June Roundup: Gems, Keepsakes, & Fun (Pt 1)

Time to write about music thats been filling our house with good sounds this Spring:

Photo: Alan Nihigian

Drummer, trumpeter, composer, historian, educator, and mentor Ralph Peterson Jr. passed away on March 1 of this year after a long battle with cancer.  He arrived on the jazz scene in the late 1980s as a member of the Blue Note "Young Lions" group Out of the Blue but soon was making albums as a leader.  He had apprenticed at the side of drummer/mentor Art Blakey and was able to channel the explosive qualities of the older musician to create his own sound. Over the decades, Peterson proved to one of the finest "ballad" players –– when I saw him in person, most audience members were impressed by his ability to drive a band with great power but I loved to hear him play soft as a whisper.  Over the past decade, Peterson moved between his own groups as well as leading the Messengers Legacy Band which featured members of Blakey's Jazz Messengers.  He also taught up-and-coming musicians at Berklee College. 

"Raise Up Off Me" (ONYX) is being billed as Ralph Peterson's final album as a leader.  Recorded in December 2020 (less than three months before his passing), the program finds him in the company of the Curtis Brothers –– Zaccai (piano, keyboards) and Luques (bass) –– plus guests Eguie Castrillo (conga, timbale, cymbal, and cowbell on one track) and Jazzmeia Horn (vocals on three tracks).  The title track opens the album, a group improv featuring the leader on various percussion instruments plus Zaccai on both acoustic and electric pianos.  The music is reminiscent of Herbie Hancock's more exploratory of the late 1960s. "Right to Live" (composition by Peterson) features his fiery percussion pushed to the max by the powerful piano and foundational bass work.  It's no surprise that the Curtis Brothers became the basis for "Triangular III" and "IV"; you remember the initial "Triangular" with pianist Geri Allen and bassist Essiet Essiet.  Both Ms. Allen and Zaccai Curtis knew how to play Peterson's opfetn-complicated music.  

The 12-song CD (13 if you buy the "download") is loaded with delightful music.  The trio's take on Bud Powell's "Bouncin' With Bud" is playful with excellent interplay among the trio; note the angular "bounce" of the theme and the conversation between the piano and drums during Zaccai's solo. "Blue Hughes", a piece that the drummer composed for Out of the Blue, adds Mr. Castrillo to the mix. The percussion stew that sizzles up from the rhythm section sounds like an orchestra unto itself, really kicking the piano solo forward.  

Photo: Emmanuel Afolabi

Ms. Horn first shows up on Peterson's lovely ballad "Tears I Cannot Hide".  Her voice, often at the top of her natural range, is soulful and honest while the trio supports with a musical cushion. Pay attention to the drummer and how he uses space, his subtle cymbal work as well.  The musicians dance delightfully beneath Ms. Horn's voice on John Hick's "Naima's Love Song" –– Peterson rocks the rhythm, especially under the smashing piano solo. The drummer also contributes a splendid trumpet solo and accompaniment.  The vocalist's third contribution (the "bonus track" for the download) is a rollicking take of Betty Carter's "Please Do Something".  The three musicians each solo with the drummer "trading 8's" with the vocalist's splendid scat singing. She drops out and Peterson takes over for a rhythmic treat!

If "Raise Up Off Me" is to be Ralph Peterson Jr's final album, he certainly goes out on a high note (a major bunch of them in fact).  If you are listening to hear if the drummer is weak or has slowed down, you won't hear anything like that. Neither does one hear sadness, pity, or anger.  Joy is the sound emanating from the speakers. Ralph Peterson Jr dealt with numerous issues during too-short lifetime but his music was his strength, his refuge, his contribution to making the world a better place! What a man, what a man!

To learn more about the artist, go to www.ralphpetersonmusic.net/.     To buy the album, go to https://ralphpetersononyxmusiclabel.bandcamp.com/album/raise-up-off-me.

Hear "The Right to Live":

Photo: John Abbott

Jennifer Wharton, a native of Pittsburg, CA, is called a "low brass specialist'. Best known for her work with Darcy James Argue's Secret Society and many other large ensemble, her bass trombone playing is noted for its power and her fine ensemble work. Ms. Wharton also has worked in the pit bands in Broadway productions of "Beautiful: The Carole King Musical", "Porgy & Bess", "9 to 5", and others.  Several years, the trombonist decided to give her instrument top billing and formed Bonegasm, a septet with four trombones – yes, a whole section – and a rhythm section.  The 'bone players include Ms. Wharton, her husband John Fedchock, Nate Mayland, and Mark Ferber; aiding and abetting them are Michael Eckroth (piano, Fender Rhodes), Evan Gregor (bass), and Don Peretz (drums). The group's self-titled debut appeared on Sunnyside Records in February 2019. The album's liner notes by Jim McNeely played up the name as well as the originality of an artist creating new music for jazz trombone as well as putting the instrument front and center

While the debut is good fun, album # 2 "Not a Novelty" (Sunnyside) is, in many ways, even stronger. That could be because by the time the septet entered the studios, it was September 2020, right in the midst of the pandemic.  No one in the band was working regularly, venues had closed down, the theaters on Broadway and beyond silenced; save for teaching students on ZOOM, there were no gigs.  Opening with Eckroth's "BonGasmo", the band (with Samuel Torres irrepressible percussion joining) plays with abandon including soloist Mayland.  There are only two other originals by band members in the program. Instead there is an eclectic collection of pieces from composers such as Remy LaBouef, Tori Amos, Chris Cheek, Ayn Inserto, Carmen Staaf, Manuel Valera, and Chris Cornell (the former leader of Soundgarden now deceased).  

Photo: John Abbott

The Cornell tune, "The Day I Tried to Live", features a "grunge metal" arrangement by Darcy James Argue and a Tom Waits-influenced vocal by 

Kurt Elling. He and Ms. Wharton solo together with the vocalist imitating a 'bone player with a cup mute.  Ms. Amos's "Twinkle", arranged by Fedchock, is a lovely ballad; spreading the brass around the sound spectrum and giving them sweet harmonies to play while he solos, the music moves forward gently gaining in intensity. Torres shows up once more for the rollicking take of Valera's "La Otra Mano" even getting a solo after both Ferber and Eckroth shake the rafters.  "Blue Salt", by Ayn Inserto, features a rocking bass line (doubled on piano) plus a splendid solo from Ms. Wharton and her husband over several different rhythms.  

Mark Ferber's "Blue Salts" is definitely a blues, down and somewhat dirty (especially the swagger from the 'bones). Ms. Wharton takes her solo low down while bassist Gregor solos with the band responding in kind.  There's even a Frank Zappa feel to the "march" that closes the piece.

No truer words than "Not a Novelty" as the trombonists take center stage and acquit themselves magnificently.  The basic difference between the first and second Bonegasm album is that while the material is just as good it's the arrangements that feel stronger.  Jennifer Wharton should be proud of this album and this group –– she gets to work and play with her husband and with her friends. Hopefully, the band will get to play in front of live audiences.

For more information, go to https://jenniferwharton.com/. To purchase the album, go to  https://jenniferwharton.bandcamp.com/album/not-a-novelty.

Hear the opening track:

Ralph Peterson, Jr.

Good news moves slowly but bad news spreads like wildfire. Came home from the supermarket to read that drummer Ralph Peterson Jr. (pictured left) had succumbed early this morning to cancer.  If you had the joy of seeing and hearing Mr. Peterson in concert, chances are good you remember his powerful drumming, his infectious laugh, the sweat flowing off his bald head, his sheer joy behind the drum kit, and his amazing touch. A master communicator, Peterson had been on the "jazz" scene since the early 1980s, actually performing with his idol and mentor Art Blakey as the second drummer in the last few years of the Jazz Messengers. The drummer worked with so many great artists, from Betty Carter to Branford Marsalis, from Roy Hargrove to Geri Allen to name but four.  As an educator, Peterson taught at Berklee College of Music and the University of the Arts in Philadelphia, PA.

He began his career recording as a leader for Blue Note Records in 1988 before moving on Sirocco and Evidence Records before recording a series of impressive sessions for Criss Cross Jazz.  In 2010, he created his own label, Onyx Music, and released 10 albums with various-sized ensembles. Like his mentor Mr. Blakey, Peterson's groups often included younger musicians making their recording debut.  He also played trumpet –– in fact, it was his trumpet playing that helped get Peterson into the jazz program at Rutgers University where he studied under the tutelage of Paul Jeffreys and Michael Carvin (drums). Like his percussion work, Peterson played trumpet with verve and energy.  

As I think back of the times I saw and heard Mr Peterson in person, two shows stand out. The first time was a 1992 concert sponsored by the Hartford Jazz Society in the old Holiday Inn –– it was his Fo'Tet with Don Byron (clarinet), Bryan Carrott (vibraphone), and Belden Bullock (bass).  They brought the packed house down with their amazing energy and passion. Last time I saw the drummer, he was leading the Messengers Legacy Band at The Side Door Jazz Club in Old Lyme CT in October of 2019 –– the group was celebrating the release of "Legacy Alive, Vol. 6 at the Side Door" recorded in the venue the year before.  Onstage was Bill Pierce (tenor saxophone), Craig Handy (alto saxophone), Brian Lynch (trumpet), Essiet Essiet (bass), and Zaccai Curtis (piano). All of them (save for Curtis, who was subbing for Geoff Keezer) had played with Mr. Blakey.  What fun to see and hear this sextet –– the second set was classic Hard Bop and the band took no prisoners.   

Ralph Peterson Jr passed at the age of 58, way too young. He made a ton of music, all of it fascinating especially if you were sitting there watching him make that music.  This drummer could drive a band with a ferocity that often made one jump from his seat to cheer yet he knew how to "paint" a ballad like few drummers.  O, how he will be missed by music fans and students around the world.

To find our more, go to www.ralphpetersonmusic.com.  To purchase his newer albums, go to 

https://ralphpetersononyxmusiclabel.bandcamp.com/music. 

Here's an early edition of the Messengers Legacy Band:

The Drummer Tells the Story (Pt 1)

I was lucky to grow up in Middletown, CT, for many reasons: one in particular was the presence of Wesleyan University, its bookstore, galleries, theater, and, especially, the Music Department.  The University greatly expanded its World Music studies under the auspices of Robert "Bob" Brown introducing the students (and curious community members) to Javanese gamelan music as well as South Indian classical music. Members of the faculty were two brothers, T. Vishwanathan, an amazing flutist, and T. Ranganathan, who played the mridangam, a double-headed drum. "Ranga", as he was called, was one of the most out-going people one could ever meet. He had a great sense of humor and was strikingly humble about the fact he was an amazing percussionist (here he is in the 1960s - click here).  He died much too young - at the age of 62 - but I can still hear his incredible laugh and his amazing hands as they created such amazing rhythms and melodies.  Like the great tabla master Alla Rahka, Ranga could make you marvel at his technique as well as being thrilled by joyous playing.

Meet Rajna Swaminathan. She plays mrudangam (variant spelling), having studied with several current masters of the drum including Umayalpuram K. Sivaraman.  Ms. Swaminathan, born in Maryland, has been involved in both the world music and jazz scene in New York City since 2011 working with artists such as Vijay Iyer, Amir ElSaffar (she's a member of his Two Rivers Orchestra), Steve Coleman, and saxophonist Maria Grand.  She's currently a Graduate Student at Harvard University and has worked with Iyer in that capacity as well as on several concerts.  Ms. Swaminathan also composes for dance and theater productions including 2015's "The Worry Machine" (music from the Anu Yadav play, "Meena's Dream").  Her frequent musical companion is her sister Anjna who is a composer and violinist. Together with their father Dr. P.K. Swaminathan, they run a 5013-C called Rhythm Fantasies, INC, whose goal is to "promote South Indian classical music and dance in a space that encourages education and enrichment through innovation and cross-cultural collaborations."  

Now Rajna has her first album as a leader "Of Agency and Abstraction" (Biophilia Records).  The recording, co-produced by Iyer, features her group RAJAS, a quintet that features her sister (violin), Ms. Grand (tenor saxophone), Miles Okazaki (guitar), and Stephan Crump (bass) plus guest Amir ElSaffar (trumpet) and Ganavya Doraiswamy (vocal).  One of the joys of this music, this beautiful collection of original compositions, is that while it's obvious these musicians are brilliant technicians, there's more emotion inside the motion, a flow that enters one's mind, closes the eyes, and allows you to breathe easily (that's what it does for me).  Note how easily the percussive [luck of the guitar combines with the singing violin, bowed bass, bouncing mrudangan, and dancing tenor saxophone blends. 

The tendency to want to discuss this music gives way to the belief that each listener approach there album with an open mind.  If you're looking for a message, take your time to find it.  The leader describes the group's mission as one that is "a network of like-minded improvisers from multiple/overlapping traditions to experiment with new horizons of relation through hybrid forms, textures, and sensibilities." After all, RAJAS means passion/action" in Sanskrit. 

Yet, there are moments throughout that stand out.  Ms. Grand's breathy tenor leads the way on "Peregrination" with the violin in counterpoint and the rhythmic guitar in sync with the percussion.  The splendid "singing" violin meshing with the guitar at the onset of "Vigil" begins a journey that spreads over 10 minutes with the various voices adding counterpoint and harmony.  Ms. Doraiswamy and Mr. ElSaffar join the quintet on "Departures" - while you may not understand the words, the trumpet and violin create a call-and-response that helps to transmit the emotions of the lyrics.  Don't ignore the contributions of bassist Crump - his arco work throughout is deep and resonant. Without a "regular" drummer, he's free to be melodic as well as foundational.

Just listen.  As I write these words, the windows are open and birds are singing in the trees close to the house.  Their songs fit in nicely with the sounds swirling out of the speakers.  Late at night, listen.  Early in the morning, listen. Give this music all the attention you can. Time will fall away and the beauty inherent in these songs, these collaborations, the myriad voices, will seep into your soul.  Too poetic for you?  This music is quite lyrical, gentle, soothing, and challenging.  "Of Agency and Abstraction" stands out amidst the noise of the everyday. Rajna Swaminathan took plenty of time to create this music, to find the right musicians, the right sonic combinations, and the results are very impressive, very moving.  Listen.

For more information, go to www.rajnaswaminathan.com.

Here's an example of the wondrous sounds:

The drummer, educator, and mentor Ralph Peterson literally burst into the public ears in 1985 as a member of O.T.B. (Out of the Blue), a group of young musicians that Blue Records Records created to showcase younger talent.  He worked with so many musicians through his career including Tom Harrell, Terence Blanchard, Geri Allen, Charles Lloyd, and Betty Carter.  But the once person who made the biggest impression on his person and career was drummer Art Blakey.  Peterson was one of the few drummers who the great master invited to play in his bands, the talent incubator known as The Jazz Messengers.  The younger man learned that you give everything on the bandstand and that you expect the same from the people you work with as well as to pass on the jazz traditions through your music and through teaching.  Peterson has done just that over the years creating groups that featured younger players such as clarinetist Don Byron, vibraphonist Bryan Carrott, pianist Orrin Evans, and trumpeter Sean Jones (among others).

Peterson has been recording prolifically over the past few years for his own Onyx label. Most of those albums feature younger musicians recorded live.  The newest addition to the catalogue, "Legacy Alive: Volume 6: Live at The Side Door", is credited to Ralph Peterson & The Messenger Legacy, a sextet composed of musicians who played with Mr. Blakey (1919-1990) in the late 1970s and through 80s.  What a unit - Bill Pierce (tenor saxophone), Bobby Watson (alto saxophone), Brian Lynch (trumpet, Essiet Essiet (bass), and Geoffrey Keezer (piano), who along with Peterson, swing their way through 11 pieces associated with the Jazz Messengers repertoire (the group stayed active for 35 years!)

Photo: Peter Leng Xiong

The program was recorded over two nights in October 2018. The Side Door Jazz Club in Old Lyme is owned and operated by Ken Kitchings (Rich Martin does the booking) and there is no bigger or more vocal supporter of the music in the state than he.  If you listen closely, you can hear Kitchings shouting his encouragement throughout and the end of songs. Why not?  The sextet is having a great time, they all play with gusto, the material is top-notch, and the sound is great. The drums and piano come through loud and clear; Brian Lynch's trumpet cuts through the mix with his delightful blend of riffs, smears, and articulated lines. It's so great to hear Bill Pierce playing so strong, his bluesy solos are a treat.  Bobby Watson, who joined the Messengers in 1977, has always played with wit, humor, and when called for, grace. He does so here as well.  He also has blues in his background but he can fly with ease over this band. Check him out on his "In Case You Missed It", a tune on which everyone solos with abandon.  Geoffrey Keezer, who joined the Messengers when he was 18, also plays with great wit and spontaneity.  Listen to his unaccompanied opening of "That Ole Feeling" - he sets the pace for the band who dance delightfully behind his sparkling keyboard.  His solo on Curtis Fuller's  "A La Mode" is flat-out amazing

As for the leader, he's always been fun to listen to. Yes, his power can overwhelm some groups but not this one.  His ability to push a band, to prod soloists, to stop-on-a-dime, to create a storm that not only dazzles listeners and make them shout but also is so darn joyous - Peterson is having fun, even as you realize that some of this material was composed 40, 50, over 60 years - this band makes it sound contemporary.  The Juan Tizol - Duke Ellington classic "Caravan" was first recorded in 1936. Listen here and it's alive, ebullient, and powerful.  "Three Blind Mice", credited to Anthony Rooley and Thomas Ravenscroft (who wrote the melody in 1611), was recorded by Blakey in 1962 in a quintet that included Wayne Shorter and Freddie Hubbard.  The arrangement is quite similar and the overall effect is as well.  The sextet also takes an energetic run through Shorter's "Children of the Night" (which he composed and recorded with The Messengers in 1961).

Thanks to the great engineering and mastering, the music on "Legacy Alive" is loud and clear. Every member of the Messenger Legacy gives his all (just as Art Blakey commanded them to do during their tenure with him) - it's that dedication, that desire to communicate living history, that makes this music so thrilling.  Just start with first track "A La Mode": if that does not make you jump up and shout, call the doctor immediately! Also, check out the great cover collage by CT-based artist Andres Chaparro. It exemplifies the powerhouse that Ralph Peterson has been throughout his career and who is today.

For more information, go to www.ralphpetersonmusic.com.

Here's that opening track: