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

Spring Brings Joyous Music

 

Trombonist, composer, band(s)leader, and educator Ryan Keberle is the very model of a 21st Century musician.  His trombone playing feels at home in Latin music ensembles, alongside contemporary songwriters such as Sufjan Stevens, leading his quintet Catharsis, or in ensembles led by Dave Douglas.  It's no surprise that on a trip to Brazil in late 2017 that he would hook up with a fine trio of local musicians; even better, he returned six months later and recorded with these musicians. 

The results can be heard on the exciting and expansive "Sonhos Da Esquina" (Alternate Side Records).  Credited to Ryan Keberle's Collectiv do Brasil, the trombonist and the trio––Felipe Silviera (piano), Thiago Alves (bass), and Paulinho Vicente (drums)––examine three compositions from Milton Nascimento, two from Toninho Horta (a contemporary of Nascimento), and three by Keberle.  One can hear the influences of Brazilian MPB, of Wayne Shorter's 1975 recording "Native Dancer", and hints of Pat Metheny's explorations into World Music, especially in the movement of the rhythm section.  Even so, pieces such as "Clube Da Esquina 2" and "Aqui, Oh!" move in ways that you can hear their origins. The latter tune, originally composed by Horta for Nascimento (1969), takes off from the beautifully expressed original melody (in rubato) into a lovely samba rhythm. Both Keberle and Silviera take fine solos that handsomely swing over the activity of the rhythm section. 

Several of the pieces come from Nascimento's self-titled second album such as the afore-mentioned "Aqui, Oh!" as well as the lovely ballad "Tarde" (words by Nascimento, music by Márcio Borges). The latter song sounds to this listener like it could have been composed by Duke Ellington or Billy Strayhorn––the trombonist and pianist create emotionally strong solos.  "Clube Da Esquina 2" is the title track of a 1972 double album Nascimento made with singer-songwriter-guitarist Lô Borges that many consider a landmark MPB recording for its variety and myriad styles.  The softer ballad opens with a bass solo that introduces the main melody with Alves plays in unison with Keberle.  The piece gains in power as it moves forward but never loses its melodic aim.

The album closes with Horta's "Francisca" which Nascimento recorded for his 1976 album "Milton". It, too, is a ballad (at least, for the first 2/3rds of the tune), also quite emotional; this version features excellent melodic and contrapuntal playing from bassist Alves plus he creates a splendid solo. That's followed by an appropriately mellow piano.  Note how the tempo picks up as Silviera is playing so that when Keberle takes off on his solo, the rhythm is quite powerful.

"Sonhos Da Esquina" ("Corner Songs") is a delightful journey into Brazil with Ryan Keberle's Collectiv Do Brasil.  Thoughtful, passionate, and melodic music that reaches deep into your soul. Listen closely.

For more information, go to http://ryankeberle.com.  To hear more and to purchase the album, go to  https://ryankeberle.bandcamp.com/album/sonhos-da-esquina.

Hear the Milton Nascimento-penned opening track:

Two decades into his professional career, pianist, composer, arranger, and bandleader Manuel Valera is hitting his stride. His 2020 release "Jose Marti En Nuevo York", was his first big band album as well as his debut on Greenleaf Music.  That album combined poetry, politics, folklore, and a splendid original score.  As you can see from the personnel listed below, the 20-member plus vocalist ensemble dubbed the New Cuban Express Big Band is filled with A-list musicians from New York City–the blend of Jimmy Macbride and Samuel Torres on drums and percussion is nothing short of magnificent.

"Distancia" is the big band's second album. Although there is no "theme" that unites the program, the eight Valera compositions all stand out. Whether it's strong construction of the compositions, the fiery rhythms, the excellent section writing, or the fine solos, this music should grab your attention from the get-go and not let go.  The opening track, "Expectativas", is the title track of the New Cuban Express's 2013 release (its second)––here, like there, the band jumps out with the melody shared by the brass and reeds (the lead bounces back and forth. The leader's piano keeps the music on an even keel and kudos to bassist Hamish Smith for his free-flowing lines built off the piano chords. The lush melody and harmony lines of "Gemini" really sing yet the rhythms remain exciting.  There are several splendid solos including one from trumpeter Stuart Mack plus the baritone sax spot for Andrew Gutauskas and the leader's jaunt over the drums, percussion, and bass.

Camilla Meza joins the band for "From Afar", her wordless vocal supported by the reeds and guitar with the many colors of the brass. Valera layers the reeds and the brass behind the voice then steps away for a long and excellent solo from trumpeter Michael Rodriguez.  When she returns, her voice is joined by the saxophones while the trumpets respond. Ms. Meza joins the the alto sax of Remy LeBouef and Valera's roller-coaster piano figures to lead the band into the medium-tempo "Pathways".  Moments later, it's the flutes with the voice, then the muted trumpets, then the sections push the entire ensemble to the solo section with contributions from Jeremy Powell (tenor saxophone), bassist Stuart, and drummer Macbride.  

In the long run, it's the melodies and performances that will bring you back to "Distancia". The title track (listen below) has a lovely and emotional melodies that touches the heart. The stunning soprano sax solo (Charles Pillow), the powerful trombone work (Mike Fahie), the lovely wordless vocal from soprano Bogna Kicińska, and the gentle rolling rhythms lull one into a peaceful space. 

The album closes with "Remembered" but instead of the song being an elegy, the piece leaps in on the guitar of Alex Goodman plus the snap and crackle of the percussion. The middle of the piece opens for strong solos from trombonist Andy Clausen and trumpeter David Smith before the entire band dances towards the finish line.  Run don't walk to grab "Distancias", easily one of the finest large ensemble albums you'll hear this year. The New Cuban Express Big Band shines throughout thanks to the great music and arrangements of its leader Manuel Valera––kudos all around!!

To hear more and to purchase the album, go to https://manuel-valera.bandcamp.com/album/distancia. 

Hear the title track:

Tracks:

1) - Expectativas

2) - Gemini

3) - From Afar

4) - Pathways

5) - From the Ashes

6) - Impressionistic Romance

7) - Distancia

8) - Remembered

Personnel:

VOICE
Camila Meza, voice (3, 4)
Bogna Kicińska, voice (7)

TRUMPETS
Brian Pareschi (lead)
Michael Rodriguez (3, 5, 6, 8)
Stuart Mack (on all except 5 & 8)
David Smith
Alex Norris (on all except 3 & 6)

SAXES
Michael Thomas, alto sax, soprano sax & flute
Roman Filiu, alto sax & flute (3, 5, 6, 8)
Remy Le Boeuf, alto sax & flute (1, 2, 4, 7)
Joel Frahm, tenor saxophone (3, 5, 6, 8)
Jeremy Powell, tenor saxophone, clarinet (1, 2, 4, 7)
Andrew Gutauskas, baritone saxophone & bass clarinet

TROMBONES
Matt Macdonald (lead)
John Yao (3, 5, 6, 8)
Mike Fahie (1, 2, 4, 7)
Andy Clausen (3, 5, 6, 8)
Sam Blakeslee (1, 2, 4, 7)
Jeff Nelson, bass trombone

RHYTHM SECTION
Manuel Valera, piano
Alex Goodman, guitar
Ricky Rodriguez, bass (3, 5, 6, 8)
Hamish Smith, bass (1, 2, 4, 7)
Jimmy Macbride, drums
Samuel Torres, percussion

Three by Three for February

Pianist Frank Woeste and trombonist Ryan Keberle first met in 2015 while playing with trumpeter Dave Douglas.  The pianist, born in Germany now based in Paris, France, and the trombonist, born in Spokane, WA, now based in New York City, decided to create a project –  which they named Reverso – that blended 20th Century music with jazz because they felt that certain elements of the two "genres" have influenced composers and performers right up to the present.  They recruited French cellist Vincent Courtois and drummer percussionist Jeff Ballard to work with them.  Composer Maurice Ravel (1875-1937) served as the influence for the group's 2018 debut album "Suite Ravel" using his six-part "Le Tombeau de Couperin" as a stepping-off point for both revising the piece for four voiced and creating compositions of their own influenced by the great master.

2020 brings Reverso's second album "The Melodic Line."  Released on the leaders's Out Note Records (released through Outhere Music), the ensemble has been pared down to a trio with the subtraction of Ballard. Instead of focussing on one composer, this time the music bears the influence of Les Six, six French composers –  Darius Milhaud, Francis Poulenc, Arthur Honegger, Georges Auric, Louis Durey, and Germaine Tailleferre – all of whom were active in the first decades of the 20th Century.  Woeste studied the music of Milhaud, finding influences as varied as American jazz and Brazilian music.  Meanwhile, Keberle spent his time exploring the music of Ms. Tailleferre (1892-1983). Even though she lived a long life, her most successful period of writing was between the two World Wars.

The nine-song program kicks off with Woeste's "Blue Feather", a handsome melody pushed along by the composer's piano and the deep tones Courtois's cello. The piece tunes percussive with clapping supporting the piano solo until the cello br=egins counterpoint and the trombone plays a melodic accompaniment.  Keberle's "Exemplar" is next; again, it's deep tones of the cello in the introduction that first catch your ear. Then, the trombone and cello share the melody over the spare piano accompaniment.  Courtois's lovey solo with piano accompaniment and counterpoint stands out. The trombone solo rises over the melodic piano and pizzicato cello, feeling like the aural equivalent of clouds cutting across the blue daytime sky.

This music is often quite lovely, a fascinating blend of classical, jazz, and folk melodies.  There's a funky feel to Woeste's "Absinthe" (especially in the piano's left hand in tandem with the plucked cello while Keberle's "Major Jack" has an anthemic intro that opens up to a long melody line before a sparkling piano solo.  The album closes with the pianist's lovely "Clara", yet another example of how the various voices work together to not only support the rich melody but to create a sonic flow under the pizzicato cello solo.

Reverso creates music that pushes, albeit gently, at barriers, eschewing genre, creating memorable melodies in an atmosphere of creativity and trust.  The album title – "The Melodic Line" – does give one a good idea of what you're in for.  Ryan Keberle and Frank Woeste, along with the quite impressive Vincent Courtois, make music that will excite and soothe your soul.  Give a long listen!

For more information, go to www.frankwoeste.com and/or www.ryankeberle.com.

Here's "Exemplar":

Pianist and composer Aaron Diehl still seems like he's the "new guy at the keyboard" but he's been playing professionally for, at least, 15 years.  He's worked with a slew of artists, ranging from Wynton Marsalis to Wycliffe Gordon to the New York Philharmonic and the Cleveland Orchestra.  His most high-profile gig is with vocalist Cecile McLorin Salvant.  Listening to Diehl is such a treat; he loves melodies, is an excellent improviser, and has absorbed myriad influences into his own articulate statements.  There are certain reviewers and critics who tend to lump him into the musical "Neo-cons" but, truly, he's his own man.  In a trio setting, one hears traces of Bill Evans, Ahmad Jamal, Herbie Hancock, and even a touch of Memphis Slim in his blues playing; plus, his touch is impeccable.

"The Vagabond" is Diehl's third release for Mack Avenue Records and features his current trio of Paul Sikivie (bass) and Gregory Hutchinson (drums - the picture above features the Trio's former drummer, the late Lawrence Leathers). The program features 11 tracks with seven originals from the leader plus pieces by Sir Roland Hanna, John Lewis, Sergei Prokofiev, and Philip Glass (interesting that those four pieces are the final tracks on the album).  One should notice how quiet many of these pieces are – Diehl and his rhythm section do not need to "shout" to get their musical points across and that allows the listener to really pay attention.  Note the power and classical influences on "Park Slope" as well as the strong bass solo and excellent drum work.  The subtle power of "Lamia" is its quiet yet insistent rhythm and Diehl's superb piano melody and solo.  The whisper-touch of Hutchinson's cymbal work and Sikivie's simple yet powerful bass work allows the leader to range far afield without losing touch with the thematic material.

Photo: Jaime Kahn

This music really captures one's attention. The title track opens with a melody line that seems to keep rising along with impressive counterpoint from the bassist.  Notice how Hutchinson plays beneath the piano solo, toying with the time and accents yet never tripping up his musical partners.  There's also a strong classical feel to the lovely ballad "Treasures Past."  Diehl opens his solo with such a soft touch and, while he does play a bit harder at times, the real power in the piece is how melodic the trio is.

"Prokofiev's March" is the first of the last four tracks. It's a dazzling display of powerful rhythms, martial-sounding piano chords, and intense forward motion. Sir Roland Hanna's "A Story Told, Seldom Heard" is a lovely ballad with a rich chordal melody and one more impressive bass solo.  The unaccompanied piano opening of Lewis's "Milano" leads into a light-hearted, even a bit sentimental, ballad with more gentle cymbal colors and a touching piano solo.  The album closes with Glass's "Piano Etude No. 16" in which the rhythm section gets to work with creating solos while Diehl moves the music forward.  The power of his chordal work near the end of the piece plus its repetitive nature becomes hypnotic over the course of eight-plus minutes.

"The Vagabond" is an often stunning and soothing 65 minutes of music from Aaron Diehl, made all the more powerful and interesting by the work of bassist Paul Sikivie and drummer/ cymbalist Gregory Hutchinson. Even though each member of the Trio is a master of his instrument, this music is rarely about technique and always about the emotional richness of the compositions and the performances.  Take the time to absorb these sounds – it's worth the adventure!

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

Here's the John Lewis piece:

Photo: Chris Drukker

Saxophonist Dayna Stephens (he plays soprano, tenor, and baritone) has been on the creative music scene for the past decade recording eight albums as a leader plus appearing on dates with trumpeter Brian Lynch, guitarist Perry Smith, pianist Theo Hill, and bassist Linda May Han Oh (plus others). Over his career he's also played alongside Fred Hersch, Muhal Richard Abrams, Roy Hargrove, Ambrose Akinmusire, Wayne Shorter, Rufus Reid, John Scofield, Lionel Loueke, and Gretchen Parlato.  He's been much more active since a kidney transplant in 2015 saved his life. After recording for Criss Cross Records and Sunnyside Records, Stephens started his own label in 2017 – Contagious Music – where he released "Gratitude", a quartet date with Brad Melhdau, Julian Late, Larry Grenadier, and Eric Harland.  His saxophone influences are many and varied; he's also an accomplished bass player but has yet to record on the instrument.

His new album, "Liberty" (Contagious Music), is his first trio date.  Featuring Harland and bassist Ben Street, the 11 song program (10 originals plus "Planting Flowers" from Aaron Parks) is filled with intelligent playing, intuitive interactions, fine solos, and Stephens playing with such confidence and joy.  "Liberty" can have several meanings; in this setting, especially without a chordal instrument plus the saxophonist is also talking about creating art in a society that is "free" but those freedoms are under fire from may sides.  Can Stephens's music help by reminding listeners that we music work together to produce positive results, that we each have a say in the world we want to live in but must be cognizant of the needs of others.  No matter what you think the word means, the album "Liberty" is a delight from start to finish.

Photo: Paola Piga

The album, recorded at the Rudy Van Gelder Studios in Englewood Cliffs, New Jersey, has such an immediate sound as if the trio was in the room with you.  There's an undercurrent of blues that runs through pieces such as the opener "Ran" and the closer "Wil's Way" (dedicated to organist Wil Blades).  Street and Harland set the tone by swinging with a purpose, giving Stephens a delightful cushion of sound to bolster his attack. In his notes, the saxophonist writes that "Faith Leap" is inspired and influenced by John Coltrane's "Giant Steps"  – even more inspiring for Stephens is Harland's funky attack and Street's melodic bass lines.  The leader turns to baritone saxophone for "The Lost and Found", a handsome ballad that is emotionally strong and shows the leader's impressive range on the big horn. He recorded the song on the tenor sax for his 2007 debut "The Timeless Now", a sextet date that also featured this rhythm section.

Photo: Chris Drukker

Give a listen to "Loosy Goosy" down below and you'll hear the closest connection to the classic Sonny Rollins Trio recordings of the 1957-1958. Stephens is now imitating the great tenor innovator but displays a similar confidence and big sound as the elder did on the recordings.  Don't miss the African-influenced "Tarifa" – the city for which the song is named sits at the southernmost end of the Iberian Peninsula, just eight miles from Morocco.  Harland's splendid drumming along with Street's foundational bass lines and Stephen's overdubbed saxophones makes this track irresistible.

"Liberty" sounds great, with musical interactions that will not only keep your attention but also make you move your feet and nod your head.  Dayna Stephens, along with Ben Street and Eric Harland, has made one of the most memorable albums of the past several years, brimming with ideas, melodies, and rhythms, exuding confidence and pleasure. Dig in – dig it!

For more information, go to daynastephens.net. The album will be released on 2/28/2020.

Here's the afore-mentioned "Loosy Goosy" in the studio:

Pull Up a Seat, Give a Listen, a Good Listen

Since vocalist Camila Meza joined Ryan Keberle & Catharsis in 2014, the quintet has gone from strength to strength Though Ms. Meza was not a full member in that year, she did sing on five of the eight tracks of "Into The Zone" (Greenleaf Music) plus the bonus track, Sufjan Stevens' "Sister."  Two years later for "Azul Infinito", her voice had become an integral part of the quintet, an ensemble that features Keberle (trombone, keyboards), Michael Rodriguez (trumpet), Jorge Roeder (acoustic and electric basses), and Eric Doob (drums).  That group also recorded 2017's "Find the Common, Shine a Light", a recording made in the wake of the 2016 U.S. election with music that was a strong indictment of the election process and results yet without pointing fingers. That album also featured several short improvised pieces plus longer pieces that showed the versatility of its members.

"The Hope I Hold" is a step forward for the group. Rodriguez is gone, replaced by tenor saxophonist Scott Robinson (who actually has guested on a number of Keberle's earlier albums).  Also, the sound of the band has expanded with the addition of Ms. Meza's excellent guitar work plus vocal contributions from the leader and from Roeder.  The program is split in two fascinating halves. The first five tracks are Keberle compositions with lyrics adapted from the great American poet Langston Hughes (1902-1967), specifically from his 1935 poem "Let America Be America Again." Hughes's powerful words (read them here) are been lightly edited to fit the equally powerful music.  The four tracks that make up "The Hope I Hold Suite" are driven by the impressively forceful rhythm section, by the intelligent melodies the leader has created, by the mixture of reeds, brass, and guitar, plus the strong vocal work.  Ms. Meza, an immigrant from Chile, understand the history of this country, has seen the remnants of "Jim Crow" that exist throughout the U.S. – yet, there is neither vitriol in her voice (as there is none in Hughes's words: sorrow yes but not burning hatred) nor sorrow in her delivery.  One does hear hope, hope for a better country, a more compassionate leadership, and a better understanding of the myriad issues facing the world. Following the suite is another Keberle composition.  "Campinas" not only features his trombone and keyboards but also he sings lead.  The first part of the piece has a strong Brazilian feel, especially in the "floating" voices and the exciting drum patterns.  The second part starts with understated percussion, synthesizer sweeps, and a lyrical trombone solo before the drums kick back into the rhythms of the opening under the trombone solo and the guitar spotlight that follows.

Photo: Takahiko Tokusa

The next four tracks introduces The Catharsis Trio.  Composed of the leader, Ms. Meza, and bassist Roeder.  The trio first worked together on a tour of Japan when the promoter really wanted the music but could not afford to bring the entire band.  Needless to say, the participants viewed the tour as a both a challenge and an opportunity to see the material in a different light.  The guitarist contributes the lovely "Para Volar" – the blend of voice, guitar, bass, and trombone is alluring. Roeder's first recorded composition, "Peering", has quite a fine melody with the various voices playing off each other, providing fine harmonies as well as smart counterpoint.  The team of Manuel Jose Castillo (lyrics) and Gustavo "Cuchi" Leguizamon (music) composed "Zamba de Lozano", a song
made famous by Mercedes Sosa.  Ms. Meza caresses the lovely melody while Keberle offers handsome support and even shadows her on several lines. The Trio closes its set with a rearranged version of "Become the Water" of the previous Catharsis album that took its title from the chorus of this song.  Here, Keberle intertwines the sounds of his Korg Minilogue synthesizer into the mix but the words are loud and clear.

The album closes with with "Epilogue/Make America Again", a chorale for voices, trombones, and keyboard that ends with a long drawn-out chord (sounds like an organ).  The music has the feel of a prayer, a wordless plea for hope that seems to have eluded many of us in the past two+ years.  Bitterness and cruel satire is no help – it is imperative that we all talk to each other, at community meetings, in churches, mosques, and synagogues, in the classroom, in the halls of the government. Then, "The Hope I Hold" may become a reality.   Ryan Keberle & Catharsis continue to make relevant music, the writing continues to mature, and the musicianship is of the highest caliber. Now that Ms. Meza's immense talent is being put to its full use, next time around, perhaps Scott Robinson will get to employ his full array of instruments. Imagine that!!

For more information, go to ryankeberle.com.

Give a listen to "Campinas":

Photo: Ken Drew

Saxophonist, violinist, vocalist, and composer Tori Freestone has been busy making a name for herself in her native England and on the Continent.  As a leader or co-leader, she's issued four CDs and has appeared on recordings by Ivo Neame, Andre Canniere, and a group called Compassionate Cow.  Ms. Freestone has also worked in a number of British big bands and smaller ensembles plus is currently a tutor for the National Youth Jazz Collective and for Trinity College of Music in London.  Her main musical vehicle at the moment is the Tori Freestone Trio based on her saxophone playing and compositions with the delightful rhythm section of Dave Manington (bass) and Tim Giles (drums).

The Trio has just issued its third recording for Whirlwind Recordings.  Titled "El Mar de Nubes" ("the Sea of Clouds"), much of the program was inspired by the saxophonist's retreat to the Canard Islands at the close of 2017.  There she wandered the landscape catering her thoughts, inspired by the longs walks in the natural forests and mountains as well as viewing the Super Moon, a phenomenon that makes the night as bright as day when it rises.  The music she created from her sojourns is not radically different than her previous two Trio discs yet one feels that the three musicians are locked in more than ever before.  The title track opens the album with the leader's saxophone interacting and responding to the lyrical bass lines and dancing brushes work.  Dig the funky opening of "Hiding Jekyll", how the rhythm section locks into the groove even as the saxophonist plays a double-time on top of them. Pieces such as "Hasta La Vista" and "Los Indianos" have such a playful quality, the former (composed by the bassist) built off a speedy riff that has hints of Trio Air in how the sax and bass work together over the dancing drums while the latter rises out of Giles's drums interacting with the cowbell. The riffs Ms. Freestone play may remind some of Sonny Rollins's playful interactions with Ray Brown and Shelly Manne on "Way Out West."

The album also includes two versions of the traditional American song "Shenandoah."  Version 1 is all instrumental, replete with wonderful bass playing (note Manington's fine bow work  and his deep sonorous phrases in response to Ms. Freestone's wide-ranging solo (she rarely strays far from the original melody but does create an impressive solo).  In the middle section, Giles creates a hypnotic rhythm for the bass solo (note how the saxophonist plays long, breathy tones behind Manington)that leads into a more expansive tenor spotlight.  Version 2 is quite different – Ms. Freestone accompanies her vocal with keening fiddle tones.  The bassist creates a counter melody behind her, joined a verse later by Giles's skittish drums.  The violin solo brings to mind the raspy tones of Charles Burnham and, when Ms. Freestone moves away from the melody, the music moves into more playful territory. The trio does return to the melody; this time, the vocalist sings with just the drums as her accompanist before it fades out on Giles.

"El Mar de Nubes" is music well worth exploring. Over the course of seven years and (now) three albums, Tori Freestone, Dave Manington, and Tim Giles have become tighter and looser, the former through the many gigs they have played and the latter from the trust they have built by playing all those gigs. Sadly, I don't see any live dates on this side of the Atlantic Ocean listed for the album release tour but this is a Trio one needs to hear live.  That written, the new album is one for listening deeply and all the way through!

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

This video should serve as a great introduction to the album:

2017 - What a Year, Especially for Music! (Part 1 - Voices)

Most years are a blend of happy and sad, chaos and peace, health and illness, loss and gain. 2017 certainly was that way for me. Reading the news from home, from Washington, throughout the country and the world, one is not surprised that our capability for shock is tested every minute our eyes and ears are open.  Music reflects all that and more; often music deflects all that and more.  We have as much a need to be entertained as we do to hear our favorite artists try to speak or sing "truth to power."  No surprise that Kendrick Lamar's recent CD is titled "DAMN" and in all caps.   The lists of favorite television show are peppered with programs ("Handmaid's Tale", "Dark", "Stranger Things") that warn us of dictatorships, of totalitarian governments of the near-future, of women continuing to struggle to be equal.  Are we surprised by the almost daily "sexual harassment" charges levied at movie and television personalities, at producers and directors, at trusted newsmen.  And at government officials.

Music reminds many of us of what can be good, that the creative process brings people and audiences together, if not to change the world than just a small part of it and, maybe, just for two to four hours.

Listed below, and in subsequent posts, are the albums that brought me joy and hope through this year,  created by artists who made me question my beliefs or soothe my spirits.  Step Tempest was quieter than normal this Fall, actually since the end of July.  Not that I wasn't listening to music but, perhaps, I needed it step back to see a bigger picture. True, I was committed to other projects that took more of my time that I expected but, in the past, I found the time to write because the artists who send me their music, the publicists who are kind to hang with me, the people I interact with when I are writing and doing radio interviews appreciate the work I do. No excuses, no apologies. Just thought you should know.

Part one is but 10 of the, possibly, 36 recordings I think deserve recognition.  This list contains albums with voices, many with poetry, some I never had the opportunity to write about.

If you held me down and ordered me to tell which album was my true #1 choice, I would admit to "Matt Wilson's Honey And Salt Music Inspired by the Poetry of Carl Sandburg" (Palmetto).  It's not just because I saw the band live at The Side Door Jazz Club in Old Lyme, CT, and was invited on stage to read with the band ("We Must Be Polite" with the delightful Bo Diddley-beat and more)...well, that was great (I mean, Ron Miles, Jeff Lederer, Dawn Thomson, Martin Wind, and the irrepressible Mr. Wilson....did I mention Ron Miles?) but the album has so much going for it, so much diverse music, pithy poetry, and at the center of its big heart, the need to connect in dark times.  Might not be your cup of joe (or Matt for that fact) but every time I listen to the album or relive the live gig, it brings a smile to my face.

Been a good couple of years for poet Emily Dickinson what with, at least three CDs of her works set to music plus the brilliant 2016 movie "A Quiet Passion."  Jane Ira Bloom connected with Ms. Dickinson when she discovered that poet was a pianist and that her poetry has a sense of improvisation about it.  Ms. Bloom and her brilliant ensemble (bassist Mark Helias, drummer Bobby Previte, and pianist Dawn Clement) created the 2-CD "Wild Lines: Improvising Emily Dickinson" (OTL Records); CD One features 14 originals plus the Rodgers-Hart classic "It's Easy to Remember" while the second disk has the same songs plus the voice of actress Deborah Rush reading snippets of the poetry that inspired the songs (save for "It's Easy....")  Ms. Bloom takes a different approach than Matt Wilson, the music is not inspired by Americana but is certainly American music, with swing, with flowing melodic passages, splendid interplay, and soaring improvisations.  What a tribute, what a treat!

"Freedom Highway" is the latest album from Rhiannon Giddens and it posits the racial insecurities rife in the United States in the heart of the music.  For all those people who woke up the morning after the 2016 and saw that our country truly was not united (not that it wasn't obvious during the previous administration and the highly flammable voices raised during the endless election cycle), for those people whose voices were just beginning to be heard in this country, this music hears your concerns and gives you hope.  Perhaps the best way to move forward after being knocked to the ground is to keep telling your stories of hope, of reconciliation, of recognition, of dancing until your body expels the evil spirits, of remembering that battles are rarely won without sacrifice and pain. Yes, there are moments of pure joy, moments of anger, pride, lust, love, of hope.

Trombonist-composer Ryan Keberle & Catharsis looked for hope on "Find The Common, Shine a Light" (Greenleaf Music). Original songs mixed with intelligent covers ("The Times They Are A'Changing", "Fool on The Hill", "Al Otro Lado del Rio") played by a band that enjoys working together including trumpeter Michael Rodriguez, bassist Jorge Roeder, and drummer Eric Doob plus the voice and guitar of Camila Meza.  Also a response to the 2016 election, the music reached out to divergent audiences across this country, reminding people that creative musicians see what's going on in the world they travel through, that they react by playing music to exemplify community, togetherness, showing how men and women from different backgrounds can share a common  vision.

Ms. Meza is also part of pianist-composer Fabian Almazan's album-length suite "Alcanza" (translate to "reach") - the music, released on the pianist's Biophilia Records, speaks to the need of conservation of natural resources, to education, to the proliferation of wars and homelessness and more.  The rhythm section of Linda May Han Oh (bass) and Henry Cole (drums) know when to stoke the fire (and when to hold back) while Almazan's string arrangement are sophisticated and essential.  Note how melodic the solos are, how those arrangements frame and interact with the voice and soloists, and just how powerful the music is.  A shout-out to the string section of violinists Tomoko Omura and Megan Gould, violist Karen Waltuch and cellist Noah Hoffield for their stellar work.  All in all, a splendid recording.

Trumpeter, vocalist, saunter player, composer and arranger Amir elSaffar expands upon his studies of Iraqi maqams with his 2-CD masterwork "Not Two" (New Amsterdam Records). Written for his 17-piece Rivers of Sound Orchestra, the songs flow with grace and elegance, moves on the power of the brilliant rhythm section (drummer Nasheet Waits and bassist Carlos de Rosa), and draws on many traditions to create an aural sound painting  that shifts gears all the time. Keeps you on your toes does this music without condescending to popular tastes or being strictly traditional - the more creative composers do that and Amir elSaffar is deserving of all the accolades he has received for his brilliant contributions to music and to educating his listeners to the width and breadth of Arabic culture.

Amy Cervini, Hilary Gardner, and Melissa Stylianou - collectively known as Duchess - added much-needed brightness to a cold and dark winter (heck, the whole darn year) with "Laughing at Life" (Anzic Records). The group's music, a potent and pleasurable mix of standards from the "Great American Songbook" and beyond.   Each with solo careers and two with young families, they come together to invite listeners out of the ordinary and the humdrum into a world where harmonies, melodies, smart and sassy arrangements (from the fertile mind of Oded Lev-Ari) and sometimes saucy and often sweet lyrics tell delightful stories.  Special guests Wycliffe Gordon (trombone, scat vocal) and Anat Cohen (clarinet) augment the musical trio of Michael Cabe (piano), Matt Aranoff (bass), and Jared Schonig (drums) - guitarist Jesse Lewis and tenor saxophonist Jeff Lederer also add their unique voices to several tunes.  The music can certainly stand on its own but does the sun shine brighter when these three voices step out in front. Whew! What joy!

Ms. Gardner joins forces with pianist Ehud Asherie for "The Late Set" (Anzic Records), an aural evocation of smoky nightclubs, out of the glare of the lights of Broadway, perhaps down a set of stairs, with glasses clinking while the audience sits quietly listening.  Mostly composed of ballads, the performers do not rush through these performances (mostly from well-known composers of the 1920s-1950s. Asherie is the perfect accompanist, framing Ms. Gardner's supple voice with lovely reactions,interactions, and harmonies.  O, and that voice....plenty of emotion, a dash of playfulness, every lyric can be understood, even felt. "The Late Set" is more than the midnight hour at the cabaret - listen to the songs and you'll hear the fine line between blues, joy, and sadness.

I'm still processing the amazing 2-CD "Dreams and Daggers", the latest album from Cécile McLorin Salvant. Mostly recorded live at The Village Vanguard with her Trio of Aaron Diehl (piano), Paul Sikivie (bass), and Laurence Leathers (drums), this music often shimmies, shakes, struts, slithers, slides, and sashays out of the speakers. Plus don't miss the songs that whisper, sigh, shudder, and sit in wonder. There are also several shorter tracks recorded in the studio where Ms. Salvant's voice is accompanied only by the strings of the Catalyst Quartet and piano - those tracks, arranged by bassist Sikivie, add a classy touch but your brain will be forever rearranged by the torch songs, by the intelligent choice of material from the Great American Songbook and the early blues of Bessie Smith (pianist Sullivan Fortner accompanies the vocalist on "You've Got To Give Some") and Ida Cox.  The multi-sectioned "Somehow I Never Could Believe", composed by Langston Hughes and Kurt Weill for their "American" opera "Street Scenes" (1947), is a certifiable masterpiece as performed by Ms. Savant and the Trio.  So much to behold here.

Vocalist Lizz Wright strikes pay dirt on "Grace", her second album for the Concord Music Group. Produced by Joe Henry, who surrounds this lovely alto voice with the twin guitars of Chris Bruce and Marvin Sewell, the acoustic bass of David Piltch (one great underrated bass player), drummer Jay Bellerose, and the keyboards of Kenny Banks and Patrick Warren plus an occasional choir.  Compare her version of "Stars Fell On Alabama" (first recorded by the Guy Lombardo Orchestra in 1934) to the one on the Duchess CD - two great interpretations with Ms. Wright's dreamy reading displaying her Southern roots (born in Georgia and now living in North Carolina) while Henry's arrangement gives the song a glow of late evening.  Ms. Wright covers tunes from Birds of Chicago, Bob Dylan, Sister Rosetta Tharpe, Nina Simone, k.d. lang, Ray Charles, and others, making each song her own without losing the beauty, joy, anger, and soul within.

Each one of these albums buoyed my spirit - the next list will feature albums from younger musicians, from veterans, from masters, and several delightful reissues.

Hiatus Watching & Listening (Pt 2)

The Music Mountain "Twilight Concerts" series presents Ryan Keberle & Catharsis on Saturday August 12 at 6:30 p.m. in the historic Gordon Hall.  The quintet - Keberle (trombone, melodica, keyboards), Jorge Roeder (acoustic and electric bass), Eric Doob (drums), Camila Meza (guitar, vocals) and special guest Scott Robinson (saxophones, trumpet, filling in for regular member trumpeter Michael Rodriguez) - has been touring a lot this summer in support of its new "protest" album, "Find the Common, Shine a Light."  The program features several Keberle originals, several "group" compositions, and inspired renditions of songs by Bob Dylan, Jorge Drexler, Paul McCartney, and Vito Aiuto & The Welcome Wagon.

The album addresses issues that arisen since the beginning of the 2016 Presidential Election cycle and in the wake of the Donald Trump Presidency.  The album covers shows protest placards with statements about immigration, human rights, respect, and more.  The band does not beat one over the head - they want you to think, respond, and make sure your voice is heard.  No sitting back and letting other people speak for you.

For ticket information, go to musicmountain.org/category/concerts/ or call 860-824-7126 or 860-824-7626.

Here's the group's take on Bob Dylan's "The Times They Are a-Changin'":



Take a listen to Vito Aiuto's song:



Here's a track from the new Bill Cunliffe record "BACHanalia" that I will review when the hiatus is through.  It's a smashing arrangement of a tune by Oscar Levant (that's a character from the past) and features a wonderful flugelhorn solo from Terell Stafford:




And, while in a bit of ballad mood, here is the duo of Jason Anick (electric mandolin) and Jason Yeager (piano) with the rhythm section of Greg Loughman (bass) and Mike Connors (drums) performing a George Harrison tune. They've got a fine new album on Inner Circle Music titled "United."





How about a "modern" brass quartet. The Westerlies, born in Seattle, WA, and now based in New York City, make such fascinating music.  The foursome includes Riley Mulherkar and Zubin Hensler on trumpet, and Andy Clausen and Willem de Koch on trombone. Here's a piece from each of the ensemble's two Songlines recordings. The first album was dedicated to the music of Wayne Horvitz:



The following track is a Duke Ellington tune from the ensemble's self-titled second album: