Classic Fall Weekend + CD Picks

After a 3-gig weekend last week, The Side Door Jazz Club in Old Lyme has only 1 show this week but it's a good one.  On Friday, Jan and Ken welcome the duo of Steve Wilson (alto saxophone) and Lewis Nash (drums) - their new CD "Duologue" (Manchester Craftsmen's Guild) is a joyous blend of classic works by Duke Ellington, Thelonious Monk, Thomas "Fats" Waller and others plus several fine originals (my review is here).  They've been friend and occasional bandmates for many years and a performing duo since 2001.  Wilson has the sweetest tone on alto, unlike the broader, bluesier, tones of Johnny Hodges, David Sanborn or Arthur Blythe.  Nash has played with many groups and artists over his career, from Joe Lovano to the late Mulgrew Miller.  Together, they are just a delight!  This should be quite an evening of music.

Doors open at 7:30 p.m. and the music starts at 8:30.  For ticket information, call 860-434-0886 or go to thesidedoorjazz.com.

Guitarist/composer Sinan Bakir comes to Middletown this Friday night -  he'll bring his Trio to Scatz Restaurant & Lounge, 139 Main Street Extension, for an evening of solid melodies and exciting improvisations. Joining him will long-time bassist Matt Dwonszyk and Middletown-native Mike Augeri (drums).

Though Bakir is well-versed in standards, his original music is also very impressive as are his fleet-fingered improvisations.  Scatz is bringing in some impressive bands and audiences are learning just how good the food is as well.

Music starts at 8 p.m.  For more information and reservations, call 860-347-2289.  

Firehouse 12, 45 Crown Street in New Haven, presents Mike Pride's From Bacteria to Boys, the drummer's latest project that blends hard-bop, post-bop, punk and other styles of music into a wondrous mash of sounds.  Drummer/composer Pride, who has worked with guitarists Joe Morris and Mary Halvorson as well as saxophonist Matana Roberts, leads a quartet that features saxophonist Jon Irabagon, pianist Alexis Marcelo and bassist Peter Bitenc.  That's the group performing on Pride's 2013 AUM Fidelity CD, "Birthing Days."

They'll play 2 sets this Friday evening - 8:30 and 10 p.m. - for more information and reservations, go to firehouse12.com or call 203-785-0468.  To learn more about the group, go to mikepride.com.

On Saturday October 18, the Jazz Samaritan Alliance perform at 8 p.m. in the Asylum Hill Congregational Church, 814 Asylum Avenue in Hartford. The show is part of the Jack and Edie Murphy Music for Humanity concert series. The JSA, an organization of musicians committed to creating and performing socially-conscious original music,  features the talents of Noah Baerman (piano), Jimmy Greene (tenor and soprano saxophones) and Kris Allen (alto saxophone) - joining them for this show will be vibraphonist Chris Dingman and the great New York City-based drummer Rudy Royston.  Tickets are $25 per person and every penny raised will be donated to Foodshare of Greater Hartford (find out more about them at www.foodshare.org.) This will be an evening of great music made by fine people for a really important cause.  For tickets and more information, go to www.ahcc.org/event/3652 or call Mary Way at 860-278-0785.
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Saxophonist/composer Tara Davidson, a member of the highly-active Toronto, Canada, jazz scene, has just issued her 4th CD as a leader.  "Duets" (Addo Records) finds her sharing the aural space with 6 partners, ranging from long-time associates Mike Murley (tenor sax) and David Braid (piano), with whom she shared the bandstand in the DMBQ, plus good friends and/or band members Trevor Hogg (tenor sax), Andrew Downing (bass, cello), David Occhipinti (guitar) and Laila Baili (piano).

All 13 tracks are originals (either by Ms. Davidson or her collaborators) and range from the intimate to the expansive. Braid, the only musician who appears more than twice (the opening 2 cuts as well as the closer), is an impressive composer and forceful musician.  His pieces "Lele Tune, Parts 1 and 2", are built off a strong melody and the duo build up quite a head of steam on both performances.  Ms. Davidson's alto sax sound is vibrato-free with articulate notes but she can also play with fire.  With Murley (who was her first saxophone teacher and first duet partner), they create the sweet boppish "130 E. 39th St.", sharing lines and supporting each other while the tenor player's original "Sheep Walking" may remind some of the duets of Oliver Lake and Julius Hemphill (the more straight-ahead pieces).  Guitarist Occhipinti, who has recorded 2 duo CDs with Murley, creates a spacious musical landscape on "Silver Skates", allowing Ms. Davidson's intricately crafted soprano saxophone lines to rise above his chordal accompaniment. He also appears on Ms. Davidson's "Murphy's Law", a faster piece that finds the musicians supporting each other, moving in and around each other's lines and responding to the energy each gives out. Tenor saxophonist Hogg, who was a classmate of Ms. Davidson at the University of Toronto and a duet partner ever since, meshes his sound with the alto sax on the delightful medium-tempo boppish piece "Train to Tarrytown" and contributes the more forceful yet still sweet "The Neigh-Sayers". Downing, the bassist in Ms. Davidson nonet, plays cello on his "Kontrbas Semaisi", a lovely piece in which he plucks his instrument in the style of Oscar Pettiford and Abdul Wadud.  The melody is one of the prettiest on the CD, having a folky edge and allowing for the rippling alto lines to cascade down over the cello.  He plays bass on Ms. Davidson's "The Halyconian Years", also a ballad with a bass line that may remind some of the late Charlie Haden and how he interacted with Ornette Coleman and Jan Garbarek.

Pianist and vocalist (she does not sing here) Laila Baili plays on 2 of the more introspective tracks.  Her descending chords and impressionistic figures opens "For Glenda" - when the full piano chords begin in the background background (sounding not unlike Gary Brooker's work with Procol Harum), the soprano sax enters with the wistful then soulful melody. Ms. Davidson stays on soprano for their second collaboration, Ms. Biali's "The Good Earth", a composition that has the feel of both Bruce Hornsby and Art Lande (especially his duo with Jan Garbarek on "Red Lanta").  The rousing middle and closing sections are, at times, glorious and emotionally satisfying.

By the time one reaches the final track, Braid's "Colebourn M.D.", another handsome ballad with fine interplay between the alto sax and piano, you understand how good music can come from good friendships, from the trust that is built from years of playing, experimenting, having fun discovering how far each other is willing and able to go, or just relaxing playing a simple melody.  Tara Davidson is a lucky musician to have colleagues who are friends and collaborators, ready to head into the known or unknown. "Duets" is delightful, bright, audacious and emotionally honest.  For more information, go to taradavidson.ca.

Tenor saxophonist Jerome Sabbagh, a native of Paris, France, and a resident of New York City for nearly 2 decades, has worked with his quartet of Ben Monder (guitar), Joe Martin (bass) and Ted Poor (drums) for a decade.  "The Turn" (Sunnyside) is the ensemble's 3rd release and first since 2007.  The material the saxophonist writes for his partners not only emphasizes their individual strengths but also how well they work together.  The rhythm section is quite supportive while Monder is a great accompanist, knowing when to hold back and when to let loose (and he certainly can wail).

On initial listens, ballads such as "Long Gone", "The Ascent", and Paul Motian's "Once Around the Park" (the only piece not composed by the leader) stand out.  Poor's drumming is quite active yet never intrusive while Martin, who is known for his steady hands on bass, fills out the bottom.  Sabbagh lets the songs breathe, not rushing into solos, giving Monder plenty of room to say his piece.  The guitarist's quiet solo on "The Ascent" is melodic and tasteful while his active chordal work behind the saxophone is splendid.

Monder also displays his ability to rip off forceful solos as he does on the title track and "Banshee", the latter blazing atop the fiery drum and cymbal work of Poor.  His "shredding" solo enlivens the lengthy "Cult", wailing in Hendrix-like fashion over the strumming bass and thrashing drums.  And there are surprises along the way.  "The Rodeo" is a blues shuffle, replete with an insistent swing from the rhythm section while the front line digs in for some fun - Monder's tasteful comping and understated solo match the laconic style of Sabbagh.

The leader is not one to waste notes; he never overplays his hand. His sound is fairly cool, at times mellow (not unlike the alto sax sound of Lee Konitz), his approach unhurried throughout the set.  His tasty solo on "Long Gone" grows out of the handsome melody while he seems to hold back on "Cult", playing short lines that seem to melt into the rhythm section.  One gets the idea Sabbagh likes to compose for this band because the vast majority of the melodies are well constructed.  "Electric Sun" closes the program, a piece with a "rock" feel coming from the powerful yet steady drumming and a "country" feel from Monder.  Meanwhile, the saxophonist builds his solo logically from the melody, his phrases opening up and getting longer as he moves forward.

"The Turn" is not designed to blow you away; it's more like a shaft of sunlight on a cloudy day, a cheery note from a friend, a welcome respite from the craziness of the outside world.  Yes, there are frenzied moments but Jerome Sabbagh keeps his emotions in check throughout and the music shines.   For more information, go to www.jeromesabbagh.com.
Here's "The Rodeo" for your delectation:

R Keberle Catharsis Live & New CD, MG Jackson in New Haven & Prof Hoggard's 3-day Gig

Trombonist and composer Ryan Keberle certainly leads a busy life.  Besides leading his Double Quartet and his piano-less quartet Catharsis (pictured above, with vocalist Camila Meza), Keberle has toured with Sufjan Stevens, Maria Schneider's Orchestra, Darcy James Argue's Secret Society, Alicia Keys, Justin Timberlake and worked in Broadway show "pit bands."

Next week (9/30), Greenleaf Records will issue "Into The Zone", the 3rd CD in 2 years to feature Catharsis (2 full length CDs and a live, digital only, 3-song mini-Lp). Those of us who live in Connecticut have the opportunity to catch the CD-Release Party on Friday September 26 at The Side Door Jazz Club in Old Lyme.  The quartet - Keberle, trumpeter Michael Rodriguez, bassist Jorge Roeder and drummer Eric Doob plus Ms. Meza - plays an eclectic mix of originals, standards  and tunes from the jazz and rock pantheon.  What is most impressive about the group is that they don't play as 2 horns with a rhythm section (which they can do very nicely as they have proven on "Blueport" from the group's debut "Music Is Emotion") - there are many moments in their music where each musician is playing melody or rhythm and others where they play independently.

Doors at The Side Door open at 7:30 p.m. with the first set at 8:30.  For more information, go to thesidedoorjazz.com or call 860-434-0886.

There are a good many people who understand the concept of being "in the zone", a place where your natural ability takes over, time disappears and you feel like you own the world.  For Ryan Keberle, getting "Into The Zone" meant years of practice and playing, a Zen-like concentration that requires accepting one's strengths and shortcomings, letting go and being honest about one's goals and desires.

Not only does Ms. Meza join the band for the new recording but also long-time associate Scott Robinson (tenor saxophone) who adds a 4th voice to the front line as well as being a great soloist. On "Gallop", the various voices move in and around each other, doing an intricate dance that allows for counterpoint, for harmonies, for standout solos, all supported by an infectious rhythm. Ms. Meza delivers a lovely vocal on Fran Landesman's oft-recorded "Ballad of the Sad Young Men" - be sure to pay attention to how Keberle and Rodriguez play alongside the vocal plus, yet again, the strong contributions of Roeder and Doob.  Another brave choice is "Easy To Love", Cole Porter's classic tune - this version is closer to the ballad that Ella Fitzgerald recorded in 1956 than Billie Holiday's happier 1936 rendition. The arrangement behind Roeder's fine solo blends wordless vocals with the brass and reed. The playful interpretation of Charlie Parker's "Cheryl" owes much to the smart arrangement that pairs the tenor and trumpet echoing the melody that the trombonist plays.  The thoroughly modern rhythm section beneath Robinson's breathy solo "jumps" and "walks" then ratchets up the tension under the short but sweet 'bone spotlight that soon turns into a "give-and-take" with the trumpet.

"Zone" closes the program, a handsome melody for Ms. Meza's heartfelt vocal, moving out of its rubato opening into a slower tempo for her to extemporize, supported by Keberle on melodica. After another memorable bass solo, the trombone, trumpet and voice create lines that swirl around as the rhythm section builds the intensity, with Rodriguez's strong trumpet stepping out for a powerful solo.

"Into The Zone" has a clarity that makes one pay attention, a sharpness of focus that does not waver throughout the 8-song program.   Catharsis is a real ensemble, a quartet that has spent months (on and off) creating a group sound that is its own, one that becomes fuller (not diffused) with the addition of Camila Meza and Scott Robinson.  Ryan Keberle has, since coming to critical notice 15 years ago, proven to be a strong soloist and excellent section player while maturing into an excellent composer and arranger. If you can't catch the band on its latest tour, latch onto this CD - it's really good music!  For more information, go to ryankeberle.com.

Enjoy "Zone", courtesy of Ryan Keberle and Greenleaf Music:

Hard to believe it's nearly 4 decades since Michael Gregory Jackson released his debut Lp, "Clarity."  The New Haven native wrote and arranged all the music, performing in a quartet with Wadada Leo Smith (with whom he would go on to produce and perform with in the early 2000s), Oliver Lake and David Murray.  After a flirtation with more commercial music, Jackson has created a busy career of producer, sideman, teacher and, occasionally, a performer.

He returns to the Elm City and to Firehouse 12, 45 Crown Street, on Friday with a trio that features the creative Keith Witty (bass, electronics) and the powerful drummer Kenwood Dennard. Jackson, who will also have an "electronics" component in his arsenal, is calling this program "Spirit-Signal-Strata."  Well, there are 3 adventurous player so one should expect a fine evening of "serious fun."  They'll play 2 sets - 8:30 and 10 p.m. - go to firehouse12.com for more information and reservations.

I can think of few things so rare as a 3-night gig in Middletown, CT, for a jazz group. However, Jay Hoggard is bringing a Quartet to Scatz Restaurant & Lounge, 139 Main Street Extension. Joining the good professor (Wesleyan University) and great vibraphonist will be Warren Byrd (piano), Belden Bullock (bass) and Alvin Carter Jr. (drums).  They'll play 2 sets - 8 p.m. and 10 p.m. - on Friday and Saturday (9/26 + 27) plus 2 more in Sunday at 4 and 6 p.m.  For reservations, call 860-347-2289.  To learn more about the Professor, go to www.jayhoggard.com.  

Be sure to wish the always dapper and youthful looking Mr. Hoggard a Happy Birthday!  He turns 60 on September 24!  May he be blessed with good health and great music for many years to come.