Playing, Praying, & Time Passages

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

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

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

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

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

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

For more information and to purchase the album, go to 

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

Hear the duo go "Creepin'":

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

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

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

Photo: John Abbott

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

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

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

Hear "Peace Within Your Walls":

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

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

Hope In These Often-Crazy Times!

There are artists who use their music as a platform for their politics, for their emotions, for their hedonistic tendencies, and more.  Then there are artists who use their music to heal, to soothe, to fire imaginations with all the possibilities of what good can come out of interaction and working together.  Noah Baerman, pianist, composer, educator, author, ad the founder of Resonant Motion, is one person whose actions speak louder than words, whose music goes to the core of his humanity, and who never fails to impress old cynics (such as the author) with his ability to move forward, even in times of personal, physical, and political times of crisis. The music he creates challenges his listeners to be better people, to understand that life, like creative endeavors, is always moving forwards on the shoulders of those who came before us.

His latest recorded project for Resonant Motion Records is the six-person Envisage Collective. In existence since 2012, the sextet now features Baerman (piano), Kris Allen (alto saxophone), Chris Dingman (vibraphone), Nadje Noordhuis (trumpet), Ike Sturm (bass), and Allan Mednard (drums).  The ensemble's debut album features eight original pieces (two each from Baerman, Dingman, and Allen plus one each from Sturm and Ms. Noordhuis) – while the drummer does not have a composer credit, his playing is often the spark plug for this music, most of which jumps out of the speakers with joy and robust forward motion. Listen to his support of the vibraphone solo on Baerman's "The Omnivore's Dilemma" to get a better understanding of Mednard's importance to this band's sound. Click on the track below, the album opener, to hear how his "snap and pop" makes the music dance.

It's a delight throughout the program to hear how the lead voices mix and mingle, how they step back for solos, how the melodies expand into solos and return.  Allen's "Habitat" moves from the opening melody into a lively three-way dialogue with his alto plus bass and drums.  Dingman rides in on on the last note of the alto solo to create his own dance – here, Sturm and Mednard use Baerman's full chordal support to step out before the lively piano solo joins in.  All that in the first four minutes of the song before the sax and trumpet reenter to restate the song's theme.  One of the prettiest pieces on the album is Dingman's "Wish". a medium tempo ballad, that has quiet but powerful contributions from the "front line" while the rhythm section keeps a steady, martial, rhythm.  The weaving lines of vibes, piano, sax, and trumpet build with intention to a unison melody before everyone drops out for the bass and drums; then, the swirling melody of the vibes leads the unison line back in. It's easy lose one's self in the hypnotic lines and, as time drops away, be transported into a musical "new" world.  The "soulful" closing minute of the piece leaves one satisfied but wanting more.  That "more" comes in the form of Baerman's bluesy piano intro to his piece "Step On A Crack" - the "Memphis" tinge gives way to a bopping rhythm with a melody sung by trumpet and alto sax while Baerman responds at the end of each phrase with a riff of his own.

Photo: YouTube

"Reach Out" does exactly what the title says it will – this music, created by six friends who have created a collective voice,  "reaches out" to every listener and asks you to open your mind and your heart to the possibilities of good all around us. Can music change the world?  Noah Baerman, Resonant Motion, and the Envisage Collective believe so; this album just might convince you as well!

For more information, go to resonantmotion.org/artists/envisage/.

Here's the opening track:

The music that Brian Charette can caress out of his keyboards is always a joy to dig into.  Whether he is playing organ with his Sextette or piano in a trio or delving into electronics (as he does with his Kürrent trio), he does so with a sense of exploration, respect, and a playfulness that keeps the listeners on their toes or sitting back with a satisfied smile.  He can be heard on numerous Posi-tone Records disks (as both a leader and sideman) plus on numerous albums for the Danish SteepleChase label.

His latest sonic adventure is a solo Hammond organ album "Beyond Borderline" (SteepleChase), a follow-up to 2013's "Borderline" for the same label.  Like the previous recording, the program is a mix of standards and originals but no "pop" songs like on the earlier endeavor.  That's fine – Charette's explorations of "classics" such as "Chelsea Bridge" and "Prelude to a Kiss" not only show his respect for the masters (in this instance Billy Strayhorn and Duke Ellington) are delightful.  On the latter tune, one can imagine him playing the song in between innings at a Yankees game as much as in the wee hours of the morning in a basement club.  Charette's bass lines (a combination of feet and left hand) really keep the music on an even keel.

Photo: C. Andrew Hovan

Not surprising that the 12 tracks are all "first takes" – Charette's creativity comes to the fore every time. There is a tinge of Larry Young's exciting style on the album opener "Yolk."  The rhythm line he creates is persistent and insistent while the melody on top of that jumps forward.  Listen as he dances through "Public Transportation" like a subway train careering through the underground.  Another original "Hungarian Bolero" creates a sensual sound world with melodic phrases that curl around the rhythm. At seven minutes, it's the longest track on the program but you'll like how it continues to move forward.  "Aligned Arpeggio" is a soulful delight, the whispery bass lines supporting a sweet melody line and the powerful solo that follows. The piece picks up in intensity as the bass lines become more forceful allowing Charette to move out and in with an ear towards both timbre and emotional strength.

Put on "Beyond Borderline" first thing in the morning and the music will ease you into the day. Listen to this music during a leisurely dinner and it will add spice to the conversation.  End the day with the sweet burbling tones of the Hammond B-3 echoing in your ears and mind; the sounds just might make your dreams a bit sweeter.  Brian Charette continues to impress with his musicianship, his boundless energy, his creativity, and his sheer joy for music.  Make the effort to find this album and you'll be rewarded each time you listen!

 For more information, go to www.briancharette.com.  The album is available at Charette's website plus iTunes and Amazon.com as well – the latter two are good places to go for sound clips.

Moving Into a New Year While Playing Catch-Up (Pt 1)

Life has a way of throwing big curveballs into one's best-made plans.  Started out 2019 in the local hospital and am ending the year trying to catch up with all the fine music that came my way in the past 11 months.  What's got me far behind my projected writing was the end of a busy semester and then the joyous onslaught of grandchildren into our quiet domicile. Calendar aside, here are two 2019 recordings that deserve your attention.

Photo: Erain Ribeiro

Earlier this year, I had the opportunity to interview bass clarinetist Todd Marcus (pictured left) and then hear him in concert at our local library (playing alongside his long-time associate Eric Kennedy (drums), pianist Noah Baerman, and bassist Henry Lugo. Marcus lives in Baltimore and works hard to make his adopted hometown a better place for all.  He does not do this all through music (although that's a good part of it) but also through the various non-profits he works with.  Marcus is straight-forward, pulls no punches, is filled with empathy at how his city has been maligned by politicians and people around the country but also sees how hard his neighbors work to keep their part of Baltimore (the Sandtown-Winchester/Upton communities) clean and livable.

While Marcus's 2018 album "On These Streets (a Baltimore Story)"  dealt with the issues of his city, late this past Summer the clarinetist issued "Trio+" (Stricker Street Records). Nine of the 12 tracks feature the rhythm section of Ralph Peterson (drums) and Ameen Saleem (bass on seven of those cuts replaced by Jeff Reed for one who also appears on five others). The album opens with the 14-minute, four-movement, "Something Suite"; inspired by Sonny Rollins classic "Freedom Suite", the music rises and falls on the powerful work of Peterson and Saleem while the leader creates a strong thematic message.  With the exception of one track, Marcus plays bass clarinet throughout the program. He's found his "voice"on the instrument as he moves, often glides, through the octaves.  Note the "sweetness" of his melody and tone on the "3rd Movement" – the lower tones resonate while the higher ones have a singing quality.

The "+" on four of the tracks is trumpeter Sean Jones.  He and Marcus danced and dive their way through "Amy Pookie" with Peterson pushing them hard during the solos sections.  The front line caresses the melody on Victor Young's "My Foolish Heart", a ballad that features fine counterpoint from Reed, excellent brushes work from Peterson, and lovely solos.

Reed and Marcus blend their voices (the bassist playing arco most of the way) on "How Deep Is The Ocean (intro)" before drummer Eric Kennedy enters to push the song forward.  Again, the bass counterpoint stands out throughout the track.  The clarinetist, Peterson, and the two bassists dance their way through a short but powerful take on Bennie Maupin's "Neophilia."  The piece really builds off the "bounce" that Reed and Saleem supply as well as Peterson's majestic drum work.

"Trio+" closes with "Plummeting", an original piece that Marcus first recorded on his 2005 debut for Hipnotic Records "In Pursuit of the Ninth Man" –  that album featured Marcus's Jazz Orchestra while here it's played as a quartet with Jones as the other voice.  The power of the playing hearkens right back to the opening track with Ralph Peterson leading the way with his energetic and joyous playing.

The more one listens to "Trio+", the more one wants to see this band in person.  They possess the power to pick the listener right out of his/her seat as well as make them lean in to really "hear" the softer pieces.  Todd Marcus continues to tell important stories in his music, this time making musical testaments on the importance of working together as a unit while still maintaining one's unique voice.   Dig in and play it loud!!

For more information, go to toddmarcusjazz.com.

Here's "Cantata" featuring bassist Reed and drummer Kennedy plus the leader on B-flat clarinet:

Pianist and composer Greg Reitan, a native of Seattle, WA, who has been in living in Los Angles, CA, for nearly three decades, has recorded exclusively for Sunnyside Records since his late 2008 debut "Some Other Time."  Each of his albums features the rhythm section of bassist Jack Daro and drummer Dean Koba who have been his steady musical partners for 25 years.  There is nothing stale or dull about this relationship – in fact, the music breathes with creativity and honesty.  Reitan is also busy with composing for film and television as well as for advertising plus has  composed several classical works.

"West 60th" is his fifth album and does not stray from the pattern set by the previous four other than there are more originals among the 11 tracks than usual (eight plus one each from Bobby Hutcherson, Herbie Hancock, and Aaron Copland).  But, it's five years since Reitan issued his previous album "Post No Bills" and, perhaps it's that fact that accounts for the urgency in many of the pieces.  The program opens with "Hindemith", a piece that jumps out of the speakers. Reitan dances over the rapid-fire "walking" bass lines and insistent cymbal work.  The breakneck pace does not let up even as Koba jumps into his solo.  The title track is next, a handsome waltz inspired by the Trio's 2017 "playdate" at Dizzy's Club Coca-Cola in NYC's Lincoln Center.  The bluesy swing from the leader builds upon the energy produced by his partners.

The pace slows down with a lovely take on "When You Are Near", a Bobby Hutcherson piece from his 1967 Blue Note Lp "Happenings."  The melody, as played by Reitan, has a classical feel – Daro's "singing" bass work is also a highlight both when he's playoff counterpoint plus during his solo.  The Aaron Copland composition is "Movement No. Three" from "Four Piano Blues."  Performed solo, one cannot help to hear the influence the older composer had on the work of Randy Newman.  To his credit, Reitan does not take liberties with the music allowing the plaintive melody to stand out.  If one goes back two tracks on the disc, the pianist's ballad "Luminosity" has a touch of the Copland influence in the chordal structure.

The best way to listen to "West 60th" is to start at the beginning and go right through to the melodious "Epilogue".  The music, at times exciting, always melodic, contemplative, and filled with intelligent musicianship, demands and deserves your attention.  Others have compared Greg Reitan and his music to that of Bill Evans and Keith Jarrett; there are hints on several tracks but what one always hears on this album is creative songs, excellent arrangements, intelligent interactions, and a trio that loves to play together.  Works for this listener.

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

Here's the opening track:

Jazz UpClose: A man, His Music, and His Community

We are lucky people living in Middletown Connecticut in that we have a vibrant arts scene, we have Wesleyan University and its concerts spaces, galleries, and theaters, we have the Russell Library, and we have Noah Baerman (pictured left).  Mr. Baerman is a composer, educator, pianist, author, and the creator of Resonant Motion.  Resonant Motion is a record label, a place for visual artists, for writers, for performance artists, and for collaborations.  Noah is artistic director and the producer of Jazz Up Close, a series of concerts presented in the Hubbard Room of the Russell Library, 123 Broad Street in Middletown.  Now in its fifth season, the series has brought world-renowned artists to perform, talk about their work, and to answer questions from the audience.  It's a win-win situation in that the musicians and composers can explain the impetus to create their works and the audience members get to understand what goes into the creative process.  The artists usually are joined by the pianist/curator along with his longtime collaborator, bassist Henry Lugo.

This coming Thursday August 22, Jazz Up Close welcomes bass clarinetist, composer, and social activist Todd Marcus.  Mr. Marcus, a native of New Jersey, has lived in Baltimore, MD, for over two decades and works tirelessly in the Sandtown-Winchester/Upton section of the city to bring about positive change.  You may recognize that area because it's where Freddie Gray died in police custody in 2015 and where massive riots followed in the wake of the event.  Mr. Marcus, who is half-Egyptian, had moved to Baltimore to go to college but left after two years, settled down in the community and went to work with the non-profit organization Intersection of Change – click on the name to see all that the organization does to help its community.

In early 2018, Todd Marcus released "On These Streets (a Baltimore Story)", an instrumental recording interspersed with audio clips from those very streets.  While the clips present a neighborhood in the midst of exploding and trying to deal with the eruptions of emotions, you also hear how community members turn to prayer and also remember what the area was like in its heyday.   At one time, the community's main thoroughfare, Pennsylvania Avenue, was alive with nightclubs, concert halls, theaters, and businesses, a hub of and for the African American families and working people.  Many Black artists played there, influencing generations of musicians and artists.  Mr. Marcus takes his compositional cues from the socially conscious music of Max Roach, Charles Mingus, Sonny Rollins, and Duke Ellington.  On previous recordings, he has explored Middle Eastern music , especially on his 2014 Jazz Orchestra recording "Blues For Tahrir", and he will several of those compositions to the Hubbard Room.

The program starts at 7 p.m. and is free and open to the public. Bring open ears and a curious mind; Jazz Up Close will do the rest.

Here's one of the audio clips and the musical story that follows:






While you're at it, check out the bass clarinetist's website @ toddmarcusjazz.com.

Check out his nine-piece Jazz Orchestra (this video is from 2013):

Live Music: Faith and Credibility

Guitarist, composer and educator Amanda Monaco is the featured artist in the latest installment of Noah Baerman's "Jazz Up Close." Baerman, a pianist, composer, and educator, brings artists to the Hubbard Room of The Russell Library, 123 Broad Street in Middletown where they perform original material and answer questions from the audience.  Ms. Monaco, who has been a friend of Mr. Baerman since high school, is the first performer for the "Sound Belief" series music inspired by the artist's religious beliefs and faith. I had the honor of presenting Ms. Monaco's "Pirkei Avot" at Congregation Adath Israel several years ago. The name of the project translates to "Ethics (or Chapters) of the Fathers": the writings, which come from the Mishnah (which can be found in the Talmud), deal with interpersonal relationships and how one is expected to conduct his/her life.

On Thursday May 31, the guitarist and Baerman will be playing  newer songs based on the "Pirkei Avot" alongside vocalist Tammy Sheffer, recorder master Daphna Mor, bassist Henry Lugo, and percussionist Rogerio Boccato.  The program, free and open to the public, starts at 7 p.m.  For more information, go to bit.ly/2IO0hFz.

Here's a piece from Volume 1 of "The Pirkei Avot Project" featuring Ms. Monaco and Ms. Mor plus bassist Sean Conly, percussionist Satoshi Takeishi, and vocalist Ayelet Rose Gottlieb:

Another busy three-day weekend at The Side Door Jazz Club in Old Lyme kicks off on Friday June with drummer Willie Jones III and his Quintet.  Jones III is a native of Los Angeles: he first came to critical attention in Black Note, a group he co-founded in the early 1990s with bassist Marcus Shelby.  He went on to work with trumpeters Roy Hargrove and Arturo Sandoval, vibraphonist Milt Jackson, vocalist Kurt Elling, and saxophonist Sonny Rollins (among many others).  In 2000, he released his debut album as a leader. Titled "Volume 1...Straight Swingin'", the album came on the drummer's WJ3 label.  In 2017, Jones III released "My Point Is..." his seventh album as a leader.

For the Old Lyme gig, he's bringing an impressive group including Stacy Dillard (saxophones), Hartford-native Josh Evans (trumpet), Julius Rodriguez (piano), and Alex Claffy (bass). They'll hit the stage at 8:30 p.m.

To learn more about the drummer, go to www.williejones3.com.

Here's the drummer in action from 2014:

Photo" Deanna & Jimmy Katz

On Saturday, CT native Noah Preminger returns to The Side Door  with his Quartet. The ensemble - Preminger (tenor saxophone), Jason Palmer (trumpet), Kim Cass (bass), and Dan Weiss (drums) - is  celebrating the release of the saxophonist's first release on the Criss Cross label. "Genuinity" is also the first album that contains all originals composed for a band that has only been together for four years and already has four albums (this is Weiss's first time with the group, replacing drummer Ian Froman).

This has been a busy year on the album release side for Preminger.  Besides the Criss Cross date, he's also released a duo album with pianist Frank Carlberg on the pianist's Red Piano label and teamed up with bassist Cass, drummer Rob Garcia, and guitarist Nate Radley for an album of music composed by Frederik Chopin (Dead Composers Club is the name of the group he co-leads with Garcia). I reviewed all three albums (read here).

The music on "Genuinity" is among the finest that Noah Preminger has produced since he first came onto the contemporary music scene in 2008. What's amazing about the album is that the band had not played the music together before the recording. That says a lot about the intelligence and creativity of the musicians involved. The Quartet has played  a number of gigs since the album was issued so the music should be even stronger.

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

Here's the handsome piece that closes the album:

Sunday night at The Side Door should be fascinating as trombonist Delfeayo Marsalis (brother of Wynton, Branford, and Jason) brings his Uptown Jazz Orchestra to the small stage at the venue.  Mr. Marsalis created the ensemble in 2008 and recruited baritone saxophonist Roger Lewis (Dirty Dozen Brass Band) to help with the recruitment and material.  In that time, the UJO has issued three albums, the latest being 2016's "Make America Great Again" (which was issued two months before Election Day).

Not sure how big a band will perform but you should expect to hear a large amount of New Orleans music (the Marsalis's birthplace) as well a good portion of swing.  Crescent City musicians understand how to move an audience so I would not be surprised if Side Door owner Ken Kitchings leads the Second Line through the performance space and into the Old Lyme Inn on the other side of the building.  No matter what, this should be quite a Sunday treat.

For more information about Mr. Marsalis & The Uptown Jazz Orchestra, go to www.dmarsalis.com.
As for The Side Door, that door opens at 7:30 p.m. and the music commences at 8:30.  For tickets and more information, go to thesidedoorjazz.com or call 860-434-2600.

Here's the Uptown Jazz Orchestra in action:

Jazz Up Close & Masterful

"Jazz Up Close", the series that pianist, composer, and educator Noah Baerman has produced at The Russell Library, 123 Broad Street in Middletown over the past several years, continues on Thursday June 1 with guests Meg Okura (violin) and Sam Newsome (soprano) joining Mr. Baerman, bassist Henry Lugo, and drummer Paul Wells. Over the past two decades, Ms. Okura has been busy playing in multiple ensembles and multiple genres, from composing string quartets to performing with Cirque du Soleil to being a featured soloist with artists such as Dianne Reeves and Lee Konitz.  She's also the leader of the Pan Asian Jazz Ensemble (an ensemble with 2 CDs released so far), a Trio, and the J Orchestra, a big band dedicated to playing the music of Japanese and Jewish composers (the latter two ensembles have yet to record).

Mr. Newsome first came to critical in the late 1980s when he joined trumpeter and compose Terence Blanchard's group. He went off on his own in 1995 and also decided to concentrate on soprano saxophone.  Mr. Newsome is now considered one of the masters of the instrument.  His solo concerts and recordings are brilliant, each in their own right.  His breath control, intelligent use of amplification and prepared saxophone, plus the various ways he employs the saxophone keys, stand out.  Since 2007, he has  released six CDs of solo performances with performances that are as musical as they are challenging, amazing and earthy music that defies labels. Sam Newsome is also a fine blogger; on his "Soprano Sax Talk", he writes about many aspects of his chosen instrument and some of the people who play it. Go to sopranosaxtalk.blogspot.com to check it out.

If you have attended these events in the past, you know the host leaves time inside the concert and after for the audience to ask questions of the artists. In that way (and others), Mr. Baerman does much to demystify the music, making it accessible to those who shy away from what they consider a challenge.

The concert takes place at 7 p.m. in the Hubbard Room. Best of all, the event is free and open to the public.  For more information, go to www.russelllibrary.org.

Here's a taste of Ms. Okura's wonderful violin work:




Here's Sam Newsome from his 2014 album, "The Straight Horn of Africa":

Monnette Sudler in Middletown This Thursday

photo by Kristine DiGrigoli

Pianist, composer, educator, and author Noah Baerman hosts the Jazz Up Close series at the Russell Library in Middletown approximately four times a year.  This Thursday (June 16) as part of the "Spanning Generations Up Close", Noah and bassist Henry Lugo will perform with guest artist guitarist  Monnette Sudler, the Philadelphia, PA native and still a resident.

Here's how the pianist described his guest in his promotional material. "Forty years after recording "Time for a Change", her debut as a bandleader for SteepleChase Records, Monnette Sudler is still a potent force in music. Adept at straight-ahead jazz, avant-garde music and R&B, she has collaborated with a comparably diverse cast of musicians, including Grover Washington, Jr., Hugh Masekela, Sam Rivers, 'Philly” Joe Jones, Kenny Barron, Khan Jamal, Cedar Walton, Shirley Scott, Byard Lancaster, Steve Turre, Sunny Murray, and rapper Erik Honesty (Ms. Sudler’s son). Her current projects include Sisters in Poetry (in collaboration with poet Trapeta B. Mason), the Ladies Night Out quartet, and the Monnette Sudler World Music Ensemble featuring Liberian vocalist Fatu Gayflor, as well as serving as the organizer of the annual Philadelphia Guitar Summit. Ms. Sudler is a graduate of Temple University and is active as an educator, having recently authored the instructional book "Motif Mojo Jazz Guitar."

Ms. Sudler has issued six CDs since her debut, the latest being 2012's collaboration with Ladies Night Out titled "First Born."  The album is a delightful blend of vocals and instrumentals, with a clean sound  all around and several gospel-flavored tracks.  

If you are a regular attendee of these concerts, you know that the artists take time to answer questions from the audience.  It's .amazing what one can learn and how the artists give a glimpse into the creative process.

The concert begins at 7 p.m. and takes place in the Hubbard Room.  As always at the Library, the show is free and open to the public. For more information, go to resonantmotion.org/jazz-up-close/. 

To learn more about the guitarist, go to www.monnettesudlermusic.com. 

Here's a view of the guitarist at play from 2010:

Takin' It To The Park + A Great Coming Attraction

This coming Monday evening (August 3), the Hartford Jazz Society presents the penultimate concert in its 2015 Monday Night Jazz Series and the headliner is Noah Baerman Resonance Ensemble.  Mr. Baerman (pictured left) has composed a new full-length work, "The Rock and The Redemption", and this is the 3rd opportunity he has had to present the work to an audience (and the first time outdoors as the Series takes place in Hartford's Bushnell Park).  Joining him onstage will be Kris Allen (tenor saxophone, flute), Chris Dingman (vibraphone), Melanie Hsu (cello, vocals), Henry Lugo (acoustic and electric basses), Bill Carbone (drums, percussion), Claire Randall (vocals) and Latanya Farrell (vocals) while he composer adds piano, synthesizer, slide guitar, and vocals.

Opening the show at 6 p.m. will be trumpeter Haneef Nelson and his group.  In case of rain, the concert moves indoors to the Asylum Hill Congregational Church.  For more information, go to hartfordmondaynightjazz.com.

Bassist Joe Fonda is also the curator of the annual Connecticut Composers Festival held in Middletown in September .  This year it's his 10th annual edition and the even is taking place on November 14 in The Buttonwood Tree, 605 Main Street.  I'm telling you now because the performance space is fairly small and the event usually sells out.  Opening the evening will be the duo of Dominique Eade (vocals) and Allan Chase (saxophones), both of whom teach in Boston and had a long musical relationship.

Mr. Fonda is also sharing the stage playing alongside the creative whirlwind that is pianist Satoko Fujii. Ms. Fujii is one of the busiest performers in creative music leading several different ensembles plus having big bands in New York City, Japan, and now Berlin, Germany.

The final set of the night belongs to saxophonist (and Bloomfield, CT native) Jimmy Greene. Mr. Greene, who graduated from the Hartt School of Music at the University of Hartford, now teaches at Western Connecticut State University.  He'll be playing a solo set which is something the tenor and soprano saxophonist does not do very often (if ever).  This should be quite a fascinating evening.  For more information and reservations, go to www.buttonwood.org.

You'll notice no listing for The Side Door Jazz Club in Old Lyme for the coming weekend and it's for a good reason.  They are closed so that the owner and manager can attend The Newport Jazz Festival.  In fact, The Side Door is still selling tickets, in association with WBGO-FM Newark, for bus rides to the Festival. Call 860-434-0886 for more information.  Go online to thesidedoorjazz.com to check out the lineup for the coming weeks. Shows include the Dave Liebman Quartet (8/08), Ellis Marsalis (8/14), and the Linda Oh Quartet (8/28).
                                                 

What a Week For Live Music in CT (with New CDs)

wnpr.org

'Tis the annual Wesleyan University Jazz Weekend, 2 days of concerts and a colloquium that spotlights the University's Jazz Orchestra and Jazz Ensemble plus features a guest performer and/or group.  This year, the University stayed "in-house", commissioning a new work from Ensemble Director Noah Baerman (pictured left).

On Friday evening at 7 p.m. in Crowell Concert Hall, Mr. Baerman who is also on the faculty of the Choate School and an author) presents the Jazz Orchestra and Jazz Ensemble in a program that features music from various musical innovators, musicians and composers such as Louis Armstrong, Edward Kennedy "Duke" Ellington, Thelonious Monk, Wayne Shorter, Charles Mingus and many others.  The event is free and open to the public.

The following evening (April 25) will be the premiere of Mr. Baerman's extended composition, "The Rock and the Redemption", to be performed by the Noah Baerman Resonance Ensemble.  The work (whose origins are explained and illustrated on the composer's blog - go to www.noahjazz.com/blog.html) features an impressive ensemble including long-time friends and associates such as Henry Lugo (bass), Kris Allen (saxophone, flute), Chris Dingman (vibraphone) and Bill Carbone (drums) plus Melanie Hsu (cello, vocals) and vocalists Latanya Farrell, Claire Randall and Garth Taylor. Mr. Baerman not only plays piano and synthesizer but will also will be featured on slide guitar.  Opening the evening will be the University Jazz Orchestra and Jazz Ensemble playing a short set each of the composer's works. If you've heard any or all of Noah Baerman's longer works ("Ripples", "Know Thyself", which premiered at Wesleyan 6 years ago) and "Soul Force"), you'll know that the music covers a lot of territory and always has something to say about the human condition.

For ticket information, call the Box Office at 860-685-3355 or go online to www.wesleyan.edu/cfa.

The Firehouse 12 Spring 2015 Concert Series takes a turn towards the brassy side when the Joe Fiedler Trio plays the performance space this Friday.  Mr. Fiedler (pictured left), a native of Pittsburgh, PA, moved to New York City in 1993 and has been an active member of the music scene ever since.  He's toured with the Glen Miller Orchestra, recorded numerous sessions and worked in Broadway pit bands. As a leader, he has 2 groups, one being the brass quartet known as Big Sackbut (actually 3 'bones and a tuba) and his Trio.  The latter group, which includes Michael Sarin (drums) and Rob Jost (bass), is in the midst of a short tour to celebrate the release of "I'm In" (Mulitphonics Music), the 4th Trio CD in Fiedler's discography.

The Firehouse is just about the perfect venue for this group and its music. The new recording features 9 tracks, all Fiedler originals, and is a true group effort.  The opening 2 tracks - "Grip" and "Erstwhile" - have exciting rhythms (though it takes the latter track several minutes to get to it. Jost's solid bass lines and Sarin's fine drumming push the proceedings while the leader growls, sputters, swings, swaggers, and gives his all. His use of multiphonics (producing 2 or more simultaneously) gives his work on "Moving In Silence" depth while the rhythm section plays with free time - when the bass and drums drop into a bluesy beat, the music changes personality and starts to strut. The opening to the title track moves in and out of multiphonics before Fiedler starts to "testify." The piece has the feel of one by the late trombonist Albert Mangelsdorff in the way it changes directions and really swings. Bassist Jost leads the way through "Completely 'peccable", his muscular phrases egged on by the dancing drum work.  Sarin, who is well-known around Connecticut for his work with  Mario Pavone and Ben Allison, plays with free as well as grace throughout, really pushing his fellow musicians without stepping on their musical toes.

"I'm In" is powerful yet fluid music and Joe Fiedler continues to mature as a composer, arranger and musician. But, this is very much a Trio recording and these fine players are not only in the same room but in the same wavelength.  Turn it up, then go see them live.

For ticket information, go to firehouse12.com or call 203-785-0468.  To find out about the Joe Fiedler Trio, go to www.joefiedler.com.

Tenor saxophonist and composer Tom Tallitsch is also in CT this Friday (see below) and he, too, is celebrating the release of a new CD.  "All Together Now" is his 6th recording as a leader and the 3rd for Posi-Tone Records.   Fittingly, there are 6 musicians on the date; besides the leader, there's Mike DiRubbo (alto saxophone), Michael Dease (trombone), Brian Charette (acoustic and electric pianos, organ), Peter Brendler (bass) and Mark Ferber (drums) - all but the drummer have issued albums on the label (DiRubbo and Charette are also CT natives!)

9 of the 11 tracks are Tallitsch originals and display a penchant for strong melodies plus lively arrangements. The first track, "Passages", jumps right out of the gate with smart rhythmic changes and great blowing all around.  Ferber and Brendler lead the charge, the reeds and brass pick up the and all enjoy the thick cushion of piano chords from Charette. A pleasant surprise comes next with  the gospel-soaked "The Night The Drove Old Dixie Down", a spotlight for Charette in that both his piano and organ sounds are integral to the texture and movement of the piece.  The leader's tenor solo stays close to melody and the horns strongly respond in the background (make sure to pay attention Ferber's brilliant drumming which is something you should always do).

The program contains 11 tracks, only one coming close to 6 minutes, yet the listener is bound to be fully satiated by the sounds.  This is no mere "blowing" session, each song has a solid, even singable, melody line.  Best of all, everyone gets a chance to be heard without the album turning into solo after solo.  That makes the disk feel more like a group effort as if Tallitsch made sure everyone stayed sharp.  For instance, the medium-tempo "Curmudgeon", contains a bluesy melody line followed by short solos from both saxophonists and Dease; still, it's the great work from the rhythm section that makes the song feel complete. Yes, these musicians are "pros" but even the most dedicated ones don't always give their all.  No such issue here - even blues tunes such as "Greasy Over Easy" have a snap in tier swagger.  The CD closes with "Arches", another piece with a gospel feel, a handsome melody, smart harmonies and more strong work from the rhythm section.  The electric piano, full bass notes and excellent brushes work set up the solos.  Bassist Brendler is oh-so-melodic in his short solo, setting up Charette's short statement that leads to a soulful tenor spotlight while the alto and trombone   sway in the background.  The closing notes fade easily, a perfect close to an impressive session.

"All Together Now" lives up to its name, 6 musicians gathering for 1 day in the studio and creating a "joyful noise."  Post-Tone Records is celebrating its 20th year in a grand way, producing albums that are among the best producer Marc Free and engineer Nick O'Toole have sent our way - this just may be the best CD Tom Tallitsch has issued...so far.  To find out more, go to www.tomtallitsch.com.

As stated above, Mr. Tallitsch is in CT this week, bring his Sextet to The Side Door Jazz Club in Old Lyme on Friday night.  Joining him from the recording session will be saxophonist DiRubbo and bassist Brendler plus the fine trombonist David Gibson and pianist Jon Davis (also with 2015 releases on Posi-Tone) - drummer Paul Wells, who works with Vince Giordano's Nighthawks and with vocalist Curtis Stigers, will sit in the drum chair.

Doors - front and "side" - open at 7:30 p.m. and the band hits the stage at 8:30.  Call 860-434-0886 for reservations and more information.

Boston, MA-native pianist Adam Birnbaum has been quite a busy musician since graduating from the Juilliard School in 2003 (after studying at the New England Conservatory of Music in his hometown.)  He has toured with such jazz greats as drummer Al Foster, saxophonist Greg Osby, trumpeters Eddie Henderson and Wallace Roney plus scores of other artists.  Currently, he's working in bassist Eddie Gomez's Quartet and subbing in the Vanguard Jazz Orchestra. This year, Birnbaum issued his 4th CD as a leader (all in the Trio format) - "Three of a Mind" (Daedalus Records) finds him in the company of Mr. Foster and bassist Doug Weiss on a wide-ranging program that not only spotlights the pianist's formidable technique but his maturation as a composer.  The rhythm section gives the pianist great support and allows him to really explore and expand on his solos whether it's a bluesy sojourn such as "Dream Song #1: Huffy Henry" or the gently moving "Dream Waltz" (enjoy the great cymbal work from the drummer and the melodic counterpoint from the bass!) Another standout track is the lovely ballad "Rockport Moon" - pay attention to how the pianist develops the melody and the subtle support from his rhythm section (the brush work is simple yet painterly). And, the trio can light up the sky with musical fireworks.  "Ooh What You Do To Me" is a bouncy jaunt that features a crackling drum solo and rhythmic piano phrases.

Adam Birnbaum, Al Foster, and Doug Weiss come to The Side Door on Saturday April 25 and, rest assured, they'll play music from the recording and much more.  Jan and Ken keep the piano in excellent shape and young Mr. Birnbaum will certainly give it quite a workout. The Trio hits the stage at 8:30 and, chances are good you won't want them to leave anytime soon.

For more information about the artist, go to www.adambirnbaum.com.  For reservations and information about upcoming shows, call 860-434-0886.

To whet your appetite for the show, here's the opening track from the CD, a high-energy track titled "Binary":

Firehouse 12, Side Door Jazz & Positively Posi-Tone

After a rousing Ben Allison Trio concert last Friday, Firehouse 12, 45 Crown Street in New Haven, stokes the fire once again this week (3/28) with the Kevin Hays New Day Trio. Pianist/composer Hays, a native of Southwestern Connecticut, is a very busy musician, working with his own group, alongside fellow pianist Brad Mehldau and with the Sangha Quartet featuring saxophonist Seamus Blake.  For the past decade +, he's been touring and recording with bassist Doug Weiss and drummer Bill Stewart but now has a new ensemble.  Drummer Adam Cruz and bassist/french horn player Rob Jost comprise the New Day Trio rhythm section and Hays has created a new book of compositions for the ensemble.

They will play 2 sets - 8:30 and 10 p.m. - and you can buy tickets online at firehouse12.com or by calling 203-785-0468.

The Side Door Jazz Club in Old Lyme continues its busy schedule with 2 fine shows this weekend. Friday night, guitarist/composer Oscar Penas brings his Ensemble to the club, a quartet that features bassist Moto Fukushima, drummer Rogerio Boccato and violinist Sara Caswell.  His music blends Spanish and South American influences; the use of violin with the guitar has truly expanded the scope of Penas' music.  The doors open at 7:30 p.m. with the music starting at 8:30.

On Saturday, the Noah Baerman Trio - pianist/composer Baerman (pictured above left), bassist Henry Lugo and drummer Vinnie Sperrazza - makes its Old Lyme debut.  They will be playing music from "Ripples", the new release from Baerman, as well as other pieces from their large repertoire (the NBT has been together for over a decade).  The group's interactions are often exciting and tuneful - the pianist, who has suffered from Ehlers-Danlos Syndrome (a connective tissue disorder) throughout his life, is playing better than ever.  As above, the music starts at 8:30 p.m. and reservations are a must.  For more information, call 860-434-0886 or go to thesidedoorjazz.com.

For his new CD, "JG3 +3" (Posi-Tone Records), organist Jared Gold has doubled the size of his ensemble (normally a Trio) to a sextet. Joining Gold, Dave Stryker (electric guitar), and Sylvia Cuenca (drums) is Patrick Cornelius (alto saxophone), Jason Marshall (baritone saxophone) and Tatum Greenblatt (trumpet).  Gold's music is quite soulful and the added voices heighten the effect.

From the outset, the music has the feel of a well-recorded Jimmy Smith album.  The program, a mix of standards, a few originals, and a Trio reading of James Taylor's "Shower The People." Stryker is an excellent musical companion, funky as all get-out whether in the lead or in support.  Ms. Cuenca is a driving force here, whether locked in the groove, as she is on the Gold original, "Pendulum", or driving the sextet with abandon on Ray Bryant's "Cubano Chant."   Her brushes dance over the kit on "No Moon At All", a tune made famous by Julie London in 1956 but here a blazing track with fine solos from the leader and Cornelius.  Greenblatt rocks his solo on "I Can't Stop Loving You" (the Michael Jackson tune from "Bad", not the Ray Charles hit). Bari sax player Marshall (who has recorded and worked in the big bands of Roy Hargrove and Charles Tolliver, leads the group in on its reading of Cannonball Adderley's "Sermonette."  His solo is sweet and passionate. The saxophones and guitar blend to play the theme of "Charcoal Blues", a Wayne Shorter composition from his 1964 "Night Dreamer" Blue Note Lp. Cornelius digs down deep for a soulful solo which is matched by a fine statement from Stryker.

As for Jared Gold, his playing is striking throughout the program.  His footwork is deft while his accompaniment is always tasteful; Gold's solos are always interesting, with that wonderful B-3 sound, full and harmonious.  "JG3 + 3" is a delightful antidote for the craziness in the everyday world.  For more information, go to www.jaredgoldb3.com. 

"Ride" is the 5th CD saxophonist/composer Tom Tallitsch has issued and his second for Posi-Tone Records.  Born in Ohio and now living in Jersey City, New Jersey, Tallitsch has a busy schedule of teaching and playing plus a weekly radio show (8 - 10 p.m. Thursday on WWFM-Jazzon2).  This CD features the impressive rhythm section of Art Hirahara (piano), Peter Brendler (bass) and Rudy Royston (drums) with trombonist Michael Dease joining the front line on 8 of the 11 tracks.

The program opens with the title track, an intense "Ride" for the quartet pushed by the intense drum work of Royston and Tallitsch's strong tenor work.  Hirahara matches that intensity with a blazing solo that displays the influence of McCoy Tyner.  "Rubbernecker" has a similar feel but with a deceptive melody. Again, the rhythm section lights the fire and the leader carries the torch through a fiery solo.  The soulful ballad "Rain" displays another side of Tallitsch's playing, his full-tone and sustained notes telling a story.  Brendler takes a very melodic solo over the simple time-keeping of Royston and Hirahara's impressionistic chords. "Life on Mars" is an intelligent reading of the David Bowie composition, Tallitsch's tenor sticking to the melody supported by Dease's trombone and the fulsome piano chords.  Dease also adds heft to the melody line and backgrounds of "The Giving Tree" - his full tone adds a hearty counterpoint to the tenor on the group's reading of Led Zeppelin's "Ten Years Gone."  Dease steps out on the Tallitsch original "El Luchador", his intense solo pushing the bass and drums to respond in kind. The Quintet "gets down" on "Knuckle Dragger", a pleasing slab of funky blues that is ever-so-playful.

Tom Tallitsch is one of those rare contemporary tenor saxophonists who does not sound overly influenced by John Coltrane, Wayne Shorter or Michael Brecker.  He's studied with both Joe Henderson and Chris Potter plus it's obvious from his wide-ranging material that he listens to many different styles of music.  The band on "Ride" makes music that not only captures your ears but also your soul - to take a test drive, go to www.posi-tone.com/ride/ride.html.  To find out more about the saxophonist, go to www.tomtallitsch.com.

Noah B and Noah P

Can music change the world?  Can it do more than just soothe or bring to anger?  Can it make one person change his/her mind?  I'm one of those cock-eyed idealists who believes music has power beyond the dance floor, stage, concert hall, bar, outdoor stage and recording.

Pianist/organist/composer/arranger/educator/author Noah Baerman not only feels the same way but "lives" his convictions.  His music often reflects those ideals, whether it's the tribute to Dr. Martin Luther King, Jr. that was the basis of 2005's "Soul Force" or the deep introspection of 2010's "Know Thyself." Besides his teaching duties at Choate Rosemary Hall (Wallingford, CT) and Wesleyan University, Baerman is now involved with the organization Resonant Motion, Inc. whose mission states "RMI believes that music has a profound capacity to inspire people towards personal growth, strength and transformation and to educate people about issues important to their world. Likewise, these things can all provide inspiration and thus aid in creating more meaningful and potent music." Find out more about the organization at www.resonantmotion.org. 

2014 brings "Ripples" (Lemel Music Productions), a musical tribute to the composer's aunt (Margie Pozefsky), her activism and philanthropy and how it impacted his life's work. The songs features various ensembles, ranging from the NB Trio (with bassist Henry Lugo and drummer Vinnie Sperrazza) to the newly formed Jazz Samaritan Alliance (with vibraphonist Chris Dingman, drummer Johnathan Blake plus saxophonists Jimmy Greene and Kris Allen) plus a vocal ensemble (Claire Randall, Garth Taylor, Jessica Best, and Erica Bryan) and a Chamber Ensemble (cellist and co-producer Dave Eggar, violinists Zach Brock and Meg Okura, flutist Erica von Kleist and clarinetist Benjamin Fingland). Bassist Linda Oh joins the Jazz Samaritan Alliance on 2 tracks while pianist Kenny Barron is featured on 1 track.

From the opening track, the soulful "Time Is Now", the composer cajoles and entreats the listener to take part in life, to hope in the future, to make a difference in your time on this planet.  To that end, the quartet of vocalists (3 of whom from Wesleyan and one from the Hartt School, all in their 20s) deliver the message that it's time to "Stand up!" and take action.  Baerman, along with wife, artist/educator Kate Ten Eyck, have devoted much of their time and energy in issues of foster care and adoption; that is the impetus behind the fine arrangement of "Motherless", a piece that uses the melody from "Sometimes I Feel Like a Motherless Child" as a springboard for strong statements from Dingman, Baerman (on organ), Greene, and a passionate vocal from the leader.  "The Outer Circle" was composed as part of a multi-media project initiated by Baerman's sister-in-law, the photographer Carla Ten Eyck, dedicated to people whose lives have been impacted by cancer. The ballad features strong work by the Trio and the Chamber Ensemble plus a lovely piano solo.

Among the surprises/highlights along the way is Baerman's slide guitar work on "Peeling The Onion", adding yet another color to the blend of reeds and vibraphone (as well as Ms. Oh's solid bass work.)  The lovely soprano saxophone lines of Jimmy Greene are featured alongside the colorful work of Johnathan Blake's drums and Baerman's organ for the emotional ballad, "Ripple: Brotherhood."  Mr. Barron (the composer's teacher and mentor at Rutgers University) has a soulful turn of his own on the energetic "Lester."Ms. Randall takes the lead on "Ripple: L'Amour Gagne (Love Wins)" with just her fellow singers as accompaniment. That attractive melody is the basis for the string arrangement that opens the closing track "Ripples for Margie" which opens into a high-powered Trio performance.  Lugo and Sperrazza create a fiery foundation for, perhaps, Noah Baerman's most impressive recorded piano solo.  After a series of phrase-trading with the strings, the drummer delivers a powerful solo.  The closing section repeats the main melody with the Trio joining the strings for an emotional finale.

"Ripples" is a major work by an artist/composer/activist who has spent years not only perfecting his craft but battling the effects of Ehler-Danlos Syndrome.  The good news is that the EDS (connective tissue disorder) has not taken away Noah Baerman's ability to play piano.  Fearing the worse effects of the disorder, the pianist concentrated on his writing, both music and the numerous "piano instruction" books he has created over the past decade-and-a-half.  He and his wife Kate have also concentrated their efforts on helping teen-aged foster children and working with Resonant Motion Inc.  All these factors have given depth and gravity to his music yet there is also a great degree of spirituality and much joy flowing through these melodies and grooves. I am a lucky person to Noah Baerman among my friends; his compassion, activism and music inspires me.   For more information about this CD and his music, go to www.noahjazz.com.

Saxophonist/composer Noah Preminger, a native of Canton, CT, is bringing a quartet this Saturday (March 14) to The Side Door Jazz Club, 85 Lyme Street, in Old Lyme.  Fresh off the release of "Haymaker" (Palmetto Records) in 2013,  the young (27) musician has been touring with his group, with drummer Rob Garcia's Quartet and has joined The Superpowers, a large ensemble that creates "21st Century dance music."  Before he plays The Side Door, Preminger will be performing at the Jazz Standard in New York City with bassist Matt Clohesy, drummer Rudy Royston and pianist Fred Hersch (!) Mr. Hersch can't make the CT gig but his replacement is the equally impressive Dan Tepfer.

Doors at The Side Door open at 7:30 p.m. with the music scheduled for 8:30.  I highly suggest reservations as the club has been selling out just about every weekend performance.  Call 860-434-0886 or go to thesidedoorjazz.com.  To find out more about Noah Preminger and his many endeavors, go to www.noahpreminger.com.