Thanksgiving Day 2024; Two Alto sax-Piano duos + One Quartet

 

Been absent from this blog for two months but not for a lack of great new albums but more so for being much too busy. Teaching coillege freshmen as I do is more fun than work; when you add to that the stresses of Middle East War and the horrors perpetrated in the name of freedom, music becomes a much-needed escape but writing does not seem to be enough.

Still, it's Thanksgiving Day in the United States, a day for remembering how lucky many of us are. We have a roof over our heads, food to eat, time to read, the ability to walk most streets without fear, heat in our domiciles, lights in our living areas, and, for some, vehicles to take us out into the country.  Today is a good day to get away from the bluster of candidates, especially who treat democracy as a toy to throw in the trash when it displeases, people who flaunt their wealth, shoot off their mouth, point fingers, and make promises to sweep personal freedoms under a big rug.  

Tomorrow, the news will still be bad, the bluster will return yet we have the power to make the world less of a scary place by celebrating and protecting our freedoms, by staring hate in the eyes until it blinks and slinks away. Set an example of doing good and maybe, just maybe others will join you. No matter their religion, gender, political persuasion, we should all understand compassion and how to practice compassionate caring.  Can't hurt to try––the music is always there to fall back onto.

Photo: Jimmy Katz

I've spent a lot of time recently falling back on the music of two saxophonists, Miguel Zenón and Andrew Rathbun. In the case of the former, he has two new duo albums, one with long-time Quartet member pianist Luis Perdomo (pictured left) and the other with friend and duo pianist Dan Tepfer (pictured below).   Perdomo came to the United States from his native Venezuela in 1993 and by the end of that decade, was playing in groups led by Ravi Coltrane and soon became as founding member of Zenón's Quartet.  The pianist and saxophonist both have a love for the folkloric and popular of their home countries (Zenón is from Puerto Rico), both have a love for melody as well as rhythmical variations, and both are brilliant improvisers.  The music created and arranged for the Quartet has travelled a wide swath of territory over the course of 10 albums, winning numerous awards and lavish praise from critics and reviewers around the world.

Six months into the Pandemic, the duo went into the Jazz Gallery in New York City and recorded a program of songs from the Bolero era, a musical style that began in Cuba in the 1890s and, during the 20th Century, spread throughout the Caribbean and Latin America.  Upon its January 2021 release, "El Arte Del Bolero" (Miel Music) was celebrated not only for its musicality but for its gentle persuasions and splendid playing.  Three years later, the duo reconvened in a recording studio with the expression "to play songs we know and love" (Zenón). "El Arte Del Bolero; Volume 2" expands upon its predecessor by expanding its repertoire with songs from Mexico, Panama, and Venezuela.  The seven-song program is a true delight, especially when the duo moves beyond the melody to create fascinating solos. Listen below to "Paula C.", to how how Zenón caresses the melody as Perdomo creates a quiet symphony beneath him.  As the alto saxophonist dances into solo, the pianist is so playful, whimsical at times, beneath the flowing sax but never losing the pulse.  "En La Soledad" (from the fertile mind of Puerto Rican composer Tito Rodriguez: 1923-73) may remind some John Coltrane's "Central Park West" especially due to the rubato feel.  It's a lovely ballad that kisses one's heart.

The album closes with "Silencio"; composed by legendary Puerto Rican songwriter Rafael Hernández (1892-1965), the rapid-fire music belies song title and flows forward on the delightful alto solo atop the dancing piano lines. When Perdomo steps out, you can hear a touch of the New Orleans "Spanish Tinge", especially in his delightful left hand.   

"El Arte Del Bolero" is a joy from start to finish. The duo of Miguel Zenón and Luis Perdomo reminds us once again of the great music created in the Caribbean and Latin America; they do so with style, grace, and love!

For more information and to purchase the recording, go to https://miguelzenon.bandcamp.com/album/el-arte-del-bolero-vol-2.

Hear the duo play Rubén Blades' "Paula C.":

While the duo of Miguel Zenón and Dan Tepfer has not played together as long as the one reviewed above, these two musicians have improvised numerous times over the past decade-plus. Over two nights in June 2018, they got together at the Yamaha Artists Services in New York City and laid the tracks that make up their first album together. "Internal Melodies" (Main Door Music/self-released) combines the duo's love for spontaneous composition, pieces each composed for the occasion as well as a duo interpretation of "Fanfares" by György Ligeti and a sparkling take of "317 E 32nd St." by Lennie Tristano.

Tepfer is one of the more adventurous pianists of the 21st Century diving into the worlds of classical music, electronic music, and computer music. He's also  a great jazz pianist and, like Zenón, eschews labels. Together, they push each other to create music that is both mentally satisfying but also moves with grace and occasional rhythmic excitement.  The 12-song program opens with the short and totally improvised "Soundsheets" before they embark on the pianist's "The Thing and its Opposite"––after a particularly angular composed melody that the alto saxophonist reads with grace, Tepfer moves into a more ethereal mode. He steps aside and Zenón dances forward alone, phrases building on top of each other without losing sight of the original melody. They return together to the opening melody yet the music feels somewhat lighter. The pianist also composed the title track. The melody has a lightness to it, especially in how Zenón plays through it. Tepfer picks up on that with a solo that hints at Beethoven in how it unfolds gently, steadily building the intensity without overwhelming the mood.

Listen below to the saxophonist's "La Izquerida Latina Americana", to how Tepfer creates a martial rhythm with his left hand before Zenón introduces the melody.  There is a seriocomic feel to the music without falling too hard into either camp.  Zenón's "Centro de Gravedad" is a gentle ballad with a lilting melody line underscored by a mix of powerful chords and gentle piano trills. Tepfer's solo has a flamenco feel, his articulated notes giving the music a sense of drama.  The saxophonist also brought "La Libertad" to the duo; it, too, is a handsome ballad and both musicians create heartfelt solos. 

The album closes with the Tristano classic plus another spontaneous piece "Freedrum".  The former is a delightful romp, the duo bringing out the dancing quality of the rhythm and melody.  The final track combines Tepfer's piano "percussion" with Zenón's playful melody for a short but spirited finish to a wide-ranging program. "Internal Melodies" goes in many directions over the course of an hour but Dan Tepfer and Miguel Zenón never lose their way.  Their musical conversations can be serious or light-hearted; all told, this music is generous in spirit and a delight to listen to!

For more information and to purchase, go to https://dantepfer.bandcamp.com/album/internal-melodies. 

Hear the duo play Zenón's "La Izquerida Latina Americana":

Although alto saxophonist and composer Andrew Rathbun has been recording and touring since the late 1990s, he's still gets recognized a "Rising Star" in recent Downbeat Critics Polls. That's a nice honor but he has created music that needs to be heard by more people. The Toronto, Ontario, Canada native has recorded impressive music for labels such as Fresh Sounds New Talent Records, Origin, Centaur, and SteepleChase.  Along the way, he has collaborated with pianists Ran Blake, Jeremy Siskind, and Gary Versace, flugelhornist Kenny Wheeler, drummers Billy Hart, Michael Sarin, Bill Stewart, and Jeff Hirshfield, among others.  

What stands out for this listener is that, since his earliest recordings, Andrew Rathbun has been an excellent composer. He certainly can improvise as impressively as his contemporaries but telling a story with his music is just as important. For his latest SteepleChase recording, "Speed of Time", he's joined by Gary Versace (piano), John Hébert (bass), and Tom Rainey (drums).  While the majority of eight-song program was composed during the Pandemic, this music is written with these musicians in mind, as a group project.  The title track kicks off the album––it's got a funky rhythm, a well-drawn melody, and strong solos from the leader and the pianist.  Rathbun quickly dances away from the melody, creating a playful interaction with the rhythm section pushing up the intensity until Versace takes over building his far-ranging solo off Rainey's herky-jerky rhythms. 

Photo: Domenic Gladstone

The leader plays both tenor and soprano saxophones for the insistent up-tempo jaunt that is "Widen the Doorway".  Versace's solo, at the onset, keeps turning back on itself but soon bounces forward atop the insistent work of Hébert and Rainey. The leader's tenor solo opens unaccompanied and then he jumps upon the rhythm section. More reed overdubs on "Still a Thing"; this time, the soprano leads the way on the melody (although the solo is again on tenor) with the rhythm section creating quite a funky rhythm.  

The soprano is featured on the ballad "Wandering"––in the liner notes, Rathbun pays tribute to the late Wayne Shorter, particularly the "human cry" that the great musician often employed in his playing. There's a sense of urgency in the rhythm section but the deliberate pace never wavers. Excellent solos from pianist and bassist precede the leader's spotlight where Rathbun shows but never overdoes the Shorter influence.  More soprano can be heard on "Velocity Unknown", a fascinating piece in an odd time signature (9/4). Rainey's delicate cymbal dance decorates behind the opening bass solo. Rathbun enters two minutes with his own delicate sound. Every time you think the music will erupt, the quartet gathers themselves and continue their gentle journey forward. The power in this piece comes from Rathbun's powerful solo as well as Versace's impressive improvisation.

"Speed of Time" closes with "Tooth and Nail", an insistent work powered by the active drumming. The piece opens with short exposition from Rainey joined quickly by the tenor sax.  After the quartet push their way through that long introduction, the music jumps forward with the drums and bass stoking the fire for the impressive tenor and piano spots.  This particular track sounds even better at a higher volume, the drums shaking the speakers.

Andrew Rathbun keeps "rising", keeps getting better as a composer and musician––this album is yet another fine example of his musicality and creativity.

For more information, go to https://andrewrathbun.com/. 

Here's the title track:

The Sounds of 8 Hands Playing

 

Although best known for his work in saxophonist Noah Preminger's Quartet, guitarist and composer Max Light is just now climbing into the spotlight.  His debut album, "Herplusme" (Red Piano Records), was a trio date recorded in 2018 but not issued until February 2020, just a month before the COVID-19 Pandemic shut the door on touring musicians (and the rest of us).  He'd already recorded two live albums with trumpeter Jason Palmer, two studio albums with Preminger's ensemble, and albums with Yong Lee, Kevin Sun, Chris McCarthy, and others. Last year, SteepleChase Records released "Songs We Love", a collection of 14 tunes (mostly standards old and new) performed by Preminger and Light––it's well worth seeking out for the delightful conversations the two musicians over the course of 65 minutes. When producer and label owner Nils Winther offered Light the opportunity to record his second album as a leader, it was obvious from the get-go the guitarist would reach out to Preminger.

In fact, the new album, "Henceforth", is the Noah Preminger Quartet (bassist Kim Cass and drummer Dan Weiss fill out the lineup) recording a program of Light originals save for the tenor saxophonist's "High or Booze" that closes the recording.  One can hear that this is a "working ensemble" as the band has no trouble making each song sound fresh and alive.  The album opens with "Barney and Sid", a medium piece that has a touch of funk in its rhythm and angular melodic lines.  After an unaccompanied guitar opening statement, and feeding off  the band plays through the theme and then into the tenor sax solo.  Preminger has the time and the talent to truly develop his solo, working up a sweat over several minutes. Light is next, picking up on the energy of the previous solo and feeding off the insistent rhythms.  

The title track is next. The rhythm lopes along giving the piece an "Americana" feel.  As the four musicians move through the theme, the music picks up in intensity (pushed by the thrashing drums) before moving back to the gentle lope (listen below).  Check out how both Cass and Weiss move in and out of the foundation as Light builds his intense solo.  The bass solo is impressive for its power, its playfulness, and melodic flourishes.  Later in the program, "Animals", originally composed as an assignment in college, is a mature ballad––the guitar solo flows like a mountain stream while the rhythm section offers gentle support (Weiss on brushes, Cass playing counterpoint).  "Half Marathon", so named for the John Coltrane piece "26-2" that influenced it, gives Light the opportunity to strut his stuff before Preminger jumps into the high-speed dance.  

"High or Booze" is the final track. It has a strong, well-developed, melody (no mere blues, this) that leaves room for an emotionally rich tenor sax solo and a fiery guitar spot (it's a joy listening to the rhythm section interact with the soloists and each other.

Listen to "Henceforth" several times before passing judgement.  Max Light has created an excellent quartet recording filled with substantial melodies and spirited playing.  Having listened to Noah Preminger live and onstage for the past 14 years, it's a joy to hear how he has matured as a musician to the point of possessing his own sound.  Kim Cass and Dan Weiss are excellent throughout (no surprise there). A major step forward for young Mr. Light!

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

Take a listen to the title track:

The Joys of Spring (Part 1)

Lots and lots of new music to absorb and enjoy. This is the beginning of a series of short reviews of new release.

Photo: Volha Talatynik

Organist, composer, pianist, and arranger Brian Charette has kept himself busy during the pandemic making videos of his songs surrounded by keyboards in his apartment. When I spoke to him last year, he was waiting for SteepleChase Records to release his third recording with his "reeds" sextet.  "Power From the Air" has just been issued and it's well worth the wait.  Charette plays organ throughout, composed eight of the 10 tracks, is joined by drummer Brian Fishler in the rhythm section; the "Air" comes from Ital Kriss (flute), Mike DiRubbo (alto saxophone), Karel Ruzicka (bass clarinet), and Kenny Brooks (tenor saxophone).

If you are familiar with the organist's music, you know that he likes to "swing" but also can be very funky.  His piece "As If To Say" rolls forward on a burbling organ bass line before dropping into a hard-bop free-for-all. The saxes and flute play a trance-like repetitive line while the organ introduces the melody.  The solos are short but powerful.  That's followed by Earle Hagen's classic "Harlem Nocturne" –– dig the slight dissonance in the reeds arrangement. The four-piece section really dig into the bluesiness of the piece yet also take a slight "free" turn before Charette's restating of the theme. The other "standard" is Ray Noble's "Cherokee" which jumps delightfully with the reeds playing a slightly altered arrangement of the main theme.  The leader takes a splendid joyride through the changes with Fishler's dancing drums as his co-pilot. Ruzicka dances through his solo followed by DiRubbo, Brooks, and Kriss – they make time to "trade 4s" with Fishler.  

Photo: Volha Talatnick

The melody for the funky and soulful "Want" is shared by the reeds before the drummer gets "down and dirty for the organ solo.  Back to the original rhythm for Kriss's delightful flute solo, DiRubbo's funky spotlight, Brooks short but pithy solo that leads into Ruzicka's tour-de-force that srars low in the bass clarinet's range and rises throughout. The album closes with "Low Tide", the only track other than "Harlem Nocturne" that has a ballad feel. There's a lot going on in this piece and the music builds in intensity throughout right up to the drums-fueled ending.

"Power In The Air" is yet another feather in the chapeau of Brian Charette.  The performances bristle with energy and creativity, the organ work is strong, and the drumming contains an energetic snap.  Give this album several close listens and it will work its way into your soul and your feet.  

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

Here's the ensemble live in 2019 from Dizzy's @ Lincoln Center in February 2019:

The trio of Kelly Jefferson (tenor and soprano saxophones), Artie Roth (acoustic bass), and Ernesto Cervini (drums, percussion, bass clarinet), a.k.a. TuneTown, are three of the busiest and creative musicians on the contemporary Canadian scene.  Together since 2016, the trio released its debut in late Summer of 2019.  That recording displayed myriad influences as well as the trio's delight in creating its own sound.  By the time that album was issued, they had already recorded their follow-up. 

"Entering Utopia" (Three Pine Records) follows a similar format with originals from both Cervini and Roth, several group improvisations, and two standards.  All three musicians are leaders, all are excellent musicians and improvisors, so this music breathes with excitement and adventure.  The opener "Hello, Today" opens with Cervini hand-held percussion followed by a bluesy theme from Jefferson.  When Roth joins, the drummer turns to the drums set, kicking his bandmates forward. Everybody solos but the last half of the track show hows closely the musicians listen to each other. Cervini's "Layla Tov" ("Good Morning" or "Good Night" in Hebrew) opens with the bass and tenor sax holding one note while Cervini plays a melody on glockenspiel.  The bassist introduces the main melody which Jefferson then picks up on soprano. Roth's solo is quite melodic with just brushes-on-snare for accompaniment.  The soprano solo that follows is emotionally rich, melodic, and heartfelt.  Interspersed through the piece are the sounds of the drummer's family at the beach (the baby's infectious laughter is contagious).

Charlie Parker's "Cheryl" opens with a slow bass solo but soon the trio step out with Jefferson's tenor rising above the rampaging rhythm section.  Cervini's "Billyish" is a good companion piece, it's boppish head leading to a thundering drum solo before Jefferson's tenor steps out. Roth's thick bass sound gives the other two players a strong foundation to get creative.  "Flood, Deluge" is the longest of four group improvisations on the album –– Roth's droning then frantic arco bass sounds spark his companions to create their own paths in the song's maze-like construction. The bassist's "Memories Remain" is a lovely ballad during which the tenor sax and bass intertwine the melody through the opening several minutes.  Roth's highly melodic bass solo is supported by quiet brushes work and Jefferson's breathy tenor notes.  The bass counterpoint behind Jefferson's lovely solo is stunning (and pay attention to how the drummer also gets in on the melody.

Roth's short (30 seconds) multi-tracked bass feature, titled "Looking Glass", serves as an introduction to "Blue Gardenia", the album's final track.  Composed in 1953 by Lester Lee and Bob Russell for the Fritz Lang movie of the same name, the piece was performed by Nat "King" Cole. Several years later, Dinah Washington had a big hit with the song, so big that he became one of her "signature songs" through to the end of her career (1963).  Cervini plays the melody on bass clarinet with Roth's strummed bass as the only accompaniment until Jefferson enters on tenor to play harmony and counterpoint. The two reeds wind around each other throughout with Roth creating a comfortable cushion for their tuneful interactions.

"Entering Utopia" is a delightful musical vacation trip. Our three tour guides play with fervor, emotion, and plenty of joy plus the sound of the performances is powerful, clean, and clear.  TuneTown is an apropos name for this fine trio!

For more information, go to tunetownjazz.com.  To hear more and to purchase the album, go to. https://tunetownjazz.bandcamp.com/album/entering-utopia. 

Here's the trio performing "Billyish":

Pianist and composer Paul Bedal is another one of the fascinating artists that reside in Chicago.  After earning his undergraduate degree in Studio Music and Jazz Performance from the University of Miami, he returned to the Windy City to earn his Master's Degree in Film Composition form Columbia College Chicago.  He's co-led a band with saxophonist Caroline Davis, played and recorded with trumpeter Paul Dietrich as well as bassist Matt Ulery. The pianist issued his debut CD, "Chatter", in 2014, a quintet date featuring Ms. Davis and bassist Ulery. Bedal has since signed with the Chicago label BACE Records and issued another quintet album (2018's "Mirrors") plus his first album (2019's "In Reverse") with the quartet of Ulery, alto saxophonist Nick Mazzarella and drummer Charles Rumback. 

The same lineup returned to the studio in January of 2020 to create Bedal's new recording on BACE, "Cerulean Stars."  The pianist certainly created this music for these musicians with each of the seven compositions playing to their strength.  Both Rumback and Mazzarella have been on the Chicago scene for over a decade and are often heard in "freer" music settings.  Ulery, who is known for his excellent writing for large and small ensembles, is a "foundational" bassist, more concerned with keeping the beat steady and creating a solid bottom. Still, on the opening track "Iris", his counterpoint during the solos is a highlight. The saxophonist leans more in a melodic direction throughout the album yet there are moments, such as during his solo on "Panorama", when he rides the powerful drums and moves away from the melody. That melody, by the way, is quite well-drawn, giving the pianist a great base to create an impressive solo.  Speaking of impressive melodies, the title track comes in on a dancing alto sax song (carries a trace of Randy Newman) then moves forward into Mazzarella's solo with a bounce in rhythm section.  Pay attention to the leader's intelligent fills and short runs underneath then hear how they inform his enchanting solo.  

I have been listening to this music as well as Bedal's previous quartet album on my daily walks. There are moments when the music reminds me of Herbie Hancock's mid-60s Blue Note Lps (post "Watermelon Man") –– you can hear the resemblance in the flow of the material, in how the members of the quartet interact, and the movement of the rhythm section.  As a soloist, Bedal leans more towards Keith Jarrett, Fred Hersch, and occasionally, Bill Evans.  The combination of melody and rhythm on pieces such as "Summer Fade" and "Citrine" offers so much possibility that one would love to hear the band play live. 

"Cerulean Stars" closes with "Free" –– the piece begins slowly and solemnly, in rubato, picks up somewhat in intensity during the sax solo but the rippling piano figure lead the listener to a soft close. This album is a joy from start to finish –– Paul Bedal is a mature composer with his ears attuned to his musicians and not to what's popular or hip. Not to say this music is "square"; no, instead from the opening moments, these songs enter the long and, hopefully, timeless river of Creative American Music, music that is always loving back and forward but never static.

For more information, go to www.paulbedal.com.  To hear more and to purchase Paul Bedal's music, go to https://paulbedal.bandcamp.com/album/cerulean-stars.  

Here's a video of the title track:

Hope In These Often-Crazy Times!

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!

For more information, go to resonantmotion.org/artists/envisage/.

Here's the opening track:

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.

The Bass In Many Places (Part 1)

Bassist, composer, and arranger Anne Mette Iversen now lives with her family in Berlin, Germany. She moved there in 2012 after 15 years in New York City where she studied at the New School, formed several groups, and helped to create the Brooklyn Jazz Underground collective and record label.  Ms. Iversen continues to lead her eponymous Quartet +1 plus the Berlin-based Ternion Quartet. She also still has connection to classical music as well as writing soundtracks.

"Invisible Nimbus" (BJU Records) is the second album from the Ternion Quartet.  Featuring the nimble alto saxophone of Silke Eberhard and buoyant trombone of Geoffroy De Masure as well as the rhythm section of drummer Roland Schneider and Ms. Iversen, the album was recorded in Lubrza, Poland, a small village two hours to the east of Berlin.  The music covers a lot of territory, from the joyous bounce of "Within a Diapason" (French for "bursts of sounds" or "tuning fork") to the insistent drive of "Dig Your Heels In" to the intense ballad "The Rose Window".  In her brief but cogent liner notes, Ms. Iversen writes "Music only lives when a dialog is present" - every song on the album is a conversation between the band members. Yes, there are solos throughout but, initially, the listener can't help but hear these four musicians really listen to each other plus the material the bassist provides for them plays to their strengths.

Photo: Dieter Düvelmeyer

There are moments when the music takes delightful detours.  "Ionian Steps" ride out on a brisk bass line and Schneider's conversational drums. Ms. Eberhard's alto lines flutter and dart around, leading the rhythms section into a "free" section then into a slow blues chorus. De Masure picks up the slow vibe moving into a rubato before the band reenters to take the song out on its opening theme.  The title track, expanded to"The Invincible Nimbus of Mystery", opens as a ballad with the bowed bass, alto sax, and trombone playing a classically-inspired melody before subtly slipping into a blues. One can hear traces of Charles Mingus on this track. The solos are quite exploratory yet the piece is most appealing when Ms. Eberhard and De Masure spar and parry.

Photo: Dieter Düvelmeyer

There are so many albums released every month in all genres. Every serious listener has his or her favorites. The critic/writer Whitney Balliett write that jazz is "the sound of surprise."  Over a century after the music rose out of the bars and brothels of New Orleans, for those of us who are avid listeners, jazz is often "the sound of delight."  You can hear delight throughout "Invincible Nimbus", from the intelligently-formed compositions to the often-witty interplay, in the cleanly-recorded sounds of the Ternion Quartet and the adventurous manner in which each musician adds her or his voice to the ensemble.

For more information, go to www.annemetteiverson.com. (The album will be released on May 10, 2019).

In the video introduction to the album, one sees starlings in flight  it's called a murmuration.  Linking the sight of the birds changing direction to the music of the band serves as an excellent introduction to and description of the music of Anne Mette Iversen's Ternion Quartet:

Producer, bassist, and composer Billy Mohler is best known for his collaborations with drummer Jimmy Chamberlain (from Smashing Pumpkins) and Macy Gray plus studio work with Kelly Clarkson, Pom Poms, and the music he created with and for skateboarding legend Tony Hawk.  Mohler studied at the Berklee College of Music in Boston, MA, and was accepted into the Thelonious Monk Institute of Jazz. There, he studied and performed alongside Wayne Shorter, Herbie Hancock, Terri Lynn Carrington, Brian Blade, Joshua Redman, and Barry Harris (and a slew of other great musicians.

"Focus!" (MAKE Records) is Mohler's debut as a leader and features an excellent lineup; Shane Endlsley (trumpet), Chris Speed (tenor sax, clarinet), and Nate Woods (drums) keep their focus on creating lively, interactive, music that jumps out of the speakers. Mohler and Woods are combustible on first two tracks,  "Deconstruction" and "Distant Star".  They both play the rhythms hard and fast, creating a foundation that both Endsley and Speed dance over.  The trumpeter's crisp tone (with echo and delay) and attack blends smartly with the warmer yet no less exciting playing of Speed.  Listen to how the bass and drums introduce "Prairie Flower", setting up the melody with explosive drums and an entrancing bass line. Speed, on clarinet here, plays bird-like riffs while Endsley weaves in his own powerful lines.  In the meantime, Woods powerful drumming really moves the music forward.

Mohler also wrote several handsome ballads for the album.  "Wolf Moon" has such a handsome melody with hints of The Band's Robbie Robertson's style in the harmonies and chords.  "Even Tide" opens with a fine bass solo that leads the listener into a melody line that moves up and cascades down, not unlike a ballad Ornette Coleman might write. The piece built slowly yet never boils over, the plaintive melodies creating a calm.  The album comes to a close with one more ballad. Titled "Coin", the melody line hearkens back to "The Snake Charmer's Song" but resolves like a traditional Klezmer tune.  Moving slowly over a droning bowed bass and quiet yet active drumming, neither Speed's breathy tenor sax nor Endsley's muted trumpet pushes the pace. Both "lead" voices play soulful phrases on to the end of this meditative piece (note the whirling dervish loop that comes as the final notes fade).

"Focus" is powerful, interactive, intelligent, and disruptive.  Some of the music seems on the brink of going over the edge (thanks to Nate Woods incredible drumming) but the bass work of leader Billy Mohler keeps the focus of the music on the melodies and the rhythms.  Find the album, play it loud - very loud - and enjoy the joy of creative music!

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

Here's a track to whet your appetite:

Photo: Steve Sussman

Even if you do not recognize the name Jay Anderson, chances are good you've heard his melodious playing. The bassist has appeared on a slew of albums, working and recording with the Maria Schneider Orchestra, pianists Frank Kimbrough, the late Paul Bley, and George Cables as well as a host of artists through his long association with SteepleChase Records: one can hear him on disks by pianist Stanley Cowell, Peter Zak, Freddie Redd, and Burak Bedyikan as well as saxophonists Rich Perry (his friend from the MSO), Andrew Rathbun, and Ronnie Cuber (over 100 sessions in 20 years!).  I saw him in concert a dozen years ago with pianist Lynn Arriale and his smooth style, full tone, and counterpoint was quite arresting and a perfect for the leader.

"Deepscape" (SteepleChase) is his third album as a leader but the first since 1994's "Local Color" (DMP).  The 11-song program is a blend of solo and ensemble tracks, standards, pieces by jazz artists such as Keith Jarrett, Branford Marsalis, and Jim Pepper. There's a duo with Kimbrough (on harmonium) on "Tennessee Waltz" that is charming and beguiling.  The bassist also plays several solo pieces including a lovely reading of Billy Joel's "And So It Goes."  Anderson caresses the melody and then creates a solo plays off various lines of the song without losing sight of the heart in the song.  The title track, which opens the album, is a short yet lovely solo piece.  Listen closely as you will hear the layers of sounds all created in overdubs by Anderson - it's as effective as it is beautiful

Anderson teams up with Matt Wilson (drums on eight cuts), Kirk Knuffke (cornet on six tunes), and Billy Drewes (alto and soprano saxes, bass clarinet, on seven tracks) for a series of pieces that alternately shake the house or take on a meditative tone.  Jim Pepper's "Witchi-Tai-To" is a spotlight for Drewes' delightful soprano sax - the tracks also features Kimbrough's harmonium and percussion from Wilson and Rogerio Boccato. That same quintet of musicians create an audio painting of Morton Feldman's "Rothko Chapel (5th Movement)" with a delightful blend of soprano sax and harmonium move the meditative melody along. Pay attention to the playing of both Wilson and Boccato. Wilson creates a delight dance rhythm to lead in the classic "Sweet and Lovely" - there's a sweet touch of "second line" in both the rhythm and Anderson's sweet take on the melody.  Knuffke's cornet takes over the melody and the band drops into a blend of swing and funk.  The quartet of Wilson, Anderson, Knuffke, and Drewes (alto sax) take a joyful romp through Branford Marsalis's "The Mighty Sword" (from his 2012 "4 MFs Playin' Tunes" album).  This is music that brings a smile as the ground navigates the tricky rhythms and tempos the bring to mind both Ornette Coleman and Keith Jarrett.  Note how Anderson and Wilson lock in to the "groove" yet sound so free and swinging throughout the piece.  The same configuration digs into Anderson's "Momentum", a fascinating ballad. The handsome, emotionally rich, melody is supported by harmonies from the bass and Wilson's melodic drumming and strong cymbal work.  Both Drewes soprano solo and Knuffke's cornet are rich with ideas and finely-sketched lines.

"Deepscape" is a treat from start-to-finish.  Jay Anderson shines as a leader, arranger, soloist, and member of the rhythm section. All the musicians on the album are long-time friends and collaborators, the album was recorded in the bassist's home studio, and the results are exciting, musical, and comforting.

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

Blessings & a Joyful Noise for the New Year

No matter how you look at 2018, it was a year of extremes. Strange weather, devastating fires, tsunamis, hurricanes, droughts, and that's without mentioning the extreme political polarization in the US and many other countries.  Musicians, through their music, recognize these extremes, they reflect on how their audiences are weathering, their music can provoke, can soothe, can issue a call-to-action, can ignore it all and just dance.  All is not lost - extremely messed up - and more people are beginning to respond with positive action. Can it negate the rise of authoritarianism?  Can it quell the cult of personality that grows stronger each year?  We don't seem to elect leaders but cardboard cutouts beholden to the highest bidders (and that's true for both major parties in the US) - many only seem to speak their minds when they are ready to retire.

Does it all come down to the mighty dollar?  The cynic says "of course" and the optimist knows it does but prays for change.  Nothing new under the sun yet that sun shines every day meaning there's always the opportunity for change. One has to be brave these days just to get out of bed but if you just pull the covers over your head, the ones in power take that as a vote of confidence. No one says this world is supposed to make sense.

Anyway, music and family remain my balm in bad times. Always has, Expect they always will. Have a great New Year, let your voice be heard (whether you are pro or con), and keep your communities going!

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Just a glance at the track listing of the new Kirk Knuffke CD, "Witness" (SteepleChase), and you'll know you're in for quite an aural adventure. From spirituals to Strayhorn, Sun Ra to Guiseppe Verdi, Puccini to Henry Mancini, the program is delightfully. The cornettist shares top billing with operatic baritone Steven Herring while creating the music with Russ Lossing (piano) and Ben Goldberg (contralto clarinet, clarinet).

The album opens with the traditional "Witness", the clarion call of the cornet and the lows notes of the contralto clarinet leading Herring in. When Lossing enters, the music takes on deeper gospel hues. When Knuffke steps out to "testify", he's supported by Goldberg's low lines and Lossing's impressionist piano chords. The clarinet solo is emotionally rich leading to a far-ranging piano solo playing variations on the melody. When Herring returns, he responds to the higher energy level with a even more powerful vocal.

That's just the opening track.  Surprises along the way include a playful take on Sun Ra's "The Satellites Are Spinning" - the original version, from 1971, is basically voice and drums but here Herring opens by reciting the lyrics while the musicians "free-associate" around him. As the piece tumbles forward, Herring sings in a call-and-response with Knuffke while Lossing and Goldberg dance around them.  Following Sun Ra is Verdi's "Iago's Credo" (from "Otello"). Herring stays close to the handsome melody as the cornet, contralto clarinet and piano improvise around him. The musicians capture the emotion in the vocal, sometimes matching the energy while, other times, they step back to allow the voice to stand out.

There's a beautiful reading of the Henry Mancini/Johnny Mercer song "Charade." Opening with voice and piano, the contralto clarinet and cornet enter on the second verse.  Pay attention to the beauty of the piano accompaniment and how Herring inhabits the lyrics.  Throughout the album, Knuffke is in sync with the voice, acting as counterpoint and responder.  Everyone step away for the stunning piano solo followed by an equally impressive (and quite bluesy) cornet spot. While Goldberg is mostly in the background, do pay attention to his "foundational" lines.

Knuffke sets poems by contemporary poet Kirby Congdon and the late Carl Sandburg to music.  Sandburg's work, "Subway" is a short blues chant that rides forward on the rhythmical lines of cornet and clarinet joined on the second verse by the piano.  The energy and interactions give the music such urgency that the song ends much too soon.

From beginning to end, "Witness" is a fascinating recording. There's so much music here, four voices working together to create a unified message.  Music crosses so many borders, so many walls, religions, politics, and much more. This mix of gospel, poetry, popular songs, opera, creative music and spirited improvisations is often stunning yet will make smile all the way through. Kirk Knuffke, Steven Herring, Ben Goldberg, and Russ Lossing made magic in the studio and we are the beneficiaries.

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

Here's a taste of the Sun Ra piece:

Cover Art: Damon Locks

Although it's official release date is not until 1/11/19, it's been impossible keep the new album by alto saxophonist Greg Ward out of the CD player. The full title "Greg Ward Presents Rogue Parade: Stompin' Off From Greenwood" (Greenleaf Music) tells the listener much about this album.  One - this is a new group for Ward. Consisting of two electric guitars (Matt Gold and Dave Miller) plus the splendid rhythm section of Matt Ulery (bass, electric bass) and Quin Kirchner (drums), the music they make is notable for its irresistible forward motion and Ward's delightful melodic flow.  Two - this is the second album Ward has made since his return to Chicago and has all the earmarks of the newer music from the Windy City.  The blend of funk, r'n'b, hip hop rhythms, jazz, and exciting interactions may remind some of Tortoise and Ornate Coleman's Prime Times but there are traces of the world-music adventuresome attitude of Makaya McCraven as well.

Chicago Reader

Since I've been listening to this music without paying attention to song titles (all songs are by Ward save for Hoagy Carmichael's "Stardust"), I would recommend you do the same.  On initial listenings, listen for how the rhythm section powers this music (Kirchner's blend of busy cymbals and active snare work is quite exciting while Ulery not only keeps the bottom solid but engages with Ward playing subtle counterpoint). Ward's alto tone can be so sweet (especially in the higher registers) but there's power in his melodic lines.  It takes a few times through to hear the guitarists - initially, it seems as both are there for the various colors they create but they also provide melodic introductions and the occasional solo. Their sound is not distorted yet the effects they use are often subtle and powerful.  Note the beginning of the album's final track (people who buy the download from Greenleaf get a bonus final track) - "Sundown" is driven by both guitars with Ward giving support.  The energy level continues to rise from the onset and is overwhelming by the close. There are several ballads. One is the generously melodic "Pitch Black", the softness of the alto and the rhythm guitar rising above the clatter of Kirchner's percussion and Ulery's solid bass lines.  Still, as the piece comes to a close, the intensity picks up still the band does not lose its melodic way.

Go back to the beginning, to the high-powered "Metropolis", and you'll really hear how all the elements of this music come together to make a unified statement.  How the melodies and counter-melodies, how the rhythms from the drums and guitars push the music, and how you can hum many of these melodies (even if you can't keep up at times).  Music often gives me hope for the future - "Stompin' Off From Greenwood" makes me smile, bounce my feet, challenges me to listen with fresh ears, opening up to the myriad possibilities in this music, making me wish I was in the audience as the band developed this program leading uptown the recording.

"Greg Ward Presents Rogue Parade" is the latest installment in the musician's maturity as a composer and bandleader. He's been busy since returning to Chicago, adding his saxophone to many different ensembles and recordings (including 2018's Benje Daneman's Searchparty "Light in the Darkness"). Greg Ward is making great strides and we are lucky to be part of the experience!

For more information, go to www.gregward.us.

Here's an action-packed tune: