2017, What A Year (Pt 4 - Unique Voices)

This "Best of" list is in no order other than coming from the pile of CDs on the desk. Each album holds the power to capture the mind, to ask questions, to illustrate technical prowess but not for the sake of the narrative. I discovered that my original list of 36 did not include reissues or "albums of historical note" plus a pair of delightful solo piano disks so, "Yes Virginia, there will be a Part 5."

Saxophonist and composer Noah Preminger made this album in the heat he felt following the 2016 US Election (as did Ryan Keberle - see "2017..Pt 1"). The songs, originals and selected "covers", speak to the dysfunctional nature of politics and government to be able to see its inherent problems (and its strengths) and do something - anything - that benefits the people.  It's no surprise that the album cover is in black & white because there are days when it seems that there are no shades in between.  Yet, this music is not all "doom and gloom"; feelings of hope enter into pieces such as "Give Me Love", "A Change is Gonna Come", and "We Have A Dream."  Kudos to Preminger, trumpeter Jason Palmer, bassist Kim Cass, and drummer Ian Froman for lighting up the dark nights.


It's been over 10 years since saxophonist and composer Miguel Zenón made an album that just featured him with his oft-dazzling quartet of pianist Luis Perdomo, bassist Hans Glawischnig, and drummer Henry Cole.  "Típico" (Miel Music) arrived in February of 2017 and shows just how delightful this "working" band can be.  Friends who attended "live" shows have told me that the ensemble often breathes as one.  In many ways, this quartet reminds me of the  "classic" John Coltrane quartet in that no one voice is more important than any one else, that they share the same goals, that they listen, respond, and are sympathetic. In its finest moments, one can hear how these musicians are in the midst of a most delightful dance, one in which they may go in separate directions but come back together with such delight, spirit, and gentleness.

I did not review or write about "Song of Silver Geese", the splendid new recording by multi-instrumentalist and vocalist Jen Shyu. Honestly, I am not sure what to tell you other than the album is a culmination of Ms. Shyu's years of studying the music and stories of East and West Timor, Taiwan, Indonesia, Korea, and elsewhere in Asia.  Using Eastern and Western instruments (vibraphone, string bass, piano, Taiwanese moon lute, zither, plus a string quartet), this music is truly like nothing you have heard.  To this observer, the main point is human beings around the world share stories, think about our existence in a fragile world, dream of the supernatural yet are aligned with the sun, planets, and stars.  We may not understand the lyrics - read the translations - but the underlying emotions are universal.  Powerful music that deserves not only to be heard but certainly to be seen.

In the space of a week, three separate albums featuring pianist Tal Cohen arrived on my doorstops (physical and digital).  "Gentle Giants" (self-released) emerge quickly as my favorite, the powerful melodies and emotional ballads sparking to a musician who has absorbed his influences and is not afraid to take chances. Add saxophonists Greg Osby (alto) or Jamie Oehlers (tenor) to the rhythm section of Cohen, bassist Robert Hurst, and drummer Nate Winn and the music soars with inventiveness, exhibiting the joy that musicians have when they are playing well together.  Cohen digs into every solo as if it was his last, mining the melodies and harmonies to create cogent statements as well as exciting flights of fancy.

For those of following the career of bassist Linda May Han Oh, her fourth album as as leader "Walk Against Wind" (Biophilia Records) continues to show her development as a composer and soloist.  Written for her "regular" band -  Ben Wendel (tenor saxophone), Matthew Stevens (guitar), and Justin Brown (drums) - and featuring pianist Fabian Almazan (on three tracks) plus percussionist Minji Park (on one track), this music is ever-so-melodic with unexpected turns, fine solos, and Ms. Oh's expressive bass work.  And the more you return, the more you hear.  This artist can certainly hold her own in any rhythm section but you can't help but marvel at how her instrument can help create the sound of a band - that writ, her interactions with Brown really stand out.

Saxophonist Ralph Bowen's self-title Posi-Tone release is, arguably, the most impressive release of his long and varied career.  Recorded with Jim Ridl (piano, Fender Rhodes), Kenny Davis (bass), and Cliff Almond (drums), the bulk of the album's time is dedicated to the saxophonist's (mostly tenor) original work "The Phylogeny Suite" - the 42-minute, six-part, work covers a large amount of musical territory and neither flags or loses its direction. Playful, honest, at times soaked in blues, the program shows a musician at the top of his game and a band that pushes, prods, and fiercely supports his every move.  Kudos as well to Nick O'Toole for a splendid recording and his usual excellent mastering.

Tenor saxophonist, composer, and arranger Paul Jones used several different ensembles in the recording of "Clean" (Inside Out Music) including a sextet with two saxes, guitar, piano, bass, and drums plus a wind trio with cello, a saxophone quartet, and a flute-piano duo.  The sextet appears on the majority of the longer tracks bur the guests rarely intrude and the music really flows.  Soaked in melody, the music goes in many directions without getting lost. The stories Jones is telling deal with creativity, with the musician's search for growth, and wanting to connect with as many people as possible. Is it possible to be true to your "muse", to want to continue to grow each and every day, and to want people to join you on your journey?  We say yes! We say that "Clean" is a delight from start to finish!

I did not review "The Sky Remains" (Steel Bird), the latest album for pianist and composer Josh Nelson, but I did listen to the delightful album many times. The music is a love-letter to and appreciation for his hometown, the city of Los Angeles, CA.  Many of us think of LA as one giant freeway but the area was first settled in the late 1780s, incorporated as a city in 1850 and is currently the second most populous city in the U.S. There is so much to learn reading to liner notes and much to enjoy listening to how Nelson's music gives an emotional heart to his urban area.  Kathleen Grace adds her luminous voice to four of the tracks. Also pay attention to Nelson's classy arrangements especially how he utilizes Chris Lawrence (trumpet, flugelhorn), Josh Johnson (alto sax, flute), and the expressive clarinets of Brian Walsh.  Take this journey and you will be so pleased!

Violinist Sam Bardfeld, who has worked with Bruce Springsteen, Anthony Braxton, and the Jazz Passengers, came back as a leader this year with "The Great Enthusiasms" (BJU Records). Joining him on this aural journey was pianist Kris Davis and drummer Michael Sarin - the stores they tell are inspired by the likes of Richard Nixon and the music of the 1970s (the trio covers Bruce Springstreen's "Because The Night" plus do a knock-out version of The Band's "King Harvest (Has Surely Come)"). The trio does not play it safe, meaning the music goes in many and varied directions. With influences ranging from bluegrass, rock, the explorations of Leroy Jenkins and Billy Bang, and more, Sam Bardfeld and company create a program that is challenging, exciting, rich with ideas and interactions, and well worth exploring.

Sound, Silence, of New Pathways to Listening

allaboutjazz.com

Much has been written about composer and multi-instrumentalist Tyshawn Sorey over the past year and for good reason. He is a musical polyglot, seemingly without borders (other than time and his music often challenges our perception of time), and he can drive a band from his position behind the drums in the manner of Max Roach, QuestLove, and Eric Harland.  When he was studying for his Masters Degree at Wesleyan University, Sorey also was a member of the University's Klezmer ensemble, playing keyboards and mighty impressive gut-bucket trombone.  He used his time at the school to study with Anthony Braxton, Alvin Lucier, and Ron Kuivila as well as play with various ensembles.  Earlier this year, he earned his DMA in composition from Columbia University and, at the end of this month (8/17), becomes the John Spencer Camp Professor of Music at Wesleyan.

And, he has a new recording.  "Verisimilitude" is his sixth album as a leader and fourth for Pi Recordings.  The program features his longtime "working trio" of Corey Smythe (piano, toy piano, electronics) and Chris Tordini (bass) playing its way through five Sorey originals, only one of which is under 10 minutes.  These pieces cha;lunge the listener to hear a trio in different aspects, to understand that the role of each musician is not to impress with technique or speed but to advance the narrative of the music.  The impressionistic quality of the music and the overwhelming softness can lull the listener. Yet, there are moments of power, both melodic and percussive, as if great gust of wind came through the window.

photo by John Rogers

I am not going to give you an account of each track; instead, you should approach this music with open ears. Be prepared to play the 69-minute program several times all the way through.  This is not background music to be played with guests in the house or while eating dinner. It is music to ponder, to explore, to note how the "traditional" trio approach seems to be eschewed in favor of a group dynamic.  Pay close attention to the work of bassist Tordini. He often drops out but is so important to the sound of these pieces. He can be percussive, melodic, supportive, foundational, and minimalist yet is a necessary element of the songs.

The elegiac quality of "Flowers for Prashant", a musical tribute to the late filmmaker Prashant Bhargava, is a wonderful place to enter the music yet, since the songs all flow into one another, you should start at the beginning.  Have patience with this music - so many of us listen to music to be constantly stimulated, go from high to high, but "Verisimilitude" asks you to slow down, to appreciate every sound, to engage the silence between notes, to stop judging and just listen.  This music is not for everyone and for every minute of the day.  It is contemplative and powerful.  Be open and you'll be rewarded and more so, refreshed.

To find out more, go to pirecordings.com/artist/Tyshawn_Sorey. Here's a link to a recent NYTimes article by Giovanni Russonello that will give you even more historical perspective - click here.

Here's a track to explore:

In January of 2015, I was quite impressed by saxophonist and composer Paul Jones's debut album, "Short History" (read review here). I especially was impressed by his compositional and arranging skills.  All that and more is on display on his sophomore effort, "Clean" (Inside Out Music).  With the exception of pianist Glenn Zaleski, he employs the same sextet (alto saxophonist Alex LoRe, guitarist Matt Davis, bassist Johannes Felscher, and drummer Jimmy Macbride) but also adds the SNAP Saxophone Quartet (Nicholas Biello, Andrew Gould, Sam Dillon, and Jay Rattan), the Righteous Girls (flutist Gina Izzo and pianist Erika Dohi) plus Mark Dover (clarinet), Ellen Hindson (oboe), Nanci Belmont (bassoon), and Susan Mandel (cello) on numerous tracks.

Looks pretty crowded but surprisingly there is little or no clutter on the 14-song programs.  There are five tracks that are built from "Romulo's Raga", a Jones composition dedicated to Romulo Herrera, the longtime chef at the Cornelia Street Cafe in New York City who was murdered in his home in January of 2016.  Jones was away at the time and shocked by the brutal killing, creating an homage that called for a wind octet plus piano.  The "...Raga", while barely over a minute, has an intensity that illuminates the piece.  The other four short compositions, titled "Ive Sn Th Fra Md", "It Was Brgh Cold", and "Im Pretty Uch Fkd", serve as segues to the sextet performances yet, though short, each has a power to stand on its own. Save for the final one, which is the closing track; "The Minutiae of Existence" is a miniature delight and brings the program full circle.  On my laptop, the music does to not stop but goes back to the beginning , the first track being "Ive Sn Th Fra Md", and it helps to point out not only how all the pieces are interconnected but also

The sextet (and sextet plus) music is also quite fascinating.  With four melodic instruments on a front line, it's fun to hear how the composer Jones shares melody and harmony lines.  The title track rolls in  on short figures from the saxophones with the melody played by guitarist Davis, counterpoint from the piano and then switched over to the tenor.  Listen to how Jones plays with the rhythms below the theme before the solos begin over a static rhythm. Macbride drives beneath the solo while the insistent guitar strumming holds the tempo. At 8:46, the songs allows for various sections and solos, making it easy for the listener to fall under its spell.

The jaunty melody of "I Am an American", introduced by bass and piano, creates an easygoing feel.  Bassist Felscher gets the first solo, o long and melodic solo, before Jones steps in.  Ms. Belmont and Ms. Mandel join the sextet for "Buckley Vs. Vidal", a lengthy conversation (but not a debate) with a bounce to its beat and colors provided by the guest "voices".  The guests enliven "Centre In The Woods", a handsome melody played over a tango  rhythm. One can visualize dancers whirling around the floor as the saxophone solo rises over the slowly intensifying background.

As artists take control of their music (or are given free rein by labels), listeners are being blessed by a panoply of engaging projects. "Clean" is one of those albums that grows stronger each time you dig into it. You notice interactions, the fine melodies, the smart arrangements both for the sextet and for the wind octet, and solos that have arrives and are not just technical displays.  If you dig around online, you'll find alternate versions of some of the pieces on the album. Check those out too.  In his liner notes, Paul Jones writes that while working on the material for this album, he was listening to Kendrick Lamar ("To Pimp a Butterfly"), Philip Glass ("Glassworks"), and Steve Reich ("Music for 18 Musicians") as well as the immediacy of contemporary hip hop.  Check this out, spend time inside the songs, and you should be pleased.  To find more, go to www.paulthejones.com.

In the meantime, enjoy the title track: