In 2021, in the midst of the Pandemic, composer and producer Ryan Truesdell was worried about the future of the Big Band, a genre he has been quite committed to for a long time. He changed his focus and decided to commission a number of big band composers to write pieces for string quartet. Truesdell then worked with cellist Jody Redhage Ferber to help him think through the project and to advise on which musicians to invite into the studio to record what turned out to be 17 new pieces for string quartet plus, in several instances, additional instrumentation. He did not give the composers any restrictions but did invite them into the studio to work with the musicians who were interpreting their work.
The results of the experiment can be heard on "Ryan Truesdell Presents: Synthesis: The String Quartet Sessions" released through ArtistShare. Besides recording three of of his own string quartet pieces, the producer, who is the Manager of the Bob Brookmeyer Music Estate, used a work that the St. Louis Symphony had commissioned from the late trombonist-composer (1929-2011) but never recorded. Anyone who listens to contemporary Big Band music will recognize Jim McNeely, John Clayon, Christine Jensen, John Hollenbeck, Alan Ferber, Dave Rivello, and, perhaps, Miho Hazama but Truesdell also invited younger composers such as Joseph Borsellino III, Nathan Parker Smith, Vanessa Perica, and Asuka Kakitani. Producer and arranger extraordinaire Oded Lev-Ari debuts a new work as does bassist Rufus Reid, who premieres his "String Quartet #1".
Photo: Leo Mascaro
How should one approach "Synthesis", a three-CD set containing nearly three hours of music? One obvious answer is with "open ears and an open mind" but that's too easy. You literally have to set aside that these composers, many of whom you've heard in large instrumental ensembles are working with a much different palette. As stated above, there are a few additions to the Quartet; clarinetist Anat Cohen is the main soloist on Truesdell's "Suite for Clarinet and String Quartet", bassist Jay Anderson joins a Quartet on Truesdell's "Heart of Gold", composer Borsellino III uses pre-recorded synth tracks on his "Paper Cranes", and Hollenbeck adds marimba, drums, and piano (not all on the same movements) to different movements of his seven-part "Grey Cottage String Quartets" that closes the album. The Brookmeyer piece was written for and is performed by a string trio.
Photo: Leo Mascaro
There are pieces that have impressive rhythmic flow (the album opener "Where Can You Be" by Mr. Parker Smith Ms. Hazama's "Chipmunk Timmy's Funny Sunny Day", and Ms. Jensen's "Tilting World") and others that have moments where time is suspended or fractured (the "#1 Movement" of Mr. Reid's "String Quartet #1", Mr. Lev-Ari's "Copycat" movement of "Playground", and Mr. Rivello's "1. "Sorry" section of "Two Reflections for String Quartet". Several of the works jump out on first listening including Mr. McNeely's "Murmuration and Adagio", the leader's lovely "Dança de Quarto" and his four-part "Suite for Clarinet and String Quartet", and Ms. Kakitani's "Melt".
Photo: Dina Regine
This project owes much of its success to the brilliant musicians who interpreted the variety of styles, genres, ideas, and desires of the composers. Violinist Sara Caswell appears on every track while cellist Redhage Ferber appears on all but two (she's replaced by Noah Hoffeld). The second violin chair features either Joyce Hammann or Lady Jess (who tours with Beyoncé as well as with her husband Jay-Z). Violist Lois Martin performs on the majority of the album save for the three times she is replaced by Orlando Wells.
Perhaps that's the best way to enter into this glorious project: just listen to the musicians. Throw aside expectations and comparisons. Dive in, test the musical waters – take your time but also make the time to go back and really allow the music to move you out of the everyday and into its special worlds.
As stated above, "Ryan Truesdell Presents: Synthesis: The String Quartet Sessions" is only available through ArtistShare. Go to www.synthesissqs.com/ for more information. To learn more about Ryan Truesdell, go to https://ryantruesdell.com/.
It's been over a decade since I saw and heard vocalist, composer, broadcaster, and journalist Nicky Schrire in a duo concert with pianist Gerald Clayton. She has just released "Space and Time", a album of duos with Clayton, Gil Goldstein, and Fabian Almazan. The intimacy of the duo performances worked well in concert. But soon, Ms. Schrire moved from New York City to London, England, then to Capetown, South Africa, finally settling several years ago in Toronto, Ontario, Canada. Along the way, she composed a project for cello, guitar, and voice as well as a yet-unrecorded String Quartet. Upon moving to Canada, she began a weekly program for Toronto's JAZZ-FM.91 ("The Bright North"). When Jason Crane took a sabbatical from his excellent podcast 'The Jazz Session", Ms. Schrire took over for the 14th season. Now, she curates the "Mothers-in-Jazz" series for "The London Jazz News", an online Jazz zine that she has contributed for over a decade.
But no jazz-based music on record for Ms. Schrire until now. Anzic Records has just issued "Nowhere Girl", a collection of 11 songs, mostly all original. To help her translate these songs, she and producer Oded Lev-Ari gathered an excellent rhythm section composed of pianist Chris Donnelly, bassist Dan Fortin, and drummer Ernesto Cervini (who record and tour together as Myriad3) plus guest appearances from Tara Davidson (alto and soprano saxophone on four tracks), Laila Biali (vocal on one track), and Julio Siguaque (electric guitar on one track). What stands out for this listener is how comfortable Ms. Schrire sounds, even as her songs talk of wandering the world (the title track), missing a songwriting partner ("Traveler"), or a lovely ode to her parent ("Father"). Donnelly's accompaniment is splendid throughout while Fortin and Cervini not only create finely-wrought backgrounds but they also can dance, sway, and even whisper when the song calls for it.
Many of these song defy genre. The lovely "A Morning" is a finely etched poem set to a handsome melody (listen for the swirling piano "raindrops" behind the wordless vocal in the middle....sounds Elizabethan). "In Paris" is both a lovely walk through the City of Lights in the morning and also a tribute to Joni Mitchell's "Free Man in Paris"––Ms. Davidson's lovely soprano channels Wayne Shorter, her lovely tone surrounding Ms. Schrire's vocal in the next-to-the-last verse. On "Closer to the Source", the singer adds her own lyrics to the lilting melody by the South African composer Bheki Mseleku (1955-2008)–Ms. Schrire slows the tempo a bit but one still feels that bright bounce associated with South African music. Donnelly shines here as does Ms. Davidson on soprano. The song serves as a tribute to the composer and to the comfort the singer when she returns (such an interesting juxtaposition Mseleku wrote the tune as he lived in exile in London).
"Nowhere Girl" ends with the delightful, whirling, rhythmical treat "My Love"...no, not the Paul McCartney song but a "party tune" dedicated to Capetown. The trio plus Ms. Davidson play with great joy but it's the clicking, overdubbed, guitar (played by Julio Sigauque, a musician from Mozambique who Ms. Schrire met when both studied at the University of Capetown) that sets the pace. It's an upbeat close to a really fine recording. When you sit down to listen, you'll hear how Lev-Ari deftly overdubs the vocalist on numerous occasions during the album. Also, Laila Biali joins her voice to Ms. Schrire's on the lovely and heartbreaking take of Kate & Anna McGarrigle's "Heart Like a Wheel".
Many hurrahs to Nicky Schrire for taking her time to create this album and for putting together such an excellent cast of supporting friends/musicians. Such good music deserves to be heard––then this "Nowhere Girl" will have a place...in your heart and soul!
There is something about the sound of Anat Cohen when she's playing her clarinet. She's a fine tenor sax player and certainly shines as well on soprano sax but her most exciting "voice" is the clarinet. The woodwind seems to free her spirit and contains so much emotion, it makes one listen to what she plays
Her latest Anzic release, "Triple Helix", features her splendid Tentet, the ensemble that mades it recorded debut on 2017's "Happy Song." The only personnel change is that Christopher Hoffman takes over the cello chair from Rubin Kodheli. The title track, composed by the group's musical director Oded Lev-Ari, is a three-part, 22-minute, "Concerto for Clarinet and Ensemble" (actually the sub-title for the work) – it's quite moving. There are sections that relate to the musics Ms. Cohen heard and played growing up. The second movement, "For Anat", is classical in nature and construction, and all the musicians have clear roles on relating the story. The playful third movement, "Last", starts out as a spirited dance then moves into an introspective section with the lovely clarinet interacting with the ensemble.
The album is filled with many delightful musical moments. Ms. Cohen's "(Choro for) Miri" shows her continued interest in the Brazilian song form. Her sweet singing solo is nicely supported by Vitor Gonçalves's handsome piano. There's a definite New Orleans tinge to "Footsteps and Smiles" thanks to Anthony Pincotti's dancing drums and the blend of Owen Broder's baritone sax with the clarinet on the main theme. Excellent solos from Gonçalves and vibraphonist James Shipp. Dig the break that starts with the baritone sax and cello then expands to include the brass and clarinet.
Arranger Lev-Ari discovered "Lonesome Train" on Stan Kenton's 1952 classic Lp "New Concepts of Artistry in Rhythm" – the version here adheres to the melody line but has a stronger backbeat plus there's no vocalist. Instead, trombonist Nick Finzer steps out while the ensemble, with Gonçalves on accordion here, builds up the intensity. Don't miss the "deconstructed" closing section!
"Triple Helix" is a treat from Astor Paizzolla's "Milonga del Angel" that opens the program to Ms. Cohen's "Morning Melody (epilogue)" that closes it. Anat Cohen and the Tentet are show in their best lights thanks to the ensemble's 11th member, musical director Oded Lev-Ari. Listen closely and you will be richly rewarded!
Anat Cohen CLARINET Oded Lev-Ari MUSICAL DIRECTOR Nadje Noordhuis TRUMPET & FLÜGELHORN Nick Finzer TROMBONE Owen Broder BARITONE SAX Christopher Hoffman CELLO James Shipp VIBRAPHONE & PERCUSSION Vitor Gonçalves PIANO & ACCORDION Sheryl Bailey GUITAR Tal Mashiach BASS Anthony Pinciotti DRUMS
From the first time most Americans heard bassist Avishai Cohen as a member of Chick Corea's Origin ensemble (in 1997), his energetic musicality has stood out. Not only is he a master bassist, he also plays piano (his first instrument) and he sings. Cohen formed his own label, Razdaz Recordz, in 2002 and though you can find many of his albums there, he has also released music on Stretch Records/Concord, Sony Masterworks/France, and on Israeli labels. His arco (bowed) playing is another strength is his ability to synthesize Arab and Jewish melodies from throughout the Middle East into his music.
His latest RazDaz CD, "Arvoles", features his latest trio, Elchin Shirinov (piano) and Noam David (drums) plus flutist Anders Hedberg and trombonist Björn Samuelsson on five of the program's 10 tracks. The title track ("Arvoles" is the Ladino word for "trees", hence the cover) is a traditional piece with a formal melody that the trio treats with respect. Note that Cohen's bass solo builds off the melody and the lovely piano accompaniment. Pianist Shirinov kicks off Cohen's "Elchinov" with a circular piano line that serves as the pace-setter for the track. Make sure to notice how the bassist wraps his attractive bass sound around the pianist's active left hand. A big plus is the active and creative drum work –David never sits still throughout; with his shifting rhythms and dancing cymbals, it's hard not to smile.
The trombone and flute add their voices to such pieces as the opening "Simonero", the evocative and classically influenced "Childhood (for Carmel)" and the funky "New York 90s." One can hear the collision of dance beats with the Israeli songs that Cohen heard growing up. Hedberg's alto flute adds a fine color to the melody line. "Childhood..." features smart interplay between the musicians plus short solos from both flutist and the trombonist. The quintet swings with glee on the album closer, "Wings", complete with sparkling brush work from David, solos from the leader and pianist that have a lightness and joy that jumps out of the speaker.
In many ways, it's easy to listen to "Arvoles" and imagine it's the product of a reflective time for Avishai Cohen. He's been quite busy the past several years with several different projects including full concert programs with symphony orchestras and recording his "pop" album; 2017's "1970" was mostly vocal with female choruses, electric instruments, and touches of r'n'b and Gospel music. This new album is not necessarily a "return to the past" but a continuation of the bassist's life-long search to find his way in the world.
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