Composer, arranger, trumpeter, and educator Daniel Hersog seemingly burst onto the jazz scene with the release of his debut Large Ensemble album "Night Devoid of Stars" (Cellar Music). Of course, nobody just appears on the "scene"––Hersog, a native of Victoria, British Columbia, is a graduate of the New England Conservatory of Music in Boston, MA, and, as a trumpeter, has played throughout North America with artists such as drummer Terry Clarke, trumpeter Brad Turner, the Vancouver Legacy Jazz Orchestra, and the Jaelem Bhate Orchestra (with whom he recorded two albums). Hersog is currently on the faculty of Capilano University in Vancouver, BC, where he is an Academic Coordinator and Instructor in the Jazz Studies Program plus leads a trumpet ensemble.
Now, the second album from the Daniel Hersog Jazz Orchestra has dropped. "Open Spaces: Folk Songs Reimagined" (Cellar Music) states its mission in the title. The majority of the pieces come from traditional musics of Canada and the United States interspersed with pieces by Gordon Lightfoot and Bob Dylan plus several Hersog originals. The ensemble (listed below) is composed of musicians from both countries as well as classmates (Noah Preminger and Kim Cass) and instructors (Frank Carlberg and Brad Turner), many of whom appear on the first CD. The addition of reed master Scott Robinson and guitarist Kurt Rosenwinkel gives Hersog a bigger palette to work with and he does so liberally. The 10-song program opens with the late Mr. Lightfoot's "Wreck of the Edmund Fitzgerald"––Preminger's hard-edged tenor solo represents the blowing winds and Carlberg's piano the roiling waves while Dan Weiss's drums are the sound of the boat splitting apart. That's followed by a rousing coda leading into Hersog's imaginative take on Bob Dylan's "Blowin' In the Wind". Titled "How Many Roads", there's a flowing guitar solo over the responsive reeds and supportive brass. The reeds and brass play a "call-and-response" with the piano before Carlberg digs into his solo over the rough and tumble bass and drums.
After a stately introduction, "Shenandoah" becomes a beautiful ballad featuring an amazing baritone sax solo from Scott Robinson. Heartfelt, emotional, melodic, the listener is transported out of the crazy world by the stunning and brilliant arrangement that supports him (kudos to Carlberg as well) and the simple yet generous melody. Robinson returns to the spotlight on "Rentrer" but not until after Cass's lovely solo bass introduction and Carlberg plays the rambling theme which, in turn, leads into Rosenwinkel's short but sweet solo. Robinson's baritone solo goes deep and then swoops to the higher register of the big instrument. The final two minutes of the piece features the sections swirling around the guitar, rising like the murmuration of starlings before the the abstract finish.
Photo: Robert Iannone
Other highlights include the playful "I Hear", a piece that opens with the ensemble "barking" at other until Weiss falls into an up-tempo rhythm for a hard-edged tenor solo before the tempo changes abruptly into a Fellini soundtrack interspersed with a swing beat for Ben Kono's fine clarinet spot. The longest track on the album (11:10), the playful tune makes room for a sharp and humorous romp for trumpeter Turner. Later in the program, the Hersog original "Sarracenia Purpurea" (named for a Pitcher Plant that grows in marshes and bogs) starts off on fire but quiets down for Robinson's baritone solo which slowly and steadily picks up in intensity as the rhythm section pushes him to dig in. Soon, the brass and reeds begin to color behind him before everyone frolics around the drums as the music arrives at its rousing finish.
The album closes with a sweet reading of "Red River Valley" (for all its connections to Cowboy movies, the song actually was composed in Canada during the 1870s). After a pretty introduction, Rosenwinkel's guitar joins the brass and reeds to play the theme. After a second verse and a striking variation played by the Orchestra, the guitarist plays the melody once more and then plays his striking solo. Even sweeter, the entire ensemble sings two choruses before the ensemble plays the melody before the lovely crescendo that ends the piece and the album.
You will hear the influences of many large ensemble arrangers and composers in the music of the Daniel Hersog Jazz Orchestra but the leader's vision plus eloquent arrangements for this ensemble are clear and truly his own. "Open Spaces: Folk Songs Reimagined" grew out of the composer/arranger's need to move his music forward after a successful debut as well as to adapt to the changes in his life (teaching and marriage). There are interpretations of beauty and breaths of humor (and occasional chaos) throughout the album; the music flourishes on the collective work of this fine group of instrumentalists. Do sit and listen––the rewards are abounding!
Although best known for his work in saxophonist Noah Preminger's Quartet, guitarist and composer Max Light is just now climbing into the spotlight. His debut album, "Herplusme" (Red Piano Records), was a trio date recorded in 2018 but not issued until February 2020, just a month before the COVID-19 Pandemic shut the door on touring musicians (and the rest of us). He'd already recorded two live albums with trumpeter Jason Palmer, two studio albums with Preminger's ensemble, and albums with Yong Lee, Kevin Sun, Chris McCarthy, and others. Last year, SteepleChase Records released "Songs We Love", a collection of 14 tunes (mostly standards old and new) performed by Preminger and Light––it's well worth seeking out for the delightful conversations the two musicians over the course of 65 minutes. When producer and label owner Nils Winther offered Light the opportunity to record his second album as a leader, it was obvious from the get-go the guitarist would reach out to Preminger.
In fact, the new album, "Henceforth", is the Noah Preminger Quartet (bassist Kim Cass and drummer Dan Weiss fill out the lineup) recording a program of Light originals save for the tenor saxophonist's "High or Booze" that closes the recording. One can hear that this is a "working ensemble" as the band has no trouble making each song sound fresh and alive. The album opens with "Barney and Sid", a medium piece that has a touch of funk in its rhythm and angular melodic lines. After an unaccompanied guitar opening statement, and feeding off the band plays through the theme and then into the tenor sax solo. Preminger has the time and the talent to truly develop his solo, working up a sweat over several minutes. Light is next, picking up on the energy of the previous solo and feeding off the insistent rhythms.
The title track is next. The rhythm lopes along giving the piece an "Americana" feel. As the four musicians move through the theme, the music picks up in intensity (pushed by the thrashing drums) before moving back to the gentle lope (listen below). Check out how both Cass and Weiss move in and out of the foundation as Light builds his intense solo. The bass solo is impressive for its power, its playfulness, and melodic flourishes. Later in the program, "Animals", originally composed as an assignment in college, is a mature ballad––the guitar solo flows like a mountain stream while the rhythm section offers gentle support (Weiss on brushes, Cass playing counterpoint). "Half Marathon", so named for the John Coltrane piece "26-2" that influenced it, gives Light the opportunity to strut his stuff before Preminger jumps into the high-speed dance.
"High or Booze" is the final track. It has a strong, well-developed, melody (no mere blues, this) that leaves room for an emotionally rich tenor sax solo and a fiery guitar spot (it's a joy listening to the rhythm section interact with the soloists and each other.
Listen to "Henceforth" several times before passing judgement. Max Light has created an excellent quartet recording filled with substantial melodies and spirited playing. Having listened to Noah Preminger live and onstage for the past 14 years, it's a joy to hear how he has matured as a musician to the point of possessing his own sound. Kim Cass and Dan Weiss are excellent throughout (no surprise there). A major step forward for young Mr. Light!
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.
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.
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
Pianist and composer Orrin Evans is not only the pianist in The Bad Plus, he also leads his own groups including the Captain Black Big Band. Evans organized the ever-evolving ensemble in 2009 in Philadelphia, PA, inspired by his years working with the Mingus Big Band plus a commission to lead a big band at a festival in Portugal in 2007. Evans has originally employed friends from the jazz community in New York City, mixing in students from Temple University and Philadelphia's University of the Arts. The CBBB, named for the pianist's father's favorite brand of pipe tobacco, is now based in The Big Apple
After releasing its first two albums on Posi-Tone Records, the Band moved to Smoke Sessions Records which released "Presence" in 2018. That album, recorded in Philly, featured a slimmed-down version of the ensemble (nine musicians instead of the usual 16-18) yet retains the power and raucous quality that has been the band's personality since its inception. CBBB's fourth album, "The Intangible Between", finds the ensemble back up to full strength, back in the studio, and creating thoughtful, exciting, provocative music. Many of the tracks include two bassists, Eric Revis being one of them, and powerful soloists in each section – included are trumpeter Sean Jones, saxophonists Stacy Dillard and Immanuel Wilkins, and others – see personnel below.
npr.org
The eight-song program opens with the thunderous "Proclaim Liberty" with powerful solos from Evans, Jones, Dillard, and one of the drummers. That's followed by the leader's fascinating arrangement of the Harry Dixon Loes's gospel classic "This Little Light of Mine." The music opens into a propulsive rhythmic arrangement with the sections framing the soloists with phrases from the original melody. The band pays tribute to Roy Hargrove with a handsome reading of late trumpeter's "Into Dawn". Arranged by trombonist David Gibson, the finely-hone melody is shared by the brass and reeds before a strong alto sax solo followed by an even stronger piano solo (listen for the short Latin groove and how Evans interacts with the bassists and drummer.
The final two tracks on the album also stand out. "Tough Love", an Andrew Hill composition, utilizes the text of poems, one by Evans's brother Todd, to talk about social issues in the African American community. All the voices in the band, both their own and their instruments plus children chime in the opening moments over a bass accompaniment; the piece then opens up into a high-speed walking bass (actually two walking basses) and the leader takes over speaking his brother's poem. After a few minutes, the entire band reenters and the music burns bright hot white as Evans takes on gun control and police brutality (extremely timely). Over the course of nearly 16-minutes, both words and the music gets more serious.
"I'm So Glad I Got To Know You" is dedicated to Lawrence "Lo" Leathers. The drummer, who worked with pianist Aaron Diehl and with Cecile McLorin Salvant, was shot to death in the stairwell of hs apartment in the Bronx, NY. The track, composed by Evans, opens with a quiet piano solo before the band enters in an uptempo rhythm reminiscent of Abdullah Ibrahim (especially the brass and reeds melody) – the music picks strength as it dances forward until the reeds and brass drop out and everyone sings a mantra composed on the words in the song's title. Powerful finish to a powerful set of music.
The Captain Black Band is getting better with age. Always run as more of a cooperative, with members contributing both songs and arrangements, the CBBB plays with fire and enthusiasm, eschewing labels and genres to create its own voice in a growing sea of large ensembles. "The Intangible Between" is essential listening at any time but especially in this time of social unrest and pandemic. Orrin Evans and company offer hope, humor, and beauty in this exciting 65 minute package.
Orrin Evans: piano; Luques Curtis: bass; Eric Revis: bass; Madison Rast: bass; Mark Whitfield Jr., Anwar Marshall: drums; Thomas Marriott: Josh Lawrence: Sean Jones: trumpet; Caleb Wheeler Curtis: Troy Roberts, Immanuel Wilkins, Stacy Dillard, Todd Bashore: alto and tenor saxophones David Gibson, Stafford Hunter,Reggie Watkins: trombone; Jason Brown: drums; Joseph Block: keyboards; Dylan Reis: bass
Trumpeter, composer, arranger, and band leader Daniel Hersog hails from Vancouver, British Columbia, Canada. He graduated from the New England Conservatory in 2016 where he met, studied, and worked with pianist Frank Carlberg, drummer John Hollenbeck, trumpeter John McNeil, and many others. He now teaches music and conducts plus serves as the composer for Big Band at North Vancouver's Capilano University. He also teaches trumpet and leads the school's Trumpet Ensemble. For his debut album, "Night Devoid of Stars" (Cellar Live), he's working with the 16-member Daniel Hersog Jazz Orchestra – most of the musicians hail from Canada are joined by saxophonist Noah Preminger (who is the "featured soloist"), drummer Michael Sarin, and pianist Carlberg.
The eight-song program (seven Hersog originals plus a classy rearrangement of the venerable Jerome Kern piece "Smoke Gets In Your Eyes") shines from the opening seconds to the raucous closing track. Close your eyes, don't read the liner notes, and make up own your mind; I heard music inspired and influenced by Bob Brookmeyer , Jim McNeely, Maria Schneider and Thad Jones plus Darcy James Argue. Yet, once you listen again, those influences mostly die away and each track begins to stand out. "Cloud Break" starts off the album in a forward motion with the first five notes sounding like the melody of "Getting To Know You" – the melody opens up like a morning flower before the sections drop back for a delightful solo from trumpeter (and one of Hersog's mentors) Brad Turner. Sarin and bassist James Meger lock into the groove as the solo unwinds. The sections return to usher out the trumpeter, opening the door for Preminger's powerful solo – the Boston, MA-based saxophonist is in great voice throughout.
The pieces in the program feel as if they have been percolating for a long time but do not sound overworked. That's thanks to the fine musicianship. Carlberg's long, rhythmical solo opens "Motion" with Sarin's cymbal work standing out. After he steps back, the reeds and brass sounds like a power blossoming before Preminger digs in for a powerful statement. "Makeshift Memorial" is one of the loveliest large ensemble compositions of the past several years, voices echoing throughout the melody section – listen to how Preminger's saxophone wheels in and around the others reeds and the brass. The title track flows forward in a joyous rush; note how the sections are integrated with the soloists, Preminger and Turner, and inspire to flights of fancy. I especially like the use of the flute and piccolo to add to the brightness of the music.
Photo: Robert Iannone
Carlberg, the brass and reeds, and the somber arrangement, all converge to give an original treatment to "Smoke Gets In Your Eyes." The pianist dances through his solo as if to dispel the cloudiness, leading to an introspective finish. The album closes with two playful pieces. The stop-start beginning of "Indelible" leads to a medium tempo rhythm and then, the fun begins. The spirited clarinet solo by Tom Keenlyside interacts with the piano until the trumpets return with bird-like chatter over a droning trombone note. Listen to how Hersog has the playful clarinets and flutes support the trumpet melody. The closing track, "Song for Henrique" (dedicated to pianist Henrique Eisenmann), opens with a classical flourish provided by the solo piano. Then, the band jumps into a dramatic yet playful tango with the sections involved in the dance before Carlberg moves off into his solo. Preminger's solo takes place in rubato with rumblings from the brass while Sarin explodes underneath. When the rhythm returns, the trumpets, acting like toreadors, lead the way to the end. "Night Devoid of Stars" is a delightful introduction to the music and artistry of Daniel Hersog. During the hour-long program, he and his cohorts take the listener to so many places and through so many emotions. Listening to the Daniel Hersog Jazz Orchestra leaves one in a better frame of mind thanks to the creativity of the composer-arranger, the inventive solos, and fun that emanates from musicians doing what they love to do. Kudos to Frank Carlberg and Noah Preminger for bringing more light to the sessions. For more information, go to www.danielhersog.com. Take a look and listen to the title track: Personnel: Chris Startup :Alto Saxophone, Clarinet Michael Braverman: Alto Saxophone, Soprano Saxophone, Clarinet Noah Preminger: Tenor Saxophone Tom Keenlyside: Tenor Saxophone, flute, piccolo, alto flute Ben Henriques: Baritone Saxophone, Bass Clarinet
Rod Murray: Trombone Jim Hopson: Trombone Brian Harding: Trombone Sharman King: Bass Trombone
Frank Carlberg: Piano James Meger: Bass Michael Sarin: Drums
Photo: Peter Gannushkin
Throughout his career, trumpeter, composer, and arranger Bobby Spellman has played a multitude of styles; r'n'b with The Four Tops and The Temptations, Afrobeat with the Big Mean Sound Machine, large ensemble experimental with Charlie Kohlhase's Explorers Club and the Either/Orchestra, and a combination of all the above with his own Dingonek Street Band. Spellman also leads a Nonet that explores the sound of Miles Davis/ Gil Evans Birth of the Cool. Spellman's nine-piece has just issued its debut album "Revenge of the Cool" on Sunnyside Records.
Spellman utilizes the instrumentation that Davis and Evans employed for their original projects and, entranced by the sonic possibilities, created his own music. There are some similarities that ones hears throughout; the leader is a fine trumpeter, the intelligent use of the "lower" sounds of the tuba (Ben Stapp), trombone (Tim Schneier), and baritone saxophone (Taylor Burchfield) plus the way Spellman's arrangements utilizes Evans-like harmonic clusters. Also, the majority of the music captures the enthusiasm of be-bop that the 1950s recording demonstrated. There's a delightful wit involved here as well. Spellman's "The Isles of Langerhans" has a romantic title but is named for "the islets", or specialized cells, found in the pancreas of most vertebrates (discovered by 19th Century German physical Paul Langerhans). The tune is part of the leader's "Endocrinology Suite". Even better, the title does not detract from the fine performance!
The drum solo at the end of "...Langerhans" leads directly in to the joyful swing of "At The Brink" with the relentless drive supplied by bassist Andrew Schiller and drummer Evan Hyde supporting the solos of David Leon (alto sax) and Justin Muellens (French horn). "Uncle Chip" opens with a spirited interaction between the leader and drummer before the entire plays the theme. Note the fine piano solo (Ben Schwendener) which has echoes of Cecil Taylor and Don Pullen which leads to both a chattering solo from Leon and toying around with the tempo.
Photo: Peter Gannushkin
The Evans commecntion can be heard in the melody line and the writing for the bass and reeds on "Certainty for Uncertainty". The nonet takes its time playing the full melody before Leon steps into his solo followed by trombonist Schneier and pianist Eli Wallace. "The Human Condition" closes the program on a raucous bluesy note; right from the leader's countdown into the tune followed by his hard-edged solo, the music has a late-night, smoky barroom feel. The brass and reeds don't enter until near the close of pianist Schwendener's solo and disappear again for Schiller's bowed bass solo(as does every but the drummer and occasional piano interjections. Everyone returns to (finally) play the "head" and take the tune out. "Revenge of the Cool" is more than just a tribute to the classic "Birth of the Cool", it's also the sound of a composer-arranger coming to terms with his influences and moving beyond them. There's much to like listening to the debut album of the Benny Spellman Nonet – one fervently hopes that we get to see and hear the band play in person because one can tell from the album that the ensemble can really "hit it". For more information, go to www.bobbyspellman.com. To hear some of the music and purchase the album, go to https://sunnysiderecords.bandcamp.com/album/revenge-of-the-cool. Here's "At The Brink": Personnel: Bobby Spellman - composer, trumpet & slide trumpet Emily Pecorard - alto saxophone (on the opening track only) David Leon - alto saxophone (all tracks but 1) Tyler Burchfield - baritone saxophone Kyra Sims - French horn (six tracks) Justin Mullens - French horn (two tracks) Tim Shneier - trombone Ben Stapp - tuba Ben Schwendener - piano (six tracks) Eli Wallace - piano (two tracks) Andrew Schiller - bass Evan Hyde - drums
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.
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.
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.
Tenor saxophonist and composer Noah Preminger is in the midst of a very busy time. Since the beginning of 2018, the Connecticut native has released three albums. What connects them all is the probing mind, warm sound, and intelligence that the saxophonist has displayed since his debut "Dry Bridge Road" was issued almost 10 years ago.
"Genuinity" is Preminger's debut release for Criss Cross Jazz. The recording features his "working band" mates of the past several years, trumpeter Jason Palmer and bassist Kim Cass. The newest member is drummer Dan Weiss and his presence gives the band and music ever more possibilities. This album moves away (but not all the way) from the political commentary of 2017's "Meditations on Freedom" or the blues influenced sounds of 2015's "Pivot: Live at the 55 Bar" and 2016's "Dark Was The Night, Cold Was the Ground."
From the opening flurry of notes from the tenor sax on "Halfway To Hartford" to the jauntiness of the final track "Acknowledgement" (not the John Coltrane song from "A Love Supreme"), the nine original pieces are free from clutter and filled with ideas. Palmer continues to be an excellent musical companion, his crisp tone, his ability to turn on the fire and then move easily back to softer counterpoint stands out on pieces such as "Nashua" and the barn-burning "Ah". One of the standout tracks is "Mad Town" where the tenor and trumpet weave lines in and out of each other, sometimes playing together and other times in a call-and-response. Cass is the foundation on that piece as Weiss interacts with the soloists throughout.
Photo: Jimmy Katz
It's a treat to soak in the Weiss's funky drums on "Ts and Her Spirit"; he keeps up the dancing beat all the way through, especially as Preminger and Cass trade lines back-and-forth in the second half of the song (yet pay attention to the delightful interactions between sax and trumpet before that. In juxtaposition to the funkiness is the only ballad on the recording, "My Blues For You." A song this slow can often be overplayed but Preminger and company never rush, basking in the deep bass notes and quiet drums-and-cymbals. Palmer's solo cuts against that grain, his combination of long tones, bluesy smears, and fast-paced phrases standing out. Preminger, too, mixes up the intensity, "crying" at times, throwing out quick riffs at other times, and "getting down" as well.
There's much to enjoy delving into "Genuinity" and the music sounds great flowing out of the speakers. Such a clean recording (kudos to engineer Michael Marciano): you can hear everyone making it seem as if this was a "live" recording. Definitely alive!
No matter whether you know the original music or not, it's quite impressive to hear what the quartet does. Listen to how Cass introduces "Prelude Opus 28 No 2 in A-minor", his "bouncing bass" line underneath Preminger's reading of the lovely melody. Garcia's cymbals and floor tom work colors the piece as do the quiet chords from Radley. The guitarist rises out of the saxophone solo to create a fascinating that rolls atop the bass and drums. Preminger plays through the melody on "Nocturne Opus 62, No 2 in E-major" and then Radley takes over with a handsome solo over the fine brush work and melodic bass. The guitar sound lends the song as "Americana" feel: there's also a hint of blues in the sax solo.
Theres a playful nod towards "prog-rock" in the guitar chords and hard-hitting drums at the onset of "Prelude Opus 28 No 6 in B-major" - Preminger digs into the formal sounding melody before Radley steps out for a solo that builds off the melody. Pay attention to the great work of the rhythm section during the solos, to the counterpoint from the bass and subtly driving drums. Listen to how Cass supports and shadows the saxophone melody on "Nocturne Opus 32 No 2 in Aflat-major", his intelligent counterpoint supported by guitar chords that echo the melody and Garcia's sweet brush work.
Instead of taking about every track, my suggestion is you sit down and really listen to "Chopin Project." What Noah Preminger and Rob Garcia, along with Nate Radley and the sublime Kim Cass, have done is make one listen to Chopin's music with new ears. The musicians show respect to the original intent of the music but also illustrate how to make the pieces sound fresh and relevant to new audiences.
Here's one of the quartet's delightful takes:
"Whispers and Cries" (Red Piano Music) pairs Noah Preminger with pianist Frank Carlberg for a program of standards and one traditional from the American Civil War, "Aura Lee." As to be expected, the duo does not play it safe. The impressionist opening to Billy Strayhorn's "Take The A Train" leads to a playful, stop-and-go interpretation of the melody. It's fascinating to hear how they decide to deal with the song. And, it's that way through all 10 songs. Thelonious Monk's "Reflections" does have a reflective quality at the beginning yet the duo has its way while working through the solos (nice bit of stride behind the tenor as well as a piano solo that dances through the changes). Even if you have heard "Tea For Two" more times that you can remember, here the opening tenor solo slowly steadily, brings the familiar melody to the forefront. When Carlberg steps out alone, his playful solo does not stray far from the melody yet sets the pace for Preminger's take on the melody and changes. The same goes for the delightful chestnut, "These Foolish Things", which has a delightful bluesy solo from the pianist (a touch of James P Johnson can be detected in the playful piano stylings) along with fine lyrical work from the saxophonist
For some of us, our introduction to "Try a Little Tenderness" was Otis Redding's demonstrably over-the-top live performances in the mid-1960s. No such histrionics here, just an impressive tenor saxophone introduction that takes up half the piece. When the piano enters, Preminger moves into the melody as Carlberg sets an easy pace. The pianist steps out for a short but sweet solo that moves in and around the melody.
Since he first came to critical notice a decade ago, Noah Preminger has always had a knack playing ballads. From the get-go, his work on slower pieces displayed emotional depth along with lyricism. On "Embraceable You", he imbues the Gershwin melody with a blues sensibility, carrying all the way through. The pianist responds to the emotion of the music with a quiet solo that hews closely to the melody ands sets the tone for the return of the saxophonist and the gentle finish.
Photo: JImmy & Deanna Katz
"Whispers and Cries" may take its name from the 1972 film by Ingmar Bergman (the duo turns the name around) but this is no chilly, metaphysical, paean to the dread and death that often occupied the Swedish director. What Noah Preminger and Frank Carlberg did on the two days in July of 2017 in Boston's Jordan Hall is explore ten songs, listening to each other, reacting, prodding, pushing, interacting, giving each other space, caressing melodies, playing with rhythms, making music that touches the soul as it involves the mind.
Posts
.jpg)
