It's that time of year when critics and reviewers create their "Best-of" lists. I am no different but I look at this group of recordings as music that informs, changes, and enhances my life and teaching. Here is the group of albums from the past year that helped me through illnesses, sadness, joy, and much change.
Miguel Zenón - "Musica De las Américas" (Miel Music) – It's no secret how much I admire the music and work of Miguel Zenón. With his long-time ensemble, composed of Luis Perdomo (piano), drummer Henry Cole, and Hans Glawischnig (bass and truly the "glue" of the band). This new album celebrates the music of Central and South America as well as the Caribbean, showing how various elements have entered into the music of the United States (and beyond). Along with the latest album by rapper Bad Bunny ("Un Verano Sin Ti"), whose music celebrates the rhythms that inspire reggaeton, the album has deep grooves, evocative melodies, and the inventive musicianship one has come to expect from Señor Zenón and company. Percussionists Paoli Mejías, Victor Emmanueli, Daniel Díaz, and the five member Los Pleneros de La Cresta each appear on one track during the eight-song program.
Enjoy the fiery "Opresión y Revolución":
Wadada Leo Smith w/ Pheroan akLaff, Andrew Cyrille, Han Bennink, and Jack DeJohnette - "The Emerald Duets" (TUM Records) – Trumpeter, composer, conceptualist, historian, and philosopher Wadada Leo Smith celebrated his 80th birthday on December 18, 2021 (meaning he just turned 81 yesterday, as I write this). The Finnish-label TUM Records celebrated that momentous occasion by issuing two multi-disc box sets by Mr. Smith, the seven-CD "String Quartets: Nos. 1-12" and the five-CD "The Emerald Duets". Both are amazing but I expect it will take many more months to truly take in the scope of the string music. Whereas five albums with drummers captured me immediately. All the sessions stand out (this is the first time Mr. Smith played with Mr. Bennink) but the two CDs feature Mr. DeJohnette, a long-time musical compatriot. The drummer plays piano as well as percussion; it's not hard to fall under the spell of this music.
Marta Sanchez - "SAAM (Spanish American Art Museum") (Whirlwind Recordings) – Pianist and composer Sanchez had a tumultuous time during the Pandemic as her mother passed early on. She found time to write new music for her group – saxophonists Roman Filiu and Alex LoRe, bassist Rashaan Carter, and drummer Allen Mednard – and it's her most mature and realized program. The music sings throughout the album plus there are fine solos from all involved. Subtle, emotional, and intelligent, "SAAM" draws from myriad influences, is never imitative, and draws in the listener on the strength of the melodies. One track, "Marivi", features Ms Sanchez, Mr. Carter, and Mr. Mednard with Camilla Meza (vocal, guitar), Ambrose Akinmusire (trumpet), and Charlotte Greve (synths).
Listen to "Dear Worthiness":
Tyshawn Sorey Trio + 1 (with Greg Osby) - "The Off-Off Broadway Guide to Synergism" (Pi Recordings) - Another impressive year for drummer, composer, and educator Sorey, filled with debuts, impressive gigs, and two great albums. This live three-album set of standards, jazz classics, and more, is a splendid exploration of melody, improvisation, and interplay featuring Mr. Sorey with the impressive pianist Aaron Diehl, bassist Dana Hall, and the very welcome alto saxophonist Greg Osby. Three long sets (75 + minutes) yet the music never gets dull or stale because the musicians are free of any expectations other than play the melody, improvise, and follow your creative flow. The week before I wrote about the album, I listened to, at least, one set a day, especially on my daily walk. The addition of Mr. Osby, whose musicianship is impressive throughout, is such a delight!
Hear "Solar":
Noam Lemish – "12" (TPR Records) – This album, from the pianist, composer, and educator Noam Lemish, was one of the more impressive releases of the last six weeks. The Israeli-born, American-educated, and Canadian resident, had recorded several albums with oudist Amos Hoffman, duets with percussionist (and one of his teachers) George Marsh, plus several solo piano explorations. Here, he leads a 12-piece ensemble comprised of many fine Canadian musicians, supplying them with fine, often episodic, pieces with impressive arrangements. There's humor, pathos, wit, and emotion throughout the album (one of the initial releases on Three Pines Records, a new Canadian label led by Amy and Ernesto Cervini). This album gets better each time I listen––give it a whirl!
Here's the delightful "Beethoven's 7th Visit to Romania":
PUBLIQuartet – "What Is American" (Bright Shiny Things) – I don't write about classical music very much but this album (plus the Johnny Gandelsman album in Part 2) truly caught my attention. The PUBLIQs––violinists Curtis Stewart and Janina Norpoth, violist Nick Revel, and cellist Hamilton Berry––often blend European and American classical music but also have a expressive modernist bent. One of the group's ongoing projects, dubbed "Mind| The| Gap|", features arrangements of music by Nina Simone, Ornette Coleman, Tina Turner, Ida Cox, Alice Coltrane, and others into stew that really alters the way you listen to a string quartet. This album features music by Antonin Dvorák, Vijay Iyer, Roscoe Mitchell, Rhiannon Giddens, and others––it certainly does make you think about "what is American"!
Give a listen to "Improvisations on "Law Years" and "Street Woman" (composed by Ornette Coleman):
Trish Clowes – "A View With a Room" (Greenleaf Music) – Composer and saxophonist (tenor and soprano) Trish Clowes signed with Dave Douglas's Greenleaf Music this year and gifted listeners with "A View With a Room". Featuring her long-time band My Iris––guitarist Chris Montague, pianist and organist Ross Stanley, and drummer James Maddren––the music may, at times, remind you a bit of the quieter music of Jimmy Guiffre but, to this listener, Ms. Clowes has really created her own sound. The band interaction is impressive and the music makes you want to return to the album often. They have not toured the US yet––if they do, I would recommend you spend a night in their company.
Here's the delightful "Amber":
Somi – Zenzile: The Reimagination of Miriam Makeba (Salon Africana) – The vocalist and composer Somi has truly blossomed into a world-class artist, celebrating the sound of the African continent even as she updates it. Here, she pays tribute to the great Miriam Makeba (1932-2008), creating one of the most uplifting programs you will ever hear. In fact, Somi also created a play, "Dreaming Zenzile", around Ms. Makeba that debuted off-Broadway earlier in 2022. The album sounds so good, with such delicious rhythms, attractive vocals, and an impressive guest list including Ladysmith Black Mambazo, Angelique Kidjo, amd Gregory Porter (listen below) plus others. World music at its best–give a listen.
Here's the sensuous "Strawberries" featuring Gregory Porter:
Kate Wyatt – "Artifact" (Self-released) – The Montreal, Canada-based pianist Kate Wyatt, a native of British Columbia, has been active on the creative music in her native country for over two decades. "Artifact" is her debut recording as a leader and well worth the wait. Featuring drummer Jim Doxas, bassist Adrian Vedady (her husband), and trumpeter Lex French (on the Music Faculty of McGill University) the quartet explores this music with vigor, sensitivity, and emotional depth. Ms. Wyatt is a fine player but always makes sure you hear the other members of the group. One can hear a nod in the direction of the Kenny Wheeler, as much in the "open" sound and wit in the composition as well as in Dr. French's trumpet work. Impressive debut and one hopes there's more coming soon.
Listen to the lovely "A Flower Is a Lovesome Thing":
Sachal Vasandani with Romain Collin – "Still Life" (Edition Records) - This is the second collaboration for the vocalist with pianist Collin––like its 2021 predecessor "Midnight Shelter" (also on Edition Records), these performances are intimate, often spare, quiet, yet with an emotional intensity that draws in the listener from the beginning and does not let go until the last note fades. In fact, each time I listened, I played the album all the way through. When I spoke to the duo this past summer, they said that Mr. Vasandani stood right next to the piano during the recording session––the intimacy of the recording process translate to the music. Such a smart selection of tunes, from folk music to jazz standards to "pop" tunes to originals. Late night or early morning, this music is a comforting friend..
Listen to the emotional and heartbreaking "(I) Can't Make You Love Me":
Pianist-composer-educator Noam Lemish, born in the United States, grew up in Israel, came back to the US for college, and now teaches at York University in Toronto, Canada, has created quite an intriguing musical career. He studied and recorded with master percussionist George Marsh as well as contemporary classical composer/pianist W. A. Mathieu. The pianist has also recorded with Israeli oud player Amos Hoffman and is the co-leader of the Israeli-Iranian Musical Initiative (I=I). His original music combines myriad influences, is intelligent and heartfelt and, up until this year, usually in a small setting (save for I=I).
His latest album, "Twelve" (TPR Records), features a 12-member ensemble (13 on one track) that includes an impressive lineup of Canada's most exciting musicians. The six original pieces, all but two over 11 minutes, not surprisingly cover a wider swath of music of musical territory. One can hear the influence of Maria Schneider on the first track, "Song for Lia"; it's in the expansive melody, the use of wordless vocals, in how the solos (alto saxophonist Allison Au and guitarist Ted Quinlan) rise up out of the section playing, and the active but never intrusive rhythm section. "The Nagila Mayster" is playful, rhythmically active, with intriguing call-and-response, and fine vibraphone work from Michael Davidson. Listen below how the music evolves over 14 minutes, how Lemish arranges the various "voices" in the ensemble, slowly building the intensity, and not afraid to stop and start. After a slow and majestic "chorale" led by the brass augmented by the vibes, the tempo jumps up , slows down, and leads to the leader's delightful piano solo.
Photo: Dahlia Katz
There are four more excellent pieces including the enchanting "Beethoven's 7th Visit to Romania"––that's quite a title yet the song is based on the theme from the Second Movement of the composer's "Seventh Symphony". Besides the splendid melody, there's a lovely 13-voice choir, and a hardy trumpet (Jim Lewis) and tenor saxophone (Kelly Jefferson) duet. "Between Utopia and Destruction" draws its inspiration from two different Russian-Jewish melodies, one of which "Der Verter Un Di Shtern" dates back to World War II and was recently rediscovered in the Ukraine. The two folk melodies are well-drawn and serve as stepping stones for powerful solos from both the leader (there are moments when the music swings in an Ellington mode) and soprano saxophonist Jefferson (several interesting tempo changes and returns to the melody during this section).
If you're like me and enjoy adventurous large ensemble music, go find "Twelve". Noam Lemish has created one of 2022's most delight-filled recordings. The playing is crisp, the arrangements intelligent and thoughtful, and the melodies all stand out. One cannot ask for more from an album other than one more like this, please!
Carn Davidson 9, the brainchild of trombonist/ composer William Carn and multi-reed player/ composer Tara Davidson (they are also husband and wife), has been in existence for a decade. Composed of nine of the busiest musicians and educators in the Toronto, Canada, area, the nonet (see personnel below) features three reeds, four brass, and bass and drums, but no chordal instruments. The intelligent compositions and arrangements spread the warm sounds of the brass and reeds across the sound spectrum with rich melodies and harmonies that pull in the listener. Kudos also go to the splendid rhythm section –– bassist Andrew Downing and drummer Ernesto Cervini –– for their great support, enthusiastic as well as musical playing, and sensitivity in propelling the "little big band".
The nonet's third album, "The History of Us" (Three Pines Records), consists of two three-song suites plus one composition by Carn dedicated to the late Murphy the Cat who is positioned in the middle of the album cover. The trombonist's "Finding Home Suite" (Pt. 1 – "A New Life") opens the recording in a ballad tempo led in by the flutes and clarinets with the brass and supportive reeds on either side of the sound spectrum. Kevin Turcotte creates a fine trumpet solo in the middle, reminiscent of the sound and style of the late Kenny Wheeler. The opening brass and reeds fanfare of "A Mother's Song" has the richness of a Bob Brookmeyer arrangement–– as the song progresses, the trumpets open the melody then share it with the reeds and trombones. The suite closes with "Home" with the baritone saxophone and low tines leading the way to the melody. The emotion of the melody pushes the piece forward to a bluesy and powerful baritone sax solo from Shirantha Beddage that fills the mid-section of the nearly nine-minute piece. The reeds follow with a repetition of the melody that builds in intensity until a solo trombone line slows the piece down, producing a lovely coda.
As the album title suggests, this is a very "family-centric" program with songs by both co-leaders dedicated to parents (and, yes, the late family cat). The music is impressionistic but nearly always with a calm center. On ""Swept Out to Sea (For Dad)", the sweep of the brass and reeds as well as how Kelly Jefferson's tenor sax solo steps out is reminiscent of Maria Schneider's "open sounds" –– the sharp but not harsh brass sounds and the warm reeds blend fill in the musical portrait.
"The History of Us" is a powerful yet mentally soothing program from Carn Davidson 9. Powerful because the songs and the performances are so heart-felt and soothing because in these uncertain often frightening times, we need "us" more than ever. To find out more, go to www.threepinesrecords.ca/home/carndavidson9. To hear, watch, and purchase the album, go to https://carndavidson9.bandcamp.com/album/the-history-of-us.
Listen to "A Mother's Song", the second Movement from the "Finding Home Suite":
Personnel:
Tara Davidson – alto & soprano saxophones, clarinet (track 4), flute, piccolo Kelly Jefferson – tenor & soprano saxophones, clarinet (track 1) Shirantha Beddage – baritone saxophone & bass clarinet Jason Logue – trumpet & flugelhorn Kevin Turcotte - trumpet & flugelhorn William Carn – trombone & bass trombone (track 4) Christian Overton – bass trombone Andrew Downing – acoustic bass Ernesto Cervini – drums & percussion
Multi-instrumentalist, composer, arranger, and bandleader Don Macdonald lives in Nelson, British Columbia, Canada (located 410 miles to the east of Vancouver, BC and 387 miles southwest of Calgary, Alberta, Canada) where he teaches in the Contemporary Music and Technology Program ofSelkirk College Contemporary Music and Technology Program. His musical life is delightfully eclectic having composed operas, choral works, movie soundtracks, played in jazz and rock bands plus has worked in World Music settings.
His latest album, "Shifting Sands" (self-released) is a collection of nine original instrumentals with a group of musicians from or based in Canada plus mandolinist Jason Anick from Boston, MA. Macdonald plays violin throughout (he's also a saxophonist); besides his fine musicianship and that of his colleagues, it's the musical settings he creates that catch the ear. Yes, this is "fusion" music but with a twist in that the melodies and rhythms get in your ears and stay there. Whether it's the jazzy drive of the title tune or the flamenco-inspired drive of "La Tormenta" (great solo from guitarist Mike Rud) or the flowing melody of "Atacama" or the joyous bounce of "Bayou" (a Crescent City hoedown at its best), the music wraps the listener in its creative embrace (leaving your feet free to dance!).
"Shifting Sands" is an apropos title in that every song stands out from the other yet the program never feels forced or slick. There are moments that remind this listener of the fusion music violinist Jean-Luc Ponty created through his career (also hear Ponty in Macdonald's tone). Need a musical pick-me-up? Play this new recording Don Macdonald and your mood is sure to turn brighter!
Put on those dancing shoes – here's a taste of "Bayou":
Personnel:
Don Macdonald - violin/composer/producer Dave Restivo - piano Mike Rud - guitar Steven Parish - drums Rob Fahie and Jill McKenna - upright bass Jason Anick and Dylan Ferris - mandolin
Israeli-born pianist, composer, and educator Noam Lemish has issued his second solo piano album, "Erlebnisse" (self-released) but his first with all-original music. Lemish, who is Assistant Professor of Jazz Instruction and Pedagogy in the Music Department of York University in Toronto, came to the United States, specifically to the San Francisco Bay area, to study music with and perform with W.A. Mathieu and percussionist George Marsh. He co-leads a quartet with Israeli oud player Amos Hoffman and they play original tunes as well as songs from their native land. Lemish is also the co-director of the Israeli-Iranian Musical Initiative, an ensemble based in Toronto that plays music from both countries with musicians that come from that area of the world.
"Erlebnisse" can mean "deeply felt experiences" (in conversation, the pianist hinted that translation does not totally the convey the power in the word) – in that spirit, the 16 improvisations that make up the program reflect the various life experiences that Lemish has encountered. Dedicated to Mathieu, the pieces range from dramatic to quiet to nearly without form to quiet rumination and more. There are myriad musical references but mostly, this is the pianist connecting his inner world to the piano keys. What one hears in this music is Lemish's sense of wonder, his love of exploration, and who he was at the time of and on the day of the recording. Shed your own expectations, step into the pianist's world, and listen. Be open. Be vulnerable. Noam Lemish can't hope for more than that.
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