Gift Ideas of the Digital Variety

Not a very clever headline but both these new recordings are worth sharing with friends and fans of creative music!

Photo: Clara Pereira

Truth be told, I've known trumpeter, composer, and arranger Ron Horton for nearly three decades. I first heard his playing as a member of the Jazz Composer's Collective and absolutely loved his 2002 Fresh Sound New Talent recording "Subtextures" (still do––check it out, the sounds are timeless, exciting, and quite adventurous).  We've chatted a few times, most recently in 2021 upon the release of the Newvelle Records collection "Kimbrough", organized by label co-head Elan Mehler upon the death of his former teacher and friend, the pianist Frank Kimbrough.  Horton and Kimbrough were both charter members of the JCC as well as great friends.  Both musicians were aficionados of the music of Andrew Hill (1931-2007)––in fact, Horton helped the older man put together a sextet and material for "Dusk" which was released by Palmetto Records in 2000 as well as 2002's Big Band recording "A Beautiful Day", also on Palmetto. After Andrew Hill passed, Horton continued to play the composer's music in his various groups, including a Dectet and Sextet.

In 2016, the trumpeter brought the Sextet––pianist Kimbrough, alto saxophonist John O'Gallagher, tenor saxophonist Marc Mommaas, bassist Dean Johnson, and drummer Tim Horner (alto saxophoniust and bass clarinetist Marty Ehrlich replaces O'Gallagher on five of the 13 tracks)––into Systems Two studios in Brooklyn, NY.  Newvelle Records usually only releases albums that they record but after hearing this music, Mehler said 

he most definitely release this music.  "A Prayer for Andrew" is a two Lp-set (also available as a digital download) that features seven Hill pieces and six Horton originals.  If you love music that pushes at borders, that roils from the inside out at times or can gently put you in a positive frame of mind, this recording is for you.  It's so good to hear more music from Kimbrough who died suddenly on December 30, 2020.  Listen to how he rolls his solo on Horton's "Home" or how he sets such a torrid pace on Hill's "15-8".  

Photo: Jimmy Katz

Scroll down and listen to the band drive through "Venture Inward", first recorded in 1968 by Hill for his "Grass Roots" album (Blue Note).  The solos, while short, have such power without losing direction.  Andrew Hill's music often flirted with free tempi yet kept moving forward, looking ahead, seeking. Check out "Dusk", a tune with an irresistible bounce to hear how the composer (in this instance, Mr. Hill), plays with the listener's expectations, blending melody and solos in such a whimsical fashion.  The program closes with "Belleza #1" (off of Hill's  2002 Big Band date, a lovely ballad that opens with a fine bass solo that opens up to Marty Ehrlich's handsome bass clarinet spot followed by a lovely piano solo (much of it unaccompanied).  Mommaas leads the rhythm section back in with a breathy, emotional, tenor solo.  He continues to improvise while the rest of the group play the theme. Such a gentle finish to a splendid album.

"A Prayer For Andrew" is not considered a "tribute album" by Ron Horton or his collaborators. His various groups have not only played this music for many years, they also have lived inside it. The spirit of Andrew Hill can be felt strongly when the band plays these songs––it is music that defies genres whie it sings to all of us.

For more information and to purchase the album, go to https://www.newvelle-records.com/collections/shop-newvelle/products/ron-horton-a-prayer-for-andrew for vinyl and/or to https://newvellerecords.bandcamp.com/album/a-prayer-for-andrew for digital.

Listen to "Venture Inward":

Guitarist and composer Anthony Pirog is an ambitious musician who is one of the more adventurous musicians on the modern scene. He rarely if ever repeats himself and sets a new challenge with each project.  Several years ago, the guitarist reached out to fellow players and asked them to create an "ambient" track that he would then improvise over. Many he asked were friends but he also "reached" for and received music from Andy Summers (The Police) and Brandon Ross.  The results can be heard on "The Nepenthe Series: Volume I" (Otherly Love Records).  Even if you are familiar with the guitarist's earlier recordings, chances are good you'll be surprised by these nine tracks.  Because this is an ambient setting, the music is not concerned with "shredding" or technical proficiency; instead, Pirog and partners have created a soundtrack that stands apart from any you may have encountered.

Webster's Dictionary defines nepenthe as "a potion used by the ancients to induce forgetfulness of pain or sorrow" and "something capable of causing oblivion of grief or suffering"––still, this music challenges both the creators and the listener to pay attention and to get lost in the sounds. The program opens with "Aurora" created by John Frusciante (of The Red Hot Chili Peppers); the music floats atop a low-note drone with tones that swell and shrink and electronic "raindrops" back in the mix.  Summers contributes "Inflorescence". The handsome melody Pirog creates over the shimmering guitars and quiet chords has an emotional pull unlike anything else on the album.  In comparison, "Night Winds" (created by Wendy Eisenberg) has a thunderstorm of white noise and static plus a chilling melody line that never resolves. Pirog adds distorted guitar that maintains the mood.

Listen below "Ripples of Light", the track that closes the album. Nels Cline's drones serve as an antithesis to Ms. Eisenberg's darker music. In fact, this music often floats and you can't really separate what each guitarist brings to the music. Why should you?  Just sit back, close your eyes, be surprised, be calmed, and forget the craziness of the world around you.  Creativity takes many shapes on "The Nepenthe Series: Vol. I" so grab your headphones, dim the lights, and explore the possibilities.

For more information and to purchase the recording, go to https://anthony-pirog.bandcamp.com/album/anthony-pirog-the-nepenthe-series-vol-1.

Hear Anthony Pirog with Nels Cline on "Ripples of Light":

Love, Loss, Living Sounds

 

I've been aware of saxophonist and composer Michael Blake since the mid-1990s when, along with bassist Ben Allison, pianist Frank Kimbrough, saxophonist Ted Nash, and trumpeter Ron Horton, he co-founded the Jazz Composers Collective.  During that time, Blake was also a member of the Lounge Lizards and, by the end of the decade, co-founded Slow Poke with guitarist Dave Tronzo. Since then, he has worked with artists as diverse as Neil Sedaka, trumpeter Enrico Rava, guitarist Charlie Hunter, pianist Henry Butler, trumpeter Steven Bernstein, and many others. Along the way, he's recorded 14 albums for labels such Songlines, Sunnyside, Ropeadope, Newvelle Records (see below), and others.

Album number 15 "Dance of the Mystic Bliss" (P&M Records) is a fascinating program for the get-go.  After Blake's Mother passed in 2018, the saxophonist felt no desire to write or even play. When the pandemic closed down the world, he felt his lethargy lift and began writing inspired by his mother's joy for living (she was a dancer and teacher).  Blake built a unique ensemble for this project; four string instruments (violin, cello, electric guitar, and acoustic bass), two percussionists (drums, cymbals, shakers, marimba, etc.), and his expanded reed arsenal (soprano and tenor saxes plus flute and alto flute).  The percussionists (Mauro Refosco and Rogerio Boccato) were tasked with creating the rhythm arrangements).  Violinist Skye Steele (who has worked with artists such as Anthony Braxton, Willie Nelson, Deer Tick) suggested cellist Christopher Hoffman (Henry Threadgill, Anat Cohen, Anna Webber) while the leader brought in guitarist Guilherme Monteiro (Kenny Werner, Kurt Elling, Lila Downs) and bassist Michael Bates (Ben Monder, Donny McCaslin).  Blake also brought 10 pieces, most new and the others rearranged for this ensemble (dubbed Chroma Nova).

What the interested listener gets is a playful yet melodic blend of "world" sounds (especially West African and Brazilian) with improvisation and more than a touch of blues.  The album opener, "Merle the Pearl", is inspired by and dedicated to Blake's mother.  Each time the song plays, I hear the influence of Arthur Blythe's "Down San Diego Way" in the mix of percussion, rhythm-inspired melody line, and how the saxophonist soars gleefully over the ensemble.  Later in the program, "Sagra" takes a similar approach but Steele's "hoe-down" fiddle adds a new dimension.  Blake builds his tenor solo off of Steele's riffs, digging into the percussive groove.

In conversation, Blake told me that, for this album, he started playing flute (he had been so blown away by the flute work of the late Thomas Chapin that he did not pick up the instrument for over a decade.  One hears the flute in the intro of "Prune Pluck Pangloss" but the leader returns to tenor for a powerful solo. "The Meadows" also commences with a flute melody––this time, the leader creates a fine solo, first over the shimmering strings and coming to its close over the bass and rhythm section. After an excellent spot for Monteiro, Blake's flute takes flight, swirling, soaring, and fluttering while Refosco and Boccato create a rhythmic playground of sounds. 

Besides the splendid percussion and delightful flute playing, the use of Steele and Hoffman's strings stand out. Not only is the former an impressive violinist but also his "exotic" instruments (the one-stringed gonji and the three-stringed rabeka or rebec) add so many different colors. Hoffman's cello and his deep resplendent sound gives the music a counter-weight to Blake's soprano sax  as well as a counterpoint to Bate's foundational bass lines. Listen below to "Le Coeur du Jardin (The Heart of the Garden)" for its beauty and mystery and the excellent cello solo (which, as it moves along, breaks into two celli). 

 

Whether it's insistent funk of "Little Demons" or the mysterious jungle of "Weeds", "Dance of the Mystic Bliss" satisfies on so many levels. The wit, the immediacy of the sound, the thoughtful solos, all that and more makes this album one to explore time and time again––just might want to get up and dance, who knows?

For more information, go to www.michaelblake.net/. To hear more and to purchase the album. go to  https://michaelblake.bandcamp.com/album/dance-of-the-mystic-bliss.

Listen to "Le Coeur du Jardin (The Heart of the Garden)":

In the Fall of 2022, Newvelle Records inaugurated its "Renewal Series" with albums by label co-owner and pianist Evan Mehler, Dave Liebman, Nadje Noordhuis, and Michael Blake.  For "Combobulate", Blake (tenor and soprano saxes, flute) assembled a brass quartet composed of trumpet (Steven Bernstein), trombone (Clark Gayton), and two master tuba players (Bob Stewart and Marcus Rojas) to which he added drummer Allan Mednard. The music lives up to the series name as it renews the listener's faith in the power of music to give hope in dark times.  The album opens with "Henry's Boogaloo" that rides in on the New Orleans "beat" and the bouncing tuba lines.  Bernstein comes in with a riff playing off the rhythm and then Blake introduces the melody. The saxophonist solos over the tuba counterpoint and Mednard's "kicking" drums. Check out the fun on "Bills in the Bell", how Rojas (walking bass lines, no less) and Mednard push the piece, how Stewart's voice shows up in the background "horn arrangement", the rollicking solo from Bernstein, the drum solo with Rojas bobbing and weaving which leads the band into a slower yet no less funky beat while the flute joins the brass. Feeling blue, Buddy––turn up the volume and rock the house!

Watch and listen below to "Malagasy". Notice the smiles on Mednard's face as he kicks the band forward, note the concentration on Rojas's face, and how everyone's voice is part of the joyous African rhythm and melody.  Love how trombonist Gayton dances in his chair while soloing.  Pay attention to how the voices of the ensemble mesh throughout the piece

There are slower moments including the gospel-like tones and feeling of "Cuyahoga Valley" (such gorgeous low notes) as well as the plaintive "Bob The Bob". The emotional melody line that Blake plays gets a rich tuba counterpoint ––it's arguably the most soulful tune in the program. One of the two bonus pieces on the digital download, "Anthem for No Country", features album co-producer Elan Mehler on piano––there is a hint of Abdullah Ibrahim in the melody (the song first appeared on Blake's 2001 "Elevated" album) and a feel of South African Township music (on both versions actually). 

"Combobulate" comes to a close with "The Parting Glass", a traditional song attributed to Scottish poet Robert Burns. There are dozens of versions, mostly vocal, of the song to be found online, and one can hear hints of Burns' "Auld Lang Syne" in the melody. The ensemble plays it straight, sans drums for the first half––when Mednard enters, his steady beat under the long tones of the horns which support Bernstein and Blake as they weave lines around each other, gives the music a touch of a 1960s "soul" ballad. However you decide what the song sounds like is fine, the piece is a gentle coda to an impressive collection of songs. 

Michael Blake has proven time and again over his career how big his ears are, how open to the musics of different traditions he can be, and how his musical voices can elicit many different emotions in the course of a performance or recording. "Combobulate" certainly is music for a "renewal" of the spirit and the soul. Highly recommended!!

For more information, go to www.newvelle-records.com/products/michael-blake-combobulate. For the digital version, go to https://newvellerecords.bandcamp.com/album/combobulate. 

As promised above, "Malagasy":

The Recuperation Playlist (Part Two)

 

Like many top-notch bass players, Chicago-based Clark Sommers is often first-call.  He has done numerous tours with vocalist Kurt Elling, with pianist Darrell Grant, the late tenor sax giant Von Freeman, vocalist Jeff Baker, the Chicago Symphony Orchestra, the 13-member Chicago Yestet, and guitarist Bobby Bloom (plus many others). For the past decade, the bassist has led the Ba(SH) Trio with saxophonist Geof Bradfield (tenor and soprano saxes plus bass clarinet) and drummer Dana Hall. That group has issued two excellent albums and Sommers' two compatriots are the foundation of the latest version of his Lens quintet. Sommers and Bradfield, along with drummer Kendrick Scott, guitarist Jeff Parker, and pianist/ organist Gary Versace released its first album, the self-titled "Lens", on eyes&ears Records in 2017. The quintet's second album, "Intertwine", is now out on Outside In Music now featuring guitarist Matt Gold, tenor saxophonist Chris Madsen, and drummer Hall.

Replacing the keyboards with the guitar acts to "open up" the sound of the quintet. The new album, which clocks in at nearly 74 minutes, never feels over-stuffed or sounds dull––instead, Sommers has composed music with strong melodies that gives the ensemble plenty of room to create cogent solos and for Hall to experiment underneath the solid foundations the leaders creates.  "Also Tomorrow" opens the 12-song program, the two tenor saxes combining to present the melody while the drums and bass play a skipping rhythm.  "James Marshall" follows and the title is a reference to James Marshall "Jimi" Hendrix. You can hear the influence of the great guitarist in the structure of the song but Gold's solo certainly goes its own original way. There's a bluesy solo from Bradfield and exciting statement from Madsen that leads the piece to its powerful close.

Sommers the composer keeps one guessing as to what direction the next track are going to take.. There's the swinging hard-bop of "Second Guess", the lovely and mysterious modalities of "Ancient Voice" (where Bradfield's bass clarinet blends nicely with Madsen's tenor sax), the bluesy funk of "Weeks and Weeks" (where the handsome melody runs counter to the down-home feel of the rhythm section) which leads into "Invisible Arrow" that again has the open play feel of the earlier tracks.  

The up-tempo title tracks closes the program. Again, it's the skipping quality of the drums that gives the handsome melody the room to move and expand. The blend of soprano and tenor over Gold's rippling guitar lines is so attractive. The track also features a melodically rich solo from the leader and rousing call and response by the saxes that leads the piece and album to a gentle finish.

"Intertwine", for this listener, is an album that I start at the beginning, go to the end and start all over again. The bountiful melodies and rhythms wash through the room and, in the long run, are greatly rewarding.  Clark Sommers Lens is an ensemble that begs to be seen live so it can work its musical magic on an attentive and appreciative audience. In the meantime, this album is a true treat! 

To find out more, go to www.clarksommers.com.

Most modern music fans know Elan Mehler as co-producer and Artistic Director of Newvelle Records, the label that has been producing ultra-high quality vinyl albums in a subscription series since 2016.  There's much more than music––each package features impressive art work, informative liner notes, and more.  Most people don't know that Mehler is a fine pianist––the fifth" season featured Mehler in a musical conversation with trumpeter Dave Douglas and, in 2020, his duo album with vocalist Becca Stevens was issued as a "digital-only" release. 

This month, Newvelle issues a new quartet of albums under the name of "The Renewal Collection". Subscribers purchase four vinyl albums including new work from Mehler, saxophonist Michael Blake, saxophonist Dave Liebman, and trumpeter/ flugelhornist Nadje Noordhuis.  All four will be issued digitally one month at a time. The impetus for this collection is how music was able to soothe so many souls during the worst months of the Pandemic.  "There Is a Dance" finds Mehler in a trio conversation with acoustic bassist Tony Scherr and drummer Francisco Mela––if you love piano trios, this is worth your time.  While most people will point to Bill Evans or Keith Jarrett or Bud Powell as the most influential piano trios, this 13-song (the digital release has two more tracks than the vinyl) reminds this listener of the cooperative trio of Geri Allen, Charlie Haden, and Paul Motian that recorded for Soul Note and DIW (Japan) in the late 1980s and 1990s.  

In his liner notes, the pianist writes that "I’ve spent my whole life with this music – listening to this music – practicing this music – relying on this music – struggling with this music – and – when it’s good – welcoming this music’s arrival from the quietest place in my heart." (There's much more to understand about this recording in the notes).  The music ranges from the sweet blues of "East Side Blues" to deep introspection of the title track to lovely gospel sounds of "When You Were Blind" to the Frank Kimbrough influence that permeates "The Shakes" to the lyrical "We Spin" to the Erik Satie gentleness of "Ruby D."  Scherr and Mela are the perfect partners––while neither solos, they listen intently to the pianist either following as Mehler moves through his solos or gently prodding him or just quietly interacting.  One of the aspects of this music that stands out is how articulate and musical Elan Mehler is.  

What might happen to the active listener as he or she goes deeper into "There Is a Dance" is that a sense of calm should spread through the body.  This music is not about technique, about swing, or volume; inevitably, it's about healing, about acceptance, about moving forward into a better state of being.  Power need not be about pushing someone away until they push back; it can also be about pulling one into a hug and giving thanks for being alive.  Elan Mehler may have struggled to bring this music to life but the results are life-affirming.  

For more information, go to www.newvelle-records.com/products/the-renewal-collection.  If you would rather the digital release, go to https://newvellerecords.bandcamp.com/album/there-is-a-dance. 

Enjoy the gospel-blues of "When You Were Blind":

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."

The Digital Side of Newvelle Recoirds

 Over the past year, the vinyl-only, subscription series, record label Newvelle Records has been issuing digital versions of albums from its first four "seasons".  While the digital releases go a long way to capture the impressive "sounds" of the Lps, one does not get the brilliant art work that accompanies each package. Nevertheless, the lesser expensive alternative is a great way for music lovers to learn about the great work that Artistic Director Elan Mehler and engineer Marc Urselli of NYC's East Side Sound are capturing.  

Noah Preminger has two releases on the label including "Some Other Time" released in Season One (2015).  It's a ballads album that features the tenor saxophonist playing alongside guitarist Ben Monder, bassist John Pattitucci, and drummer Billy Hart.  This is not a typical standards collection; yes, there are pieces from Billy Strayhorn "My Little Brown Book"), Duke Ellington ("Melancholia"), Victor Young ("A Ghost of a Chance"), and Jimmy Campbell's "Try a Little Tenderness" but there's also Bob Dylan's "Boot of Spanish Leather", "Porcelain" from The Red Hot Chili Peppers, and "Una Limosnita por Amor de Dios ("An Alm for the Love of God") composed by guitarist Agustín Barrios Mangoré (1885-1944).  Preminger contributes "Semenzato", a piece that is not only quite melodic but features a great bass solo plus the saxophonist's strong give-and-take with Hart. 

There's a touch of Coleman Hawkins and Ben Webster in Preminger's tone on pieces such as "Ghost of a Chance" that also features splendid bass playing and smart brushes work. That breathy and bluesy sax sound permeates the Leonard Bernstein piece that gives the album its name.  Here, the interactions of all four musicians stand out with kudos to the wonderful rhythm guitar of Monder plus the high-energy saxophone coda. The guitarist's "atmospheric" sound is a delightful foil to Preminger's attack––note how Monder weaves in and out of the melody on the opening of "Melancholia" as well as his "ringing" chords behind the bass solo.

"Some Other Time" is a timeless set of music. How impressive is this quartet of contemporary musicians that they can take material that is over 70 years old and mix it with much newer works and the results are so ageless. This album is a welcome addition to growing discography of Noah Preminger, a series of fascinating and adventurous musical experiences.  

For more information, go to www.noahpreminger.com. To hear more and to purchase the album, go to  https://noahpreminger.bandcamp.com/album/some-other-time. 

Hear "A Ghost of a Chance":

From Newvelle's Season 3 comes "Half Light", an impressive and imagistic collection of pieces created by tenor saxophonist and composer Andy Zimmerman. Based in Chicago, IL, he doesn't have a big discography but is involved in an on-going project with his father, award-winning storyteller Jack Zimmerman. The saxophonist also appears on the first Newvelle release, Frank Kimbrough's "Meantime".  His release finds him in the company of pianist Kevin Hays, bassist Matt Penman, and trumpeter Dave Douglas.  There are moments throughout the 11-song program when it feels like all four are playing melody. One rarely hears Douglas as a sideman these days but he's an excellent second "voice" in much of this music––he stands out on "Sunset and The Mockingbird" (a Duke Ellington piece from "The Queen's Suite") especially on his interactions with the leader. Although the liner notes calls these pieces "sketches", the music shines.  Zimmerman's pellucid sound has a lightness akin to alto saxophonist Paul Desmond. There are no wasted notes, no need to impress with long, technically amazing solos–the melody, the story, is all.

There are no weak moments on the album. Whether the song is a shimmering musical poem ("The Bay Area"–listen below), an aural painting ("Clearing"–watch below), celebrating a sweet melody with a Latin feel in the rhythm ("Lena's Dance"), or reimagining George Gershwin's soulful ballad ("Bess You Is My Woman Now"), Andy Zimmerman and company play with love, conviction, joy, respect, and an understanding that music can do many things for listeners including offer solace in bitter times. "Half Life" is a gem and will offer you, as it has for me, a creative respite.

For more information, go to www.andyzimmermanmusic.com. To hear more and to purchase the album, go to https://newvellerecords.bandcamp.com/album/half-light.

Here's "The Bay Area":

Watch the quartet in the studio:

   

Pianist Billy Lester is not well-known in the great big music world yet that should stop from checking out "From Scratch" his album that appeared in Newvelle's Season 4. Joining him in this 14-song program are bassist Rufus Reid and drummer Matt Wilson.  The Lp version contains nine songs while the digital release adds four more songs and one alternate take.  All standards, this music is anything but standard.  The piano is front-and-center throughout while Reid offers delightful counterpoint and Wilson is the engine that can and does gleefully swing or gently strolls through the music.  Listen below to the 1917 James F, Hanley classic "Back Home In Indiana"–the piano, bass, and drums lock in from the start and never let go.  The same can be said for Jerome Kern's "Yesterdays" in that the Trio "hits it" from the onset and never lets go.

Photo: Anna Yatskevich

Lester, who studied with Sal Mosca (a Lenny Tristano disciple), has a bright sound as well as witty take on approaching on performing a tune often splintering the original melody and building his solo out of those melodic and/or rhythmic splinters. There's a dollop of Thelonious Monk on the previously unreleased "These Foolish Things" and traces of Duke Ellington in the opening minutes of the piano solo "Darn That Dream" which later has a playful stride section.  That's the joy of this music––Billy Lester can play what he wants when he wants and no two versions of any song in his repertoire can be subtly (or even not-so-subtly) changed each time he sits at a piano.  Check out "From Scratch" for a musical adventure par excellence.

For more information, go to www.billylestermusic.com. To hear more and to purchase the music, go to 

https://newvellerecords.bandcamp.com/album/from-scratch.

Here's the swinging "Back Home in Indiana":

From Vinyl to Digital

Newvelle Records, the American-French collaboration that has created an amazing series of modern jazz vinyl albums over the past six years, is just beginning to release some of those albums on their new digital label.  Earlier in 2021, the label released three albums (two new) including the brilliant 61-track tribute to the late pianist Frank Kimbrough plus two duo albums, one by bassist Skúli Sverisson and guitarist Bill Frisell (which had been released on vinyl in 2018) as well as one by vocalist Becca Stevens with label co-owner/ pianist Elan Mehler.

Now, as the year closes, the label has chosen to release three more of the original vinyl albums in a digital format, one from each of their first three "seasons".  Note that the musicians own the rights to the music after two years –– artists who the label has recorded have issued their Newvelle Lps on their own labels including bassist Ben Allison, saxophonist Tim Berne, and guitarist Lionel Loueke (in both a trio session and a duo date with pianist Kevin Hays). 

Let me also state here that when you visit the label's website –– www.newvelle-records.com –– you'll also see that there are recordings of artists from New Orleans (among them, the late Ellis Marsalis as well as vocalist Irma Thomas) plus an "international artists" collection that includes vinyl releases by guitarist Gilad Hekselman (Israel) and trumpeter/flugelhornist Nadje Noordhuis (Australia).

The label's first vinyl release was "Meantime" featuring pianist Frank Kimbrough in a quartet/quintet setting with tenor saxophonist Andy Zimmerman, bassist Chris Van Vorst Van Beest, drummer R.J. Miller, and, on several tracks, trumpeter Riley Mulherkar.  The program, expanded from nine to 12 tracks on the new release, features both new and older originals plus several standards.  Zimmerman is a new voice for me –– he's been based in Chicago for several decades and made his debut as a leader on Newvelle in Season Three, a quartet setting with trumpeter Dave Douglas, pianist Kevin Hays, and bassist Matt Penman.  The saxophonist and leader work well together really nicely (check out "Alabama Song" below), his subdued attack on the sax similar to the gentle explorations of Kimbrough. Adding Mulherkar to the mix, especially on the swing take of Andrew Hill's "Laverne", is a treat as the trumpeter gets to display his delightful bop chops. The rhythm section is responsive throughout while the pianist's inventiveness, as usual of his albums, shines brightly. 

There's much more –– if you are a fan of Frank Kimbrough's music and did not spring for the vinyl (mea culpa), this is a very welcome addition to your collection. Go to https://newvellerecords.bandcamp.com/album/meantime and purchase this delightful album.

Here's the opening cut:

From Newvelle's second season comes "Cuban Nocturne", a solo piano release featuring the impressive Cuban-born now American artist Aruán Ortiz.  The pianist, a native of Santiago de Cuba, started out on violin and viola as a youth but switched to the keyboard after moving to Havana in his late teens to attend school. He went on to study in Barcelona, Spain, before moving to the Berklee school in Boston, Ma, on a full scholarship.  Ortiz has recorded nine albums as a leader or co-leader but "Cuban Nocturne" is his first program of classical Cuban music.  Pieces from the composers Ignacio Cervantes (1847-1905), Antonio María Romeu (1876-1955), Ernesto Lecouna (1895-1963), and Catalan composer Federico Mompou  (1893- 1987) plus the title track which Ortiz created for the 2015 movie "Sin Alas (Without Wings)" as well as two short original "Interludes".  It's a stunning, delightfully impressionistic, 38+ minutes of splendid musicianship, lovely even stately melodies, and certainly well worth your time and money!

For more information about the album, go to www.newvelle-records.com/products/nv011lp-aruan-ortiz-cuban-nocturne. To hear more and to purchase the album, go to. https://newvellerecords.bandcamp.com/album/cuban-nocturne.

Here's the title track:

From Newvelle's third season comes "Charlie & Paul", an tribute to bassist Charlie Haden (1937-1914) and drummer Paul Motian (1931-2011) created by guitarist Steve Cardenas with a ensemble that features Loren Stillman (alto saxophone), bassist Thomas Morgan, and drummer Matt Wilson. The program includes five compositions from Motian (three of which are premiered on this album) and five from Haden (one of which, "There In a Dream", is not on the vinyl version). All four musicians had worked with one or both of the two Masters (Cardenas is the only one who played with both) and the listener can tell that by the way they dig into the material with love, passion, respect, and joy. The music runs the gamut from Country-rock ("Prairie Avenue Cowboy") to a Spanish-Latin feel ("La Passionara") to "freer" associations ("Riff Raff") to a gentle acoustic guitar driven folkish tune ("For Turiya") to "electric bebop ("For the Love of Sarah") and elsewhere. The music is a treat from start-to-finish and the digital sound quality is first class!  The crisp, clean, tones of Cardenas's acoustic guitar as well as Morgan's soulful bass work stand out as do the delightful percussion play of Wilson and Stillman's melodic, cool, alto sax lines.  Such an excellent ensemble, splendid material, and enchanting musicianship.

For more information, go to www.newvelle-records.com/collections/shop-newvelle/products/nv013lp-steve-cardenas-charlie-paul.  To hear more and to purchase the digital album, go to https://newvellerecords.bandcamp.com/album/charlie-paul.  

Remembering Frank Kimbrough With Song & Much Love

 Look at this list:

Addison Frei, Alexa Tarantino, Alexis Cuadrado, Allan Chase, Allan Mednard 

Ben Allison, Ben Monder, Ben Rosenblum, Ben Wolfe, Billy Drummond

Clarence Penn, Craig Taborn

Dan Tepfer, Dave Douglas, Dave Treut , Dezron Douglas, Donny McCaslin, Douglas Marriner

Elan Mehler, Elio Villafranca, Evan Harris 

Francisco Mela, Fred Hersch 

Gary Versace, Glenn Zaleski 

Helen Sung

Immanuel Wilkins, Isaiah J. Thompson

Jacob Sacks, Jay Anderson, Jeff Cosgrove, Jeff Hirshfield, Jeff Williams, Jesse Neuman

Joe Lovano, Joel Wenhardt, John Hébert 

Kirk Knuffke

Martin Wind, Marty Jaffe, Matt Wilson, Micah Thomas, Michael Blake, Michael Formanek

Noah Halpern, Noah Preminger 

Olivia Chindamo

Patrick Cornelius

Rich Perry, Rich Rosenzweig, Riley Mulherkar, Rob Jost, Ron Horton, Rufus Reid

Ryan Keberle

Samora Pinderhughes, Satoshi Takeishi, Scott Robinson, Scott Spivak, Sean Mason

Steve Cardenas, Steve Wilson

Ted Nash, Tim Horner, Todd Neufeld, Tony Moreno, & Tony Scherr 

What do they have in common?

This person:

-

Pianist, composer, arranger, and educator Frank Kimbrough, who died on December 30, 2020, is who.  Kimbrough, who was born in North Carolina, settled in New York City in 1981 and slowly, steadily, built his career as a first-class soloist and accompanist, first came to critical exposure when he joined the Jazz Composers Collective in 1991 (co-founded by bassist Ben Allison with trumpeter Ron Horton, saxophonists Ted Nash and Michael Blake).  Two years later, Kimbrough took over the piano chair in  the Maria Schneider Orchestra, staying there until his untimely passing. 

(From the Press Release): (On July 16), Newvelle Records is releasing  "KIMBROUGH", a collection of 61 original compositions by jazz artist and educator Frank Kimbrough, who passed away in December 2020. Featuring tributes from 67 of Frank’s former bandmates, students, and friends across multiple generations, "KIMBROUGH" was recorded over three and a half days in New York as the musical world began reawakening in May 2021. All proceeds from this definitive collection of Frank’s music, available on high-quality digital download on Bandcamp, will benefit the Frank Kimbrough Jazz Scholarship at The Juilliard School.

“Frank was a genuine ‘musician’s musician’ whose talent as a player, composer, and teacher fueled generations of artists in the New York jazz community,” said Elan Mehler, cofounder and artistic director of Newvelle Records, and a student of Frank’s at New York University in the 1990s. “There is something miraculous about attracting 67 world-class artists together in a studio, just as the world began emerging from the pandemic. Only someone of Frank’s impact could inspire such an ambitious project.”

The album, available on Bandcamp for $20.00 and streaming everywhere, was recorded and mixed by Marc Urselli on May 10-14, 2021 at EastSide Sound, mastered by Colin Bryson at The Bunker Studios, and produced by Elan Mehler. All songs were written by Frank Kimbrough, Kimbrough Music BMI.  Executive produced by Maitland Jones, Jim Harvey, Steve Satterfield, Matt Steinfeld and JC Morisseau.

What's fascinating about this project is that, in several ways, the album mirrors one of Frank Kimbrough's final recording projects, "Monk Dreams: The Complete Compositions of Thelonious Sphere Monk" (Sunnyside Records).  The album features Scott Robinson, Rufus Reid, and Billy Drummond – those musicians all appear on the Newvelle recording and the program is all Frank Kimbrough songs. Go listen, pay tribute, and help support his teaching legacy.  

For more information, to listen and to purchase the album, go to  https://newvellerecords.bandcamp.com/album/kimbrough.

Here's the opening track, "The Call".  The musicians include Scott Robinson (tenor saxophone), Allan Chase (alto saxophone), Riley Mulherkar (trumpet), Ryan Keberle (trombone), Samora Pinderhughes (piano), Ben Wolfe (bass), and Jeff Hirschfield (drums).

Storytellers: Dreams, Hopes, Realities

Pianist and composer Lafayette Gilchrist has lived in the Baltimore-Washington D.C.-area all his life. He was raised listening to to rhythm 'n' blues and "go-go" music, both styles which inform his playing to this day.  He has toured and recorded with saxophonst David Murray plus has worked alongside Oliver Lake, Cassandra Wilson, bassist Michael Formanek, and many others. Several of his compositions have been used on the soundtracks of HBO's "TheWire" and "Treme", both shows created by David Simon. Currently, Gilchrist leads several ensembles including The New Volcanoes and the Sonic Trip Masters All Stars.

"Dark Matter" is his second solo piano album, the first being 2013's "The View From Here"; both released on the pianist's Creative Differences label.  The new album, recorded live in September of 2016 on the stage of Wright Theater/University of Baltimore, is a joy from the opening cut, "For The Go-Go", a rollicking celebration of this attractive dance music, to the blues-soaked refections of "Greetings", which brings the album to a close. Throughout the album, the pianist shows his sense of humor as well as the dramatic side of the stories he weaves.  "Happy Birthday Sucka" could easily have been played at a Harlem "rent party" (in the part of New York City that bears the name or the Harlem Park section of Baltimore) – the piece dances forward on the power of Gilchrist's left hand and the short melodic phrases and rolling lines flowing from the right (dig the touch of New Orleans that comes in 2/3rds of the way through).

There are moments when the music has the feel of the work of "Jelly Roll" Morton, especially the "Spanish tinge" that often colored his songs.  The earthiness of the title track cries out for lyrics (a previous recording with the New Volcanoes does have a vocal) – in fact, a number of these songs have been recorded by Gilchrist's large ensembles.  "Spontaneous Combustion" originally appeared on 2013's "Inside Out" with its insistent drive assisted by the propulsive bass lines and the "popping" conga drums.  On the newer solo version, the piece has an introspective opening with hints of the dancing bass line that once it takes over, the song goes into overdrive.

There is a poignant and urgent nature to "Blues for Our Marches to End" that is breath-taking as well as emotionally shattering.  Put into perspective, there have been numerous marches since the Black movement towards equality in the United States began long ago.  While the marches have raised consciousness around the world, they remain dangerous (most recent example is Charlottesville but, recently, the fear of violence hangs over each demonstration).  The instrumental does not preach but it certainly teaches.  Other pieces, such as "Childs Play", "Black Flight", and "Old Whale Bones", are contemplative and quite melodic though there is a solid dancing rhythm (and that hints of "Spanish tinge) to the first track listed.

Lafayette Gilchrist keeps the listener engrossed all the way through "Dark Matter", reminding one of the power of one piano, of melodies built to be sung as well as to let soak into your soul.  Hard to put down, played with a sense of joy and desire, this music will take you out of the ordinary and into a space that is quite open and hopeful.

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

Here's the fine opening track:



There is an immediacy in a live performance – even if the musician is in deep concentration, he or she is usually aware of those who are looking, coughing, applauding, and asleep.  Even if the musician never looks, there should be the awareness that someone else is in the room.  But, when it's a solo or a duo performance in a large auditorium, there can be the feeling of intimacy.

The recording studio is a different animal. The musician or musicians are there for the sound, can dive deeper inside one's self with the knowledge that there usually is a second, third, or fourth take (more, if need be). The feedback is often subtler and there can an intimacy and, hopefully, a trust that allows the musician(s) today as deeply as they choose. Unlike the applause at a live concert, the feedback comes later in the form of reviews, online critiques, letters, and more.

Photo: Jordan Kleinman

The duo of pianist/ vocalist Kevin Hays and guitarist/ vocalist Lionel Loueke went into the studios in 2016 for the vinyl-only Newvelle Records, producing "Hope", an album that surpassed even the artists in its intimacy and acoustic splendor.  Loueke, who often records with electric guitars and numerous pedals, eschewed all of his equipment save for the acoustic guitar.  Each armed with a collection of compositions, the duo chose four pieces each and the subsequent album was issued in July of 2017 as part of the label's 2017 "editions." Critical response was quite positive but, due to the cost of the vinyl subscription as well as the first-class artwork, the album did not reach many listeners.  There is a video online from the sessions that is certainly worth watching – go to www.youtube.com/watch?time_continue=3&v=bkNGtwlQHI8 to do just that.

On August 30, 2019, Edition Records is releasing "Hope" on CD and digital platforms.  Not only has the CD been remastered but there are also three additional tracks. Plus, the duo is going on a two-week European tour to celebrate the re-release.  Now we all can hear the glorious interactions, the intelligent playing, the heartfelt vocals, the intimacy of the music.  Highlights include the opening "Violeta", a piece the pianist wrote to honor Chilean singer Violeta Parra (1917-1967). The bounce in the rhythm guitar, the wordless vocal (complete with "clicking" sounds), and the wide-ranging piano melody is so attractive, so rhythmical. "Feuilles-O" is a traditional Haitian melody that the pianist sings in its original patois.  The piece has a lovely, classical, feel plus a melody line that is so evocative and emotional.

Photo: Jordan Kleinman

Loueke's "Aziza Dance" has its roots in the myths of the composer's native Benin – the music is alluring with its propulsive forward motion, catchy melody, and fine solos from both musicians.  The guitarist also composed "Twins" which opens with such a fine melody line before dropping into such an alluring rhythm. The piano ripples along above the percussive guitar, suggesting Keith Jarrett.

Of the three "added" tracks, Loueke's "Ghana Boy" not only feels like an African dance piece but also suggests the Caribbean in its percussion. Not certain who composed the final track "Sweet Caroline" but Hays handles the vocal (the lyrics do not sound like the Neil Diamond song of the same name) so it's a good bet that the pianist is the writer). There's quite a pleasant blues feel to the track and, of course, the musicianship is top-notch.

"Hope" is an appropriate title for this excellent album from Kevin Hays & Lionel Loueke.  The two musicians travel the world performing music with various ensembles, speaking to many musicians and audience members.  And, to get by in an increasingly insane world, one needs hope more than ever.  Peace often looks unattainable but there is always the hope that we will pay attention to our "better intentions", sitting down to talk, to eat, and perhaps, make music.  At least, we should take the time to listen to those voices crying for attention.  Also, take the time to listen to this music – you cannot help but smile, tap your feet, and enjoy the journey.

For more information, go to kevinhays-lionelloueke.bandcamp.com.

Here's the delightful opening track: