There are artists who use their music as a platform for their politics, for their emotions, for their hedonistic tendencies, and more. Then there are artists who use their music to heal, to soothe, to fire imaginations with all the possibilities of what good can come out of interaction and working together. Noah Baerman, pianist, composer, educator, author, ad the founder of Resonant Motion, is one person whose actions speak louder than words, whose music goes to the core of his humanity, and who never fails to impress old cynics (such as the author) with his ability to move forward, even in times of personal, physical, and political times of crisis. The music he creates challenges his listeners to be better people, to understand that life, like creative endeavors, is always moving forwards on the shoulders of those who came before us.
His latest recorded project for Resonant Motion Records is the six-person Envisage Collective. In existence since 2012, the sextet now features Baerman (piano), Kris Allen (alto saxophone), Chris Dingman (vibraphone), Nadje Noordhuis (trumpet), Ike Sturm (bass), and Allan Mednard (drums). The ensemble's debut album features eight original pieces (two each from Baerman, Dingman, and Allen plus one each from Sturm and Ms. Noordhuis) – while the drummer does not have a composer credit, his playing is often the spark plug for this music, most of which jumps out of the speakers with joy and robust forward motion. Listen to his support of the vibraphone solo on Baerman's "The Omnivore's Dilemma" to get a better understanding of Mednard's importance to this band's sound. Click on the track below, the album opener, to hear how his "snap and pop" makes the music dance.
It's a delight throughout the program to hear how the lead voices mix and mingle, how they step back for solos, how the melodies expand into solos and return. Allen's "Habitat" moves from the opening melody into a lively three-way dialogue with his alto plus bass and drums. Dingman rides in on on the last note of the alto solo to create his own dance – here, Sturm and Mednard use Baerman's full chordal support to step out before the lively piano solo joins in. All that in the first four minutes of the song before the sax and trumpet reenter to restate the song's theme. One of the prettiest pieces on the album is Dingman's "Wish". a medium tempo ballad, that has quiet but powerful contributions from the "front line" while the rhythm section keeps a steady, martial, rhythm. The weaving lines of vibes, piano, sax, and trumpet build with intention to a unison melody before everyone drops out for the bass and drums; then, the swirling melody of the vibes leads the unison line back in. It's easy lose one's self in the hypnotic lines and, as time drops away, be transported into a musical "new" world. The "soulful" closing minute of the piece leaves one satisfied but wanting more. That "more" comes in the form of Baerman's bluesy piano intro to his piece "Step On A Crack" - the "Memphis" tinge gives way to a bopping rhythm with a melody sung by trumpet and alto sax while Baerman responds at the end of each phrase with a riff of his own.
Photo: YouTube
"Reach Out" does exactly what the title says it will – this music, created by six friends who have created a collective voice, "reaches out" to every listener and asks you to open your mind and your heart to the possibilities of good all around us. Can music change the world? Noah Baerman, Resonant Motion, and the Envisage Collective believe so; this album just might convince you as well!
The music that Brian Charette can caress out of his keyboards is always a joy to dig into. Whether he is playing organ with his Sextette or piano in a trio or delving into electronics (as he does with his Kürrent trio), he does so with a sense of exploration, respect, and a playfulness that keeps the listeners on their toes or sitting back with a satisfied smile. He can be heard on numerous Posi-tone Records disks (as both a leader and sideman) plus on numerous albums for the Danish SteepleChase label.
His latest sonic adventure is a solo Hammond organ album "Beyond Borderline" (SteepleChase), a follow-up to 2013's "Borderline" for the same label. Like the previous recording, the program is a mix of standards and originals but no "pop" songs like on the earlier endeavor. That's fine – Charette's explorations of "classics" such as "Chelsea Bridge" and "Prelude to a Kiss" not only show his respect for the masters (in this instance Billy Strayhorn and Duke Ellington) are delightful. On the latter tune, one can imagine him playing the song in between innings at a Yankees game as much as in the wee hours of the morning in a basement club. Charette's bass lines (a combination of feet and left hand) really keep the music on an even keel.
Photo: C. Andrew Hovan
Not surprising that the 12 tracks are all "first takes" – Charette's creativity comes to the fore every time. There is a tinge of Larry Young's exciting style on the album opener "Yolk." The rhythm line he creates is persistent and insistent while the melody on top of that jumps forward. Listen as he dances through "Public Transportation" like a subway train careering through the underground. Another original "Hungarian Bolero" creates a sensual sound world with melodic phrases that curl around the rhythm. At seven minutes, it's the longest track on the program but you'll like how it continues to move forward. "Aligned Arpeggio" is a soulful delight, the whispery bass lines supporting a sweet melody line and the powerful solo that follows. The piece picks up in intensity as the bass lines become more forceful allowing Charette to move out and in with an ear towards both timbre and emotional strength.
Put on "Beyond Borderline" first thing in the morning and the music will ease you into the day. Listen to this music during a leisurely dinner and it will add spice to the conversation. End the day with the sweet burbling tones of the Hammond B-3 echoing in your ears and mind; the sounds just might make your dreams a bit sweeter. Brian Charette continues to impress with his musicianship, his boundless energy, his creativity, and his sheer joy for music. Make the effort to find this album and you'll be rewarded each time you listen!
For more information, go to www.briancharette.com. The album is available at Charette's website plus iTunes and Amazon.com as well – the latter two are good places to go for sound clips.
Composer, arranger, educator and guitarist Darrell Katz has lived and worked in the Boston, MA, area now for over four decades. In 1985, he was one of the founders of the Jazz Composers Alliance, an organization with aims similar to those of the Chicago's AACM and New York City's Jazz Composers Collective; among those aims was to promote the work of a variety of artists in the area . JCA also formed an orchestra to work whose early concerts and commissions featured the likes of Julius Hemphill, Sam Rivers, Dave Holland, Maria Schneider, Fred Ho, and others. The JCAO has been featured on the majority of Katz's albums.
His latest aural adventure, "Rats Live On No Evil Star" (JCA Recordings), is a sprawling set of songs that cover many topics and myriad genres. The opening track, the title song, is a multi-part composition originally composed for the chamber music duo Marimolin in 1987. Here, it is expanded for the 19-piece ensemble. The evocative marimba work of Vessela Stoynova, the powerful violin playing of Helen Sherrah-Davies, the wordless vocals of long-time JCAO associate Rebecca Shrimpton, the saxophones solos of Rick Stone (alto) and Phil Scarff (tenor), are highlights; then again, so is the brilliant orchestration and the use of Bill Lowe's expressive tuba along with Mike Connors funky drumming.
Photo: Andrew Hurlbut
After that concerto-style opening track comes the three-part "How To Clean a Sewer" - at 35+ minutes, the music goes in so many directions. Part I, titled "3 or 4 Kinds of Blues", has so much going on, different groupings of instruments "conversing" with each other all revolving around a simple blues melody. Again, the marimba is a major rhythmic and melodic voice as is the violin. Part II, "Windfall Lemons (air, earth, water, fire)", is also blues-based but this time revolves around poem written by Katz's late wife Paula Tatarunis. It's fascinating how Ms. Shrimpton can make such "dark" lyrics sound so inviting. Part III, "Attention", also revolves around lyrics: this time, it's Simone Weil's quote "Attention is the rest and purest form of generosity." Now, one hears the influence of Neal Hefti and Henry Mancini in the arrangement as well as more modern arrangers.
By this time, one is already 49 minutes into the album and there are still four more tracks. Each one of the remaining cut stands out but it's the album closer, "Red Sea", that truly stands out. Ms. Shrimpton adapted an essay from Ms.Tatarunis, a remembrance of a fascinating man that poet had met early in life who returned other life much later. The vocalist also wrote the music along with Katz who plays guitar on the track. This trio piece is rounded out by pianist Alizon Lissance, yet another musician on the album who works at Berklee College with the leader and vocalist. This music is quite handsome underneath Ms. Shrimpton's heartfelt vocal. It's a gentle ending to a program that has great energy, at times, blending flashes of anger with long passages of brilliant music.
"Rats Live On an Evil Star" is, like other Darrell Katz recordings, one that you should take time with. Enjoy the music, the hairpin curves, the quick turns, the powerful lyrics yet don't ignore the settings and the orchestrations that Katz creates throughout. The brilliant juxtaposition of the mallet instruments with the "low" sounds of the baritone saxophone and the tuba, the voice with the violin, the sectional work and the short, pithy, solos; that and more makes this album an exciting adventure from beginning to end.
Here's one of the tracks not in the review, "To An Angel":
Ernesto Cervini wears many hats. He's a drummer, composer, arranger, publicist, husband, father, and brother to vocalist Amy Cervini, all the while leading or co-leading several ensembles. One of those ensembles is Turboprop, a sextet that features bassist Dan Loomis (he of the thick tones and penchant for melodies), pianist Adrean Farrugia, tenor saxophonist Joel Frahm, alto and soprano saxophonist Tara Davidson (she also contributes flute), and trombonist William Carn. The sextet has just issued its third album, "Abundance" (Anzic Records) that is an aptly titled collection of originals and standards. The album gets its name from Loomis's "Abundance Overture", a splendid tune with a folky opening melody (played by flute and accompanied by Cervini's sticks. The horns enter, the piece takes on a jaunty feel and everyone plays with great joy.
This is quite a versatile ensemble that often sounds as if it's much larger. Farrugia's "The Ten Thousand Things" is a high-powered romp with moments where the band drops out and you just hear the composer's fine chord work. The band really flies during Frahm's muscular solo, powers by a rampaging rhythm section. The leader's "Song For Cito", perhaps the only song you'll ever hear dedicated to the former manager of the Toronto Blue Jays Cito Gaston. Carn's hardy trombone solo is followed by a high-powered romp from the pianist. "Gramps", the other original by Cervini, is a ballad dedicated to the drummer's grandfather yet it too has an intensity that shows up as the Ms. Davidson moves through her solo. The piece does return to its gentle roots as the ensemble slows to the finish.
On an album loaded with highlights, none shine brighter than the two back-to-back standards. First, there's the powerful "My Shining Hour", a Howard Arlen that Cervini heard on a Geoff Keezer solo piano album. The arrangement opens with a splay of all the instruments before the pianist leads the way into the melody that is played by the reeds and trombone. It's the trombone that gets the lead on the gentle reading of "Smile", the Charlie Chaplin composition that the composer, writer, and director wrote for the soundtrack of his 1936 movie "Modern Times." The spotlight is on Carn for the first three minutes of the piece but do pay attention to how the rhythm section frames his solo. Loomis steps out for a solo - he's so melodic, always going for the emotional heart of the song and not showing off his technique.
"Abundance" is the sound of a sextet that is comfortable with each other, willing to challenge each other, and having a great time making good music. There's much to enjoy when Ernesto Cervini's Turboprop gets together - give them a close listen!
Every once is a while, the reviewer receives an album that wins you over initially on the strength of the joy that the musicians exude. Such is the case with the debut recording by drummer, composer, and arranger Henry Conway III. "With Pride For Dignity" (self-released) finds the Detroit, MI native leading a trio that features Kenny Banks Jr. (piano) and Kevin Smith (drums). It's a cooperative ensemble with all three musicians contributing arrangements and/or songs. Listening to the opening track "Slippery" (composed by Ray Brown and arranged by bassist Smith), the first impressions I had after "how delightful" was how much the overall blues feel sounded like the musical approach of Phineas Newborn Jr. and what a lyrical bassist Smith is. The leader does not impose his will on any song but you cannot miss his presence. The title track (composed by Banks Jr.) is an episodic journey that, at times, feels like the history of jazz going into your ears. Note how the tempo changes happen on a dime, how the music swings with power, and all three musicians are tuned in to each other.
Photo: Adrian H. Tillman
The trio pays tribute to composer/musicians such as Duke Ellington ("Cottontail"), Jimmy Heath ("Gingerbread Boy"), Detroit native, and mentor to the drummer, Marcus Printup ("Hopscotch"), and the afore-mentioned Phineas Newborn Jr. ("Sugar Ray"). Each on of the tunes shines on the power of its melody and the reinvention of a modern ensemble. Both the Printup and Newborn Jr. songs are "deep blues" with the former having an irresistible rhythm as well as the hint of "rent party" piano while the latter has such a jaunty feel with Banks Jr. digging into his solo over the walking bass lines and the "easy" beats from the drummer. "Cottontail" speeds forward on the power of the brilliant brushes work and an inventive bass line (here's where the listener detects the Ray Brown influence on Smith). The leader starts on supplying the rhythm of "Gingerbread Boy" aided and abetted by the bassist and the pianist's left hand. Once Conerway III switches to his sticks, the trio is off on a romp.
The pianist's "The Feel Goods" and the drummer's "Carvin's Agreement" closes the proceedings; the former is a delightful medium-tempo blues and the latter a solo drum piece. Even though there are no ballads on the program, neither does that lack bother this reviewer. At this time of such negativity in the U.S. and elsewhere, the brightness of this music, the obvious joy of the musicians as they move through the songs, the promise of more-to-come, is a breath of fresh air. Plus, this album reminds you of the power that the blues has to settle one's mind and to assure you we're all on this trip together. Kudos to Henry Conerway III and his trio!
Over the past four decades, pianist, composer, educator, and author Kenny Werner has created music that can move one's feet, touch one's heart, capture one's mind, and explore the far corners of our world as well as our worlds of emotions. "The Space" (Pirouet Records) is his 35th release as a leader or co-leader and his fifth solo recording. The program features three originals, two pieces from label owner and saxophonist Jason Seizer, two standards ("You Must Believe in Spring" and "If I Should Lose You"), and a fascinating take on a Keith Jarrett improvisation. The Jarrett piece, "Encore From Tokyo", an excerpt of a piece first heard on the 1976 ECM album "Sun Bear Concerts", is one of those delightful pano romps the composer/improviser creates during his shows - here, Werner's performance finds the joy of the piece, the uptempo yet entrancing rhythm, and the lyricism that hints at Charles Lloyd's "Forest Flower."
The title track opens the album. At 15:57, it's the longest track on the recording, moving from melody to rhythm to a pleasing combination of both, soothing the listener, the "spacious" (no pun intended) sound and clear audio makes every note stand out. Really, what the composer and the pianist expects is that the listener will surrender to the charms of the music, throw away labels, allow the music to bot out out extraneous sounds, close one's eyes, and relax. This is not a "new age" trance dance but an adventure in which the listener is allowed into the mind of the creator. There is no other piece on the album that sounds like this one yet it sets the stage for all that follows, "loosens up" the listener, and you are ready to follow Werner everywhere his fertile mind takes him.
And, it's a treat. From the Jarrett tune to the lovely take of Michel LeGrand's "...Believe in Spring" to both of Seizer's elegant compositions to the gracious flow of the Rainger/Robin classic "If I Should Lose You" (from the 1936 movie "Rose of the Rancho"), this is music that gets its hooks (pun intended) into you. The other two Werner originals are "Fifth Movement" and the album's close track "Fall From Grace." The former, which does right after the Jarrett piece, is somewhat more introspective yet also displays flashes of lengthy melodic flourishes throughout; but, listen to the pianist's left hand as it suggests both a rhythm and a bass line. The latter cut opens with a handsome, stately, melody. The steady left hand chords set the pace and do not let down, hinting at a J. S. Bach air. That slow but steady pace makes the piece very much of a closing statement.
"The Space" deserves tome listened to all the way through time and time again. Kenny Werner continues to create music that follows no one's directions but his own. The avid listener is the grateful beneficiary.
Drummer, composer, and arranger Ernesto Cervini is quite a busy human. He leads or co-leads eight groups (!), is a publicist for a growing number of Canadian musicians, and is a member of several other ensembles. His sextet, Ernesto Cervini's Turboprop, has just issued its second album - titled "Rev" (Anzic Records), the ensemble features the mighty rhythm section of Cervini, Adrian Farrugia (piano), and bassist Dan Loomis plus the front line of Joel Frahm (tenor saxophone), Tara Davidson (alto and soprano saxes), and William Carn (trombone). The majority of the program was recorded after the ensemble had finished a tour of Western Canada. The joy and camaraderie that the sextet exudes is obvious from the start and, honestly, the music they create is irresistible.
Farrugia contributes the opening track, "The Libertine": from the solo drums lead-in, the band builds off the sinewy bass and piano lines, playing a handsome melody. The pianist dances over the active rhythm section. There's an appealing urgency as the music rushes forward. Frahm roars out of the piano solo, pushed by and pushing back against the tumultuous rhythms.
That spirited interplay continues on Cervini's original "Granada Bus." Again, the bass and drums add the jet fuel to the music while the dance melody opens up for delight-filled solos from Ms. Davidson (soprano), Farrugia, and Frahm. The title track (also a Cervini composition) is also a fiery exchange between the horns and drums with the alto, tenor, and 'bone "riffing" away while the drummer thunders beneath them.
There are three eclectic "covers" in the program. "No Rain", a tune by Blind Melon that captivated the leader as a youth, maintains the sprightly melody while getting a powerful rhythmic undercoating. Carn's dancing solo is a highlight (pay attention to splendid counterpoint created by Loomis) as is the lovely and powerful soprano sax statement. "The Daily Mail", written, recorded, and released by Radiohead in 2011, is a handsome ballad that opens with a strong melodic bass solo over the simple piano chords before Frahm enters with the melody. When the tenor, soprano, and trombone take off for the combined solo, the songs takes on a gospel feel. The sextet does not overthink the piece but really the capture the power and mystery of the original. The third standard is "Pennies From Heaven" and the band swings the heck out of the piece. Frahm plays the theme then joins for the alto and trombone for a delightful romp. Later on, Loomis steps out in front for a fine melodic solo before the song swings its way out.
The music and the performances invite you into "Rev", keeping your attention throughout and making you want to return again and again. Sure would be great to see and hear this band live in the U.S. but the upcoming dates are all in Canada. In the meantime, jump aboard Ernesto Cervini's Turboprop and enjoy the ride!
Dylan Jack is a drummer and composer from Massachusetts who has played in a number of rock and fusion bands. Thanks to a gig that fellow student (bassist Anthony Leva) at Bard College's Longy School of Music in Boston had booked, Jack met and played alongside guitarist Eric Hofbauer and clarinetist Todd Brunel. The drummer than asked the trio to play for his graduate recital: soon, the band had gelled playing his original material, played more clubs and concert halls, and Hofbauer invited Jack to join his Creative Nation Music label. The results of a late February 2017 day in the studio is the drummer's debut as a leader.
"Diagrams" is credited to the Dylan Jack Quartet and the music is really a collective affair. You can hear in the first seconds of the opening track "Are You Made of Coins" how the rhythm and melody are connected. The high-spirited theme, played by bass clarinet and guitar, has its roots in bop and funk but it's such fun to hear how Jack and Leva change the feel during Brunel's solo (sounds like a touch of bossa nova). When the guitarist steps out, the three plays a funky riff as Hofbauer digs in with a blend of single-note runs and chordal lines. The exuberant drum solo during which Jack keeps circling back to the melody really stands out.
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The listener might not be able to tell listening to the gentle yet firm feel of the melody that the title of the next track, "Sentenced", was influenced by the trial of the Boston Marathon bomber. After the theme section, Hofbauer steps out over sweet brush work and a genial walking bass line. The feel changes during Brunel's powerful soprano sax solo with much more energy from the rhythm section - note the interaction between the soloist, drums, and guitar. Leva solos over the impressionistic guitar. The piece has now slowed down and is more reflective before the the guitar, bass, and soprano reintroduce the melody. They drop out, Jack takes over for an intense solo with his brushes - it makes the listener lean in. He switches to sticks yet never overpowers the song, again referring to the melody which invites the band back in for the close.
"Ghost Pal", the longest track (13:58), opens in free time, with much dynamic variation and shifting focus, before the melody is introduced at 3:50. The piece teeters between being a ballad and short, spiky rapid-fire riffs, before Brunel steps out for a powerful clarinet solo. As he quiets down to an eerie moan, Hofbauer steps out. His electrified acoustic sound is quite melodic and percussive: in contrast, Leva plays a bowed bass solo. Jack's skittering brush work takes center stage as with more clarinet moans, rapid-fire yet quiet guitar riffs, and the occasional bass interjection. Soon, the band reenters, the "ghost" story continues, with a return to the melody line taking the piece out.
"Diagrams" asks a lot of the listener, as the music shifts and darts, changing direction with glee. Yet, one is rewarded time and again by hearing how this quartet works and plays together, really listening and responding to each other, not just "blowing" over the changes. The Dylan Jack Quartet creates music worth exploring; let go of your expectations and enjoy this sonic journey.
Much has been written about composer and multi-instrumentalist Tyshawn Sorey over the past year and for good reason. He is a musical polyglot, seemingly without borders (other than time and his music often challenges our perception of time), and he can drive a band from his position behind the drums in the manner of Max Roach, QuestLove, and Eric Harland. When he was studying for his Masters Degree at Wesleyan University, Sorey also was a member of the University's Klezmer ensemble, playing keyboards and mighty impressive gut-bucket trombone. He used his time at the school to study with Anthony Braxton, Alvin Lucier, and Ron Kuivila as well as play with various ensembles. Earlier this year, he earned his DMA in composition from Columbia University and, at the end of this month (8/17), becomes the John Spencer Camp Professor of Music at Wesleyan.
And, he has a new recording. "Verisimilitude" is his sixth album as a leader and fourth for Pi Recordings. The program features his longtime "working trio" of Corey Smythe (piano, toy piano, electronics) and Chris Tordini (bass) playing its way through five Sorey originals, only one of which is under 10 minutes. These pieces cha;lunge the listener to hear a trio in different aspects, to understand that the role of each musician is not to impress with technique or speed but to advance the narrative of the music. The impressionistic quality of the music and the overwhelming softness can lull the listener. Yet, there are moments of power, both melodic and percussive, as if great gust of wind came through the window.
photo by John Rogers
I am not going to give you an account of each track; instead, you should approach this music with open ears. Be prepared to play the 69-minute program several times all the way through. This is not background music to be played with guests in the house or while eating dinner. It is music to ponder, to explore, to note how the "traditional" trio approach seems to be eschewed in favor of a group dynamic. Pay close attention to the work of bassist Tordini. He often drops out but is so important to the sound of these pieces. He can be percussive, melodic, supportive, foundational, and minimalist yet is a necessary element of the songs.
The elegiac quality of "Flowers for Prashant", a musical tribute to the late filmmaker Prashant Bhargava, is a wonderful place to enter the music yet, since the songs all flow into one another, you should start at the beginning. Have patience with this music - so many of us listen to music to be constantly stimulated, go from high to high, but "Verisimilitude" asks you to slow down, to appreciate every sound, to engage the silence between notes, to stop judging and just listen. This music is not for everyone and for every minute of the day. It is contemplative and powerful. Be open and you'll be rewarded and more so, refreshed.
To find out more, go to pirecordings.com/artist/Tyshawn_Sorey. Here's a link to a recent NYTimes article by Giovanni Russonello that will give you even more historical perspective - click here.
Here's a track to explore:
In January of 2015, I was quite impressed by saxophonist and composer Paul Jones's debut album, "Short History" (read review here). I especially was impressed by his compositional and arranging skills. All that and more is on display on his sophomore effort, "Clean" (Inside Out Music). With the exception of pianist Glenn Zaleski, he employs the same sextet (alto saxophonist Alex LoRe, guitarist Matt Davis, bassist Johannes Felscher, and drummer Jimmy Macbride) but also adds the SNAP Saxophone Quartet (Nicholas Biello, Andrew Gould, Sam Dillon, and Jay Rattan), the Righteous Girls (flutist Gina Izzo and pianist Erika Dohi) plus Mark Dover (clarinet), Ellen Hindson (oboe), Nanci Belmont (bassoon), and Susan Mandel (cello) on numerous tracks.
Looks pretty crowded but surprisingly there is little or no clutter on the 14-song programs. There are five tracks that are built from "Romulo's Raga", a Jones composition dedicated to Romulo Herrera, the longtime chef at the Cornelia Street Cafe in New York City who was murdered in his home in January of 2016. Jones was away at the time and shocked by the brutal killing, creating an homage that called for a wind octet plus piano. The "...Raga", while barely over a minute, has an intensity that illuminates the piece. The other four short compositions, titled "Ive Sn Th Fra Md", "It Was Brgh Cold", and "Im Pretty Uch Fkd", serve as segues to the sextet performances yet, though short, each has a power to stand on its own. Save for the final one, which is the closing track; "The Minutiae of Existence" is a miniature delight and brings the program full circle. On my laptop, the music does to not stop but goes back to the beginning , the first track being "Ive Sn Th Fra Md", and it helps to point out not only how all the pieces are interconnected but also
The sextet (and sextet plus) music is also quite fascinating. With four melodic instruments on a front line, it's fun to hear how the composer Jones shares melody and harmony lines. The title track rolls in on short figures from the saxophones with the melody played by guitarist Davis, counterpoint from the piano and then switched over to the tenor. Listen to how Jones plays with the rhythms below the theme before the solos begin over a static rhythm. Macbride drives beneath the solo while the insistent guitar strumming holds the tempo. At 8:46, the songs allows for various sections and solos, making it easy for the listener to fall under its spell.
The jaunty melody of "I Am an American", introduced by bass and piano, creates an easygoing feel. Bassist Felscher gets the first solo, o long and melodic solo, before Jones steps in. Ms. Belmont and Ms. Mandel join the sextet for "Buckley Vs. Vidal", a lengthy conversation (but not a debate) with a bounce to its beat and colors provided by the guest "voices". The guests enliven "Centre In The Woods", a handsome melody played over a tango rhythm. One can visualize dancers whirling around the floor as the saxophone solo rises over the slowly intensifying background.
As artists take control of their music (or are given free rein by labels), listeners are being blessed by a panoply of engaging projects. "Clean" is one of those albums that grows stronger each time you dig into it. You notice interactions, the fine melodies, the smart arrangements both for the sextet and for the wind octet, and solos that have arrives and are not just technical displays. If you dig around online, you'll find alternate versions of some of the pieces on the album. Check those out too. In his liner notes, Paul Jones writes that while working on the material for this album, he was listening to Kendrick Lamar ("To Pimp a Butterfly"), Philip Glass ("Glassworks"), and Steve Reich ("Music for 18 Musicians") as well as the immediacy of contemporary hip hop. Check this out, spend time inside the songs, and you should be pleased. To find more, go to www.paulthejones.com.
The first time I saw and heard The Four Bags, I admit to laughing a lot during the band's first set. Seriously, a band that could interpret the Beach Boys and Kurt Weill in the same set, changing tempos at will, swinging the heck out of an accordion, upsetting tradition without burning it in effigy, and do all that in one set, I was hooked. In the band's 18 years, there has only been one change in personnel; original members Brian Drye (trombone), Mike McGinnis (clarinet), and Sean Moran (guitar) were joined by Jacob Garchik (who took over accordion duties in 2004 from original member Tom Aldrich. Since all four members are so busy, they don't get together often, meaning have a new album to dig into is a real treat.
"Waltz" (NCM East) is the Bags's fifth album and is a fanciful program of waltzes from different traditions. Opening with a delightful take of "El Caballo Bayo", from the pens of Carlos Gardel (1890-1935) and Francisco Brancatti (1890-1980), the music starts out in a hurry but soon slowed down into a "sweet" reading of the melody. Then, it's back to the bounce before dropping back into a slow "drag" for a boozy trombone. Trust me - it sounds better than it reads. "Puerta Del Principe", a piece by flamenco guitarist Manolo Sanlucar (born 1943) has a lovely melody and a smart arrangement that allows all voices to be heard as well as a strong solo from Moran.
Each Bag-man contributed, at least, one original composition. The pieces range from Drye's handsome round "Runaway Waltz" (with hints of West African guitar in Moran's sound) to Garchik's "merry-go-round" sound on "Waltz of the Jacobs" - one can imagine well-dressed people swirling around a ballroom at times during the song. Moran's "Invisible Waltz" has a sweet melody that opens to short statements from each member. There is a touch of melancholy in the deliberate pace and sound of the piece. The cinematic quality of McGinnis's "Vaults Dumb 'Ore" brings to mind Nino Rota's music; listen to how the melody is passed around the ensemble and the short moments of harmony. Drye's "G Is For Geezus" has a generous touch of gospel in its theme and presentation, becoming quite the "revival meeting" romp in the solo section.
Sprinkled through the program are three short remixes by Curtis Hasselbring of "Les Valse Des As" (a piece credited to G. Jacques) plus the album closes with a Garchik arrangement (derangement might be a better word) of the piece that sounds as if it was recorded in the 1920s. True to the spirit of The Four Bags, "Waltz" is playful, adventurous, generous, and musical. There is humor in these grooves but listen for the melodies as they will make you smile more often than not.
T'would be easy to write that Innocent When You Dream is a Tom Waits cover band without vocals and leave it at that. While artists have been recording Waits's tunes for several decades, especially the ballads, few if any "play" with them. With a career that spans nearly five decades and a sound like no one else, it's fun to see what fresh ears can do. Led by Aaron Schragge (Dragon Mouth trumpet, shakuhachi), the sextet - Jonathan Lindhorst (tenor saxophone), Ryan Butler (electric guitar), Dan Fortin (acoustic bass), Nico Dann (drums), and Joe Grass (pedal steel on eight of the 11 tracks that make up "Dirt In The Ground" (self-released) - delves deeply into the blues and folk elements that have been ever-present in Tom Waits since his recording debut in 1973. "Ol' 55" appeared on that album ("Closing Time" on Elektra) and here it's a country lament with the tenor on lead (Shragge only plays on the "head") while the pedal steel plays sorrowful keening riffs in the background and, as well, during his solo.
The title track features Shragge playing the melody and solo on shakuhachi (Japanese flute). The sound is entrancing, perfect for the bluesy quality of the sound and also affecting how the tenor and guitars sound (long notes that slowly fade away). There is also a dream-like quality to "The Briar and the Rose" with the flute again in the lead. The music moves so slowly, molasses-like , that it serves as a lullaby. Like so many of these songs, the melody is so well-drawn that the sextet can take its time. The group gives a loving reading of "In the Neighborhood", a paean to a hardscrabble side of town. There's a melodic bass solo plus a sentimental, but not treacly, trumpet reading of the melody. "You Can Never Hold Back Spring" is played with such love; listen to the blend of guitars beneath the trumpet melody and the short saxophone solo plus the active yet restrained rhythm section. It's not easy to play this slow and have so much soul but IWYD pull it off with aplomb.
There is also plenty of the "swamp blues" funk that Waits created on albums such as "Swordfish Trombones" (1983), "Rain Dogs" (1985), "Bone Machine" (1992), and "Mule Variations" (1999). The opening track, "Chicago", feel like a Paul Butterfield Blues Band cut from the 1960s, the insistent beat and hard-edged guitar. Shragge's trumpet and Lindenhorst's tenor ride the wave, poking at the beat and pushing back against the rhythm. The influence of the classic "James Brown beat" enlivens "Down In The Hole" and Lindenhorst jumps on it for all he's worth. Add Ryan Butler's raucous guitar solo and one can't help but dance. "Temptation" is a slinky "cha-cha" with Shragge caressing the melody while Lindenhorst plays a bit of rhythm in the background. "Anywhere I Lay My Head" finds the trumpeter coming on like a country preacher while the rest of the sextet support his exhortations.
Aaron Shragge was part of the first version of the group Innocent When You Dream and its 2010 self-titled debut. For "Dirt On The Ground". he organized a new band with the same focus, to celebrate the music of Tom Waits. The earlier recording is quite good as well but the newer one has a bit more fire, a bunch more blues, and a touch of sass. If you are a fan of Mr. Waits, you'll find much to enjoy.
Here's a modern take on the brass band concept. Trumpet, trombone, and tuba plus piano, electric guitar, and drums is the makeup of Rebecca Hennessy's FOG Brass Band. "Two Calls" (self-released) is the Canadian ensemble second release and first full-length album. Based in Toronto, Ms. Hennessy (trumpet, peck horn, baritone horn) is very busy musician leading several groups and playing in several others. FBB plays music that may remind you, at times, of Charles Ives, the Henry Threadgill Sextett, and Guillermo Klein's Los Gauchos but, really, has quickly developed a sound of its own. This is not a "marching band" but a group that utilized all of its parts to the utmost. Kudos to drummer Nico Dann and tuba player Jay Burr as they are the "engineers" that stoke the figures this music creates. Pianist Tania Gill also help keep the music flowing as does guitarist Don Scott. Rounding out the front line is trombonist Tom Richards.
There are touches of New Orleans brass band music that show up on pieces such as the bluesy "Lagoon" and "Snag", a peppy dance tune that sound inspired by The Meters. But there are also pieces such as the opener "Red Herring" that has such a drive and is the piece most like Mr. Threadgill's music. That's followed by the prayer-like "Horn Lake", an impressionistic work that might have been inspired by walking along the shore in the early morning looking out at the still waters. Listen to the pictures the band creates with just the trumpet, quiet guitar, tape loops and triangle. 3/4s of the way in, the music suddenly falls into a samba-like rhythm and the piece literally dances out.
photo by Michael Fisher
Highlights abound. Guitarist Scott gets to romp his way through the first half of "Kings County Sheriff", soloing over the dancing drums and tuba. There's a touch of Klezmer in the horn melody and at the beginning of Ms. Hennessy's far-ranging solo. Bird songs introduce the title track (and continue for a little bit under the musical introduction); it's a funky, jazzy, dance piece that features strong solos from Richards and Ms. Gill. There's a playful feel to "Birds For Free", a piece that starts in a Latin style before changing tempo. Listen to how Dann drives this piece, especially under the trumpet and trombone solos.
"Two Calls" closes with the lovely "Why Are You So Sad Booker Little". Not only is that a great title but the piece is a handsome ballad in which all the members of the sextet make fine contributions. The music is quiet, somber, not a celebration of the great trumpeter (1938-1961) as much as an elegy for him, for the promise as well as the maturity one could hear in his recordings.
The contemporary music scene, while not financially breaking new ground, certainly has produced a number for fine young bands and composers. Rebecca Hennessy's FOG Brass Band covers a wide swath of musical territory over the 48 minutes of "Two Calls" and the journey is very rewarding. This album is not only "fun" to listen to, as brass band music often, but also melodically rewarding and adventurous.
If you find yourself in Toronto on June 29, FOG is playing the Toronto Jazz Festival - to find out more, go to torontojazz.com. To find out more about Ms. Hennessy and her myriad projects (including the delightful Way North), go to rebeccahennessy.com.
Take a look and a listen to "Lagoon":
I've been reading about trumpeter and composer Jaimie Branch for the past few years and was excited to see her debut album hit the streets last month. "Fly or Die" (International Anthem) lives up to its name as Ms. Branch takes many chance on the 10-song program that features three other transplanted Chicagoans (cellist Tomeka Reid, drummer Chad Taylor, and bassist Jason Ajemian - like the trumpeter, all now live in the New York City area). Ms. Branch has worked in ensembles led by bassist William Parker and saxophonist Matana Roberts as well as with TV On The Radio. Her work exemplifies the AACM tradition, meaning nothing is sacred save for experimentation as well as cliches are forbidden.
photo by Mark Pallman
The program opens with the aptly titled "Jump Off", 16 second of squalling trumpet that leads into Taylor's countdown into "theme 001." One can hear traces of Wadada Leo Smith in Ms. Branch's clarion call and tone. The drummer lays down as irresistible rhythm as Ms. Reid and Ajemian play off each other, plucking, bowing, and creating a storm underneath. Matt Schneider's acoustic guitar shows up at the end, leading into the trancelike "...meanwhile." He plucks, the bassist and cellist play arco, the drummer offers light percussion, and the leader is nowhere to be heard. She returns on "theme 002", playing muted trumpet over the infectious, dancing drums of Taylor. The West Indian feel continues as the mute is removed and the trumpeter rises above the rhythmic excitement.
That's just the first four tracks. "Leaves of Glass" features fellow brass players Josh Berman (cornet) and Ben Lamar Gay (cornet) and they create a sonic blueprint that opens up to the arco cello and bass, a flurry of percussion, fiery trumpet, and scary overdubbed denoting "the storm."
Prepare to be surprised by the breadth and vitality of the music on "Fly or Die." Although the album is barely 36 minutes long, there is so much going on, so many possibilities. One can only imagine how this music roars and whispers in live settings. Jaimie Branch took her time to deliver her debut album and it is well worth the wait.
Trumpeter and composer Farnell Newton (born 1997, Miami, FL) s a graduate of Oberlin Conservatory of Music who moved to Portland, OR, and is now a full-time member of that community's music scene. He has worked with singer-songwriter Jill Sobule, funk bassist Bootsy Collins, Darrell Grant, Gladys Knight and many others. "Back To Earth" is his sixth album as a leader and his debut on Posi-Tone Records. While his 2015 recording "Ready To Roll" was more of a contemporary soul album, his new effort is straight-ahead displaying his formidable "chops". Joining him are Greg Goebel (piano), Dylan Sundstrom (bass), Christopher Brown (drums), and, on most of the tracks, trombonist Kyle Molitor, all members of the Portland scene.
Eight of the 11 tracks are Newton originals with one tune each by drummer Brown, Freddie Hubbard, and Wayne Shorter. Brown's piece, "Back To Earth" is a funky ballad introduced by a sweet piano melody plus Goebel gets the first solo, an expansive melodic adventure. The leader doesn't come in until halfway through the 6-minute piece but he rides the groove with an easy solo that even has a bit of fire to it. "Fire" is what hears on the Hubbard tune, "Arietas", a piece off the trumpeter's 1961 "Ready For Freddie" Lp (where the title was spelled "Arietis"). The "burning" piece features splendid work from the rhythm section and fine solos from Geobel and Newton. Shorter's "El Gaucho" (off his "Adam's Apple" recording) changes tempos, has an attractive feel, and, here, a pleasing Latin rhythm.
The original pieces have their charms as well. "Road To The South" swings atop an insistent rhythmic drive, giving the leader the impetus to rise above the fray. There's also a sweet solo from Molitor and a powerful turn from Goebel (who is quite impressive throughout.) The pianist works around the melody created by the brass on "Redefining The Norm", not so much a counterpoint but a creating a lovely frame around tune. And, again, his solo stands. His introduction to "Crossing The Tracks" leads the listeners to a soulful tune with several smart twists-and-turns.
Throughout "Back To Earth", Farnell Newton and his compatriots create an enjoyable sound that's not challenging as much as it is soothing, soulful, and melodic. This music sounds good as you sit on the back porch or in the park in the late afternoon as the sun paints the world golden.
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His latest recorded project for Resonant Motion Records is the six-person Envisage Collective. In existence since 2012, the sextet now features Baerman (piano), Kris Allen (alto saxophone), Chris Dingman (vibraphone), Nadje Noordhuis (trumpet), Ike Sturm (bass), and Allan Mednard (drums). The ensemble's debut album features eight original pieces (two each from Baerman, Dingman, and Allen plus one each from Sturm and Ms. Noordhuis) – while the drummer does not have a composer credit, his playing is often the spark plug for this music, most of which jumps out of the speakers with joy and robust forward motion. Listen to his support of the vibraphone solo on Baerman's "The Omnivore's Dilemma" to get a better understanding of Mednard's importance to this band's sound. Click on the track below, the album opener, to hear how his "snap and pop" makes the music dance.
