Upon graduating from Ohio State University in 1986, pianist and composer Russ Lossing moved to New York City. Over the decades, he has played and recorded with drummer Paul Motian, cornetist Kirk Knuffke, saxophonists Loren Stillman and John O'Gallagher plus many others. As a leader, he has recorded for HATOLOGY, Clean Feed, Fresh Sound, and Sunnyside Records. His music, while influenced by Thelonious Monk, Andrew Hill, and the afore-mentioned Motian, is wide open, leaving plenty of room for his collaborators to speak their own piece.
"Metamorphism" (Sunnyside Records), though recorded in 2017, sounds fresh and timeless. Joined by Stillman (alto and soprano saxophones), John Hébert (bass), and Michael Sarin (drums) –– all long-time associates –– most of Lossing's eight original pieces flow with serenity from one to another. Yet, there is intensity in how the musicians move towards and away from each other, how the solos rise up and make the listener aware that the music is not about technique but has emotional depth. The program opens with a percussive piano figure leading the rhythm section in with each musician playing elements of the melody. When the alto sax and piano play the main theme, one hears a Middle Eastern-influenced melody. Notice how the rhythm section stops and starts, how they create a dialogue with the piano and sax, especially during the solos.
Photo: Clara Pereira
The title track, the longest on the recording at 12:25, is dedicated to Paul Motian. The sparse opening moments recall Lossing's long relationship to the late drummer-composer, the piano presenting the melody before the bass and drums enter. Stillman plays soprano sax here, his long tones rising above the spare accompaniment. Slowly, steadily, the intensity ramps up with Lossing and Stillman weaving mini-rhapsodies around each other. Listen below to how the melody is moved back out front in the last moments of the performance. There are moments that the music reminds this listener of the Keith Jarrett American Quartet on the 1970s - 80s (of which the late Mr. Motian was a member).
Photo: Chris Drukker
Another longer track (9:31), "Blue Horizon", is dedicated to Andrew Hill. The music moves slowly, has a mysterious feel, yet one feels you can hear the band communicating with each other. The shortest track (2:35), "Pileatus", serves as a spotlight for Sarin's powerful, melodic, drums. The melody is percussive with the bass, piano, and soprano sax playing in unison. The funky "June Jig" dances forward on the drums and Hébert's rich bass work. Lossing sits out during the alto solo so one can really hear how Stillman interacts with Sarin and how the bassist complements them. "Canto 24" closes the album; again all four musicians state the theme before the solo section is a series of encounters, responses, reactions, and counterpoint. As the music moves forward, the quartet is responding to each other in such an organic fashion.
"Metamorphism" is an adventurous collection of pieces that never boils over nor lapses into cliches. The listener can hear how comfortable the musicians are with each other, allowing themselves to be continually challenged by the compositions of Russ Lossing. There's little clutter in the sound, the articulated piano notes stand out as do all the "voices" of the quartet. This album deserves to be listened all the way through each time to appreciate the beauty and the humanity the music contains.
Born in France but raised in Brazil, bassist and composer Gui Duvignau has led a fascinating life. His first musical interest was "heavy metal" but he soon discovered the bass work of Ron Carter (with the "classic" Miles Davis Quintet), Jimmy Garrison (with the John Coltrane Quartet), Jaco Pastorious, and Charles Mingus. He also explored the delights of Brazilian composers and performers. The bassist moved to the United States to attend the Berklee College of Music and on to Portugal and Paris, France for several years. While living there, the bassist co-led an ensemble with vocalist Sofia Ribeiro; they released an album, "Porto", is 2010. His debut as a leader, "Fissura", was also recorded in France (2014) and issued on a Brazilian label in 2016. Duvignau then moved to New York City to study at NYU's Steinhardt School of Culture, Education, and Human Development. There he met Argentinean-born pianist Santiago Leibson who introduced him to drummer Jeff Hirshfield and they created a trio.
His American debut, "3, 5, 8" (Sunnyside Records), features Leibson and Hirschfield plus, on several tracks, Billy Drewes (tenor saxophone) and German guitarist Elias Meister. The nine-song program, all composed by the leader, opens with two trio tracks, "Volta" and "'2'". The former is a ballad with a folk-like melody, moving forward in the style of the late Paul Motian. Leibson's rippling piano lines rise above the counterpoint of the bass and the conversational drums. Duvignau leads the way on the latter tune, also one with a folk-like melody, that turns towards swing especially during the delightful piano solo. Later in the program, the lovely ballad "Une Pensée Pour Paris", is notable for the melodic bass solo, Leibson's emotional piano phrases, and Hirschfield's artistic brushwork. The delightful "Vem Logo!" ("Coming Soon") is a sweet romp for the trio. Opening with a strong bass solo, the pianist follows with a solo built on a chordal progression that is continually and melodically mutating.
Photo: Thibault Della Gaspera
Drewes and Meister first join the trio on the atmospheric ballad "Yerevan". The piece, composed for the bassist's girlfriend, pushes forward on the insistent bass and piano with both the saxophone and guitar echoing the melody line. Near the close of the tune, Drewes creates a fiery solo with Meister's distorted guitar and the pianist's flowing lines serving as counterpoint. "Minas", inspired by Duvignau's first home in Brazil, opens with a handsome bass solo –– after a quiet start, Leibson leads the band into a samba rhythm over which the saxophonist creates a powerful, driving, solo. The bassist composed the dancing "Detuned for Drewes" to tap into the saxophonist's playful side and the quartet get into a sweet groove. Meister stands out on the raucous, blues-drenched, ballad "Somewhat", showing the influences of Ben Monder and Bill Frisell. His guitar lines sting, roar, and moan opening the door for a hard-edged tenor sax solo.
"3, 5, 8" serves as a delightful introduction to the musical worlds of bassist and composer Gui Duvignau. While the music he created for his fellow musicians gives the leader plenty of opportunities to solo, he all also leaves room for everyone else to shine. And they do! With music this good, one is excited to see where the bassist goes from here.
Pianist, composer, and interpreter Russ Lossing has had a fascinating career, one that now spans three + decades. He has worked with so many contemporary musicians, ranging from drummer Billy Hart to saxophonist Dave Liebman to guitarist John Abercrombie to vocalist Kendra Shank to cornetist Kirk Knuffke and beyond. There are really good reasons for his seemingly steady employment but the most notable is that Lossing is a thoughtful and creative pianist who truly immerses himself in every musical situation and gives his all. As a leader, he's recorded albums for Hat Art, Fresh Sounds New Talent, Clean Feed, SteepleChase Records, and Sunnyside, many in a trio setting as well as several solo recordings.
What you might not know is that, as a young man, he studied with the avant-garde composer John Cage and what I did not remember until reading the liner notes of his new recording, "Motian Music" (Sunnyside), was his long and close relationship with drummer and composer Paul Motian. The drummer would invite him up to his New York City apartment to help work on his compositions plus recorded several excellent albums as a sideman with the pianist. This tribute is a follow-up to Lossing's 2012 solo exploration of the late Motian's music "Drum Music" (also on Sunnyside). For the new album, Lossing works alongside his rhythm section of the past two decades, bassist Masa Kamaguchi and drummer Billy Mintz.
If you paid any attention to the music of Paul Motian since his ECM days (his debut as a leader, "Conception Vessel", came out in 1973) is that many of his pieces embraced melody and not always rhythm as one might expect of a drummer. "Motian Music" opens with "Asia", a lovely ballad first recorded by the drummer in 1978. One can hear the influences of American folk music as well as the melodic explorations of Keith Jarrett who the drummer first started working with in 1966. This tune stretches out easily, opening and closing with quiet solo piano.
The intimacy of the music is underscored by the fact that the trio recorded in the same room and that each piece was recorded in one take. That can only happen if there is great trust among the participants as well as an intimate knowledge of the material. Listen as the trio wends its way through "Jack of Clubs", swings heartily on "Fiasco" and "Dance", and gently moves through "Introduction" (a piece from 1985's "It Should Have Happened Here", the first trio effort by Motian, guitarist Bill Frisell, and saxophonist Joe Lovano). Kamaguchi has a deep bass sound and a great melodic sense while Mintz plays in the tradition of Motian, never overdoing anything, at times quiet as can be, and with excellent work on the cymbals.
"Motian Music" closes with the whisper-soft "Psalm" a piece so quiet at the outset one has to lean into the speakers. Soon, you can make out a melody from the piano as the bass plays a slow counter-point. The drums and cymbals color the piece as the music floats forward. The sounds seem to hang in the air, like early morning clouds on a Spring morning awaiting the sunrise. A glorious ending to a splendid album of music. Russ Lossing's love and respect for Paul Motian the man and composer shines through every track - the listener is the beneficiary and, honestly, in these days of uncertainty and daily unkindness, one needs this music.
For more information, go to www.russlossing.com. (The album will be released on February 22).
Here's an uptempo track to whet your appetite
Photo: Harvey Tillis
Over the course of four albums, the Joe Policastro Trio - Policastro (bass), Dave Miller (electric guitar), and Mikel Patrick Avery (drums, percussion) - has proven itsefs as adept translators of many different styles of music, from their 2013 debut where the Trio (albeit with a different guitarist and drummer) danced its way through Leonard Bernstein's "West Side Story" to its delightful interpretations of popular music that one can hear on its more recent efforts.
Album #4 (and the third release by the current trio since June of 2016) is "Nothing Here Belongs" (JeruJazz) - the nine-song program features six Policastro originals and three unique covers including a fascinating remake of "The Wandering Sea", first recorded in 1963 by Santo & Johnny (who are best known for 1959's "Sleep Walk"). Miller, who is also currently working with saxophonist Greg Ward's Rogue Parade, blends a country music feel into his guitar sound while Avery (whose creative music credentials include working alongside cornetist Rob Mazurek and bassist Joshua Abrams) keeps a steady, uncomplicated, yet urgent beat.
I grew up musically in the 1960s when trios such as Cream and the Jimi Hendrix Experience defined the "power trio" (in those days, that meant three musicians and a wall of Marshall amplifiers). Over the years, I found the trios led by John Abercrombie, Jim Hall, Bill Frisell, Jeff Parker, and several others very appealing. The rhythm section is so integral to the success of the music and the lead guitarist needs to balance melodic, harmonic, and rhythmic duties. That is also what is so appealing with the JPTrio. Yes, the leader stands out as the chief composer here yet, without the interaction and intelligence of Miller and Avery, the music would not shine. What the listeners get on "Nothing Here Belongs" is a band that likes to take chances without blowing your ears off. As they have done on previous recordings, the music moves from "swing" rhythms to blues to folk-influenced pieces to rock to jazz (even a touch of "surf" guitar.) The trio has no fear - they tackle Talking Heads "This Must Be The Place (Naive Melody)" and really capture the emotion inherent in the piece. They also get "down & dirty" on the bassist's "Bloodshot" yet listen to Miller's guitar moving through various styles. Policastro's "Plain Song" is a fascinating and handsome melody that suggests Frisell's country side with a funky touch. Yet, there is an intensity that pushes the piece forward, especially when Miller goes into his solo. The leader solos on most tracks - that's good because he's quite a melodic player. He also enjoys playing counterpoint to Miller on many of the tracks. Avery is so supportive; he rarely steps out but the drums are a force throughout.
The Joe Policastro Trio is blessed with a 3-day-a-week (Sunday through Tuesday) steady gig at Pops for Champagne, North State Street in Chicago. That regular schedule (3 sets a night) allows the band to continually work on material, tighten it up, revisit older pieces, play with arrangements. "Nothing Here Belongs" is enjoyable from start-to-finish and I recommend you listen several times to understand just how good this music and the JPTrio is.
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