Pay Attention

 It's back in the writer's chair for me again.  The fracture in my left arm is healing and it does not hurt to type. So much music has collected on my desk and desktop since the beginning of April, and much of this music is stellar!  

When flutist, composer, and arranger Jamie Baum assembles her Septet+, she always has an important story to tell. The group's fifth album (including the first album, 2003's "Moving Forward, Standing Still" released on OmniTone Records which is credited only to the Septet)  and fourth for Sunnyside Records, "What Times Are These", is most definitely a Pandemic-inspired recording. Ms. Baum came off the road in March of 2020 and, like her contemporaries, her performance slate was wiped clean. As the early weeks of the shutdown wore on, she found that Bill Moyers has created a site ––  billmoyers.com/spotlight/poetry-for-the-pandemic-2/   –– where the composer found a treasure chest of poems that spoke to the conditions of the day.  She collected a group of poems and began composing melodies and arranging the pieces for her larger ensemble.  The results, a 10-piece program, are impressive for its wide focus, the excellent music, and the various voices (Ms. Baum, Mr. Finlayson, Aubrey Johnson, KOKAYI, Sara Serpa, and Theo Bleckmann) who bring the words (and sounds) to life. 

Photo: Lisa Hagen Glynn

There's so much to digest here. Start with the music. The album opens "In The Light of Day", Luis Perdomo's insistent one-note surrounded by percussion until the French horn of Chris Komer plays a melody before leading Jeff Hirschfield and the rest of the ensemble in.  Ms. Baum takes the first solo followed by the crisply-executed notes of the trumpet. Then, the next cut, "To Be of Use", introduces the poetry of Marge Piercey (born 1936) –– the leader reads the text while Sam Sadigursky's clarinet and Perdomo's piano dance beneath her.  After the poem, the music slowly tiptoes in before a change in tempo introduces a melody that leads to a powerful guitar solo from Brad Shepik.  Listen below and pay attention to the excellent electric bass work of Ricky Rodriguez as well as the overall arrangement. 

Perhaps the most surprising track is "Sorrow Song" that blends a poem by Lucille Clifton (1936-2010) with the Hip Hop-influenced rhythms and words of KOKAYI.  While the original poem is from 1988, the words are sadly relevant today with the thousands of children dying In Israel and Gaza. While the rhythms and powerful voice pull you in, there are also strong solos from Ms. Baum, guitarist Shepik, and drummer Hirschfield, the last solo framed by the singer and the wordless vocal of Aubrey Johnson. I would be remiss not to mention the excellent vocal work of Sara Serpa and Theo Bleckmann, both in helping the listener understand the intention of the poetry and in the sensitivity of their vocal work.

All seven poems are by women (besides two from Ms. Piercey and one from Ms. Clifton, there are two pieces from Adrienne Rich plus one each from Tracey K. Smith and Naomi Shihab Nye) –– the Moyers' website offered Ms. Baum multiple choices but the ones on the album are the ones that fit her music the best.  What fascinating music and intelligent arrangements! Take your time with this 75-minute program, savor the performances, find your experiences or those of your loved ones or even a reason to change how you live your life in the words, and imagine a better world built upon this music.

For more information, go to https://jamiebaum.com/projects/septet-plus/. To hear more and to purchase the album, go to https://jamiebaum.bandcamp.com/album/what-times-are-these.  

Here's a piece based on a poem by Marge Piercey:

Personnel:

Jamie Baum - flutes, spoken word
Jonathan Finlayson - trumpet, spoken word
Sam Sadigursky - alto saxophone, clarinet, bass clarinet
Chris Komer - French horn
Brad Shepik - guitar, singing bowls
Luis Perdomo - piano, Fender Rhodes
Ricky Rodriguez - bass, electric bass guitar
Jeff Hirshfield - drums
Theo Bleckmann, KOKAYI, Sara Serpa, Aubrey Johnson - vocals
Keita Ogawa - percussion

Slowly but steadily, pianist and composer Marta Sanchez is making her music heard. The native of Madrid, Spain. Ms. Sanchez began her career in her native country leading a trio and quartet plus working as a sideperson in various projects.  A Fulbright Scholarship brought her to New York City in 2011 to study at NYU. Soon, she organized her own Quintet, recording three albums for Fresh Sound New Talent and 2022's brilliant "SAAM (Spanish American Art Museum)" for Whirlwind Recordings.  Her latest recording, and first for Intakt Records, is "Perpetual Void" –– the 11-song program, all composed by the pianist, feature her interactions with the rhythm section of bassist Chris Tordini (Steve Lehman, Tyshawn Sorey) and drummer Savannah Harris (Aaron Parks, Joel Ross). I saw the Trio perform in late March of this year at Firehouse 12 in New Haven, CT (see picture below) and can tell you that they are a dynamic ensemble in person.

Photo: The Author

Judging by the song titles ("Prelude to a Heartbreak", "The Absence of People You Long For", and "Prelude to Grief"), one might think the music is dark and foreboding or a set of mournful ballads. But, in an interview with Ms. Sanchez, she denied that she was writing from a "dark place" or that the music was a form of catharsis.  What much of it is is powerful, rhythmic, and demanding of your attention. "3:30 AM" does refer to a bout of insomnia the composer had been dealing with yet the music flies with a joy and power that belies any harsh feelings.  Because the music has several hairpin changes, the Trio has to really be paying close attention to each other and it shows here. Mr. Tordini and Ms. Harris are locked in from the beginning of the song and have a dynamic interaction before the piece returns to is opening theme. Listen below to "The Absence of People You Long For", pay attention to each instrument and their relationship to the melody and rhythm. No matter where you drop the needle on the album, the Trio is engaged and the music is open for the listener to engage with the musicians.

"Perpetual Void" does throw a new spotlight on the music and musicianship of Marta Sanchez as it's her first international release in a trio setting. Technically, she's an excellent pianist yet her melodies often "sing" while her solos show power and delicacy when called for. Her work on this album with Chris Tordini and Savannah Harris stands out and one hopes they continue to move in new directions.

For more information, go to https://www.martasanchezmusic.com/.  To hear more and to purchase the album, https://intaktrec.bandcamp.com/album/perpetual-void. 

Listen to "The Absence of People You Long For":

Saxophonist and composer David Murray (born in 1955) seemingly burst on to the Black Music Scene in the mid-1970s and has been a major voice ever since. From his work with the World Saxophone Quartet to his Octet to bands led by James "Blood" Ulmer, Jack DeJohnette and others, his fiery and bluesy playing never fails to excite audiences around the world.  Over the past several years, he's been working with a quartet that features pianist Marta Sanchez, bassist Luke Stewart, and drummer Russell Carter.  After a late Fall 2023 European tour,  the Quartet finally got the opportunity to go into Hardstudios in Winterthur, Switzerland, in November –– the results can be heard on "Francesca" (Intakt Records).  If you're a David Murray fan, rest assured. This is an impressive collection of tunes, all but one of the eight tracks a Murray original.

The title track opens the program. Dedicated to Murray's wife, Dr. Francesca Cinelli Murray, the music is a fast waltz with the warmth of the saxophonist's emotions heard in the opening melody and wide-ranging solo that follows. Ms. Sanchez colors the background as the rhythm section push the music forward.  Listen below to "Ninno", play it loud and feel how the music dances atop Carter's drums and Stewart's bouncing bass lines.  Feel the swing elements, listen to how the pianist supports and responds to the saxophone's melodies, then sit back for Murray's powerful tenor solo. Ms. Sanchez does not try to match the leader's intensity but she really dsigs into her solo blending melody and rhythms with her partners. One imagines this is the kind of music that brings an audience to its feet when played in concert.  

Photo: Martine Barrat

Murray's bass clarinet playing is featured on two tracks. "Shenzen", named for a Chinese city north of Hong Kong, has a quiet opening and a handsome melody. The mellow bass clarinet sound is supported by drummer Carter's mallet-driven drum work, a dancing bass line, and Ms. Sanchez's impressionistic piano chords and counter-melodies.  The piano solo contains tinges of McCoy Tyner in the glistening high notes runs.  Later in the program, the leader pays tribute to A.A.C.M. founder and collaborator Muhal Richard Abrams with his interpretation of pianist Don Pullen's "For Richard".  The waltz-line rhythms leave room for fine solos by Murray, Ms. Sanchez, and Stewart , all with smart interactions from Carter.

The album closes with two more powerful examples of this fine ensemble's ability to blend melody, rhythms, and dynamic variations to create an inviting and exciting sound.  "Free Mingus" has yet another fine melody line but be sure to pay attention to how the bass and drums push the song forward. Stewart's lines push and pull at the frames of the song but never lose their way while Carter's drums suggest funk, swing, and more.  Ms. Sanchez's solo is quite impressive and the bass spot shows just how melodic and expressive Stewart is.  The final track, "Cycles and Seasons", is, at times, bouncy and bright as well as powerful and cyclonic. Murray's tenor displays his trademark swagger and power as well as how he locks in with the rhythm section.

Over the course of five decades of transcending genres and creating powerful Black Music, David Murray remains at the pinnacle of Creative Music. He's been mentoring young musicians for many years but this quartet, comprised of young veterans, is, arguably, his best working group in many years.  Play this album often and marvel at how tight yet "loose" this music can be, then hope he brings this Quartet to a venue near you so that you can "feel" these sounds moving through your body and mind!

For more information, go to https://davidmurray.xyz/.  To listen to and purchase the album, go to  https://intaktrec.bandcamp.com/album/francesca.

Take a look and give a listen to "Ninno":

These Sounds & Those Words

 

Argentinean-born pianist and composer Emilio Teubal creates music that shines with lyrical beauty, sparkling solos and interplay plus rhythms that make you dance and sway. His 2013 BJU release, "Musica Para un Dragon Dormido", is one of my all-time favorite albums. Teubal has been busy since moving to the United States over two decades. He writes constantly and has worked with artists such as bassist Pedro Giraudo, cellist Erik Friedlander, and various tango organizations and groups in the New York City area.  Currently, he leads a trio with bassist Pedro Lanouguere and drummer Chris Michael.

Those two musicians are the foundation of his new recording "Futuro" (Not Yet Records).  Recorded in several sessions in December 2021 and May 2022 (drummer Michael has been dealing with long COVID so Brian Shankar Adler appears on five of the 10 tracks, all recorded at the later sessions).  Joining the trio on three tracks is Sam Sadigursky (clarinet) and Fede Diaz (guitar) while vibraphonist Chris Dingman adds his sound to three other cuts.  From the opening measure of the opening cut (the title track), the listener is transported to sunnier climes.  The dancing clarinet and percussive guitar wrap around the warming piano figures. Bassist Lanouguere, who leads a quintet that Teubal is part of, is a rich melodic player with a full tone on both acoustic and electric; he also contributes fine bow work (he and the pianist play the opening melody of "Children of MMXX"––he then solos sans bow and is quite impressive there as well.

Photo: Sergio R. Reyes

Of the three tracks Dingman appears on, "Remolinos" stands out for its hypnotic piano figures and circular melody. There is a Steve Reich in the piano lines that is repeated by the vibes and the electric bass throughout. It certainly feels like all four musicians are percussionists and melody makers at the same time.  The vibraphonist also appears on the handsome take of Sir Paul McCartney's "Blackbird".  While the piece is the shortest track in the program (2:35), the arrangement allows everyone to shine and the melody to stand out.  

Photo: Sergio R. Reyes

The blend of the acoustic guitar and clarinet on "Los que Fluyen" hints at tango as well as Brazilian folk forms––Teubal's solo rises out of the main theme, dancing atop the guitar and electric bass then steps aside for Sadigursky to create a masterful, emotional, solo.  The quintet imbues "Tokyo Trenque" with such a gentle quality, caressing the melody while Adler's hand percussion clicks underneath.  The music picks up with intensity during Lanouguere's acoustic bass solo from which Teubal moves farther away without going "free" but much more impressionistic. The clarinet solo seems to move the rest of the band back to melody; after a quick climax, the music gently sighs to a close.

The album closes with "Los Ultimos Seran Los Primeros"  ("The last will be the first"), a wistful Trio piece dedicated to the pianist's father who passed in 2021.  The insistent quality in the piano solo allows the listener to hear touches of Keith Jarrett in the delightful two-hand work of Teubal.  As you listen to this track (and others), one can really tell that these musicians are in tune with each and with the material.  "Futuro" stands out as a work that celebrates life and melodic adventure without sacrificing the rhythms that have sparked the curiosity of Emilio Teubal since he was a boy.  Listen to "Rio" below––it's indicative of how the music incorporates its many influences to create sounds that please, hug, and brings joy!

For more information, go to www.emilioteubal.com.  To hear more and to purchase the album, go to  https://emilioteubal.bandcamp.com/album/futuro-2023. 

Join the group on its journey to "Rio"

Photo: Jimmy Katz

What do you get when mix drummer Matt Wilson, bassist Mimi Jones, and saxophonist Jeff Lederer, give them two nights at the end of February 2020 in the newly reopened Cafe Bohemia in New York City, and let them loose.  It's the Leap Day Trio and now you can hear the results on "Leap Day Trio: Live at The Cafe Bohemia" (Giant Steps Arts). The music on the recording is spirited, lively, at times thoughtful, and very human. Messrs. Wilson and Lederer have been friends and musical partners on and off for three decades; adding Ms. Jones to their special mix neither tempers nor hinders their musical fun. Instead, she's a solid foundational player and a melodic soloist (check her out on "The Dream Weaver" and "Leap of Faith").

The nine song, 68 minute program, opens with Wilson's "Dewey Spirit", (listen below) a tune the drummer dedicates to one of his earliest mentors and employers, tenor saxophonist Dewey Redman. Commencing with percussion and Lederer's spiky tenor sax sounds, the piece opens in rubato with Ms. Jones dancing underneath the melody line.  When the main theme kicks in, one hears a running bass line, swinging drums, and the saxophonist flying all around his horn.  Everyone solos, the energy is contagious, and the crowd enjoys it all.

Two of the next three tracks are ballads ("Leap of Faith" and "Ghost Town") but the track in between ("The Dream Weaver") rumbles along atop the pulsing bass and percussion.  "Ghost Town" is a fascinating journey through the musical terrains of blues, post-bop, and during the bass solo, the feel of Native American music. Lederer lets loose on the opening of "Strival For Survival"––that sets the tempo for the rhythm section and they rocket forward. When the tempo slows down for Ms. Jones fine solo, listen for Wilson's delightful work on the cymbals.

Photo: Jimmy Katz

The program closes with the spirited "For Friends"––again, Lederer leads off the piece with a solo introduction but one can hear from his exciting forward lean, the music is going to be fiery.  Even when the gentlemen step aside for Ms. Jones spirited solo, the music has great drive.  

One hopes that the Leap Day Trio doesn't only convene every four years. In the meantime, celebrate the group's music on "Live at The Cafe Bohemia".  

Hear Matt Wilson's musical tribute to Dewey Redman:

Braithwaite & Katz · Leap Day Trio - Dewey Spirit

Trumpter, composer, mentor, and author Jeremy Pelt has just issued Volume III of "Griot: Celebrating the Lives of Jazz's Great Storytellers".  15 more interviews with artists whose ages range from 89 (Wayne Shorter) to 28 (Elena Pinderhughes) sharing insights into their musical and spiritual upbringing, how they each developed a singular voice, and the changes they have seen in this art form created by black musicians at the start of the 20th Century.  These are stories of resilience in the face of the racism that has never truly been eradicated in this country and in places around the world. Many of the artists speak of how the changes that other musical forms (styles) have brought to the music keeps it alive in the face of listeners and label owners apathy.  But you also read of how musicians have been mentored by their musical elders, about the rigors of the road, and the cost, mental and physical, of a musician's calling.  Still, there are joys galore in their retelling stories of their formative days and nights on and off the bandstand.  

Photo: Ra-Re Valverde

I have written before how "Griot" will remind older Black Music fans of "Notes and Tones: Musician-to-Musician Interviews", the 1977 classic interviews drummer Art Taylor compiled that featured 29 of the greats who helped push the music forward in the middle decades of the 20th Century.  Jeremy Pelt has given us the 21st equivalent of Mr. Taylor's book and, hopefully, he will continue to converse with his elders, contemporaries, and young people for years to come!

For more information and to order any one or all three volumes of "Griot", go to  http://jeremypelt.net/home.html.

Magical Moments of Music

If you listen to music from other countries and other hemispheres, one thing you may notice is how the populations in warmer climes (Central and South America, Africa, The Middle East, the Pacific Islands, to name a bunch) create music that blends percussion with melody, often with delightful results.  If one only listened to the ECM Records albums by Egberto Gismonti (pictured left), you might think he was an acoustic musician/composer with a great understanding in his country's indigenous music as well as European classical music. He is that and much more. Try and find Mr. Gismonti's Brazilian recordings from the 1970s and 80s. There, you hear music that combines even more influences, including the "Tropicália" movement of the late 1960s that produced such amazing artists such as Caetano Veloso, Gilberto, and Tom Zé.


Resonance Records owner George Klabin has been a huge fan of the Brazilian's music since he first heard his musician in the 1970s.  In 2016, he introduced clarinetist/saxophonist Eddie Daniels to Gismonti's music and the seeds for "Heart of Brazil" were planted. Daniels made several suggestions, including hiring Ted Nash to write arrangements as well as the idea of pairing a string quartet with a "jazz" quartet.  The producer picked the material, all but one piece ("Tango Nova", composed by Daniels) from Gismonti's Brazilian albums and employed the Harlem Quartet - violinists Ilmar Gavilán and Melissa White, violist Jamey Amador, and cellist Felix Umansky - putting them in the studio with Daniels, pianist Josh Nelson, bassist Kevin Axt, and drummer Marco Zottarelli.  Besides Nash's five arrangements), long-time Resonance Records arranger Kuno Schmid arranged five pieces while pianist Nelson added two and Mike Patterson (who had arranged pieces on Daniels's duet albums with pianist Roger Kellaway).

Photo: Detroit Jazz Festival

The results are, in a word, magnificent.  Bask in the delightful melodies of the faster pieces such as the two that open the album, "Loro" and "Baiâo Malandro". The former has been covered numerous times by artists such as Esperanza Spalding, guitarist Paolo Martell, and, most recently, by Anat Cohen on her Tentet recording "Happy Songs." That's understandable, with its joyous "Flight of the Bumblebee"-like melody line.  Note here how strings flow around the melody but also how Daniels' solo is echoed by the rousing drum work of Zottarelli.  The string quartet introduces the latter tune hinting at the funky, fast-paced tune to follow. If anything, the melody line is even faster than its predecessor. Played here by Daniels and Nelson, it's absolutely breathtaking! (Check out the original version here). The drummer is quite the spark plug here as well.

The ballads chosen for the album each have their charms and surprises.  "Trem Noturno" ("Night Train") opens as slow moody melody for tenor sax and piano before bursting into a fiery mid-section (including a splendid piano intro and give-and-take between strings and tenor), and then into a slower clarinet solo and the rapid-fire close.  "Auto-Retrato" ("Self-Portrait") includes a lovely string quartet intro before Daniels (clarinet) and Nelson play the melody. The entire ensemble then enters and the piece moves forward gently.  More of a classical feel is heard on "Adagio", the strings bathing the clarinet in showers of sweet counterpoint - take note of bassist Axt's fine accompaniment and Zottareilli's lovely brush work.

"Heart of Brazil" is a oft-times dazzling tribute to the music of Egberto Gismonti played with heart, soul, and wit by Eddie Daniels and company. It's a lot of music for one CD (nearly 78 minutes) yet I have no idea what the producer could have edited.  Take your time and deep breath, dive in and no matter where you emerge, the guarantee is that you'll be bot entertained and refreshed!

For more information, go to eddiedanielsclarinet.net.

Here's the official release promo video from Resonance Records:

Guitarist and composer Jean Chaumont, born in France, moved to Princeton, New Jersey, in 2014 and slowly, steadily, began playing his own music in the United States. Back home, he had composed music for advertisements, short films, and documentaries plus arranged pieces for several different artists.  For his debut album "The Beauty of Differences" (Misfitme Music), he gathers an excellent group of musicians - saxophonist Sam Sadigursky, pianist and Rhodes player Michael Bond, bassist Ike Sturm, and drummer Rudy Royston - to play nine original works.  Chaumont plays an electric acoustic guitar (with effects) plus steel string and nylon string guitars. While he is intimately involved in all phases of this music, he does not hog the spotlight giving plenty of room for others to solo.  Sadigursky plays both tenor and soprano saxes throughout (but no clarinet) with the tenor adding weight to the music.  Bond, who has worked with the Captain Black Big Band and saxophonist Tim Warfield among others, often matches the guitarist's impressionistic work - even his Rhodes work has a lighter quality.  Royston, who can light a fire under any ensemble, does not only play with his usual gusto but also displays his sensitive brush work and ultra-musical use of cymbals.

Photo: Eastman Guitars

The title tune adds the vocals of Vinod Gnanaraj, sung in his native Tamil language, and the splendid percussion of John Hadfield.  With the quintet swirling around them, the music goes in various directions at different tempi.  Tierney Sutton adds her lovely voice to "Prayer For Creation" which celebrates the Creator in word and song (lyrics by Cathy Yost).  The blend of acoustic guitar, soprano saxophone, and voice is quite pretty. Notice how the rhythm section moves the piece forward without force.

One can hear the influences of Chick Corea and progressive rock on pieces such as "PPCB" with its rapid-fire opening an d chordal progressions.  Royston kicks hard during the solo section, pushing Bond and Sadigursky to really dig in.  The album opener "Renewed Perspective" starts quietly but builds in intensity as Chaumont's long solo unwinds. The ballads engage the listener with fine melody lines ands intelligent solos. The rich tenor tones of Sadigursky dominate the first 2/3rds of "This One is For You", moving his way through the melody with emotion and grace.  The leader takes a short but sweet solo over the shimmering cymbals.  "For Each One of Them" starts ever-so-slowly with guitar, bass, and drums moving gracefully through the melody (note the excellent bass work).  Then the tenor enters leading the piece forward until the guitarist changes the direction with his rhythmical chord strumming. Bond, Chaumont, and Sadigursky exchange short solo lines as Royston creates a storm below.  The drummer gets his own spotlight, heating up the proceedings as he is wont to do.

Drawing: Jaynie McCloskey

"The Beauty of Differences" is a response to the New World that Jean Chaumont has moved to. Instead of being repelled by the craziness, he searches for beauty, for communication, for interaction, and for hope.  The quintet is in sync throughout, not just respecting the composer's intent but building upon it, making his ideas sing.  If you give this music more than a cursory listening, you'll be impressed by the depth and emotion of the performances.

To find out more, go to www.jeanchaumont.com.

The vast majority of the proceeds from the sale of the album go to finance the excavation of wells in Sakata region of Malawi, a landlocked republic in Southeast Africa.  Particularly hard-struck by drought and the AIDS virus, the country is aided by the NGO, Villages in Partnership - to find out more, go to villagesinpartnership.org.


Take a listen:

Music from Red Piano

Pianist, composer, and educator Frank Carlberg, is also the founder of Red Piano Records.  Based in Brooklyn, NY, the label has issued a number of impressive CDs over the past 5+ years, many of which feature Carlberg as leader, co-leader or ensemble member.  His own projects are often built around poets, i.e. 2009's "The American Dream", the poems of Robert Creeley set to the pianist's original melodies. His most constant co-conspirators are his wife Christine Correa (vocals) and Michael Sarin (drums).

Both are featured on his latest project.  "Word Circus" sets the words of 4 contemporary poets - Ken Mikolowski, Joe Elliot, Anselm Berrigan, and Ron Padgett -  to an impressive group of melodies.  Rounding out the group are bassist Pascal Niggenkemper and alto saxophonist John Gallagher. There is a minimalist feel to Mikolowki's "Things to Do in a Economic Crisis"; in fact, the title is longer than the body of the poem which reads "Buy low/Sell high."  The music is much more expansive, the funky melody and rhythms supporting Ms. Correa as she plays with the title and the 4 words.  O'Gallagher and Carlsberg share the solo space, pushed along by the forceful rhythms.  Mikolowoski also wrote "Ecology", a ballad on which Ms. Correa caresses the short free-form verse that reads "Some day soon nothing will be made out of wood not even trees." The interaction of the music starts quietly but slowly picks up during the piano solo, a lengthy excursion during which Carlberg moves farther and farther away from the original melody.  The blend of the wordless vocal and O"Gallagher's supporting alto sax lines creates great tension that Sarin picks up on and expands upon before the short, quiet, coda that returns to the poem. (The 10 tracks on Carlberg's 2013 CD "Big Enigmas" all use Mikolowski's poems for its lyrics).

The 2 shortest tracks, "On Some Level" and "Lullaby", both utilize poems by Ron Padgett. The former has a pleasing melody, an honest message and a wonderful counter melody played by O'Gallagher winding in and out of the vocal. "Lullaby" has a similar melody line with ethereal sounds from the saxophone, a musical forest one might encounter in a dream.  The trance-like piano figures and skittering drum sounds (floor toms, snare and cymbals) set a mysterious path for the alto sax and wordless vocal to follow; soon, Ms. Correa returns to the text and the story comes together.

If we use the British meaning of circus (an open circle, square, or plaza where several streets converge), it helps to bring "Word Circus" into better focus.  The different "avenues" of voice, words, melody, and musical interpretation do converge into an "aural" plaza that feels, at times, comfortable and a bit unsettling. The "poetry projects" of Frank Carlberg may remind some of the work Steve Kuhn and Sheila Jordan created for ECM (specifically 1979's "Playground") and that's fine - the music has much to offer, returning to your mind at all times of day like a slowly unraveling puzzle.

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

For his debut album as a solo artist, pianist, organist, and composer Dan Kaufman has created a most comfortable setting for his  original music. With the splendid rhythm section of drummer Jonathan Blake and bassist Matt Clohesy (several tracks feature percussionist Keita Ogawa) plus the expressive work of Sam Sadigursky (tenor and soprano saxophones) and Gilad Hekselman (guitar), Kaufman creates 8 portraits of contemporary music that easily transport the listener beyond the mundane.

While living in Boston, MA, Kaufman studied with Danilo Perez and Fred Hersch (it's hard not to recognize the work these 2 men have done with a number of young pianists on the scene) at the New England Conservatory and recorded/worked with the Either/Orchestra, Miguel Zenon and drummer Bob Moses.  Graduate work at the Julliard School brought him into the teaching sphere of Kenny Barron and then onto work and/or recordings with trumpeter Dominick Farinacci, trombonist Nick Vayenas, bassist Ben Wolfe, as well as saxophonists Wayne Escoffery and Donald Harrison.  He has worked with vocalists such as  Nneena Freelon, Kevin Mahogony and Gretchen Parlato.

All of that education and training doesn't amount to much (other than an impressive resumé) if one's music does not move the listener.  Kaufman wisely titled debut CD "Familiar Places" because it does displays his talents as a composer and performer while illustrating how he has already begun the (life-long) process of moving away from his influences. On certain levels, the music is "familiar" in its song forms and melodies that allude to Messrs.  Hersch, Barron and Keith Jarrett.  What stands out is the work of the musicians, the rhythmic attack and the gentle colors created by Blake, the lively interplay of piano with saxophone and guitar, and Kaufman's expressive piano.  Hear how he floats atop the rhythm section on "Dew Eye" and creates a chordal cushion for both the guitar and saxophone. "Kuumba" suggests an African excursion such as the ones created by Abdullah Ibrahim and Randy Weston yet the "lighter-than-air" quality of the piano chords, the lilting lines of soprano sax, gentle melody from the guitar as well as the excellent work from Blake, Ogawa and Clohesy in creating the "bounce" makes the music shine brightly. "Cross Check" suggests both the late Allen Toussaint and the long-running New Orleans-based group Astral Project in its funky attack; dig the overdubbed Hammond B-3 solo, the sweeping guitar sounds and the sweet soprano sax lines.

Cornelia Street Cafe

There is a grace and maturity in the handsome ballad "Falling Petals" plus fine bass work, a gentle piano solo, and an expansive, emotionally rich, tenor sax statement. When you return to listen again, pay close attention to how Blake maneuvers so freely beneath the rest of the band.  His drive and delivery on the title track makes the music sound new, refreshing and challenges his musical companions to play with similar intent and creativity.

By the time the listener reaches the final track, "Farmington", one should feel comfortable following the musicians wherever they take the music. The sound is expanded to allow the organ to rise out of the rhythm section, for the "gospel" chords from the piano serve as counterpoint to the guitar sounds, and for the drummer to create his own storm that passes like a late summer shower.

Dan Kaufman, along with producer and fellow pianist Randy Ingram, have created a aural document of an artist spreading his creative wings, enjoying his opportunity and getting the best from his fellow participants. "Familiar Places" has been in rotation on my trips to and from school for the past 2 months, the music filling the car with its joyous noise and seemingly putting color back into the late autumn/early winter skies.

For more information, go to www.dankaufmanmusic.com.  To learn more about Frank Carlberg's fine record label, go to www.redpianorecords.com.

And here's one of the delightful tracks from "Familiar Places":