The Joys of Spring (Pt 2 – Large Ensemble Edition)

During the pandemic, we have gotten used to seeing and hearing small group performances.  But, here are two classy large ensemble recordings that captured my attention and imagination.

Photo: Hyemi Kim

Originally from South Korea (now living in New York City) composer and arranger Jiyhe Lee came to the United States in 2011 to study at the Berklee College of Music in Boston, MA. In her native land, Ms. Lee had been a fairly popular "indie pop" singer –– within her first year at Berklee, she won the school's prestigious Duke Ellington Prize (she won it again the next year). Over the past decade, Ms. Lee has won numerous awards and commissions, worked with Wynton Marsalis and the Lincoln Center Jazz Orchestra. Her self-released debut album, "April", came out in 2017 and received glowing reviews from the Jazz press.  The pieces on that recording were based on Ms. Lee's  response to a tragedy; the Korean ferry Sewol, which sank en route from Incheon to Jeju, claiming the lives of 304 innocent passengers, most of whom were teenage children. You should listen to her conversation with Jason Crane of "The Jazz Session" as it gives an excellent picture of the composer's career, influences, and more –– go to www.thejazzsession.com/2021/02/17/the-jazz-session-545-jihye-lee/ and pay attention.

Her new album, "Daring Mind" (Motema Music), is a dazzling display of original music, savvy arrangements, and excellent musicianship.  Album one featured Boston-based musicians while this is a NewYork-centric ensemble as befits her move to the City after graduation in 2015.  What stands out throughout the nine-song program are the strong melodies, the excellent section writing, and the emotional strength.  Pieces such as the opener, "Relentless Mind", and "I Dare You" have such a conversational feel with the reeds jousting with the brass and the soloist Quinsin Nachoff (tenor sax) getting both support and push back from underneath on the latter cut. On the former track, it's the rhythm section that pushes the piece forward during the exciting Sean Jones trumpet solo (his playing is  impressive throughout the program) and Alan Ferber's trombone dance.  Listen near the end of the track when the sections interact with drummer Mark Ferber. 

Ben Kono's alto sax leads the way into "Unshakable Mind", a ballad whose lovely opening melody is carried by the reeds until the brass and martial drums enter, causing the piece to turn dark. The insistent rhythmic pulse has the fell of Ravel's "Bolero" but there is much more shading here, quiet moments when bassist Evan Gregor and guitarist Sebastian Noelle carry on a conversation built upon the melody.  Kono returns again later in the piece to create a splendid solo as the intensity inevitably ratchets up to an amazing close.  

There is not a weak track on the album.  "Struggle Gives You Strength" has the feel of a soulful ballad from Burt Bacharach with hints of Aretha Franklin as well as Ashford & Simpson.  The sectional writing is exceptional as their phrases move upwards throughout the first half of Jone's trumpet solo.  "Revived Mind" has a lilting melody, with a traditional feel, played by the flutes and piccolos. The song moves forward over a soulful rhythm with the trombones responding to the trumpets and flute. Trombonist Mike Fahie solos over the rhythm, although it has not changed, feels more South African.  Listen to how the bass trombone and bass clarinet dance on the bottom while the sections sway behind the soloist.  "Why Is That" opens as a torch-y blues tune with going to the reeds and trumpets. The trombones enter and, a moment later, the music gets even more playful.  There are moments where everybody swings –– suddenly, the piece goes into double-time for a fine alto sax solo from Rob Wilkerson.  Jones's solo also starts in double time as the sections converse while the trumpeter proclaims for all the world to hear.

The album closes on a ballad, "GB", that is another spotlight for trumpeter Jones.  After he leads the song in, the reeds share the melody line.  There's a quick transition, with the low brass adding darker colors to the piece while the trumpets and reeds play powerful phrases.  The middle of the song to Jones and the responsive yet supportive piano of Adam Birnbaum . As the trumpet solo continues, the sections reenter pushing Jones to an exciting climax.  When the music continues, two alto saxophones play the melody, the baritone counterpoint, while the brass play long tones. Jones reenters, rising above the sections as the music winds down.  Its a stunning close to a dramatic work.

"Daring Mind" is a musical triumph. In just two recording, Jihye Lee has proven herself to be a mature composer and arranger, creating music that engages both the musicians and the listeners. And one does want to go back and listen because one cannot hear just how well-crafted and played this music is on initial contact.  Spend time with this music because the joy emanating from the sounds will create joy in and around you.   

For more information, go to https://jihyemusic.com/. To hear more and purchase "Daring Mind", go to https://jihyeleeorchestra.bandcamp.com/.  

Here's the band in action in the studio:

Personnel:

Ben Kono: Alto Saxophone
Rob Wilkerson: Alto Saxophone
Quinsin Nachoff: Tenor Saxophone
Jeremy Powell: Tenor Saxophone
Brian Pareschi: Trumpet
Sean Jones: Trumpet
John Lake: Trumpet
Alex Norris: Trumpet
Mike Fahie: Trombone
Alan Ferber: Trombone
Nick Grinder: Trombone 
Mark Patterson: Trombone (replaces N Grinder on two tracks )
Jennifer Wharton: Trombone
Adam Birnbaum: Piano (six tracks)
Haeun Joo: Piano (three tracks)
Sebastian Noelle: Electric Guitar
Evan Gregor: Double Bass
Mark Ferber: Drums

Photo: Chris Lee

I first heard pianist Steve Feifke play in the intimate confines of The Buttonwood Tree in Middletown, CT.  He was part of a quartet with saxophonist Chad Lefkowicz-Brown, drummer Jimmy Macbride, and  bassist Raviv Markowitz.  The group of friends had gotten together to stretch their musical wings and they certainly filled the venue with exciting sounds as well as youthful exuberance.  Feifke, a graduate of New England Conservatory of Music Preparatory School, New York University, and Manhattan School of Music, is busy as a performer, lecturer, composer, arranger, and orchestrator.  Even though he is yet to turn 30 (he will on June 29 of this year), his list of credits is quite impressive. His works have been commissioned by the Mingus Big Band, the Vancouver Symphony Orchestra, and the Manhattan School of Music Jazz Orchestra (to name but three), he's written music for televisions shows such as "Animaniacs", "Comedians in Cars Getting Coffee", and TruTV's "Impractical Jokers". Feifke has performed or recorded with artists such as Randy Brecker, Chad LB, Veronica Swift, and Ulysses Owens Jr.   His debut as a leader, "Peace In Time", was self-released in 2015 and served to show Feifke's skill as a composer and pianist.

"Kinetic" (Outside In Music) is Feifke's fourth album as a leader or co-leader. Besides "Peace In Time", he co-led a date with trumpeter/ vocalist Benny Benack III, a Christmas EP with his Big Band.  There's also a Big Band date from 2019 titled "Prologue" that is only available through Feifke's website (when you download the mp3s, the folder bears the name "The Story Begins" - go figure).  Featuring a similar lineup, the program is totally different, more "standards", but still quite exciting music.  The new album starts off with the title track, a roaring fast-paced original that has tinges of McCoy Tyner in both the arrangement and the leader's rollicking solo spot. Trumpeter Gabriel King Medd is up next and he sparkles before giving way to drummer Ulysses Owens Jr. –– it's his only appearance on the album and he makes the most of driving the band as well as soloing with abandon.

You'll notice that the energy level of this band is quite high. "Unveiling of a Mirror" starts in a relaxed mode but as soon as the soloists hit, the band, powered by drummer Joe Peri and excellent section play, goes for broke.  Even "The Sphinx", which starts in a sultry manner has moments that really rock especially in the first part of saxophonist Lucas Pino's long, delightful, solo.  Powered by drummer Jimmy Macbride, the music grabs ahold and never lets go. Veronica Swift joins the band on the true ballad, "Until The Real Thing Comes Along", a song that beens recorded Erskine Hawkins, Andy Kirk & His Mighty Clouds of Joy, Aretha Franklin, Billie Holiday, Ella Fitzgerald, Frank Sinatra, even Rod Stewart.  Feifke envelops Ms. Swift in mellow tones from the reeds and brass, strummed guitar a la Freddy Green, tinkling piano, and swishing cymbal splashes.  Kudos to all involved as they treat the song and its lyrics (which is credited to five different writers) with respect.

Ms. Swift returns later in the program for a bluesy take on "On The Street Where You Live" –– she sings it fairly straight but the band takes more of a 1940s Duke Ellington approach. In the middle of the second verse, the groove gets smoother, the sections play it cool, and the music careers forward. Solos by Robert Edwards (trombone) and Andrew Gutaukas (bass clarinet) liven up the tune.  Feifke supplies a fascinating arrangement of Thelonious Monk's "Nica's Dream", giving the tune a Latin feel. Both Benack III and the leader play strong solos, especially Fiefke who gets into quite a conversation with Macbride.  "Midnight Beat" offers the ensemble the opportunity to get funky and they do.  Bassist Chmielinski "gets down" with the funky rhythm guitar and "fatback" drums while Alexa Tarantino plays a singing solo that twists and turns above the rampaging rhythms.

A lovely and short chorale of brass and reeds introduces the final track, aptly titled "Closure."   The ballad has a heartfelt melody played by Sam Dillon (tenor sax)whose muscular yet melodic slo fils the middle section of the tune.  Again, the section writing stands out in its orchestral sound as they support Dillon as well as returning to the melody several times.  

For "Kinetic", Steven Feifke takes sounds and songs that feel familiar (some of them are) and shapes then so they sound new, fresh, and alive.  Many of the musicians in the Steven Feifke Big Band are the leader's contemporaries, younger musicians on the cusp of greater popularity who already play with great presence and creativity.  Very strong effort that bodes well for the future.

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

Here's the Band in the studio with Ms. Swift:

Personnel:

Andrew Gould - Alto Saxophone, Soprano Saxophone, Flute

Alexa Tarantino  - Alto Saxophone, Flute

Lucas Pino - Tenor Saxophone, Clarinet, Flute

Sam Dillon - Tenor Saxophone, Clarinet, Flute

Andrew Gutauskas - Baritone Saxophone, Bass Clarinet

Alex LoRe - Alto saxophone (for Ms.Tarantino on "The Sphinx")

Max Darche, John Lake, Benny Benack III, and Gabriel King Medd: Trumpet, Flugelhorn

Robert Edwards, Jeffery Miller, and Armando Vergara - Trombone 

Jennifer Wharton - Bass Trombone

Alex Wintz - Guitar

Steven Feifke - Piano, Composition, Conducting, Arrangements and Orchestrations

Dan Chmielinski - Bass

Jimmy Macbride - Drums on six tracks

Joe Peri - Drums on "Unveiling of a Mirror"

Bryan Carter - Drums on two tracks

Guests: 

Ulysses Owens Jr - Drums on title track

Veronica Swift - Voice on two tracks 

Saxophonists Take Center Stage + Two Collectives

Tenor saxophonist and composer Melissa Aldana, born and raised in Santiago, Chile, first played the saxophone when she was six years old with her musician father as her teacher. Her musical life was accelerated upon meeting pianist Danilo Pérez who invited her to play at The Panama Jazz Festival. From there, she auditioned for was admitted to the Berklee College of Music in Boston, MA. After graduation she recorded her first albums for Greg Osby's Inner Circle Music (2010 and 2012) -in 2013, Ms. Aldana became the first South American person to win the Thelonious Monk Jazz Saxophone Competition.  Her third album, released on Concord Jazz in 2014, and fourth, released in 2016 on WOMMusic, both featured her Crash Trio comprised of bassist Pablo Menares with drummers Francisco Mela (2014) and Jochen Rueckert (2016).

Her fifth album as a leader, "Visions", finds her on the Motema Music label. Menares is still with her but now the ensemble is expanded to a quartet featuring Sam Harris (piano, Rhodes) and drummer Tommy Crane with special guest Joel Ross (vibraphone) on eight of the 11 tracks.  The addition of Harris obviously fills the sound out and also opens up Ms. Aldana's compositions to new possibilities. The title song, composed with Frida Kahlo in mind, features powerful piano chords (a la McCoy Tyner and Fabian Almazan) which give the music depth and, really, unlimited range. On first impressions, this music may remind you of Miguel Zenon's Quartet in the way the musicians interact, how Crane and Menares give the music such space and breathing room yet are also an integral part of the melodic development. Hear the duo shine on the ballad "Abre Tus Ojos" and then how they drive the band on the next track "Elsewhere." On the latter track, the bass line suggests "A Love Supreme" but the propulsive drive from the drums and piano moves the music in other directions.

Photo: Anna Yatskevich

The music is also quite dramatic. On "Dos Casas Un Puente" and "The Search", the group takes its tie setting up the melody and them playing its way through the head before opening up to solos.  It's fun to hear both Ross and Ms. Aladana ride the percussive drive on the latter track snd how the vibraphonist sets up the former tune's attractive melody line (playing in unison with the saxophonist).  The bassist's "Perdon" is a handsome ballad with fine harmonic flourishes from Harris.  The other piece not composed by the leader is "Never Let Me Go" - composed by Ray Evans and Jay Livingston for the long forgotten movie "The Scarlet Hour" (1956 - Nat "King" Cole" played the song in the movie). It's a sweet ballad with a lovely unaccompanied opening from Ms. Aldana as well as a handsome piano solo.

Photo: Harrison Weinstein

"Visions" is a mature statement from Melissa Aldana who has, over the past decade, grown steadily as a musician and composer.  She has moved past the influences of her father, of teachers Joe Lovano, Bill Pierce, and George Coleman into her own voice. And, the fact that she works with this band on a regular basis is a big plus. Five of these songs appear on a live recording made in late August in Santiago, Chile (available on iTunes and Amazon.com) - it's a quartet date (Joel Ross is not on the album) and it's fascinating to compare the songs (there's really not much difference only that the songs are longer on the live date and Harris's contributions stand out even more).  All told, "Visions" is an album to savor, to play all the way through because the stories that Ms. Aldana and her group tell are so involving! Also, dig the great cover art from Cecile McLorin Salvant.

For more information, go to www.melissaaldana.net. As, a link to her purchase page - melissaaldana.lnk.to/visionsEM.

Here's a track:

Alexa Tarantino, who plays alto and soprano saxophones plus flutes, is a graduate of the prestigious jazz program at Hall High School in West Hartford CT, and graduated from both the Eastman School of Music (Rochester, NY) and the Juilliard School (NYC). She's worked and recorded with drummer Sherrie Maricle's DIVA Orchestra plus with Arturo O'Farrill's Afro-Latin Jazz Orchestra, and with Cecile McLorin Salvant's OGRESSE.  She leads her own Quartet and is co-leader of LSAT (with baritone saxophonist Lauren Sevian).

2018 was a very busy year of recording for Ms. Taratino resulting in three releases in the first five months of 2019. "Winds of Change" is her debut as a leader for Posi-Tone Records. With the splendid rhythm section of Christian Sands (piano), Joe Martin (bass), and Rudy Royston (plus trombonist Nick Finzer on three tracks), she glides, soars, and dances her way through 10 tracks, eight of which are originals.  Listen to the band swing on "Breeze" (complete with a sweet alto sax solo) and set the speakers on fire with the infectious "Face Value."  She's generous with the solos, making sure that Sands, who is a delight throughout, gets the spotlight on numerous occasions (his far-ranging statement on "Undercurrent" is a real treat).

Photo: Anna Yatskevich

Ms. Tarantino plays with authority and assurance throughout - she is certainly ready to be a leader. The alto flute is featured on Antonio Carlos Jobim's "Zingaro" - note how softly the rhythm section plays yet still moves the song forward (excellent counterpoint from bassist Martin).  The ensemble roars with delight on "Ready or Not", a hard bop original played at breakneck speed.  She matches Sands's incredible solo with a very statement of her own - notice how she interacts with both the pianist and Royston plus leaves plenty of room for Finzer to raise his own ruckus.  On the appropriately titled "Calm", she creates a handsome melody for her alto and for the echoing trombone.  It's fun to hear her weave the melodic lines together. Check out what the rhythm section is playing under both the trombone and alto solo, how they push the music a bit "out"when Ms. Tarantino reenters and raising the ante for her solo, truly disrupting the "calm."   The album closes with "Without"; the song opens as a duo for alto and piano before the rhythm section tiptoes in. There's just a hint of Johnny Hodges in the alto sound, not surprising as the tune also resembles Billy Strayhorn's "Blood Count."  Yet, the final minute of the song leads the listener in a much different direction.

Photo: Steven Sussman

"Winds of Change" is a powerful debut for young Alexa Tarantino (26 as of the writing).  No telling where her journey will take the composer and instrumentalist but it should be fun to hear.  Great choice of sidemen on this date as each brings such great strength and creativity; they make each song "sing" in its own fashion. That written, Ms. Tarantino gives them some excellent material to work with! A pleasure to sit down and spend time with, "Winds of Change" is worth your attention.

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

Here's the opening track:



Here are the two "collective" albums Alexa Tarantino was part of for Positive-Tone Records.

Posi-Tone co-owner and producer Marc Free put Ms. Tarantino together with trombonist Finzer and drummer Royston for the June 2018 recording session that resulted in "Maximum Enjoyment." Filling out the sextet - named Something Blue - are tenor saxophonist Sam Dillon (whose Posi-Tone debut was issued in early May of this year), pianist Art Hirahira, and bassist Boris Kozlov. The ensemble plays five originals from its members plus seven other tunes from the label's stable of artists.  Opening with Behn Gillece's "Slick", the music hits hard with good solos all around. Other Posi-Tone artists represented here are guitarist Amanda Monaco ("Coppertone"), saxophonist Jacam Manricks (the appropriately titled "Cluster Funk"), bassist Peter Brendler ("Stunts and Twists", a bluesy ballad, no less), and saxophonist Travis Sullivan (the hard-hitting album closer "New Directions").

 Photo: Sara Pettinella

Pianist Art Hirahara contributes two excellent songs to the album including the handsome "Aoi Blue." The blend of the saxophonists with trombone suggests Art Blakey's Jazz Messengers with Curtis Fuller but note the fie percussion work from Royston (pictured left).  Ms. Tarantino's "Breeze" (which she also plays on her debut) has a bluesy feel, especially in the loping rhythms and opens to feature solos from the composer, Finzer, and the pianist.  The fine mid-tempo ballad "Shift" serves as a spotlight for its composer, tenor saxophonist Dillon. The excellent rhythm section work is such a pleasure to hear as is Hirahara's expansive yet short solo. "Why Aren't You Excited", from the trombonist, is actually more introspective than one might expect from the title. Fine work all around from the band and the soloists.

"Maximum Enjoyment" reveals the fine talent that Posi-Tone Records and producer Marc Free has been able to cultivate over the past decade (Rudy Royston and Boris Kozlov appear on large number of the label's releases not to forget the composers whose work is recorded here). Something Blue certainly refers to the many times Blue Note Records made Lps featuring their sterling lineup of artists in the late 1950s and throughout the 60s.  Smart concept and good exposure for both the artists and the label - give it a whirl.

Here's one of the two Behn Gillece pieces:

The day after Alexa Tarantino recorded her debut, she went into Brooklyn NY's Acoustic Recording studio with a sextet created by guitarist Amanda Monaco.  Lioness came together during a monthly concert series in Flushing NY that the guitarist curates. Producer Marc Free suggested she put together a group of women musicians, baritone player Lauren Sevian suggested the name, and the sextet was formed.  Featuring the three instrumentalists mentioned above, tenor saxophonist Jenny Hill, organist Akiko Tsuruga, and drummer Allison Miller fill out the group. Note the absence of a bassist - Ms. Tsuruga, who has previously recorded with drummer Jeff Hamilton and worked alongside Lou Donaldson plus saxophonist Ralph LaLama and trumpeter Joe Magnarelli, is a classic Hammond B-3 player, meaning that her feet supply the solid foundation.

Photo: Enid Hill

All six members contributed songs to their debut "Pride and Joy" released in March on Posi-Tone Records. The rhythm section - guitar, organ, and drums - gives the music a different and, to these ears , quite inviting, feel.  On pieces such as Carla Bley's classic "Ida Lupino", their work allows the alto of Ms. Taratino to solo freely. Really, it's Allison Miller's funky, danceable, "Mad Time" that opens the album and sets the mood. Then there's the Caribbean feel that permeates Ms. Hill's "Sunny Day Pal" - note the delightful bounce under the guitar solo and the New Orleans drumming under the three saxes as they restate the theme.

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Ms. Monaco takes centerstage as the reed players sit out on the sweet reading of the late Emily Remler's "Mocha Spice."  The gentle drumming of Ms. Miller and supportive organ work makes this piece a highlight.  There's a short and highly funk reading of Aretha's "Think", hearken back to the days of Booker T. & The MGs and The Bar-Kays.  Ms. Tsuruga's aptly titled "Funky Girl" provides a bluesy finish to the album plus a number of delightful low notes for Ms. Sevian. She also gets the first solo and sets the stage for Ms. Tarantino and Ms. Hill to dig in. The guitarist and the composer both get the spots and make the most of it.

"Pride and Joy" is suffused with excellent musicianship and is a whole lot of fun, especially if you play the album at higher volume.  Not sure if Lioness will stay together in its present form as its members are so busy as leaders and side persons.  Nevertheless, this is a delightful recording.

Go to www.facebook.com/pg/lionesswomeninjazz/posts/ for more information.

Here's the first cut - try not to dance, I dare you!

Photo: Michelle Grace Hunder

Alto saxophonist, educator, and composer Angela Davis came to the United States from her native Australia a decade ago to study.  She stayed for six years, recording and self-releasing both her debut album "The Art of the Melody" and its followup, "Lady Luck." Both albums featured her quartet (with bassist and fellow Australian Linda May Han Oh); the second one also included a string section arranged by pianist Dan Tepfer.

She moved home a few years ago and is now a Lecturer of Jazz at the James Morrison Academy of Music at Univ. of SA. And, Ms. Davis now has a new album.  "Little Did They Know" (ABC Music).  Featuring pianist Tony Gould and bassist Sam Anning, the eight-song program features four originals and a song each from Charlie Haden, Bill Frisell, Sammy Fain, and George Frederic Handel.  The song choices lean more to ballads - even Fain's "Love is a Many Splendored Thing" (from the 1955 movie of the sane name) starts with Gould playing a lovely unaccompanied reading with variations of the theme.  When Ms. Davis and Anning enter, the pace picks right up and the music takes on a light-hearted feeling highly by the sweet sounds of the alto sax (one can hear a bit of Paul Desmond in the leader's tones). Ms. Davis's "Circuit for Three" is more up-tempo - the excellent melodic line is followed by strong solos from Gould and Anning.

Photo: Hayley Miro

Haden's "Our Spanish Love Song", which the late bassist composed for his duo recording with Pat Metheny, has a handsome memory inferred by the composer's love of Iberian music.  The sympathetic nature of the trio's interactions really make this song move forward while pulling you into the emotional power of the melody.  Later in the program, Ms. Davis's "Hymn for Haden" celebrates the person and his love for traditional music.  Anning's simple yet powerful counterpoint to Gould's sparkling solo is a highlight of this track and actually occurs throughout.  Ms. Davis's "The Light Between Us" also feels like a hymn with its classic melody line, the soft chords, and the sweet singing alto sax sound.

Photo: Hayley Miro

"Little Did They Know" is a melodic gem, music to start the day (if the windows are open in Spring and Summer, the songs of the birds often fit in) and to close the evening.  It's fitting that the program closes with Handel's aria "Lascio Ch'io Pianga"; the quiet melody, the short saxophone solo that takes its lead from the many singers who have performed the piece, and the gentle piano accompaniment, all combine to bring hope in a new day.  Angela Davis lives, breathes, and cherishes melody; the listener is the beneficiary of her love.

For more information, go to angeladavismusic.com.

Here's the Charlie Haden song:

Best of 2016 (4)

I do get carried away with writing about music that moves me; that is why a "Best Of" list is so dangerous. What starts as 10 for the NPR Critics Poll (see here) ends up being 40 on this blog. I'm not very good at picking more than 5 really great albums but find that, as I listen back, my opinion usually deepens, gets stronger, from finding and hearing more delightful moments.  Click on the links and listen - enjoy!  Thanks for reading. 2016 was quite a crazy year for all sorts of reasons and 2017 has a great possibility of surpassing the madness of the past 12 months.  Music is often the savior for many of us and will continue to do that eternally.

Again, this list is in no particular order:



Frank Kimbrough - Solstice (Palmetto) - Here's what I wrote about this delightful recording: bit.ly/2ge606D.

Stephan Crump - Rhombal (Papillon Sounds) - I wrote in August "(Y)ou will listen to this album for the impressive interactions of Crump (bass and compositions), Tyshawn Sorey (drums), Ellery Eskelin (tenor saxophone), and Adam O'Farrill (trumpet).  Pay attention to how the solos grow out of the melodies, how the quartet mix their distinctive styles to the composer's vision of the music, and the clarity of the sound."  




Fred Hersch Trio - Sunday Night at The Vanguard (Palmetto) - Few groups in the world more magical than pianist Hersch, bassist John Hébert, and drummer Eric McPherson. They are great in the studio and even better in person.



Thumbscrew - Convallaria (Cuneiform) - Thumbscrew makes thoughtful music, songs and sounds that both challenges the listener and rewards him or her.  It is easy to discern the comfort level that Mary Halvorson, Michael Formanek, and Tomas Fujiwara have each other, that they can be "themselves" in a cooperative trio while creating a "group" sound. 

Mary Halvorson Octet - Away With You (Firehouse 12 Records) - This is one of several albums on the list that I have yet to review.  From start to finish, it's a great album.  Ms. Halvorson, arguably one of the more original contemporary guitarists, continues to grow as a composer and arranger, finding ways to make a large ensemble sound both bigger than its parts and as intimate as a conversation between friends. This is quite a group - Jonathan Finlayson (trumpet), Jon Irabagon (alto saxophone), Ingrid Laubrock, (tenor saxophone), Jacob Garchik, (trombone), John Hébert (bass), Ches Smith (drums), and Susan Alcorn (pedal steel guitar) - and they can be exuberant. 

Allison Miller BoomTic Boom - Otis Was a Polar Bear (Royal Potato Family) - Another recording I did not review but I did see this great ensemble live.  Drummer and composer Miller assembled quite a band  Kirk Knuffke (cornet), Ben Goldberg (clarinet), Jenny Scheinman (violin, vocals), Myra Melford (piano), and Todd Sickafoose (bass) -  and they went on tour in the Spring of 2016, showing up at Firehouse 12 the first weekend in May.  This is another group that can play any style of music and play well - check out the video from a gig in Philadelphia a week after the New Haven show, it's such a treat! Then, go find the CD.






Ted Nash Big Band - Presidential Suite: Eight Variations on Freedom (Motema Music) - The week before the United States 2016 election, I wrote ""Presidential Suite" will mean many things to different people but the words plus the music remind us that America can be great when our leaders work to unite citizens.  Even when this country's (and the others represented on this album) problems are front-and-center, we have had leaders step up to inspire us.  This music, with many songs based on the rhythms and words of African Americans, fills one with hope even in treacherous times.  Ted Nash has done listeners a great service with this music, illustrating that words and music can have a positive effect on us all.  Please listen."  Now, this music and these words resonate even louder and stronger, much fuller than any Tweet.

Tom Tallitsch - Gratitude (Posi-Tone Records) - What a band tenor player and composer Tallitsch assemble for this recording -  pianist Jon Davis, bassist Peter Brendler, and drummer Rudy Royston (with organist Brian Charette on 2 tracks - watch the video and you get a feeling for the intelligent music and the splendid interactions.  Tallitsch gives the rhythm section its freedom and they respond by providing him with such great support and the freedom to move around the music with abandon and, often, grace.
If you have the time (make the time), watch all the video for this Quartet from this live date.  





Larry Young - In Paris: The ORTF Recordings (Resonance Records) - The final recording on the list that I did not review is this impressive reissue from Resonance Records. Organist Larry Young (1940 - 1978) moved to France in 1964 to join the Nathan Davis Quintet and, while living there, made several recordings as a sideman and as the leader of a piano trio.  He had already made his Blue Note Records debut (1964's "Into Something") after several recordings for the Prestige label.  One gets several different views on Young's work but can already hear how his organ style is moving away from the blues-soaked sounds of Jimmy Smith, Johnny "Hammond" Smith", and Jimmy McGriff.  Amazing how much of this music sounds fresh today.

photo by David McLister

I should  tell you how much I enjoyed the return of singer-songwriter William Bell ("This is Where I Live" on Stax Records) and just how great he sounded on NPR's "Tiny Desk Concerts."  I grew listening to his songs recorded by himself and various Stax/Volt recording artists (Albert King's version of "Born Under a Bad Sign" still sends chills down my spine plus there's the wonderful version of "You Don't Miss Your Water" by Otis Redding).  Mr. Bell's going strong at 77 and his album is a pure delight.  He's had a busy career but this new album has brought a new and wider audience.

Dig the video and the preponderance of yellow:

Then, there's Paul Simon and "Stranger to Stranger" (Concord Music). The music refers back to the songwriter's long career, his journeys to South Africa and South America and into the heartland of the US plus his folk roots plus his love of 50's doo-wop and more. There's lots been written about this album - some say Simon just might retire - and the more "experimental sounds" might turn some fans off but it's certainly his most "fun" album in quite a while.

Best of 2016 Continued

This group of albums released in 2016 includes a historical document, recording by gentlemen who started making music in the late 1960s and early 70s with the AACM, music that pays tribute, poems set to melodies, and much more!

Thad Jones-Mel Lewis Orchestra – All My Yesterdays (Resonance Records) - I did not pay much attention to this band in its early days as I was in the thrall of The Beatles, The Rolling Stones, and The Who.  But, while those groups were stealing the hearts of American teenagers, composer and trumpeter Thad Jones was writing some amazing songs and charts and organizing a Monday night "rehearsal" band with his friend, drummer Mel Lewis, one that began its tenure at the Village Vanguard in February 1966 and still plays there (under the monicker of the Vanguard Orchestra).  This package - 2 CDs and a 92-page booklet - includes music from the first set the TJ/MLO ever played in front of a live audience and a gig from six weeks later.  If you like big band music, you'll love this album. The music is raw yet polished, exciting, emotional, and downright joyous.  Bless George Klabin and Zev Feldman of Resonance Records for bringing this music to light!

For more information, go to www.resonancerecords.org.

Alexis Cuadrado - Poètica (Sunnyside Records) - Bassist, composer, and arranger Cuadrado turns his attention to contemporary writers on his latest recording. The poetry of  Melcion Mateu (also a native of Barcelona) and Rowan Ricardo Phillips (a NYC native fluent in Catalan) is put to new music performed by the poets alongside Cuadrado, Miles Okazaki (guitars), Andy Milne (piano, keyboards) and Tyshawn Sorey (drums).  This music has a harder sound, more of an urban edge, than his previous recordings, and one is thrilled and moved by how the poets and musicians mix their various voices. Urgent, thrilling, striking music that inhabits your mind with each listen.

For more information, go to alexiscuadrado.com.

Jane Ira Bloom - Early Americans (Outline Recordings) - The sound of soprano saxophone, in the right hands, is hypnotizing, sensual, and can paint pictures like no other instrument.  Put the rhythm section of Bobby Previte (drums) and Mark Helias (bass) in the studio with Ms. Bloom and magic happens. This album is magical, personal, interactive, and uncategorizable - just let the music play and lose yourself (or, maybe even find yourself) in it.

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

Here's an uptempo piece:

Matt Wilson - One Big Happy Family (Palmetto Records) - Drummer, composer, mad scientist Wilson leads a number of different ensembles and on this album, he makes music with current and past members. Some tracks include as many as 11 musicians. They came together to make a tribute recording to Wilson's wife Felicia who passed away in 2014.  In keeping with the drummer's passionate style, the music ranges from hard-hitting "raves" to folk-inspired and bluesy ballads.  The music is also a tribute to the power of people coming together to play and how this act of creativity can stave off the darkness.

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

Here's a delightful track:

Henry Threadgill Ensemble Double-Up - Old Locks and Irregular Verbs (Pi Recordings) - It's rare that Mr. Threadgill records with pianists yet this septet has two (Vijay Iyer and David Virelles); also rare is that the composer does not play on an album of his compositions but, here, he is just the conductor.  This group features the brilliant tuba player Jose Davila and cellist Christopher Hoffman (both members of Mr. Threadgill's Zooid), the "conversational" drumming of Craig Weinrib, and the twin altos of Curtis MacDonald and Roman Filiu. The four-part suite is dedicated to the composer's contemporary Lawrence "Butch" Morris (the composer, cornetist, and conductor) who passed on in 2013.  This swirling, whirling dervish, music has numerous moments of delight and others of mystery; even now, nearly 10 months since I first encountered the album, I am surprised by the stunning "Part IV" and his the opening two-piano conversations pulls me into its elegiac spirit and prayer-like feel.

For more information, go to pirecordings.com/albums/pi64.

Wadada Leo Smith - America's National Parks (Cuneiform Records) - Mr. Smith, like Mr. Threadgill, has created his own musical language through his long career, telling stories this country needs to hear about the power of music to transform society as it explores its myriad issues and relationships.  This 2-CD collection of songs not only celebrates the natural wonders (such as The Mississippi River and Yosemite) but also people (Eileen Jackson Southern, pioneering Black musicologist) and the city of New Orleans. Mr. Smith leads his Golden Quintet - Anthony Davis (piano), John Lindberg (bass), and its newest members, drummer Pheeroan akLaff and cellist Ashley Walters - his crackling trumpet riding the powerful rhythm section, caressing his fascinating melodies, and allowing moments of beauty to linger.  Don't bother to tack labes onto the music of both Henry Threadgill and Wadada Leo Smith - there are few contemporary composers with their vision, compassion, and continuing brilliance.

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

Peter Brendler - Message in Motion (Posi-Tone Records) - Bassist and composer Brendler's second recording for the LA-based Posi-Tone Records employs the same trio of musicians as his 2014 debut - drummer Vinnie Sperrazza, saxophonist Rich Perry, and trumpeter Peter Evans - and covers as much musical territory.  Guitarist Ben Monder joins the ensemble on 4 tracks filling out the sound with his chordal magic and special solos.  This is another album that sounds better each time one listens as you can concentrate on the intelligence of the arrangements, the breadth of the compositions, and the brilliant inter actions as well as wonderful solos.

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

Dig the "swing" of "Splayed":

René Marie - Sound of Red (Motema Music) - The word "sassy" has always been associated with the great vocalist Sarah Vaughan yet is equally appropriate for this splendid performer, storyteller, and composer. With songs that touch your heart and others that make you want to dance, these "Sounds" swing, dance, strut, as well as make you aware of the fragility of the human condition.  Ms. Marie's longtime rhythm section of bassist Elias Bailey, drummer/co-producer Quentin E. Baxter plus pianist John Chin is  on the mark throughout and the various guests add their special magic.  In the long run, it's that lively and alive voice that brings you back again and again.  

For more information, go to renemarie.com. 

Here's Renè Marie and her Trio playing three songs from the album for NPR's "Tiny Desk Concert" series - you can't help notice what a delightful performer she is:

Nick Sanders & Logan Strosahl - Janus (Sunnyside Records) - Pianist Sanders and saxophonist Strosahl have been friends for a decade, ever since meeting in the rehearsal rooms at The New England Conservatory of Music in Boston, MA.  For this intimate yet open album of duets, the musicians plays music that swings, sings, soars, and soothes with tunes from the classical world (pre-Baroque and 20th Century modern), the expansive mind of Thelonious Monk, jazz standards, and even a tune inspired by a video game.  Respect intermingles with a sense of playfulness and exploration throughout the program; like so many recordings included here, this music sounds better each time I hear it.

For more information, go to nicksandersmusic.com or to www.loganstrosahl.com.

Here's a piece by Olivier Messiaen:

René Marie in Red

René Marie has a voice, an approach, an artistry, a fearlessness, that is so appealing - no cookie-cutter she.  A latecomer to the music industry (her debut album was issued in 1999 when she was 44), René Marie has more than made up for lost time.  "Sound of Red" is her 11th CD (her fourth for Motema Music), her first album of original songs since 2011's self-released "Black Lace Freudian Slip" (10 of 13 originals), and a continuation of her approach to telling honest stories.

This is certainly music that has been "lived in", played by her regular trio constituting of bassist Elias Bailey, drummer/co-producer Quentin E. Baxter, and her "new" pianist John Chin.  If you listen to the splendid interactions throughout, one can tell many of these songs were "worked out" on stage. "Lost" is the longest track (10:36) but moves organically from vocal to solos to "trading 4s" and has such a vitality you forget that the lyrics tell of woman tired of being used but cannot change. Each member of the group is important to the story, from the sparkling drums to the piano's rippling phrases to the bass solo that brings everyone does to earth and back to the blues.  Yet the music can't help but pick up and go back into a romp.

John Abbott photo

"Sweet songs" intermingle with pointed messages.  There's the delightful sway of "Colorado River Song" (replete with a handsome solo whistled by the vocalist) followed by "This is (Not) A Protest Song", a story about the "invisible" people in out society.  From the homeless artist to the aggressive woman with dementia to a battered woman with two children, René Marie sings that these people could be us "but for a couple twists of fate." In the background is a chorus of "gospel" voices, all supplied by Shayna Steele, and the quiet acoustic strumming of guitarist Thad DeBrock.  One of the prettier ballads is "Go Home", the story of a woman who tells her "lover" to get out of her bed and return to the person who loves him, the mother of his children - it's not that she wants him to leave but he needs to go.  With just Chin's expressive piano supporting her heartfelt vocal, this song touches one's heart.

westworld.com

Etienne Charles adds his trumpet and arranges the small horn section of trombonist Michael Dease and tenor saxophonist Diego Rivera to the sultry and spunky "If You Were Mine" (which one might view as the precursor to "Go Home"). Mr. Charles and company are also featured on the romping "Joy of Jazz" which tells the story how jazz developed in South Africa, a real dancing track, Chin's piano scampering atop the hot rhythm section with the horns adding support.  Romero Lubambo's acoustic guitar leads the way into "Certaldo", a love story set in Tuscany but with a Brazilian influence.  The title song features the soulful alto saxophone of Sherman Irby, digging into the funky sway of the rhythm section and making sure you understand the "Sound of Red" is rooted in the blues.

René Marie closes this recording, arguably her finest, with "Blessings", a musical benediction for the world, filled with joyous wishes for a peaceful life.  Baxter's martial drumming is reminiscent of John Robinson's snare work on Steve Winwood's "Back In the High Life Again" in the way the drums support and color the narrative, making sure we pay attention to the singer's message.  Do pay attention to "Sound of Red" because your life will be richer and brighter for the experience.

For more information, go to renemarie.com.

Here's René Marie with the band plus Sherman Irby on the title track: