Rush Hours, Part 1 - Nonet & Octet

 Lots of music yet so little time –– here begins a series of shorter reviews of the more exciting releases of the past several months. 

Commissioned by SF Jazz and the Hewlett Foundation, Miguel Zenón composed "Golden City" for sextet and a three-member trombone section (two of whom double on other brass - see below).  A musical history of San Francisco, the piece made it debut at SF Jazz in 2022 and was recorded a year later for the composer's Miel Music label.  Zenón makes sure each member of the ensemble has a feature, often at the beginning of the track. The album opens "Sacred Land" – the leader's sweet alto tone plays the intro alone before the brass enter for support and then the whole band arrives.  The story moves quickly to "Rush" (yes, the 1800s Gold Rush) to "Acts of Exclusion" (the 1862 law that curtailed the immigration of Chinese works) to "9066" (FDR's Executive Order that authorized the interment of Japanese Americans, the majority of who were already American Citizens).  One can sense the urgency and poignancy in the melodies and musicianship.

Photo: Herminio Rodriguez

Not only is the writing excellent but the performances stand out. Drummer Dan Weiss stands out as a master framer of the pieces and as a melodic presence. Pianist Matt Mitchell is the other "builder" of the foundation; along with bassist Chris Tordini, the two give the "front line" great support throughout. Percussionist Daniel Diaz creates rhythmical excitement but also adds colors that are necessary to the success of the music. Guitarist Miles Okazaki is solid in support and his ensemble work plus his solos stand out.  The three brass players – Diego Urcola, Alan Ferber, and Jacob Garchik – truly fill out the sound thanks to the splendid arrangements.  Perhaps the best part of this project is how Zenón gives so much room to the band that when his "voice" appears, his playing delights in flights of joy, power, sweetness, all while being highly melodic.

There's so much to like on "Golden City" from how Miguel Zenón tells the sprawling story to how the musicians give so much life and heart to the music to the wonderful playing over the course of 69 minutes.  Highly recommended! 

For more information, go to https://miguelzenon.com/. To hear more and to buy the music, go to  https://miguelzenon.bandcamp.com/album/golden-city. 

Listen to "Acts of Exclusion":

Personnel:

Miguel Zenón - alto saxophone
Matt Mitchell - piano
Chris Tordini - bass
Dan Weiss - drums
Miles Okazaki - guitar
Daniel Díaz - congas, tripandero and percussion
Diego Urcola - trumpet and valve trombone
Alan Ferber - trombone 
Jacob Garchik - tuba and trombone

Trombonist, composer, and band(s)leader Ryan Keberle is quite busy but he must have jumped at the opportunity to make this album for Marc Free and Posi-Tone Records. He's been doing a lot of smaller group work with Reverso (trio), Collectiv Do Brasil (quartet), and Catharsis (now a quintet) but it's been 14 years since his last Double Quartet album. "Bright Moments" is his first album as a leader on the label and, arguably, it's one of the 10 best Marc Free has ever released. Why?  Because Keberle had the opportunity to arrange the songs, all originals, to utilize the talents of a brilliant rhythm section – pianist Art Hirahara, bassist Boris Kozlov, and drummer Rudy Royston –  and have his melodies "sung" by the great "voices" of Pat Cornelius (reeds, flute), Diego Rivera (tenor sax, flute), Alex Norris (trumpet, flugelhorn), and Michael Dease (baritone sax).  All but one of the songs have appeared on previous albums – the new versions give both the composer and the audience a different perspective.

You can hear the influence of Keberle's immersion into Brazilian music on "Edu" – the music rolls forward on the power of the drums and the deep baritone sounds. The expansive melody is shared by the reeds and brass before Norris steps out for a handsome solo. "Despite the Dream", which the trombonist composed for Catharsis's 2020 "The Hope I Hold". This powerful ballad opens up in the middle as the tempo speeds up and short solos lines are created by Cornelius (alto sax) and Norris. Later, Cornelius and Dease (whose bari work is mighty impressive) take longer solos. "Sisters of Mine" was originally recorded by Reverso. Here, the tribute to the composer's two sibs serves as a vehicle for a lovely tenor solo from Rivera. To get there, the melody is presented by Cornelius (soprano sax), Norris, and Keberle (such a lovely tone).  Melody sharing abounds on this album.  The bass clarinet (Cornelius), trumpet, and flutes (Rivera and Cornelius) each introduce the melody on "All Ears", which is repeated twice without a solo. Yet, the piece is so satisfying because of how all the voices are utilized to make the piece so successful.

Photo" Anna Yatskevich

"Bright Moments" closes with the oldest piece in the collection. "When I'm Away" is from 2006 and was on the first of Keberle's two Double Quartet albums.  The arrangement is similar but the 2024 "voices" includes reeds whereas the older take has a four-piece brass section. Either way, it's a beautiful piece of music and features an excellent from the leader, brilliant backing from the great rhythm section.

If you're a Ryan Keberle fan, this is yet another gem in his growing discography (plus there's a new Catharsis album coming in October). Great music played by a great band – "Bright Moments" indeed!

For more information, go to https://ryankeberle.com/.  To hear more and purchase the album, go to https://ryankeberlejazz.bandcamp.com/album/bright-moments. 

Here's the opening track, "Quintessence":

Personnel:

Ryan Keberle - trombone
Alex Norris - trumpet; flugelhorn 
Michael Dease - baritone saxophone
Patrick Cornelius - alto saxophone, soprano saxophone, bass clarinet, and alto flute
Diego Rivera - tenor saxophone; flute 
Art Hirahara - piano
Boris Kozlov - bass
Rudy Royston - drums

The Power of Posi-Tone Thinking

Producer Marc Free and Chief Mixer-Master Nick O'Toole continue to issue high-quality music on the Posi-Tone Records, mixing newer artists with great rhythm section and giving established artists the opportunity to continue to stretch their creative wings. Here are three exciting new albums.

Photo: Anna Yatskevich

Vibraphonist and composer Behn Gillece has, over the past decade-and-a-half, taken part in dozens of sessions for Posi-Tone.  He first came to critical attention as part of duo with saxophonist Ken Fowser – they released four albums from 2009 to 2013.  Gillece released his debut album as a leader in 2015 and since then has recorded five more but also has been part of several ensembles created by Producer Free. Groups such as New Faces, Out to Dinner, and Idle Hands have released albums combining his vibes and some of his compositions with artists such as saxophonists Roxy Coss, Donny McCaslin, and Tim Green plus trombonist Ryan Keberle, drummer Donald Edwards, guitarist Will Bernard, and others.

Since the beginning of the Pandemic in 2020, Free has employed the "regular" rhythm section of pianist Art Hirahara, bassist Boris Kozlov, and either Rudy Royston or Donald Edwards on drums for his recording sessions in New York City.  They have done impressive work on numerous occasions adapting to different styles, harmonic ideas, and rhythms.  Gillece's seventh solo album, "Stick Together", features Messrs. Hirahara, Kozlov, and Royston in a 10-song, 56-minute, program that stands out for the excellent musicianship and intelligent compositions.  On top of all that, this music really swings.  "Almost There" opens the album on a slow pace; then the groove kicks in and the quartet dances forward. One of the joys of listening to these four musicians is that when they are playing, they are "playing".  Royston is disruptive, noisy, but always on the beat.

Listen below to "Four Of a Kind" and you'll see why that's the exact right title. After a quick run-through of the theme, they hit the floor running powered by Kozlov's mighty bass and Royston's wonderful attack.  The vibes solo is infectious which gives Hirahara the jolt for a flying fingers solo. This is the kind of performance that makes an audience rise from their seats and cheer.

The group slows down the pace several times including the lovely "Changing My Day" (the drummer sits out) and the medium-tempo "Dreamscape."  The latter track picks up the pace for a far-ranging vibes solo.  "Cascades Merging" has a similar feel with a slower opening and then a bump in the tempo for the solos.

One of the delightful surprises is the quartet's take on Sam Rivers' "Cyclic Episodes". The tune, which first appears on Rivers' 1962 Blue Note classic "Fuschia Swing Song", really does swing atop the excellent cymbal work and the melodic "walking" bass lines.

"Stick Together" closes with "Lazy September", a duet for vibraphone and piano.  Not only does the song have a handsome melody but also Hirahara's emotional, rhapsodic, piano support.  It's a gentle ending to a pleasing musical experience.  Behn Gillece has created an album that one can return to time and again, enjoying the music on many levels.  

For more information, go to www.behngillece.com.  To hear more and to purchase the album, go to https://behngillece.bandcamp.com/album/stick-together. 

Swing along with the quartet on "Four of a Kind":

Photo: Ola Baldych

For many of us, our introduction to trumpeter and composer Josh Lawrence was 2017's "Color Theory", his debut recording on Posi-Tone.  He certainly has done a lot in the last decade as member of the Fresh Cut Orchestra, working and recording with TARBABY, Posi-Tone's New Faces, Erykah Badu (among many others), and is now Director of Jazz Studies at Interlochen Center for the Arts and conductor of Interlochen Jazz Orchestra. His recorded output for Marc Free's label shows a musician who has created his own voice, who's not afraid of showing vulnerability in his musical and sonic choices and who has developed into an excellent composer.

His sixth Posi-Tone release, "Measured Response", is a thoughtful, intelligent, and, at times, quite playful collection of songs. Eight of the 10 pieces in the 57-minute program are Lawrence originals plus one song each by John Coltrane ("Wise One") and Charlie Haden ("Song For the Whales").  Unlike many of the label's releases which usually open with "barnburners", "Where Do We Go?" is a slower blues based on a Pandemic vacation trip.  There are excellent solos from the leader and tenor saxophonist Diego Rivera atop the gentle swing created by pianist Art Hirahara, bassist Luques Curtis, and drummer Rudy Royston.  "A Tragic Tango Comedy" follows – reminiscent of tangos composed the late Carla Bley, it's fun to hear Royston and Curtis play with the rhythms and Hirahara's ornamental yet rhythmical piano accompaniment.  The solos are concise and never overtly technical.  

Photo: Ola Baldych

Lawrence's choice of "cover" songs is inspired and inspiring. Charlie Haden's "Song For the Whales" (which the late bassist recorded with the Liberation Music Orchestra on 2016's "Time/Life") is an elegiac piece that utilizes Curtis's bowed bass as "whale song", Hirahara's rippling piano lines like waves over the prayer-like melody played by sax and trumpet, and pounding drums. That melody is actually lovely, moving slowly over the rhythm section.  John Coltrane's "Wise One" (from 1964's "Crescent" Lp) has a similar rubato feel in the opening 80 seconds before the bass and drums kick in for the powerful piano solo. Lawrence is next, caressing the melodic variations as the thundering rhythm section attempts to push him; instead, he leads them back to the opening, taking the piece out on a bluesier note.

Listen below to "Every Choices Comes With An Invoice" (Lawrence borrowed the title from Busta Rhymes) – it's an antithesis to the ballads as the piece explodes out of the gates on rapid-fire bass lines and frenetic drums. Lawrence digs into his solo displaying his own fire and versatility.  Riviera also rises to the challenge the rhythm section lays down. The pianist initially tamps down the fire before he too is inspired by Curtis's flying fingers.  

Photo: Ola Baldych

There are moments when the music feels like Miles Davis circa 1960-62 when one listens to songs such as "Flip On A Drip" (a "smoking" piece that really highlights what a good accompanist Hirahara can be) and other pieces ("Between the Lakes") that move towards the sound of the classic Davis Quintet in 1966 and '67. The muted trumpet and solemn melody on "Prelude To a Farewell (For Barry Harris)" pay tribute to one of Lawrence's most important teachers and mentors. The simple beauty of the lines played by trumpet and saxophone give way to a rhapsodic piano solo that also features excellent bass work and soft cymbals. Riviera's tenor spot has a gentle power that speaks to the heart as does Lawrence's short yet poignant turn in the spotlight.  

The album closes with "Texas Tenor", a bluesy ballad that gives Riviera a chance to take center stage. His solid solo hints at Coleman Hawkins and David "Fathead" Newman. Lawrence follows with a romp over the bouncing rhythms.  Because the leader is all about sharing, Hirahara creates a playful, "in your face", solo that brings the quintet back to the bridge and a quick close.  

With "Measured Response", Josh Lawrence and company have created a compelling artistic triumph that also is great fun to play loud.  Lawrence's material brims with creativity which his fellow musicians much to work with. He does not worry about playing "quiet" or giving other soloists more room to shine. This album is well worth diving into often!

 

For more information, go to www.joshlawrencejazz.com/. To hear more and purchase the album, go to https://joshlawrence.bandcamp.com/album/measured-response. 

Listen to Josh and the band tear it up on "Every Choice Comes With an Invoice":

Photo: Anna Yatskevich

Pianist, drummer, and composer Luther Allison made his recording debut at the age of 19 when he appeared (as the drummer) on trombonist Michael Dease's 2016 Posi-Tone recording "Father Figure".  Since then, he's appeared on several Dease albums plus releases by Diego Rivera (as pianist), Markus Howell (drummer) and on Samara Joy's GRAMMY-winning 2023 "Tight".  The Charlotte, NC, native now lives in New York City where he has performed with bassist Rodney Whittaker, vocalist Jazzmeia Horn, saxophonist Gregory Tardy, drummer Ulysses Horn, and so many others. Allison also teaches at Jazz Summer camps and as a clinican touring all the globe.

To his credit, Allison waited several years and had a plethora of musical and life experiences before recording his debut as a leader.  "I Owe It All To You" is a trio featuring bassist Boris Kozlov and drummer Zach Adelman.  The 10-song, 53-minute, program is a blend of four originals with four songs composed by piano greats James Williams, Mulgrew Miller, Harold Mabern, and Donald Brown plus a song each from Stevie Wonder and Richard Rodgers.  The album opens with the title track which, within the first few moments, one can hear the influences that underlay Allison's style – there's blues, gospel, hard-bop, a touch of Hip Hop, and a quest to create his own voice. The young man is an excellent soloist and the rhythm section makes sure he's a solid foundation to go off on his solo flights.  Just when you think the song is over, there's a slower, sly, gospel coda.

Photo: Roby Davidson Media

Click on the link below and listen to Allison's "Until I See You Again"; the tune has such a lovely melody but to how the tempo changes subtly throughout the solo as well as the fine bass work of Kozlov.  

It's fun to hear where the trio takes the material. The pianist's take on Rodgers's "I Didn't Know What Time It Was" starts out with a funky piano riff and goes through a couple of changes before settling into a swinging groove for the piano solo. Allison's two-handed approach may remind some of the late Harold Mabern, a musician whose blues roots ran deep through his music. It's interesting how the Mabern tune, "There But For the Grace of..." starts so regally before dropping into a delightful fast-paced groove. The trio caresses the melody of the late Mulgrew Miller's "From Day To Day", the longest track in the program at just over seven minutes. That's plenty of time for all three musicians to sparkle.

The album closes with "Lu's Blues", a high-powered blues introduced by a thundering two-handed piano attack before the rhythm section creates a break-neck pace. No problem for Allison who challenges the bassist and drummer to keep up with him. Yes, it'a technically impressive but also impressive how melodic the pianist can be at faster-than-light speed.  

No doubt about it, Luther Allison is a talent to be watched.  His choice of material, his own songs have weight and show his influences without being slavish to any one in particular. It's going to be a joy listening to him grow. Put on track one, sit back, and enjoy this 53-minute ride. I promise it'll make your day better!

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

Listen to the lovely "Until I See You Again":

Posi-Tone Records · Luther Allison - Until I See You Again

Inspiration, Imagination, & Intent

 

There are many listeners of contemporary music no matter the genre are usually looking for spiritual uplift. Listeners say they love technical prowess or "new" sounds but what makes us return to music is how it moves us. Music is a "full-body experience" – for this listener, it usually starts with moving my feet, then enters into my brain, and finally into my heart.  If it feels "real nice", play it twice.  That's why I like the music of John Coltrane, of McCoy Tyner, Muddy Waters, Howlin' Wolf, Bill Withers, Bruce Hornsby, Bonnie Raitt, and others. And Anthony Branker. His music often makes one think, his titles lead one to investigate Black experiences and history, and his rhythms often bring you up out of your seat. Over the course of 10 albums, all released by Origin Records, he's assembled some of the best musicians, given them music to sink their creative teeth, and a created a lot of memorable performances.  

Given the overt political nature of a good number of his albums (2013's "Uppity", 2014's, "The Forward (Towards Equality) Suite", and 2023's "What Place Can There Be for Us"), Dr. Branker's 10th album (and third with his group Imagine), "Songs My Mom Liked" takes a different tack.  His 88-year old mother (she turns 89 on June 27) has been dealing with the ongoing effects of cognitive dementia. Dr. Branker has been driving her to appointment and elsewhere playing his albums in the car. His mother responded so positively to certain songs that he began to collect a group of them, rearranging them for this septet that features Fabian Almazan (piano), Linda May Han Oh (bass), Rudy Royston (drums), Pete McCann (guitar), Phillip Dizack (trumpet), Donny McCaslin (tenor and soprano saxes), and Aubrey Johnson (voice).  Nine of the 12 songs are from Dr. Branker's earlier albums and none recorded by this particular group.

With different "voices" and approaches to the material, this program is brimming with energy, imagination, and joy. Right out of the gate, "Praise" jumps out of the speakers powered by the rhythm section with Royston's drums front and center. This is McCaslin's first recording with Dr. Branker and he shines throughout the program. Listen below to "Sketches of Selim" to hear how he and trumpeter Dizack interact and build off each other's solo. Fabian Almazan also brings a heightened sense of urgency to each one of his solos while his work as part of the rhythm section is a delight. The rollicking "The House of the Brotherhood of Black Heads" takes off at a blistering pace with Ms. Oh and Royston furiously pushing the group forward. Each of the soloists (Dizack, Almazan, and McCaslin) rides the rhythmic waves, sometimes behind the beat but mostly enjoying the frenetic drive.  Later in the program, "To Be Touched (By the Spirit)" gives the listener an insight to one of the composer's touchstone influences; the power and glory of McCoy Tyner. Almazan's incredible solo stands out flowing out atop Royston's stunning drum work and the foundational bass playing. McCaslin comes roaring out out of the piano solo feeding the percussive fire even as his lines raise higher and higher.  A richly melodic and percussive bass solo leads the band back to a quick reiteration of the main theme.

Aubrey Johnson is heard on "Three Gifts (From a Nigerian Mother to God", her lovely wordless solo reading of the theme opens the piece before Dizack and the band enter to repeat the theme.  She can be heard in the background singing in unison with McCaslin's tenor. She drops out for the solos but returns to sing the melody and, later, counterpoint, in the background.  

One of the other highlights is the trio version of "Imani (Faith)" with Ms. Oh and Royston laying down a reggae beat for McCaslin's tenor to soar and roar atop.  The bass solo stands out for its melodic reach and bluesy intent.

Pete McCann performs on a couple of tracks including "When We Said Goodbye", where he states the handsome melody while producing a rippling solo supported by the responsive rhythm section.  McCaslin builds off the energy of the guitar solo for his own splendid spot.

The album closes with the one song not composed by Dr. Branker. "If..." was composed by his daughter Parris at the age of 11! The proud father arranged the piece for the group with McCann replacing Dizack. It's a high tempo, high spirited conclusion to a most excellent program.

"Songs My Mom Liked" is a treat from start to finish. The excellent septet of musicians transform the 12 songs in the program into living representations of Dr. Anthony Branker's spirit, beliefs, and desire to communicate through music.  There are moments where one hears the spirit of Art Blakey's Jazz Messengers, the fire of Max Roach, the cool burn of Miles Davis, the spirituality of John Coltrane and McCoy Tyner, and the Caribbean roots of his family (Trinidad and Barbados). These songs are glorious prayers to the power of belief, love, family, hope, and music.  All of Dr. Branker's albums are recommended, all are excellent: "Songs My Mom Liked" is, arguably, the best he and his groups have yet produced.

For more information, go to www.anthonybranker.com/ – the site needs to be updated but there is still plenty to learn. To hear more and to purchase the album, go to https://anthonybranker1.bandcamp.com/album/songs-my-mom-liked-2.

Listen to "Sketches of Selim":

Saxophones A'Plenty (Part One)

Over the last several months, I have received a slew of excellent albums that feature the saxophonist as a leader or co-leader.  Here are the three of the best.  

In March of 2022, Argentinean-born saxophonist and composer Julieta Eugenio's debut Trio album. "Jump", was issued on Greenleaf Music.  Backed by Hartford, CT-born Jonathan Barber (drums) and Hartford-area resident Matt Dwonszyk (bass), the music displayed the leader's melodic tendencies and softer tones on the tenor. Even better, the rhythm section joined in the conversation, making the music come alive.  Ms. Eugenio composes music that leaves plenty of space for her compatriots to display their talents –– overall, a solid effort that made one wish for more.

Now we have "Stay", her second release on her own label, Christalyn Records.  With the exception of two duets with Leo Genovese playing Fender Rhodes, the new recording features Messrs. Barber and Dwonszyk.  The two years between recording dates shows a band that has gelled even more through numerous gigs. Listen below to the title track.  Dwonszyk's bass sets the pace pushed ahead by Barber's drums while the leader paints a handsome and somewhat mysterious canvas with her Middle-Eastern sounding melodies that dance out of the tenor.  "Trapped" follows with its modified samba beat and various tempo shifts. The vocal quality of the tenor sax meshes well with the bassist's counterpoint. One can hear a tinge of Charles Lloyd in Ms. Eugenio's sweet tone.  One hears it in "Sunday Stranger" as well plus even a touch of Lester Young in the saxophonist's melodic bent.

Photo: Alexx Duvall

There are four duets, each carrying the title "Breath" ("I-IV"), scattered through the 10-song program. The first two feature Genovese; "1" opens with solo tenor before the Rhodes enters and the music takes on the feels of a walk through a rain forest.  "II" starts in a more stately manner with a classical feel and maintaining that throughout the piece. "III" and "IV" feature Ms. Eugenio in musical dialogue with Barber. The former track finds the tenor dancing atop the African-inspired drum while the latter cut dances to a darker beat. It's more sensuous, a touch of Persian rhythms for the whisper-soft tenor to improvise over.

Before "Breath IV" closes the album, Ms. Eugenio and the rhythm section dig into Duke Ellington's "Sophisticated Lady".  After a lovely unaccompanied tenor saxophone opening, the piece becomes a sweet, slow, ballad. Here you hear a touch of Ben Webster in the saxophonist's sound. Barber's brushes, at times, sound like gentle sighs while the melodic bass accompaniment pushes the saxophonist to dig deeper during her long improvisation.  The bass solo features short snippets of several other Ellington melodies before Ms. Eugenio returns on the bridge and then to a sweet final verse and cadenza.

"Stay" is an excellent leap forward for Julieta Eugenio.  Her debut Trio release introduced the world to her sound and ideas while the new album allows her more freedom of movement. Kudos to both Jonathan Barber and Matt Dwonszyk for their splendid work.  If you like saxophone-led trios that simmer instead of burn, that favor well-developed melodies instead of long solo-filled tunes,  take an extended dive into "Stay". 

For more information, go to www.julieta-eugenio.com/. To purchase the album, go to  https://julietaeugenio.bandcamp.com/album/stay.

Here's the title track:

In November of 2022, tenor saxophonist and composer Willie Morris went into a Brooklyn, New York, studio and recorded his debut album as a leader. Aptly named "Conversation Starter", the album was released on Posi-Tone Records to positive reviews.  Less than three months later, he returned to the same studio (Acoustic Recording) to record "Attentive Listening" for Posi-Tone. Alto saxophonist and flutist Patrick Cornelius plus pianist Jon Davis return from the first session while bassist Boris Kozlov takes the place of Adi Meyerson and Rudy Royston takes over the drum chair from E.J. Strickland.  The first five tracks of the 10-song program are Morris originals while both Cornelius and Davis provide two pieces each and Kenny Dorham's "La Mesha" (composed by the trumpeter for Joe Henderson's 1963 album "Page One") is a lovely ballad.  Morris, a native of St. Louis, MO, now on the faculty of his alma mater The Juilliard School in New York City, is a perfect fit for producer Marc Free's label as he can swing like crazy plus is a strong writer.  

The program opens with the John Coltrane-inspired "Water Fountain of Youth".  The rhythm section sets a fiery pace (Davis channels McCoy Tyner in his powerful chordal work) and after a quick reading of the theme, Morris takes off on a powerful solo –– to his credit, his sound leans more to the afore-mentioned Joe Henderson than "Trane".  Cornelius (on alto) and Davis follow both riding the waves of energy produced by Kozlov and Royston.  Instead of continuing in the no-holds-barred mode, "Terminal Lucidity" follows; it's a contemplative ballad that takes its time to work through the main theme. The leader's solo is introspective and so melodic. Pianist Davis follows for a short yet rich solo before the reeds return to the main theme.  Listen below to "The Imitation Game" to hear how the quintet handles a hard-bop tune.  Love how the bass and drums leap out of the speakers setting a "wicked" pace. The soloists have such a great time matching their energy to the rhythm section. It all makes the music snap, crackle, and pop! 

Photo: Anna Yatskevich

Later on in the program, Davis's "Moving Right Along" balances between two tempos during the opening thematic section before Cornelius's lively alto leads way into the solos. Morris follows, at first tamping down the energy of his enthusiastic predecessor before he catches fire which leads to a sparkling piano solo over Royston's rollicking drum work.  Cornelius switches to alto flute for  his piece "Leaving Paradise".  It's a lovely bossa nova with opportunities for delightful solos from Davis and Morris (displaying more than a hint of Stan Getz in his fine solo).  "Et Tu, Caribou?", also from Cornelius, bounces like one of the mid-1940s Charlie Parker cuts that earned so much fame. The composer leads the solo parade with a swinging romp before Morris enters ––  he sounds as if he's having time of his life dancing over the changes.  Davis follows with his own romp. There's room for Royston to strut his own stuff before the theme returns.

The album closes with Davis's "Daly Minor Blues" for two. The solo piano opening is so fine and introduces Morris who plays the main melody with the pianist.  The tenor solo opens with the gravitas of Coleman Hawkins and Ben Webster before Morris takes flight.  The composer plays a modified "barrelhouse"-style solo that is quite witty. Then, the two musicians take the tune out bring this most delightful program to a gentle close.

"Attentive Listening" calls for just that. Pay attention to what Willie Morris and this fine band are playing for a most satisfying experience. 

For more information, go to https://williemorrismusic.com/. To hear more and to purchase this album, go to https://williemorrisjazz.bandcamp.com/album/attentive-listening.

Dive into "The Imitation Game":

Here's an intriguing grouping, a trio led by Dan Weiss (drums, compositions) and featuring Miguel Zenón (alto saxophone) and Matt Mitchell (piano). For Weiss's new album, "Even Odds" (Cygnus Recordings), the drummer composed six of the 20 pieces with the remainder being created from snippets of solo drum pieces that he recorded and his bandmates soloed over.  Because the leader has such "big ears", this music goes in multiple directions. The opening piece, "It Is What It Is", jumps out of the gate like a trimmed-down but sped-up version of Keith Jarrett's "The Windup" (from his 1974 recording "Belonging" with Jan Garbarek, Jon Christensen, and Palle Danielsson). The music has a reckless abandon feel yet never loses its way (which is amazing because there are moments when the three musicians are soloing at the same time).

Listen below to hear how the trio navigates through "The Children of Uvalde".  It's a mournful tune dedicated to the victims and survivors of the 2022 school shooting in their small Texas town.  Zenón plays one of the most powerful, emotionally moving, solos of his career followed by an impressive and evocative Mitchell solo. The program features pieces named for drummers such as "Bu" (a shortened version of Art Blakey's Buhaina nickname) and "Max Roach" (self-explanatory) plus "Nusrat" (for Pakistani singer Ustad Nusrat Fateh Ali Khan).  There's the occasional drum solo ("Recover the Mindset", "Too Many Outs", and "Bribes and Ultimatums") but really the focus is on the trio.  That the three musicians could create such impressive sounds from the sketches of rhythms Weiss created is also most impressive.  Tracks such as "Runner-Runner" and "Nineteen to the Dozen", though short (56 seconds and 1:13), sound through-composed. 

This is such an interesting sonic journey, one that never runs out of ideas or surprises. "Fathers and Daughters" is another lovely ballad, more like a lullaby, with such quiet percussion, an introspective alto sax solo, and and folk-like piano chords.  "Conversing With Stillness" starts off in a hurry but slows down into a very slow pace not unlike certain piano works by Erik Satie. The afore-mentioned "Nusrat" brings the program to a close. There is a real bounce in both the alto saxophonist's melodic lines and Weiss's dancing drums yet note the shimmering piano background, sounding like a summer downpour. Such a positive close to a fascinating collection of pieces.

"Even Odds" takes its time to grow on the listener. It's not really background music; if you pay attention, the richness of the ideas, melodies, and rhythms that Dan Weiss creates with more than a little help from his friends Matt Mitchell and Miguel Zenón, is worth exploring time and again.  

Fore more information, go to www.danweiss.net/. To hear more and purchase the album, go to https://even-odds.bandcamp.com/album/even-odds.

Listen closely to "The Children of Uvalde":

The Music that Made 2023 Special (Part 1)

 Last year was, overall, a great year for music and a stressful one for this writer. No need to go into details as my paucity of postings since the summer speaks volumes.  Nevertheless, there were numerous recordings that absolutely captivated my brain; the best of them are listed below (and in a subsequent posting).

Buselli-Wallarab Jazz Orchestra – "The Gennett Suite" (Patois Records) – Have to say this album captivated me from the opening notes to the final fade.  The BWJO tells the story of Bloomington, Indiana-based Gennett Records that, in the 1920s, was the first label to record King Oliver with Louis Armstrong, Hoagy Carmichael, Bix Beiderbecke plus Ferdinand "Jelly Roll" Morton.  Arranger Mark Wallarab does a splendid job making the music sound fresh (Carmichael's "Stardust" is a real gem) and the band, made up mostly of musicians from the Midwest, in particular Indianapolis and Chicago, plays with fervor, joy, and love.  Listen closely and you'll hear echoes of Duke Ellington, Chick Webb, Thad Jones-Mel Lewis Orchestra, and more; that makes sense as those artists and many others built their music around any and all of the artists featured on this album.

For more information, go to https://bwjazzorchestra.com. 

Here's Joseph "King" Oliver's "Davenport Blues":

Anthony Branker & Imagine – "What Place Can Be For Us" (Origin Records) – As I wrote when the album was released "As you should be able to tell by the title, the themes of this new collection are inclusion, immigration, belonging, citizenship, and the never-ending racism that permeates the United States."  Dr. Branker, currently on the Music Faculty of Rutgers University, continues to impress with his ability to blend music and story to illuminate the Black experience in America.  With a cracking band including Fabian Almazan (piano), Linda May Han Oh (bass), Pete McCann (guitars), Philip Dizack (trumpet), Walter Smith III (tenor sax), Remy Le Boeuf (alto and soprano saxes), Donald Edwards (drums), and the voice of Alison Crockett, Dr. Branker's music sparkles, shivers, roars, soothes, and shines throughout.  What he and the musicians should keep the involved listeners on their toes in this election.  

For more information, go to www.anthonybranker.com. To hear and to purchase the album, go to https://anthonybranker1.bandcamp.com/album/what-place-can-be-for-us-a-suite-in-ten-movements. 

Here is "Sundown Town":

James Brandon Lewis Red Lily Quintet – "For Mahalia, With Love" (Tao Forms) – Tenor saxophonist Lewis returns to the Red Lily Quintet –– Kirk Knuffke (cornet), Chris Hoffman (cello), William Parker (bass), and Chad Taylor (drums) –– the same group that recorded "Jesup Wagon", his tribute to Dr. George Washington Carver.  For this brilliant recording, Lewis not only pays tribute to the great 20th Century gospel artist but also to his grandmother who instilled the love of music into the young boy who was amazed by her love of the music.  Lewis and the RLQ do not play it safe, taking inspiration not only from the gospel material but from the power of improvisation as well as the work of Archie Shepp, John Coltrane, Albert Ayler, and other great tenor players who felt the fire emanating from the church music.  

For more information and to purchase the album, go to  https://jamesbrandonlewis.bandcamp.com/album/for-mahalia-with-love. 

Here's "Swing Low":

Rudy Royston Flatbed Buggy – "Day" (Greeenleaf Music) – The second gem to be recorded by drummer/ composer Royston and his simpatico ensemble composed of John Ellis (bass clarinet and clarinet), Hank Roberts (cello), Gary Versace (accordion), and Joe Martin (bass), the 10-song album is more of an "interior" album than the Quintet's 2018 debut. While still inspired by his childhood in Texas, the new album is built upon compositions that the drummer created during the pandemic with these musicians in mind. Whi]lew the music is quite impressive, the sound of this ensemble really stands out. Each instrument is distinct in the mix, each musician contributes to the success of the music, and it's a true joy to listen to these people play!  

For more information, go to  https://rudyroyston.bandcamp.com/ . 

Listen to "Thank You for This Day":

Tyshawn Sorey Trio – "Continuing" (Pi Recordings) – Jazz piano trio fans, take notice –– here's an ensemble that has much to offer.  Drummer and conceptualist Sorey plays in so many types of settings that one might consider his albums with pianist Aaron Diehl and bassist Matt Brewer as a move back toward the mainstream. Who cares?  This is a fascinating program; four long performances of pieces by Ahmad Jamal, Harold Mabern, Wayne Shorter, and the classic standard "Angel Eyes" by Matt Dennis, each one with standout performances. Diehl shines throughout (gives this person a MacArthur Genius Grant so he can realize his full potential –– it certainly worked for Sorey) while Brewer and drummer are solid without being intrusive.  In fact, Sorey gives his bandmates plenty of solo space, rarely stepping out but always keeping the music moving forward.  The Mabern piece, "In What Direction Are You Headed", seriously kicks and is an excellent tribute to one of Sorey's mentors.  

For more information go to https://tyshawn-sorey.bandcamp.com/album/continuing. 

Here's Mr. Shorter's "Reincarnation Blues":

More to follow!

A Life in the Day

Photo: Emra Islek

Hard to believe that it's been five years since Rudy Royston debuted his Flatbed Buggy quintet, the ensemble that includes John Ellis (bass clarinet), Gary Versace (accordion), Hank Roberts (cello), and Joe Martin (acoustic bass).  The group's self-titled debut (issued by Greenleaf Music) certainly surprised a majority of the drummer/composer's fanbase in that the contents were far more than a "blowing session"; instead one heard a series of song stories that reflected Royston's upbringing in Texas and the images that invoked in his mind.  The music felt more "Americana", in line with the music that the drummer was playing in Bill Frisell's ensemble.  

"Day" (Greenleaf Music) reunites the band post-Pandemic.  The 10-song program (eight by Royston with one each from Martin and Roberts) finds an ensemble comfortable in taking chances, pushing at the edges of composition to create not only delightful interplay but also strong solos.  We move through the "Day" starting with "Morning", a melody that stretches out played over time by each musician.  When Ellis lays down a rhythmical bass clarinet line that the other members of the band add their voices to, one gets the sense the group is "riffing" on Aaron Copland––Roberts' fine solo takes its cue from the bass clarinet line before Versace pushes the forward in a dialogue with Ellis. All the while, the rhythm section dances with abandon.  "Thank You For This Day" opens with the cello melody that turns into rhythmical strumming over Martin's pulsating bass and the dancing high hat. Then, listen as the melody and solos unfold off the rollicking opening.

This album finds the quintet in more of a "barn dance" mode much of the time. "Five-Thirty Strut" kicks off with a melodic drum solo but then gets down and funky. Notice how Martin and Roberts lock into the groove (listen below and try to sit still) then get "jazzy" beneath Ellis's solo. Kudos to sound engineer and mixer for the clarity of the sound throughout the album.  "Keep It Moving" is still funky but slinkier as well, the well-drawn melody moving atop a delicious "walking bass" line.  Then, the cello play in unison for a while before a quick stop and into Martin's fine bass solo (hints of Charles Mingus's "Haitian Fight Song" in there). 

Photo: R Royston

The album closes with Royston's short prayer-ballad "Time to Sleep" before moving into Robert's "A.M. Hours", a playful creep down the stairs for a late-night snack.  The tip-toe quality of the melody is echoed in the cello and bass lines while the accordion watches from the top of the stairs with the bass clarinet looking over its shoulder.  The drummer and his trap set sit this tune out, perhaps sleeping while the spirits play.

No matter what, "Day" is a splendid album, music for a breezy day, for a Summer night, sounds that caress and play with the listener like a good friend. Rudy Royston continues to grow as an artist, facilitator, arranger, and composer: Flatbed Buggy now seems to be his central mode of musical transportation and you should climb aboard!

For more information, go to www.rudyroyston.com.  To hear more and purchase the album, go to https://rudyroyston.bandcamp.com/album/day.

Put on your dancing shoes for "Five-Thirty Strut":

Playing, Praying, & Time Passages

Two very different projects are reviewed below; initially, what is interesting is how both projects dealt with time. 

Over the course of 2018-9, pianist, composer, and educator Noah Baerman spent a lot of time and energy putting together a project to honor his former student and collaborator Claire Randall who died in 2016 as a result of domestic violence.  That project, "Love Right", is a 17-song program featuring dozens of vocalists and musicians with as many styles of music as songs.  At the final recording session in late September 2019, producer Baerman found himself with two hours of unused studio time.  He and long-time collaborator, bassist Henry Lugo, put together a seven-song program; 90 minutes later, they had "Alter Ego" (RMI Records). 

What stands out in this music is the obvious communication between the two friends and how the music makes one feel so comfortable and never bored.  It's a fascinating septet of songs ranging from the opening "My Romance" (from Richard Rodgers and Lorenzo Hart) to the title track (composed by one of Baerman's influences, the late James Williams) to two pieces associated with Duke Ellington (Juan Tizol's "Caravan" and the great bandleader's "Prelude to a Kiss").  There is no feeling of being rushed or any intent to dazzle the listener with show of technical bravado––no, these songs make one listen closely, to absorb the handsome melodies and/or tap your feet. One. cam sense the duo is stretching out, having fun, shaking off the stress caused by the scope and intense emotions of the "Love Right" project.  

One can hear the blues influence of another one of the pianist's influences, Phineas Newborn, Jr. in pieces such as "Prelude..." and the funky take of Stevie Wonder's "Creepin'"(listen below).  Lugo, who has developed over the past decade into an excellent and melodic soloist, is solid and playful throughout (his "dancing" solo on "My Romance" is a highlight). 

The program closes with Tom Waits "I Want You" (a piece composed in 1971 but not released for over a decade) and it'a a delightful choice.  The music blends gospel and "pop" influences giving the duo the opportunity to expand upon the original ballad, imbuing the music with a hopeful feel.

"Alter Ego" is a lovely portrait of two friends doing what they love to do, playing music in the moment, and hoping to soothe frayed souls.  Noah Baerman and Henry Lugo have created a little gem that sounds good any time of day, any day of the year.  

For more information and to purchase the album, go to 

https://noahbaerman.bandcamp.com/album/alter-ego. 

Hear the duo go "Creepin'":

Over the three-plus decades of trumpeter and composer Dave Douglas's career, he has led several notable ensembles ranging from the Tiny Bell Trio to Charms of the Night Sky to the "Magic Triangle" quartet to Keystone to the first Quintet (including Donny McCaslin, Uri Caine, James Genus, and Clarence Penn) to Brass Ecstasy to Sound Prints (the quintet he co-leads with Joe Lovano. In 2011, Douglas organized a new Quintet with saxophonist Jon Irabagon, pianist Matt Mitchell, bassist Linda May Han Oh, and drummer Rudy Royston when he wrote and arranged the music for "Be Still", a group of hymns and folk songs the trumpeter played for his mother's funeral (the resulting album featured the vocals of Aoife O'Donovan). In 2015, the Quintet released "Brazen Heart", a collection of originals tunes and two hymns dedicated to the trumpeter's older brother Damon who had passed earlier that year. 

While creating the music that became the album "Secular Psalms" (released in April of this year), Douglas was also reading the 15 Psalms that make up "Songs of Ascents", a series of prayers sung by Jewish pilgrims on their way to the temple in Jerusalem on the three "Pilgrimage" holidays (Passover, Shavuot, and Sukkot).  The trumpeter was so moved that he began writing a new program of music that he thought would be perfect for the new Quintet (now a decade old). Once he had all the music, the world was in the early stages of the Pandemic. So, starting in May of 2020, Douglas recorded all his parts (including solos); he then sent the pieces to Irabagon (tenor, soprano, and soprillo saxes) for his contributions. From there, the music went to pianist Mitchell, then to Ms. Oh for her bass parts, and to Royston for his percussive touches. Once the drummer finished, the tapes returned to Douglas and engineer Tyler McDiarmid (who also mixed and mastered the project)

It's amazing how alive and collaborative this album sounds. For the project, titled "Songs of Ascent: Book 1 – Degrees" (Greenleaf Music), Douglas has created such splendid melodies while his musical partners on these journeys play with such sensitivity and intelligence that the music jumps out of the speakers (as if the band was in the same studio and not separated by distance and time––the project took over 12 months to complete).  Listen below to "Peace Within Your Walls"; note the well-constructed melody, the brilliant interactions of the trumpet and tenor saxophone, and listen to how the rhythm section is supportive and inventive. 

Photo: John Abbott

And the music has fire as well. The album opener, "Never Let Me Go" (the one composition not based on one of the Psalms), introduces the inspired interaction that comes from the musicians being comfortable with each and willing to challenge each other. "A Fowler's Snare" smokes from the opening note, hinting at being a free-for-all with a rollicking melody played by everyone save for Royston.  Both Douglas and Irabagon solo as the rhythm section threatens to fall apart. Ms. Oh's bass solo pulls the music together for a moment before launches back into the theme. "Lift Up My Eyes" moves from its "playing a scale" opening into a twisting and roiling exhibition of power. The final track, "Mouths Full of Joy", has a similar opening (listen to the fiery drumming), before the leader steps out for a hard-edged solo supported by Mitchell's angular piano chords. Irabagon's tenor spot is playful as Royston takes apart the rhythm.  Mitchell steps out next as the drums seem to explode beneath him while Ms. Oh keeps the the rhythm section from flying away. 

"Songs of Ascent" Book 1 – Degrees" stands out as yet another musical triumph for Dave Douglas. Even if you don't know the story behind the recording, this project is so alive, so musical, so collaborative, so fascinating.  Besides the leader, every other member of the Quintet is a leader in her and his right yet they come together as a coherent musical unit, supporting and stimulating each other. The Dave Douglas Quintet will be touring Europe in early 2023 and one hopes those live shows are archived for all of us to hear the five musicians sound playing this music together on stage. In the meantime, find this recording and dig in.

For more information, go to https://davedouglas.com/. To hear more and purchase the album, go to https://davedouglas.bandcamp.com/album/songs-of-ascent-book-1-degrees. 

Hear "Peace Within Your Walls":

There is a "Book 2 - Steps", eight more Douglas originals written for the Quintet and the music is just as impressive. However, the only way to listen to the album is to become a subscriber to Greenleaf Music. There are three tiers to choose ranging from $75 to $175–each level gives you access to all the recordings on the label through Bandcamp.com as well as special "live sets", alternate takes, and unreleased material.  The more you spend the more perks you get.  There is also access to monthly "Subscribers Sessions", right now on ZOOM only, in which you can meet and interact with musicians who record for the label and special segments of Douglas's "A Noise From The Deep" podcast now in its 10th year of interviews. 

As a subscriber myself, it's well worth the investment–you get access to some of the most fascinating music being released today. To find out more, go to https://greenleafmusic.com/subscribe/.