepfer moves into a more ethereal mode. He steps aside and Zenón dances forward alone, phrases building on top of each other without losing sight of the original melody. They return together to the opening melody yet the music feels somewhat lighter. The pianist also composed the title track. The melody has a lightness to it, especially in how Zenón plays through it. Tepfer picks up on that with a solo that hints at Beethoven in how it unfolds gently, steadily building the intensity without overwhelming the mood.

Listen below to the saxophonist's "La Izquerida Latina Americana", to how Tepfer creates a martial rhythm with his left hand before Zenón introduces the melody.  There is a seriocomic feel to the music without falling too hard into either camp.  Zenón's "Centro de Gravedad" is a gentle ballad with a lilting melody line underscored by a mix of powerful chords and gentle piano trills. Tepfer's solo has a flamenco feel, his articulated notes giving the music a sense of drama.  The saxophonist also brought "La Libertad" to the duo; it, too, is a handsome ballad and both musicians create heartfelt solos. 

The album closes with the Tristano classic plus another spontaneous piece "Freedrum".  The former is a delightful romp, the duo bringing out the dancing quality of the rhythm and melody.  The final track combines Tepfer's piano "percussion" with Zenón's playful melody for a short but spirited finish to a wide-ranging program. "Internal Melodies" goes in many directions over the course of an hour but Dan Tepfer and Miguel Zenón never lose their way.  Their musical conversations can be serious or light-hearted; all told, this music is generous in spirit and a delight to listen to!

For more information and to purchase, go to https://dantepfer.bandcamp.com/album/internal-melodies. 

Hear the duo play Zenón's "La Izquerida Latina Americana":

Although alto saxophonist and composer Andrew Rathbun has been recording and touring since the late 1990s, he's still gets recognized a "Rising Star" in recent Downbeat Critics Polls. That's a nice honor but he has created music that needs to be heard by more people. The Toronto, Ontario, Canada native has recorded impressive music for labels such as Fresh Sounds New Talent Records, Origin, Centaur, and SteepleChase.  Along the way, he has collaborated with pianists Ran Blake, Jeremy Siskind, and Gary Versace, flugelhornist Kenny Wheeler, drummers Billy Hart, Michael Sarin, Bill Stewart, and Jeff Hirshfield, among others.  

What stands out for this listener is that, since his earliest recordings, Andrew Rathbun has been an excellent composer. He certainly can improvise as impressively as his contemporaries but telling a story with his music is just as important. For his latest SteepleChase recording, "Speed of Time", he's joined by Gary Versace (piano), John Hébert (bass), and Tom Rainey (drums).  While the majority of eight-song program was composed during the Pandemic, this music is written with these musicians in mind, as a group project.  The title track kicks off the album––it's got a funky rhythm, a well-drawn melody, and strong solos from the leader and the pianist.  Rathbun quickly dances away from the melody, creating a playful interaction with the rhythm section pushing up the intensity until Versace takes over building his far-ranging solo off Rainey's herky-jerky rhythms. 

Photo: Domenic Gladstone

The leader plays both tenor and soprano saxophones for the insistent up-tempo jaunt that is "Widen the Doorway".  Versace's solo, at the onset, keeps turning back on itself but soon bounces forward atop the insistent work of Hébert and Rainey. The leader's tenor solo opens unaccompanied and then he jumps upon the rhythm section. More reed overdubs on "Still a Thing"; this time, the soprano leads the way on the melody (although the solo is again on tenor) with the rhythm section creating quite a funky rhythm.  

The soprano is featured on the ballad "Wandering"––in the liner notes, Rathbun pays tribute to the late Wayne Shorter, particularly the "human cry" that the great musician often employed in his playing. There's a sense of urgency in the rhythm section but the deliberate pace never wavers. Excellent solos from pianist and bassist precede the leader's spotlight where Rathbun shows but never overdoes the Shorter influence.  More soprano can be heard on "Velocity Unknown", a fascinating piece in an odd time signature (9/4). Rainey's delicate cymbal dance decorates behind the opening bass solo. Rathbun enters two minutes with his own delicate sound. Every time you think the music will erupt, the quartet gathers themselves and continue their gentle journey forward. The power in this piece comes from Rathbun's powerful solo as well as Versace's impressive improvisation.

"Speed of Time" closes with "Tooth and Nail", an insistent work powered by the active drumming. The piece opens with short exposition from Rainey joined quickly by the tenor sax.  After the quartet push their way through that long introduction, the music jumps forward with the drums and bass stoking the fire for the impressive tenor and piano spots.  This particular track sounds even better at a higher volume, the drums shaking the speakers.

Andrew Rathbun keeps "rising", keeps getting better as a composer and musician––this album is yet another fine example of his musicality and creativity.

For more information, go to https://andrewrathbun.com/. 

Here's the title track:

Summer Shorts: Big Band Edition #1

 Plenty of Big Band/Large Ensemble have come my way this Summer––here's three of the best!

Arranger, conductor, composer, and educator Chuck Owen, with over four decades on the music scene, finally got to live a dream in late 2019 when he flew over to Germany to record with the WDR Big Band.  He was hoping to record new pieces with the ensemble but the sessions were moved up. Instead, he "reimagined" three of his original works, arranged three pieces by members of the WDRBB, and brought over arrangements of the Frank Sinatra/Tommy Dorsey classic "This Love of Mine" (1941) and Chick Corea's "Arabian Nights" (from 2007's "The Ultimate Adventure").  Over the course of the eight song, 73-minute, program, the music not surprisingly displays the talents of one of Europe's most accomplished ensembles but also the intelligent, witty, arrangements of Mr. Owen.

The sessions were recorded before and during the Pandemic. Ms. Caswell made the initial journey and is guest soloist on two of the tracks including the achingly lovely "Of Mystery and Beauty" composed by WDR alto saxophonist Karolina Strassmeyer.  Watch below and listen how Owen's arrangement moves the brass and reeds around the solos. Bassist John Goldsby's evocative "Fall Calls" has a lovely melody line shared by alto and trombone (Ms. Strassmeyer and Andy Hunter)––nothing is rushed and you can almost hear the autumn leaves pirouetting down from the tree.  The Big Band kicks good and hard on Mr. Owen's "...And Your Point Is?"–thanks to the presence of organist Billy Test, the tunes sounds somewhat like Jimmy Smith and his large ensemble recordings on Verve. 

While it turned out that the sessions that created "Renderings" were a hardship for those involved, the music triumphs.  If you are an aficionado of Big Bands, you already know how good the WDR Big Band can be––thanks to the top-notch material and excellent arrangements from Chuck Owen, the large ensemble is at the top of its game––go listen.

To learn more about Chuck Owen and this album, go to www.chuckowen.com/.  Do go to www1.wdr.de/orchester-und-chor/bigband/index.html to learn more about the great German Big Band. 

Here's "Of Mystery and Beauty" with guest Sara Caswell:

Boston, MA-based pianist and composer Mehmet Ali Sanlikol has never been one to shy away from his Turkish roots (born in Istanbul, Turkey, in 1974)–over the course of five albums released on DUNYA Records in the past nine years, he has shown an affinity to large ensembles (with one exception, his 2021 trio date "An Elegant Ritual"). His main vehicle is Whatsnext?, a sprawling 20-person group that includes a three-person percussion section made up of the finest musicians in the Boston area.  "Turkish Hipster: Tales From Swing to Psychedelic" (the title tells the listener what to expect) is quite the trip. With guest artists such as Anat Cohen (clarinet), Miguel Zenón (alto saxophone), and Antonio Sanchez (drums), the music expands to take in the styles and influences of those musicians, with the composer and arranger finding ways to tell all the stories contained in the compositions. 

Photo: Eric Antoniou

The program opens with "A Capoeira Turca (Baia Havasi)" which blends Turkish and Brazilian rhythms plus the expressive and joyful clarinet of Ms. Cohen. Listen below and see if you can keep still––it's downright funky. The most ambitious piece on the album follows; "Times of the Turtledove" takes its form from classic Turkish music yet drummer Bertram Lehmann and bassist Fernando Huergo give the piece a more modern sound in the first part of the episodic work. A lovely melody played by the leader on ney flute supported by a simple percussive pattern gives away to the brass section's strong melodic interpretation of the theme. Mr. Zenón plays as part of the ensemble early in the piece and does not move out for a solo until nearly 10 minutes has passed.  The rhythm section dances beneath him before the horns and brass swell up leading to a powerful finish to his musical story.  All three of the guests plus the leader are celebrated by rapper Raydar Ellis on "The Boston Beat",  a funky hiphop tune that pulsates out of the speakers.

"Turkish Hipster: Tales From Swing to Psychedelic" closes with the three-part 21-minute "'Abraham' Suite".  Featuring Mr. Sanchez, the story is based on the patriarch Abraham's story seen through the lens of Islam; the piece was commissioned for the Jaazar Festival in Switzerland and also recorded with an international lineup of musicians including drummer Billy Cobham.  The composer expanded the arrangement for this more orchestral lineup.  It's a powerful piece with excellent musicianship and an impassioned vocal for Mr. Sanlikol. 

This splendid recording illuminates the many and varied talents of Mehmet Ali Sanlikol, especially in how he marshals his musical troops to create a work of beauty, power, and a bit of sassiness, one that will resonate for years to come.  For more information, go to www.sanlikol.com/whatsnext/.  

To purchase this and other recordings from Mehmet Ali Sanlikol, go to  https://dunya.bandcamp.com/album/turkish-hipster-tales-from-swing-to-psychedelic.

Here's the delightful opening track (featuring Anat Cohen):

Dr. Javier Nero, trombonist, composer, and arranger, has an impressive CV, one that encompasses his education at the Juilliard School and the Frost School of Music at the University of Miami. He has played and recorded with numerous large ensembles, played in Broadway pit bands, and worked with artists such as Veronica Swift, trumpeter Brian Lynch, and pianist Shelly Berg (among many others).  He is currently the lead trombone for the U.S. Army Blues, an 18-member Big Band that plays concerts throughout Washington D.C.  In 2020, Outside In Music released his debut Septet album––"Freedom" featured all original material, band members included bassist Dion Kerr (Nicholas Payton, Marcus Strickland), saxophonist Melvin Butler (Brian Blade), and pianist Tal Cohen (Terence Blanchard) as well as numerous guests including the afore-mentioned Messrs. Lynch and Berg plus vocalist Lauren Desberg.

For his second Outside In Music album, "Kemet (The Black Land)", the ensemble is now billed as the Javier Nero Jazz Orchestra, 18 musicians (plus guests) strong. Most of the musicians are members of the U.S. Army Blues with a number of guest artists including Randy Brecker (trumpet), Warren Wolf (vibraphone), Sean Jones (trumpet), and others. The nine-song, 74 minute, program covers a wide swath of musical territory from blues to swing to lovely R'nB ballads to World Music.  The playing is uniformly (no military pun intended) excellent and the occasional use of vocals add a fuller feel to tunes such "One Day", the lovely Brazilian/African-flavored "Reflections on the Dark, Tranquil Water", and the title track.  "Reflections..." stands out for many reasons including the well-crafted melody, the handsome piano solo (Josh Richman), and the leader's silky-smooth melodic solo.  The folky African feeling "One Day" rides in on the acoustic guitar of Michael Kramer that leads to Dr. Nero's aspirational lyrics. After a soaring flute solo (Daniel Dickinson), there is a fine Chris Burbank trumpet solo with the assembled voices swirling around him.  Perhaps the prettiest tune on the album is the impressionistic ballad "Just Let Go", a soulful ballad with a handsome trombone solo from the leader and impressive arrangement for the horns and reeds (clarinets add quite a lovely touch

Listen below to "Nostalgic Haiku", a soulful song with powerful brass and great solos from Messrs. Brecker and Wolf.  The rhythm section, especially electric bassist Regan Brough and drummer Kyle Swan, create a strong pulse while the arrangement opens to smart section behind the soloists second chorus.  

The digital edition of "Kemet (The Black Land)" features two bonus tracks (pushing the total time of the album to 87 minutes!). Cole Porter's "It's Alright With Me" features the sweet voice of Christie Dashiell, a rollicking piano solo from Richman, and the excellent trumpet spot for Sean Jones (he spars with the vocalist).  The album closes with McCoy Tyner's "Contemplation" (off of the pianist's 1967 Blue Note Lp "The Real McCoy").  The leader creates a sturdy solo before Sean Jones digs into his wide-ranging solo. Richman (who's quite active on the Philadelphia scene) again delivers a fine solo which leads to the song's end and the program's finish.

Take your time to savor the music on "Kemet (The Black Land)", listen to the arrangements, to the excellent section work, to the fine solos, and to the music.  Javier Nero has certainly put his heart and soul into this recording, gathering his musician friends to help tell all these stories.  There's a lot to here to contemplate as well as pieces that just ask to tap your feet or clap your hands.  Dr. Nero's music has expanded exponentially since his 2020 debut and one expects/hope he continues to mature as a composer, arranger, and musician.

To find out more, go to www.javiernero.com.  To hear more and to purchase the album, go to https://outsideinmusic.bandcamp.com/album/kemet-the-black-land. 

Here's "Nostalgic Haiku" (featuring guests Randy Brecker and Warren Wolf):

Of These I Sing (Part 1)

 It's that time of year when critics and reviewers create their "Best-of" lists. I am no different but I look at this group of recordings as music that informs, changes, and enhances my life and teaching. Here is the group of albums from the past year that helped me through illnesses, sadness, joy, and much change.

Miguel Zenón - "Musica De las Américas" (Miel Music) – It's no secret how much I admire the music and work of Miguel Zenón. With his long-time ensemble, composed of Luis Perdomo (piano), drummer Henry Cole, and Hans Glawischnig (bass and truly the "glue" of the band). This new album celebrates the music of Central and South America as well as the Caribbean, showing how various elements have entered into the music of the United States (and beyond).  Along with the latest album by rapper Bad Bunny ("Un Verano Sin Ti"), whose music celebrates the rhythms that inspire reggaeton, the album has deep grooves, evocative melodies, and the inventive musicianship one has come to expect from Señor Zenón and company. Percussionists Paoli Mejías, Victor Emmanueli, Daniel Díaz, and the five member Los Pleneros de La Cresta each appear on one track during the eight-song program. 

Enjoy the fiery "Opresión y Revolución ":

Wadada Leo Smith w/ Pheroan akLaff, Andrew Cyrille, Han Bennink, and Jack DeJohnette - "The Emerald Duets" (TUM Records) – Trumpeter, composer, conceptualist, historian, and philosopher Wadada Leo Smith celebrated his 80th birthday on December 18, 2021 (meaning he just turned 81 yesterday, as I write this). The Finnish-label TUM Records celebrated that momentous occasion by issuing two multi-disc box sets by Mr. Smith, the seven-CD "String Quartets: Nos. 1-12" and the five-CD "The Emerald Duets". Both are amazing but I expect it will take many more months to truly take in the scope of the string music. Whereas five albums with drummers captured me immediately.  All the sessions stand out (this is the first time Mr. Smith played with Mr. Bennink) but the two CDs feature Mr. DeJohnette, a long-time musical compatriot. The drummer plays piano as well as percussion; it's not hard to fall under the spell of this music.

Listen to "Silence, Quietness and Very Still" - Wadada Leo Smith & Jack DeJohnette:

Marta Sanchez - "SAAM (Spanish American Art Museum") (Whirlwind Recordings) – Pianist and composer Sanchez had a tumultuous time during the Pandemic as her mother passed early on.  She found time to write new music for her group – saxophonists Roman Filiu and Alex LoRe, bassist Rashaan Carter, and drummer Allen Mednard – and it's her most mature and realized program. The music sings throughout the album plus there are fine solos from all involved. Subtle, emotional, and intelligent, "SAAM" draws from myriad influences, is never imitative, and draws in the listener on the strength of the melodies.  One track, "Marivi", features Ms Sanchez, Mr. Carter, and Mr. Mednard with Camilla Meza (vocal, guitar), Ambrose Akinmusire (trumpet), and Charlotte Greve (synths).

Listen to "Dear Worthiness":

Tyshawn Sorey Trio + 1 (with Greg Osby) - "The Off-Off Broadway Guide to Synergism" (Pi Recordings) -  Another impressive year for drummer, composer, and educator Sorey, filled with debuts, impressive gigs, and two great albums. This live three-album set of standards, jazz classics, and more, is a splendid exploration of melody, improvisation, and interplay featuring Mr. Sorey with the impressive pianist Aaron Diehl, bassist Dana Hall, and the very welcome alto saxophonist Greg Osby. Three long sets (75 + minutes) yet the music never gets dull or stale because the musicians are free of any expectations other than play the melody, improvise, and follow your creative flow. The week before I wrote about the album, I listened to, at least, one set a day, especially on my daily walk.  The addition of Mr. Osby, whose musicianship is impressive throughout, is such a delight!

Hear "Solar":

Noam Lemish – "12" (TPR Records) – This album, from the pianist, composer, and educator Noam Lemish, was one of the more impressive releases of the last six weeks. The Israeli-born, American-educated, and Canadian resident, had recorded several albums with oudist Amos Hoffman, duets with percussionist (and one of his teachers) George Marsh, plus several solo piano explorations.  Here, he leads a 12-piece ensemble comprised of many fine Canadian musicians, supplying them with fine, often episodic, pieces with impressive arrangements. There's humor, pathos, wit, and emotion throughout the album (one of the initial releases on Three Pines Records, a new Canadian label led by Amy and Ernesto Cervini). This album gets better each time I listen––give it a whirl!

Here's the delightful "Beethoven's 7th Visit to Romania":

PUBLIQuartet – "What Is American" (Bright Shiny Things) – I don't write about classical music very much but this album (plus the Johnny Gandelsman album in Part 2) truly caught my attention. The PUBLIQs––violinists Curtis Stewart and Janina Norpoth, violist Nick Revel, and cellist Hamilton Berry––often blend European and American classical music but also have a expressive modernist bent.  One of the group's ongoing projects, dubbed "Mind| The| Gap|", features arrangements of music by Nina Simone, Ornette Coleman, Tina Turner, Ida Cox, Alice Coltrane, and others into stew that really alters the way you listen to a string quartet.  This album features music by Antonin Dvorák, Vijay Iyer, Roscoe Mitchell, Rhiannon Giddens, and others––it certainly does make you think about "what is American"! 

Give a listen to "Improvisations on "Law Years" and "Street Woman" (composed by Ornette Coleman):

Trish Clowes – "A View With a Room" (Greenleaf Music) – Composer and saxophonist (tenor and soprano) Trish Clowes signed with Dave Douglas's Greenleaf Music this year and gifted listeners with "A View With a Room".  Featuring her long-time band My Iris––guitarist Chris Montague, pianist and organist Ross Stanley, and drummer James Maddren––the music may, at times, remind you a bit of the quieter music of Jimmy Guiffre but, to this listener, Ms. Clowes has really created her own sound. The band interaction is impressive and the music makes you want to return to the album often.  They have not toured the US yet––if they do, I would recommend you spend a night in their company.

Here's the delightful "Amber":

Somi – Zenzile: The Reimagination of Miriam Makeba (Salon Africana) – The vocalist and composer Somi has truly blossomed into a world-class artist, celebrating the sound of the African continent even as she updates it.  Here, she pays tribute to the great Miriam Makeba (1932-2008), creating one of the most uplifting programs you will ever hear. In fact, Somi also created a play, "Dreaming Zenzile", around Ms. Makeba that debuted off-Broadway earlier in 2022. The album sounds so good, with such delicious rhythms, attractive vocals, and an impressive guest list including Ladysmith Black Mambazo, Angelique Kidjo, amd Gregory Porter (listen below) plus others.  World music at its best–give a listen.

Here's the sensuous "Strawberries" featuring Gregory Porter:

Kate Wyatt – "Artifact" (Self-released) – The Montreal, Canada-based pianist Kate Wyatt, a native of British Columbia, has been active on the creative music in her native country for over two decades. "Artifact" is her debut recording as a leader and well worth the wait. Featuring drummer Jim Doxas, bassist Adrian Vedady (her husband), and trumpeter Lex French (on the Music Faculty of McGill University) the quartet explores this music with vigor, sensitivity, and emotional depth.  Ms. Wyatt is a fine player but always makes sure you hear the other members of the group.  One can hear a nod in the direction of the Kenny Wheeler, as much in the "open" sound and wit in the composition as well as in Dr. French's trumpet work.  Impressive debut and one hopes there's more coming soon.

Listen to the lovely "A Flower Is a Lovesome Thing":

Sachal Vasandani with Romain Collin – "Still Life" (Edition Records) - This is the second collaboration for the vocalist with pianist Collin––like its 2021 predecessor "Midnight Shelter" (also on Edition Records), these performances are intimate, often spare, quiet, yet with an emotional intensity that draws in the listener from the beginning and does not let go until the last note fades. In fact, each time I listened, I played the album all the way through.  When I spoke to the duo this past summer, they said that Mr. Vasandani stood right next to the piano during the recording session––the intimacy of the recording process translate to the music. Such a smart selection of tunes, from folk music to jazz standards to "pop" tunes to originals. Late night or early morning, this music is a comforting friend..

Listen to the emotional and heartbreaking "(I) Can't Make You Love Me":

Part 2 will come soon!

The Recuperation Playlist (Part 1)

Life is often wild and crazy with all sorts of mayhem right outside your window, on your screens, and in your ears.  When the craziness moves indoors and becomes personal, one looks for escapes to give a sense of normalcy. We saw that in the pandemic where virtual concerts, streaming movies, and myriad television shows became even more of the "norm".  

On a personal level, my life got crazy this Summer with the need for Open Heart Surgery in July and, just this past week, contracting a case of COVID.  I thank the Doctors, Physicians Assistants, and nurses for their care over these past few months. I thank the higher powers for the music that has gotten me through the surgery, illness, and continued recuperation.

Haven't posted much but I have been listened to a lot of great music. Now, I plan to make several posts about the best of those albums (in no particular order).

As far as I am concerned, any new release by Miguel Zenón is cause for joy.  Since his debut album as a leader (in 2002), he has grown as a composer, arranger, and alto saxophonist. The native of San Juan, Puerto Rico also spent 14 seasons with the SF Jazz Collective and has recorded with a slew of artists from Kurt Elling to Charlie Haden to Fred Hersch to Antonio Sanchez and many more.  His long-tenured quartet includes pianist Luis Perdomo, bassist Hans Glawischnig, and drummer Henry Cole, all of whom save Cole (who joined the ensemble in 2006) is as impressive as any working group playing today!

His latest release on Miel Music, his 15th as a leader or co-leader, is "Musica De Las Americas", a recording that illustrates how "American music" is an on-going fusion of elements from all corners of the American continent (North, Central, South and the Caribbean) and is tied to the rhythms that traveled in slave ships from Africa but also to the indigenous tribes the Spanish discovered when they arrived in the 15th Century.  Zenón composed all the pieces, not only giving the listener a stunning listening experience but also infusing this music with history. For instance, the opening track "Tainos y Caribes", tells the tale of two indigenous tribes who live in peace in the Caribbean and northeastern South America respectively who were wiped out within several decades after the arrival of the Conquistadors.  The powerful music, built upon the the polyrhythmic attack of Cole plus the thunderous piano and thrumming bass, paints a portrait of vibrant societies. 

Photo: Jimmy Katz

Four of the eight tracks feature guest percussionists. The silky smooth "Navegando (Las Estrellas Nos Guian") adds the five-person Los Pleneros De La Cresta who add not only exciting rhythms but also vocals to the story of the Indigenous tribes that traveled the waters of the Caribbean and Atlantic in handmade boats following the stars.  Percussionist Paoli Mejias pairs with Cole to create a vibrant backdrop for the powerful "Opresión y Revolución" (listen below), which draws on elements of Haitian Voodoo music to tells its story of uprising and self-rule (though the Haitians have paid an extremely steep price ever since). Victor Emmanuelli brings the Bomba drum (barril) into "Bambula", a song that illustrates how the drum the song is named for created a rhythmic pattern that once can hear in musical styles of Cuba, the Caribbean, Central America, New Orleans, and today's reggaeton. "Antillano" closes the album, celebrating the Antilles with young conga master Daniel Diaz helping to propel the playful bounce and sway of the music. 

Throughout "Musicas De Las Americas", Miguel Zenón and the band play with fire, abandon, and joy.  They build off each other's lines and emotions to create music that stands out for its spontaneity, celebrating the many and varied cultures of the American continent.  This is music played by a band that deserves to be seen and heard in person––go to https://miguelzenon.com/ to find out more and see where this most accomplished ensembles is appearing.  You'll also see that the saxophonist is playing with other ensembles over the next few months, all of which looks exciting. If you don't get out to see them, this wonderful new album will brighten your life!

Here's the Quartet with percussionist Paoli Mejias on "Operesión y Revolución":

Photo: Anna Yatskevich

Pianist and composer Pablo Ablanedo moved to the United States from his native Argentina in the early 1990s to attend the Berklee College of Music in Boston, MA. After graduating, he stayed in the US forming an Octet in 1999 filled with New York City-based artists to play his original music.  Like his fellow Argentine Guillermo Klein, his music fuses influences from his homeland with the Black Creative Music he has come into contact over his 25+ years since moving. Over the course of four albums, Ablanedo has impressed listeners and reviewers with his ability to make music jumps with originality.

In 2019, Newvelle Records brought Ablanedo back into the studio with most of the musicians who helped to create his 2001 debut album "From Down There" for a follow-up.  The results, "Christeza", was issued as part of the label's Fifth Season and now is available as a download from the label's Bandcamp page (see below).  Take a look at the personnel––many have gone on in the two decades since uniting for the first album to have international careers as both leaders and sideman.  One thing that stands out for this listener is the immediacy of Ablandeo's compositions, whether it's the percussive ballad "La Señal" that opens the eight-song program (the digital version has a "bonus track") or the playful call-and-response of "Karmavaleando" or the gentle swaying of "Winter Variations" (note how the intensity picks up throughout the piece), the melodies and the rhythms are well-defined and build off each other.

While the compositions stand out, there is brilliant musicianship throughout as well. There's a touch of Thelonious Monk in Ablanedo's introduction to "Plaisantriste" which unwinds to a delightful clarinet solo from Anat Cohen. Do also listen to the smashing support of bassist Fernando Huergo, drummer Franco Pinna, and guitarist Ben Monder.  Ms. Cohen also stands out on "Ti Mi Do" as does violinist Jenny Scheinman. There's a tinge of Aaron Copland in the deliberate melody line and chords behind the front line and pay attention how the rest of the group enters behind the soloists.  The spotlight is on Ben Monder for "Bipolarious"––after the sharp-edged intro, the guitarist dances atop the ever-intensifying rhythm.  The title track has a mysterious, rubato, opening as if getting ready to go into "Sketches of Spain", especially when trumpeter Diego Urcola takes the lead; his long-held sparse notes keeps the mystery alive throughout the piece

The digital download closes "Christeza" with a rhythmic take on Kenny Dorham's "Una Mas". The brilliant rhythm section of Pinna and Huergo lead the way with tenor saxophonist Jerome Sabbagh (the only other member of the ensemble on the track) playing the theme as well as a powerful solo.  But, it's the bass and drums that makes this track stand out.  A delightful finish to a wonder-filled album. Pablo Ablanedo does not record very often but when he does, it's so rewarding to listen.  Kudos to the great band, to the composer, leader, and pianist, and to co-producers Elan Mehler and JC Morisseau for such fine modern music!

To find out more and to purchase the album, go to  https://pabloablanedo.bandcamp.com/album/chistreza. To find out more about the leader, go to www.pabloablanedo.com/. 

Hear "Karmavaleando": 

Personnel:

Pablo Ablanedo on piano, & compositions:

Anat Cohen on clarinet,

Jenny Scheinman on violin,

Chris Cheek on tenor and soprano saxophone,

Jerome Sabbagh on tenor and soprano saxophone, 

Diego Urcola on trumpet, 

Ben Monder on guitar, 

Fernando Huergo on electric bass, 

Franco Pinna on drums, 

Daniel Ian Smith on additional saxophones on "Karmavaleando" and "Bipolarious."