Family, Friends, Dancing, and Singing (Large Ensembles)

 

In a perfect musical world, pianist, composer, bandleader, and label owner Orrin Evans would be a bonafide superstar. Think about it – the music he creates is such a delightful fusion of Black Music old and young. He can "out", he can play "in", he's a great "comper" and has no fear of mixing soul/ r'n'b into different settings.  Over the course of 20 albums on labels such as CrissCross, Palmetto, Posi-Tone, Smoke Sessions, and his own Imani Records, he's led groups of all sizes, from trios to 14-member big bands and, bless his soul, has yet to make a boring record.

"Walk a Mile in My Shoe" (Imani Records) is the fifth album from the Captain Black Big Band: nine members strong for this recording (plus guests bassist Anthony Tidd, trumpeter Nicholas Payton, and organist Jesse Fischer as well as seven tracks with vocalists), the the nine-song program ranges from "standards" to 70s "pop" tunes to Blues to soul. Evans serves as "overseer" with production credits going to "the Village" (current and former band members. Trombonist David Gibson contributed four arrangements, Mark Stasio two, and one each from Josh Lawrence, Todd Bashore, and original member John Raymond.  The vocalists –– Paul Jost, Joanna Pascale, Bilal, and Lisa Fischer –– all bring unique singing styles to the mix and it's a real pleasure to hear how the arrangers create new worlds for each one.

The album opens with "Dislocation Blues"; penned by the late Chris Whitley the songs creeps in on the funky drums of Anwar Marshall and the liquid electric bass of Anthony Tidd. Paul Jost digs into the lyrics shadowed by Evans and organist Fischer.  Jost also shines on Todd Bashore's brilliant, smoky, and elegant arrangement of David Gates's "If" (first recorded by Bread in 1971).  Caleb Wheeler Curtis plays a wonderful soprano saxophone solo yet it's the arrangement of the sections that truly stand out.  The ensemble sounds so big yet the arrangement as well as the excellent sound mix keeps the vocalist front and center.

Photo: Rob Davidson

Other highlights include vocalist Lisa Fischer sounding great on her two appearances. She absolutely "owns" "Blues In The Night" (from the prolific pens of Harold Arlen and Johnny Mercer) yet the brilliant arrangement by Mark Stasio also stands out. The piano solo scorches the speakers. Listen below to Stevie Wonder's "Overjoyed". Here, Ms. Fischer sounds so tender, accompanied in the opening moments by only trumpeter Nicholas Payton and Evans.  Josh Lawrence's fine arrangement has echoes of Burt Bacharach especially when accompanying the vocal after the solos. 

Photo: Lisa Hagen Glynn

The one purely instrumental piece is a smashing brass and reeds only arrangement (David Gibson) of Jerome Kern's "Smoke Gets In Your Eyes".  Short and ever-so-sweet!!

Bilal's two appearances include a funky original "All That I Am" (with Nicholas Payton grooving with the band) and a heartfelt take on Marvin Gaye's pleading "Save The Children".  The lyrics are still quite prescient and the vocalist makes sure the listener understands the plight of inner-city youth.  The instrumentalists capture the feel of the early-to-mid 70s groove that the late Mr. Gaye on his albums.

The album title "Walk a Mile In My Shoe" refers to the malformation of Orrin Evans's left foot, a condition that kept him from playing sports with his friend. The cover shows the special shoes he had to wear. Don't feel bad for him. Mr. Evans used his experiences, his surgeries, the pain, and, as he done often over his career, created a positive message of perseverance and moving forward.  This particular reminds of the programs the late trumpeter Lester Bowie created for his Brass Fantasy ensemble, the blend of old and new, jazz and pop, the delicious funky backbeat, the swirling arrangements. It's like a variety show and I mean that in the nicest possible way. Fun for the whole family.

For more information, go to https://orrinevansmusic.com/portfolio/captain-black-big-band/. To hear more and to purchase the album, go to https://orrinevansimani.bandcamp.com/album/walk-a-mile-in-my-shoe. 

Here's the CBBB with Ms. Lisa Fischer on Stevie Wonder's "Overjoyed:":

Personnel:

Sean Jones, Josh Lawrence – trumpets
Todd Bashore – alto saxophone, flute
Caleb Wheeler Curtis – tenor/soprano saxophones
David Gibson, Reggie Watkins – trombones
Vicente Archer, Madison Rast – double bass
Anthony Tidd (“Dislocation Blues”) – electric bass
Anwar Marshall, Mark Whitfield II – drums
Orrin Evans – piano

Guest soloists: Nicholas Payton (trumpet), Jesse Fischer (organ)

Guest vocalists:

Lisa Fischer ("Blues In The Night" and "Overjoyed")

Paul Jost ("Dislocation Blues" and "If")

Bilal ("All That I Am" and "Save The Children")

Joanna Pascale ("Sunday In New York")

Photo: Jonathan Yee

Florida-native and trumpeter Jonathan Powell moved to New York City in 2001 where he found work in a number of bands but, most notably, the Afro-Colombian ensemble La Creacion. He's gone on to work with Arturo O'Farrill & His Afro-Latin Jazz Orchestra, Eddie Palmieri, Snoop Dogg, Ricky Martin, Miguel Zenón, and Pedro Giraudo (amog many others). In 2007, he started his own band, nu Sangha, and has since released two albums.  He moved to Colorado Springs, CO, to become part of the U.S. Air Force Falconaires Big Band. Before he left, he went into a New York City studio to record a new album, one that reflect his two decades as a sideman in numerous ensembles.

"Mambo Jazz Party" (Circle 9 Records) is as, the title says. a "party".  Just check out the personnel list; see all those percussionists, the brass and reeds, and then take a listen to the track below Now, try to sit still. I didn't think so. Powell, whose brother Jeremy plays tenor saxophone on 10 tracks and flute on one more, has the kind of sharp tone that cuts right through the band. His section work is exceptional. The trumpeter's experiences in Latin ensembles echoes throughout the program. There's the amazing rhythm section built around bassist Luques Curtis and drummers/percussionists Camilo Molina, Marcos Lopez, Marcos Torres, and Luisito Quintero. The rhythms percolate, bounce, sway, rumble, thunder, and make one want to dance around the floor. For example, "Paramahansa" bubbles in on congas, bongos, and more until the ensemble enters to state the sweet melody. The brass swirl all around the percussion on the fiery take of Joe Henderson's "Inner Urge", the piercing tones of the trumpet matched the mellower sound of Doug Beavers on trombone. 

Manuel Valera joins the "party" for several tunes including the sensuous take of Herbie Hancock's "Butterfly". His electric piano and synth work dances around ad underneath Powell's "electric" trumpet solo before the keyboardist dances atop the band. 

Listen below to Eddie Palmieri's "Un Dia Bonita" featuring the exciting vocals of Anthony Almonte. Notice that brilliant percussion, the hypnotic piano work of Mr. Valera, and how much fun the vocalist is having. Of course, you cannot miss the groove. 

Tracks like "Frogwala" and the album opener "Juancito" will test your speakers capability to withstand the thunderous rhythm section. The latter track also features a solo from the great trombonist Jimmy Bosch, founder of La Orquestra and his Sexteto de Otro Mundo. Powell's "Totem Pole" closes the program. The opening moments bring McCoy Tyner's large ensemble to mind but solos by bassist Luques Curtis, the leader, and trombonist Doug Beavers emphasize the Latin sound as does the rollicking drum solo from Camilo Molina that closes the piece.

Need an excuse to party. Roll up the rugs, fire up the grills, chill the libations, and throw "Mambo Jazz Party" on the stereo. Jonathan Powell has created a delightful antidote to the blues and the news –– open your ears and put on your party shoes.

For more information, go to www.jonathanpowell.net/. To purchase the album (digital, CD, or two-Lp set), go to https://jonathanpowell.bandcamp.com/album/mambo-jazz-party.  

Personnel:

Jonathan Powell trumpet, flugelhorn, & EVI
Andrew Gould alto saxophone 
Jeremy Powell tenor saxophone & flute 
Jimmy Bosch trombone solos ("Juancito")
Doug Beavers trombone

Itai Kriss flute 
Louis Fouché alto saxophone solo ("Juancito")
Nir Felder electric guitar ("Hope")
Axel Tosca piano, fender rhodes & synth
Manuel Valera fender rhodes & synth ("Butterfly" and "Yogananda")
Luques Curtis bass
Camilo Molina drums & timbales, shekere & clave, maracas & guiro, bongos, and bata (10)
Marcos Lopez congas 
Marcos Torres congas 
Luisito Quintero bongos, guiro, campana, miscellaneous percussion 
Ariacne Trujillo lead vocal ("You're Everything")
Anthony Almonte lead vocal ("Un Dia Bonita"), coros ("You're Everything")

Jeremy Bosch coros ("You're Everything" and "Un Dia Bonita" )

Listen to "Un Dia Bonita II": 

Dj SWEET Salsa DAVID GUADALUPE · " Un Dia Bonito " Jonathan Powell Feat. Anthony Almonte

Giant Step Arts Presents Music With Its Roots in the Past & Its Eyes On the Future

 

TARBABY, the collective featuring Orrin Evans (piano, voice), Eric Revis (bass), and Nasheet Waits (drums), first started gigging together in the late 1990s but did not release its first album until 2009.  Over the course of five albums, they have railed in their own subtle and not-so-subtle ways against the racism and violence that continues to plague the United States. Their albums have usually featured guests such as Oliver Lake or JD Allen (saxophone), Nicholas Payton, Ambrose Akinmusire or Josh Lawrence (trumpet). The Trio may remind some of Jason Moran's Bandwagon (Mr. Waits is a member of that group as well) but the two groups each have their own personality and direction.

"YOU THINK THIS AMERICA" is TARBABY's sixth album

and first for Jimmy Katz's Giant Step Arts.  It's also the band's first live album and first true trio album (no guests). Of the 10 songs that compose the 54-minute program, three are originals (two from Mr. Evans and one from Mr. Revis) – the rest range from two pieces by Ornette Coleman, one each from Andrew Hill, David Murray, and Sunny Murray (no relation) plus the blues standard "Nobody Knows You When You Are Down and Out" (Jimmy Cox) and the 1970s soul classic "Betcha By Golly Wow" (Linda Creed and Thom Bell, sung by The Stylistics).  The album opens with Mr. Coleman's "Dee Dee" (from the 1965 Blue Note album "At The Golden Circle, Vol. I"). It's so fascinating to hear how the music has elements of blues and reggae. The sound of the cymbals jump out of the speakers while Mr. Revis's muscular bass lines are also so melodic.

Listen below to David Murray's "Mirror of Youth". Listen how Revis and Waits set the rhythm for Evans to then come state the theme. It's a gentle piece that illustrates how melodic the pianist and how his solo logically flows out of the melody. Nothing is rushed or overheated, certainly well-played.

The inclusion of "Betcha By Golly Wow" is a bow towards the great Thom Bell and the "Sound of Philadephia".  The trio plays it straight out of love and respect.  No solos, just a gentle melody that brings back so many memories.  "Nobody Knows You..." also gets a respectful presentation but it's the blues after all so there's a touch of light humor, good bit of swing, delightful brushes work, and a dancing bass solo.  

The album closes with Sunny Murray's "Tree Tops" (from the drummer's 2016 quintet album "Aigu-Grave").  TARBABY's version is half the 9+ minute version of the original yet it definitely takes its cue from the "free swing" of Mr Murray's take.  Bassist Revis is the catalyst here and his active phrases at first build of the melody (stated by the piano) and then joins with the skittering brushwork in pushing Evans to move kin and out of the melody during his solo.

"You Think This America" may be to some a confrontational title (as is the name of the trio) – perhaps it is. People have certain preconceptions and expect that creators of all stripes stay within a certain zone. TARBABY ignores all that and makes music that means something to them as people, as Black Americans, as musicians in the 21st Century. Orrin Evans, Eric Revis, and Nasheet Waits ask nothing more than to listen with open ears and an open mind. Believe me, it's worth the time and investment.

For more information, go to https://orrinevansmusic.com/portfolio/tarbaby/.  To hear more and purchase the album, go to https://tarbaby2024.bandcamp.com/album/you-think-this-america. 

Here's the Trio on "Mirror of Youth":

Nasheet Waits (drums and compositions) is in the midst of a very busy career. He leads his own groups, is tri-leader of TARBABY (see above), and has toured and recorded with more artists than fits this page, most notably Jason Moran's Bandwagon, Ron Carter, Andrew Hill, trumpeter Avishai Cohen, the late Geri Allen, pianists Fred Hersch and John Escreet.  The son of Frederick Douglas "Freddie" Waits, he was mentored by Max Roach, studied with Michael Carvin, and, as a young man, toured in Mr. Roach's M'BOOM and with saxophonist Antonio Hart's groups.  He's only released three albums over his career (now in its fourth decade), the first, "Equality" (on Fresh Sound New Talent), in 2008, the second, "Between Nothingness and Eternity" (on the French Laborie Jazz label) in 2016, and now in 2024 "New York Love Letter (Bitter Sweet)" for Giant Step Arts). 

Waits organized an excellent Quartet for this gig, recorded live in 2021 and '22 in New York's Seneca Village section of Central Park.  Mark Turner (tenor saxophone), Steve Nelson (vibraphone), and Rashaan Carter (bass) join the drummer for this six song program that featured two songs composed by the leader, two by John Coltrane, and one each by Andrew Hill and Jason Moran. The proceedings open with Moran's bouncy and mischievous  "Snake Stance"; everybody states the theme then Turner leaps out in front powered by the thundering rhythm section and Nelson's angular vibes work. There are numerous times throughout the performance that the music and rhythms reminds this listener of the sound of Eric Dolphy's classic Blue Note 1964 Lp "Out to Lunch" – that album featured the rhythm section of Bobby Hutcherson (vibes), Richard Davis (bass), and Tony Williams (drums). Listen below to Mr. Hill's "Snake Hip Waltz" next to the Dolphy album and see if you don't agree.

The two Waits' originals include the lovely, ultra-slow, "Moon Child" and the high energy "The Hard Way AW". The former places Nelson's vibes over the gentle brushes work and resonant bass notes. Nobody is in a hurry so the song unfolds like a flower in the early morning sun. Turner's tenor enters about 2/3rds of the way through with a more energetic but also handsome solo.   The latter track, on the other hand, bursts out of the gates at a breakneck pace, Turner spinning out the melody and then roaring off atop the frenetic drums and throbbing then walking bass lines.  At nearly 12 minutes, it's the longest track on the album so one hears a number of dynamic changes. Nelson's rippling vibes solo– sans accompaniment – is a treat. The band gets seriously raucous as Turner and Waits converse with each other; then, the drummer plays a delightful solo, full of rhythmic twists and turns. The music then slows down into an impressionistic ballad that is 180 degrees removed from 7:30 of the songs.

The program closes with the two John Coltrane compositions. First up is "Liberia".  Opening in a rubato setting, Waits making odd noises on the cymbals (listen closely and you hear children playing near the bandstand) yet slowly and steadily the piece comes into focus.  Turner introduces the melody, the band kicks in and the music jumps forward. First recorded in 1964 for the Atlantic Lp "Coltrane's Sound", the band gets to stretch their improvisatory wings for nearly 11 minutes.  "Central Park West" (from the same Coltrane album) is the last track (although the Bandcamp version has a different sequence) – this is one of the saxophone master's more popular songs for artists to record because of its airiness, suspended chords, and gentle rhythms. It's a true pleasure to hear Carter and Waits interact, the deep bass notes bouncing off the drum patterns. The solos by Nelson and Turner are impressive while the park sounds makes the listener feel as if they are in the crowd.

"New York Love Letter (Bitter Sweet)" is quite wonderful, covering a wide swath of musical territory in its 51-minute span. The sound of the recording is superb and everyone plays with respect, intelligence, fire, and creativity.  It's truly a joy to pay attention to Nasheet Waits when he plays as his approach to each song is so creative, making even the most recognizable tunes sound fresh and new!

To learn more, go to www.nasheetwaits.com/.  To hear more and to purchase the album, go to  https://nasheetwaits.bandcamp.com/album/new-york-love-letter-bittersweet. 

Listen to the Andrew Hill's "Snake Hip Waltz":

Hear What I've Been Listening To (7/21)

Photo: Adrien Tillman

Saxophonist (alto and soprano) and composer Caleb Wheeler Curtis has turned a lot of musical minds and ear over the past seven years since the collective quartet Walking Distance released its debut album, "Neighborhood",  in January of 2015. Since then, the Ann Arbor, MI, native has worked and recorded with pianist Orrin Evans (small group as well as The Captain Black Big Band, with bassist Noah Garabedian and drummer Vinnie Sperrazza in the collective trio Ember, with trumpeter Josh Lawrence, with pianist Jason Moran, drummer Lennie White, and a slew of others. He's issued six albums as a leader or co-leader on a variety including SunnySide Records, Outside In Music, and pianist Evans' Imani Records.

Album # 7, "Heatmap", is also on Imani. The 10-song program finds the saxophonist/composer once again in the company of pianist Evans plus the rhythm section of bassist Eric Revis and drummer Gerald Cleaver.  What one hears is a splendid cross-section of contemporary music; take the rumbling title track which opens with a long dissertation from the pianist that takes its time to develop while the bass and drums build the fluid foundation beneath him.  Curtis enters over halfway through the piece, the urgency of his alto sax showing traces of Ornette Coleman and Henry Threadgill. The leader's fire ignites the rhythm section until the formal close of the piece. "Splinters" is a funky piece that must takes its name from the chopped-up Curtis uses to create the theme. Cleaver booms up from below pushing the saxophonist to a fiery climax.  Evans enters a bit circumspect but soon, aided by the active bass and drums builds an impressive statement.

Photo: Liz Brauer

There a slew of stand-out tracks. The rip-roaring "C(o)urses" opens the album with a red-hot soprano sax solo over rampaging drums, ferocious bass lines, and the pianist "cat-and-mouse" piano lines.  "Tossed Aside" opens as a quiet ballad with impassioned saxophone work. Revis's thick yet melodic bass lines along with gentle piano chords and phrasing over Cleaver's delightful traps playing give the music a feel of mid-1960s New York City r'n'b (to these ears, the music of The Drifters and Ben E. King).  "Limestone" opens quietly as if the music was tiptoeing into existence.  Revis rises up to create a wonderfully melodic solo which gives way to an alto sax solo reaches to the heights without losing the gentleness of its surroundings. Listen to "Trembling" below and its subtle mix of exciting rhythms, the low rumbling of the piano, the fervency in Curtis's lines that plead for release, and the energetic thrum of the bass. Listen deeply.

"Heatmap" closes with the appropriately-named "Whisperchant"––one of the most impressive aspects of this music is how this quartet can sizzle, explode, whisper, and float without ever sounding forced or unnatural. Caleb Wheeler Curtis composed this music focussing on both the musical and emotional content with both being equal. But you must sit down and listen; this is not background music, this is life!

For more information, go to www.calebcurtis.com.  To hear more of and purchase the album, go to  https://calebwheelercurtis.bandcamp.com/album/heatmap. 

Hear Curtis and the band "Trembling": 

Twenty Recordings for 2020 (Pt. 2)

There was a lot of very good-to-excellent music to listen to and write about this year; so much so, that I'll play catch-up through January 2021. Here's the rest of the recordings (in no particular order) I believe made this year so much better.

Brian Asher – "Brian Asher's Skrontch Music" - (Sinking City Records) – Even though this large ensemble album was issued in October of 2019, I did not create a review until late January of 2020. Asher has created a fascinating recording illuminating how the Black music that grew up in New Orleans permeates much of what we listen to.  The 5-song "suite", created for a 10-piece ensemble, combines the issues of anti-Jim Crow activism with the growth of jazz from the turn of the 20th Century forward.  Considering the craziness of this year, the music is hardly dated but right on target.  

For more information, go to www.brianasher.com.  Go to https://byronasher.bandcamp.com/album/byron-ashers-skrontch-music to hear more and purchase the album. 

Rudy Royston – "PaNOptic" - (Greenleaf Music) – Mr. Royston is one of the finest drummers playing at this time.  He is the supersonic engine beneath numerous Posi-Tone Records recording sessions yet can play gently and melodically when working with people such as Bill Frisell and Dave Douglas.  When the pandemic hit, the drummer decided to release these solo tracks he made several years before.  It's a percussive "autobiography" with Mr. Roystron paying tribute to the blues, to influences Max Roach and Elvin Jones, Herbie Hancock, Prince, and Jack DeJohnette, to dancing and more.  100% of the proceeds from the sale of the album goers to the Music Cares COVID-19 Musicians Fund.  To listen to and purchase this splendid project, go to

https://rudyroyston.bandcamp.com/album/panoptic.

And, here's a video:

Jorge Roeder – "El Suelo Mio" - (Self-released) - Bassist Roeder, who has regular gigs with guitarist Julian Lage as well as trombonist Ryan Keberle's Catharsis, created this musical gem before the pandemic struck yet it's a perfect example of an artist making creative statements on an instrument that often is overlooked for its versatility. Like a snifter of Cognac, aged single-malt Scotch, or vintage Port, this is music to be savored in the quiet moments of the day, early morning and late evening.  Thoughtful, melodic, soulful, exciting and more, this music shines!  For more information, go to www.jorgeroeder.com. To hear more and purchase, go to https://jorgeroeder.bandcamp.com/album/el-suelo-mio.  Take a look:

The Dayna Stephens Quartet – "Right Now! Live at The Village Vanguard "- (Contagious Music) - Listening to this album for the first time five months into the pandemic made me long for live venues and for groups such as this who are musical explorers. Stephens (saxophones, EWI), joined here by Aaron Parks (piano), Ben Street (bass), and Gregory Hutchinson (drums), dances, swings, and sings his way through pieces from throughout his expanding catalogue.  What a treat!  Stephens work on the EWI has always been fascinating and the two tracks on this 2-CD set are excellent. To find out more, go to www.daynastephens.net.  To hear more and purchase, go to

https://daynastephens.bandcamp.com/album/right-now-live-at-the-village-vanguard.  

(Honorable mention––Dayna Stephens Trio "Liberty" (Contagious Music),  

Here's a piece from the Quartet:

Chris Dingman – "Embrace" & "Peace" - (Inner-Arts.org) - Vibraphonist Dingman issued two projects this year, "Embrace", a trio recording with bassist Linda May Han Oh and drummer Tim Keipers plus the solo project "Peace" that he created for his father during his time in hospice.  Both albums are infused with melodic invention, with hypnotic sounds, and with love. The trio disk is mesmerizing yet has moments of great excitement.  "Peace" is a five-CD, nearly five hour project that is concerned with soothing and healing the body and mind. "Beautiful" is the word that comes to mind when this music is playing––it's not about technique or flash but all about how one person can help others when they are vulnerable, ailing, and in the last days of their life.  For more information, go to  https://chrisdingman.bandcamp.com/. 

Here's a trio track:

Kurt Elling with Danilo Perez – "Secrets are The Best Stories" - (Edition Records) - Elling's debut for the British-based Edition Records is a fascinating reminder just how wide-ranging his creative mind can be. Teamed up with pianist Danilo Pérez, the material combines jazz compositions that the vocalist adds his poetry to. Social conscious works sit comfortably next to tributes to Toni Morrison and Robert Bly. Percussionist Rogerio Boccato is on the majority and there are appearances by bassist Clark Sommers, drummer Johnathan Blake, and alto saxophonist Miguel Zenón but the work of Elling and Perez is exemplary––this music gets better and deeper with each listen.  For more information and to purchase the album, go to https://kurtelling.bandcamp.com/album/secrets-are-the-best-stories.  

Here's the video for powerful "Song of the Rio Grande":

Dave Douglas – "Dizzy Atmosphere: Dizzy Gillespie at Zero Gravity" - (Greenleaf Music) - There are few people busier in the music world than Dave Douglas. The trumpeter-composer runs Greenleaf Music, hosts a monthly podcast, seems to be composing all the time, and teaches as well. 2020 saw three releases, tow initially for Greenleaf Music subscribers only, and this delight-filled tribute to John Birks "Dizzy" Gillespie.  Joining him are Dave Adewumi (trumpet), Matthew Stevens (guitar), Fabian Almazan (piano), Carmen Rothwell (bass), and Joey Baron (drums).  While only two of the nine pieces are Gillespie compositions, one can hear the Master's influence throughout the album.  To find out more and to purchase the recording, go to 

https://davedouglas.bandcamp.com/album/dizzy-atmosphere.  

(Honorable mention:  Dave Douglas – "Overcome" (Greenleaf Music) – This six-song album, released in December, was recorded "in quarantine" with each musician adding his or her part to the "blueprint" tracks that the trumpeter sent. What a lineup––Fay Victor and Camila Meza (vocals), Jorge Roeder (bass), Ryan Keberle (trombone), and Rudy Royston (drums)––playing music that ranges from "protest" songs to "prayers" to "free improvisation." The recording is now available at  https://davedouglas.bandcamp.com/album/overcome.  Check it out!)

Orrin Evans and The Captain Black Big Band – "The Intangible Between" - (Smoke Sessions Records) – Pianist, composer, and sometime arranger Evans has managed to keep this large ensemble going for nearly a decade. For this album, it's more of large-ish band, down to nine members from its usual 16-18.  But, as always, these pieces are noisy, raucous, emotionally powerful, and chock-full of excellent soloists.  There's Monk ("Off Minor"), there's gospel ("This Little Light of Mine"), a tribute to Roy Hargrove (the late trumpeter's "Into Dawn"), and a statement of power and against police brutality in these uncertain time ("Tough Love", music by Andrew Hill plus several poems).  This music sounds better the more you listen!  For more information, go to https://smokesessionsrecords.com/shop/albums/the-intangible-between-feat-the-captain-black-big-band/.

Take a listen:

Raphaël Pannier Quartet – "Faune" - (French Paradox) - As debut albums go, this effort from French drummer and composer Pannier. Now based in New York City, Pannier enlisted Miguel Zenón as "music director", co-producer, and alto saxophonist for these sessions. From the opening moment of Ornette Coleman's "Lonely Woman", the music is exciting, exploratory, and interactive.   Besides the drummer and saxophonist, the ensemble includes François Moutin (bass) and Aaron Goldberg (piano); there are also two "classical" pieces, one composed by Olivier Messiaen, the other by Maurice Ravel, both featuring pianist Giorgi Mikadze.  Great playing all around as well as inventive arrangements!  To hear more and to purchase this delightful album, go to https://raphaelpannier.bandcamp.com/album/faune. 

Check out the classic Coleman piece:

The Awakening Orchestra – "vol. II: to call her to a higher plain" - (Biophilia Records) – The long-awaited sequel to 2014's "vol. I", this album, composed (most of it), arranged, and conducted by Kyle Saulnier for this 18-member (plus guests) ensemble, continues in the vein of the earlier album in that there is a strain of "protest music" running through these works.  The program includes two four-part "suites" plus rearrangements of songs by Nine Inch Nails, Nick Drake's mother, Bill Frisell (in the style of the Liberation Music Orchestra), and choral composer Eric Whitacre. The four-part title track features the powerful violin of the composer's wife Brooke Quiggins. The album, nearly two hours in length, is quite impressive for the intricate arrangements, often-stunning musicianship, and the breadth of the compositions.  To find out more about this orchestra and its creator, go to www.awakeningorchestra.com/.  To listen to and purchase the digital-only album, go to https://awakeningorchestra.bandcamp.com/album/volume-ii-to-call-her-to-a-higher-plain. 

Give a listen:

This year's most wonderful "Historical Release" comes, no surprise here, from Resonance Records. "Sonny Rollins: Rollins in Holland" is a combination of tracks from three different sessions, one for a radio program and two in concert. Mr. Rollins met his rhythm section––bassist Ruud Jacobs and drummer Han Bennink–moments after stepping off the plane.  Sound quality ranges from very good to okay but the music shines nonetheless.  On the longer tracks, the great tenor master rarely comes up for an extended breather.  Kudos to the rhythm section as they really spurred Mr. Rollins on to such inspired playing.  For more information, go to https://resonancerecords.org/product/sonny-rollins-rollins-in-holland/.  Be sure to check out the mini-documentary!

Actually, it was quite impossible to stop after 20 (my list, including reissues and "historical releases", comes closer to 44) but, as I wrote at the top, over the next month I will attempt to catch up with 2020 releases that are well worth your attention.  

Have a Happy, Healthy, and Safe New Year!  Thanks for reading!

Big Bands: Bold, Melodic, & Seeking

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.

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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.

For more information about the Bad, go to www.orrinevansmusic.com.

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Personnel:

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 

Michael Kim: Trumpet, Flugelhorn 
Brad Turner: Trumpet, Flugelhorn 
Derry Byrne: Trumpet, Flugelhorn 
Jocelyn Waugh: Trumpet, Flugelhorn 

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