Pay Attention

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

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

Photo: Lisa Hagen Glynn

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

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

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

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

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

Personnel:

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

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

Photo: The Author

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

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

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

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

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

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

Photo: Martine Barrat

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

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

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

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

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

Large Ensemble 2024 (Part 2): Melody Stands Out + Monk Inspires

Three more large ensemble recordings, each with its own outstanding qualities. 

Several years ago, I interviewed trombonist and composer Marshall Gilkes upon the release of his 2022 album, "Cyclic Matters".  In the midst of the discussion, he mentioned he had back in Germany to record a new  album with the WDR Big Band, the 17-piece ensemble in Cologne Germany.  He had spent four years (2010-13) in the trombone section –– the month after his stint was up, the Band invited him back for a "farewell concert" which resulted in the 2015 album, "Köln", a 10-song program that soared from the opening moment. The album won a GRAMMY nomination and led to the 2018 follow-up, "Always Forward".  Gilkes told me that he writes to the strength of each member of the band and that they love how his arrangements make them sound.  Upon receiving the invitation to create a third program for the WDR, Gilkes thought about all that had happened in the world since his 2017 trip that produced the second album.  The Pandemic, wars, democracies under siege, yet music and the arts still manages to thrive, to grow, to bring people together, to bend into new shapes for people to explore.

The results of Gilkes' thinking and writing can be heard on "LifeSongs" (WDR/ Alternate Side Records).  To these ears, it's the high point of the composer/ arranger's work with the Big Band.  The music is rich with melody and possibilities, the section arrangements often sing brightly, and the soloists are on the top of their game.  This music has soul, has heart, and imagination at its center.  The opening "Fresh Start" is just that!  A rollicking, Gospel-like melody and arrangement, with the leader's trombone in front but the real joy can be found in the interaction of soloists and the various sections.  "Back in the Groove" follows, a healthy portion of latge 60s-early 70s soul music in the melody and response over a thunderous rhythm section. Alto saxophonist Jonas Hörlen builds his solo off the main melody, riding the powerful piano of Billy Test, the solid bass of John Goldsby, and the slamming drums of Hans Dekker.  The proceedings cool down for the piano solo but Test moves quickly into overdrive with a joyous romp with the brass and reeds "testifying" right alongside him.

Listen to "Cora's Tune" below.  Pay attention to how Gilkes structures the melody, creates his fine solo, and how he utilizes the WDR sections to add excitement, and then creates a lovely trombone chorale in the midst of the piece.  Yet the music does not sit still, it changes, evolves, swings, and soars to its conclusion. Several tracks later, vocalist Sabeth Pérez joins the Band for a sweet take on the traditional lullaby "All The Pretty Horses". One can hear the influence of Maria Schneider (Gilkes is a long-time member of the MSO) in the arrangement. 

Delights abound in this program. "Middle Ground" follows, opening with a Brass chorale b efore picking up steam. The influences of Blues and Gospel can be hear in the melody lines as well as the section writing.  In the middle of the piece, the trombones take off into an exciting Latin rhythm, the sound splayting across the spectrum. The band kicks in and the 'bones trade 4s until the entire ensemble dances back into the melody, fading intoi the background for a return to Brass chorale. Then, it's into "San Filtro",  a multi-sectioned piece that, at times, reminds this listener of Chick Corea's "My Spanish Heart".  The leader's trombone is front-and-center throughout whether playing the main melody, soloing, or leading yet another splendid brass chorale.  You'll want to shout "hurrah" at the bravura closing section.

And there's more. I would be remiss not to mention the lovely version of Rodgers & Hammerstein's "This Nearly Was Mine" (from "South Pacific").  The song serves as a vehicle for an exquisite flugelhorn solo from Andy Haderer.  Those of you who buy the digital version (link below) get two more tracks, an extra 14 minutes of music (including the stomping "Taconic Turns").  No matter which version you purchase, "LifeSongs" is a soul satisfying, emotionally rich, and musically delightful program.  Marshall Gilkes truly shines in this setting as do his friends in the WDR Big Band –– if you dig Big Band, jump on this!

For more information, go to www.marshallgilkes.com.  To hear more and to purchase the album, go to  https://marshallgilkes.bandcamp.com/album/lifesongs.

Personnel:

Marshall Gilkes composer, arranger, trombone, conductor

Johan Hörlén • alto saxophone, flute, clarinet Pascal Bartoszak • alto saxophone, flute, clarinet,

Ben Fitzpatrick • tenor saxophone, clarinet, Paul Heller • tenor saxophone, clarinet
Jens Neufang • baritone saxophone, bass clarinet
Andy Haderer • trumpet, piccolo trumpet, flugelhorn, Wim Both • trumpet, flugelhorn
Rob Bruynen • trumpet, flugelhorn, Ruud Breuls • trumpet, flugelhorn
Ludwig Nuss • trombone, Raphael Klemm • trombone, Peter Hedrich • trombone
Andy Hunter • trombone (one track)
Mattis Cederberg • bass trombone, tuba
John Goldsby • bass 

Billy Test • piano 

Hans Dekker • drums
Sabeth Pérez • vocals on "All the Pretty Horses"

Give a listen to "Cora's Tune":

As a special treat, here's the video for "Sugar Rush", the final track on the CD:

On his first two Big Band recordings (2019's "Assembly of Shadows" and 2021's "Architecture of Storms"), saxophonist, composer, and arranger Remy Le Boeuf showed a pleasing knack for well-defined melodies, smart arrangements, and for creating space for soloists to interact with the music and the musicians.  There were moments, especially on the second release, that the music had a "pop music" sensibility, with melodies that cried out for lyrics (one song did have a guest vocalist) –– nothing seemed "dumbed down" for mass consumption but the songs sounded like they could have fit easily into contemporary radio airplay.

On his third Big Band effort (the ensemble has taken on the name of its first album: Assembly of Shadows), "Heartland Radio" (SoundSpore Records), the title track opens the album with a decided backbeat and a hummable melody (ah, but the glorious section harmonies!).  Listen below to "Stop & Go" –– the rhythm section plays beats reminiscent of the work by the British band New Order but the main melody and chorus would not sound out of place on a Gamble & Huff production of the 1970s.  The music also sounds great pouring out of car speakers when one is driving down the road (this writer's prerogative), especially guest guitarist Max Light's solo.  "New Beginnings" bears traces of the work of Burt Bacharach; one can his influence on the handsome melody and arrangements, in the tempo changes, and in the great trumpet solo (uncredited).  

Vocalist Julia Easterlin joins the group for "Barbara" (lyrics by poet Sara Pirkle). The Bacharach influence can be felt a bit here as well but Le Boeuf's arrangement is all his own (his section writing is splendid).  The leader also created an arrangement for "Little Song"; composed by trumpeter Nadje Noordhuis for her Newvelle Records album "Full Circle", the melody is a rich blend of sadness and longing that is emphasized here by the sweeping brass lines and gueat Danielle Wertz's wordless vocal.  The leader's alto saxophine is out in front through the middle of the track, his solo soaring like a bird freed in the wild.  

"Heartland Radio" (so named for the leader's journey across the United States to Denver, Colorado, where he is now on the music faculty of the University of Denver) comes to a close with "Walking on Water". There's a gospel feel to the both the melody and arrangements as well as a powerful saxophone solo with the gentle alto sax coda bringing the listener to the final long chord. Remy LeBoeuf said that the music on the album was inspired by the sounds he heard driving to his destination. These excellent sounds attest to the fact that the composer/ arranger had a fertile and thriving imagination. 

For more information, go to www.remyleboeuf.com.  To purchase the album, go to  https://remyleboeuf.bandcamp.com/album/heartland-radio.

Personnel:

Gregory Robbins – conductor

Vocals
Julia Easterlin (vocal on one track)
Danielle Wertz (vocal on one track)

Remy Le Boeuf / Alto Sax, Flute, Alto Flute
Alejandro Aviles / Flute, Alto Sax
Lucas Pino / Tenor Sax, Clarinet
John Lowery / Tenor Sax, Clarinet
Carl Maraghi / Bari Sax, Bass Clarinet

Trumpets
Tony Kadleck, Tony Glausi, Philip Dizack,  Mike Rodriguez

Trombones
Mike Fahie, Alan Ferber, Javier Nero
Jennifer Wharton (bass trombone)

Guitar
Alex Goodman
Max Light (one track)

Piano
Martha Kato

Bass
Dan Montgomery

Drums
Peter Kronreif

Keyboards
Pascal Le Boeuf (first two tracks)

Get into the groove with "Stop & Go":

Pianist, composer, arranger, and now conductor Frank Carlberg has spent the better part of his life engrossed in and studying the music and recordings of Thelonious Monk.  Many of his recordings are inspired by and feature music of the composer –– in 2019, Carlberg put together his Large Ensemble to record and issue "Monk Dreams, Hallucinations and Nightmares" on his Red Piano Records label. I loved that album and love it even more now. Carlberg has the knack of making Monk's music sound fresh and contemporary while still shoeing respect for the composer.

Now we have "Elegy for Thelonious" (Sunnyside Records). I have an image of Carlberg in his room slicing up pieces of Monk tunes, pinning particular phrases to the wall, and creating original arrangements around.  In the recording studio, he places the fragments, his arrangements, and some sections he composed in front of the musicians and says "Let's play!"  And they do.  That's not to say that recording is unfocused or cacophonous. Not at all.  What it is is fun, creative adventures taking on the guise of fun.  What a band Carlberg has in front of him.  Besides the impressive arrangements and re-arrangements, the secret weapon in this music is drummer Michael Sarin. Throughout the seven-song program, he's the linchpin as well as the glue that keeps the Ensemble from descending into chaos.  Listen below to "Spooky Rift We Pat", an engaging mashup of "Tea For Two" and Monk's "Skippy". Christine Correa leads off with a deconstruction of a verse from the standard; then the ensemble enters and we're off to the races. After a playful solo from tenor saxophonist Adam Kolker and a lively diversion with trumpeter David Adewumi, the whole ensemble returns and different voices rise out of the din. All the while, Sarin is driving the bus, making sure no one loses their way.

The fun continues on "Out of Steam", a funky tune replete with synth washes from Leo Genovese and vocals from the leader's daughter Priya Carlberg.  The different figures the leader has the reeds and brass play behind the powerful alto sax solo from Nathan Reising stand out because they are often brash and bratty.  

The centerpiece of the recording is the title track. The music is not so solemn as there's muted trumpet squawks and clarinet trills behind Ms. Correa's recitation of poet Yusef Komunyakaa's "Elegy for Thelonious". A few moments later, the two vocalists sing the chorus from the hymn "Abide with Me" (a piece – composed by 19th Century English church organist William H. Monk, no relation, which the American Mr. Monk recorded on 1957's "Monk's Music").  Along the way, there are fine solos from trombonist Brian Drye, cornettist Kirk Knuffke, and Jeremy Udden on lyricon.  The music gets cluttered by the end of the vocals but the brass exclamations and solid drumming keeps the music on keel.  

Every one of the seven tracks on "Elegy for Thelonious" is worth writing about – for instance, Hery Paz's solo on "Brake Tune" is stunning as is trumpeter John Carlson's smoking take on "Wrinkle on Trinkle". The Frank Carlberg Ensemble is filled with great musicians, great soloists, and Carlberg gives them plenty of room to shine while his section writing is exemplary throughout.  I mentioned drummer Michael Sarin earlier but his rhythm section partner, bassist Kim Cass, deserves similar kudos. What a treat!!

For more information, go to www.macdowell.org/artists/frank-carlberg. To hear more and to purchase the album, go to https://sunnysiderecords.bandcamp.com/album/elegy-for-thelonious.

Personnel:

Frank Carlberg - conductor, composer
Sam Hoyt, John Carlson, David Adewumi - trumpet

Kirk Knuffke – cornet
Brian Drye, Chris Washburne, Tyler Bonilla, Max Seigel - trombone
Nathan Reising, Jeremy Udden, Adam Tolker, Hery Paz, Andrew Hadro - woodwinds
Leo Genovese - piano, keyboards
Kim Cass - bass
Michael Sarin - drums
Christine Correa, Priya Carlberg - voice

Take a listen to "Spooky Rift We Pat":

Piano Stories

 Here are two very different albums from pianists yet they share the need to tell stories through music. Most if not all of the stories are personal but, then again, for some of the us, the finest music is the mlost personal.

Elan Mehler may be best-known for his groundbreaking work with Newvelle Records as the creative head and co-producer. Mehler is also a fine pianist and has recorded 10 albums as a leader or co-leader, some released on Newvelle, others on Challenge Records, and Brownswood Records.  His newest release, "Trouble in Mind" (Sunnyside Records), is a solo recording made a month before the COVID-19 panic closed down the world in March 2020.  There's quite a story behind the album's existence (which you can read on the Bandcamp page linked below) but you should be able to tell from the first three tracks that the music was created in New Orleans. The rhythms that either permeate or are suggested on "In A Sentimental Way", "Esplanade Blues" (named for the recording studio), and "Alice's Wonderland" should lead your mind back to the work of Ferdinand "Jelly Roll" Morton or recordings by Dr. John and Allen Toussaint.  Listen below to the Duke Ellington song and you can't help but hear in the pianist's left hand the sound of the Crescent City.

The 12-song program consists of four originals, three pieces by Duke Ellington, and one each from Richard Jones (the title track), Bill Frisell, Johnny Green & Edward Heyman, Richard Rodgers & Lorenz Hart, and Charles Mingus ("Alice's Wonderland", first recorded by its composer in 1959).  The album has the sound and feel of a light-night/early morning set at a piano bar; the only thing is the audience reaction and clinking of glasses.  Much of this music is based in the blues and by design it's a melancholy program. Still there are moments where the joy of music overtakes the more wistful sounds; on the title track, Mehler pushes the "trouble" out. The original "Esplanade Blues" is a sly dance while another Mehler, "There at the Heart" is suffused with love.

"Trouble in Mind" has graced my CD player for several months and I never tire of sweet rhythms, rich melodies, and fine improvisations that Elan Mehler has created 53-minute program. Sit yourself down, let the music play, and enjoy.  

Here's the album opener, "n a Sentimental Mood":

Pianist and composer Lawrence Fields may be best-known for his work with saxophonist Joe Lovano in his Quartet or with Sound Prints, the Wayne Shorter-inspired Quintet co-led by Mr. Lovano and trumpeter Dave Douglas.  The St. Louis native has also worked and recorded with trumpeter Christian Scott, drummers Terri Lyne Carrington and Jeff "Tain" Watts, and trumpeter Nicolas Payton (among many others).  One listen to Fields' debut album "To The Surface" (also the debut for the Wesseling, Germany-based Rhythm 'N' Flow Records) and you can hear why he's a great addition to any ensemble. He plays with wit, joy, power, plus he's quite melodic and quite percussive. There are a number of moments when his music brings the sound and feel of the late McCoy Tyner to mind.  Listen to the title track below, especially how the excellent rhythm section of drummer Corey Fonville (Nicolas Payton, Butcher Brown) and bassist Yasushi Nakamura (Joe Lovano, Cecile McLorin-Salvant) follow the pianist's every move and mood shift. 

It can be so much fun to hear a trio explore the ins-and-outs of material. The program opener, "Parachute" (all but one of the eight tracks are Fields' originals), take its to open up but when it does, the music has such great urgency.  The following "New Season Blues" includes a stunning unaccompanied piano solo in the middle of a rollicking performance.  I love the little nod to "When You Wish Upon a Star" in the opening and closing piano riff.  Later in the hour-long program, the trio creates a lovely ballad setting for Jules Styne/ Sammy Cahn classic "I Fall In Love Too Easily"; Nakamura's sweetly melodic bass solo opens the door to a handsome piano spot that displays Fields' generous melodicism.  

Photo: Sofia Hussein

The album closes with the hard-swinging "The Lookout"––all three musicians shine brightly throughout with creative takes on the rhythm and melody.  This is "can't sit still" creative music at its best, the powerful drums and thundering bass clearing a path for the pianist's flying fingers, the blend of muscular chords and rapid-fire single note lines shining brightly.  

"To The Surface" shines from the opening note to the closing seconds. Lawrence Fields proves with his musicianship and mature compositions that he is a fresh voice on the music scene.  With the assistance of the first-class rhythm section work of Corey Fonville and Yasushi Namamura, this recording should open many eyes and ears.  

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

Here's the title track:

Confluence of the Basses

 Here we have three relatively new releases from three fine bassists and songwriters. This is powerful music that jumps out of the speakers and pulls the listener in.

"Ultraviolet" (Contagious Music) is the third album by the quartet of Billy Mohler (bass, compositions), Chris Speed (tenor sax, clarinet), Shane Endsley (trumpet), and Nate Wood (drums).  Like the previous two, the music is built upon the hardy interplay of bass and drums while the sax and trumpet often weave melodies around each other.  While this ensemble's shape is based on the classic Ornette Coleman lineup on the Atlantic Records he made with Don Cherry, Charlie Haden, and either Billy Higgins or Ed Blackwell, the short opening track "Matador" leads one to believe that the real influence in the music is Dave Holland's 1973 classic ECM recording "Conference of the Birds" (with Sam Rivers, Anthony Braxton, and Barry Altshul). You can hear it in the interactions on tracks such as "The Wait" and "Aberdeen" as well as in the short, free-form, "Disorder II" and "I".  Only one track exceeds five minutes and that's the closing "Reconstruction" (7:57) –– after an excellent bass intro, the well-designed melody opens to strong solos from Speed and Endsley. Even though Wood does not solo, his drums are upfront in the mix and you hear how he listens to and prods the soloists.

Photo: Jenny Rolapp

"Ultraviolet" stands out for numerous reasons (compositions, musicianship, great sound quality) but especially because the music sounds so alive.  Released in October 2023, it's one of the better releases of that year or any year!

For more information, go to www.billymohler.com. To hear more of the bassist's fine music and to purchase the albums, go to https://billymohler.bandcamp.com/album/ultraviolet.

Here's the title track:

Bassist Ethan Philion released his second album "Gnosis" (Sunnyside Records) in October of 2023, just 13 months after his powerful debut "Meditations on Mingus". The earlier album featured a wonderful 10-person ensemble playing the bassist's rearrangements of eight classic Charles Mingus compositions. The new album features three stalwarts of the Chicago Creative Music scene including Greg Ward (alto saxophone), Dana Hall (drums), and Russ Johnson (trumpet).  The six-song program features five Philion originals and one Charles Mingus but what a track!  The quartet swings, soars, roars, and explores its way through "What Love", the older bassist's musical contraction of "What Is This Thing Called Love" and "You Don't Know What Love Is". First recorded on "Charles Mingus Presents Mingus" in 1960 with trumpeter Ted Curson, multi-reed artist Eric Dolphy, and drummer Danny Richmond, the free-wheeling performance set the tone for a number of jazz artists of the early-to-mid 60s.

If the classic Mingus Quartet is the influence for the shape and sound of Philion's ensemble, his original compositions stand out for how he writes pieces to the strength of his group, how the music music builds on tradition without sounding stuffy or imitative, and how the power in the rhythm section (Hall and Philion are a muscular duo!) gives the front line music to work with.  There are "kick butt" pieces such as the rollicking opener "The Boot" plus "Sheep Shank" and the exploratory "Comment Section".  For a much different feel, listen below to "Nostalgia".  Philion's bass opening sounds like rain falling on the windows which leads to Johnson's somber melody line.  Ward warbles in the background while Hall adds percussion sounds.  When the trumpet and sax complete the opening theme in unison, the music takes on the feel of its title.  The pure tone of the alto sax blends with high, finely-etched trumpet before Ward takes off on an excellent wide-ranging solo. The rhythm section picks on his energy and really pushes the music higher.

The title track closes the program. Starting slowly, the music agains gains power as as it struts fowards with the rhythm section feediong off the interwoven lines created by the sax and trumpet.  This is the kind of music that sounds so alive and you want to be in the room as it is being created. "Gnosis" should warm the hearts of listeners who love adventurous music, excellent soloists, and musicians who really listen and create!  With his first two albums, Ethan Philion has shown he is a musical force to be reckoned with.

To learn more and to purchase the album, go to https://sunnysiderecords.bandcamp.com/album/gnosis. 

Here's "Nostalgia":

For his fourth album (and third for Sunnyside Records) as a leader, bassist and composer Gui Duvignau pared his group down to a trio and decided to record live.  "Live in Red Hook" finds him in the company of pianist Jacob Sacks and drummer Nathan Ellman-Bell performing a program and nine originals plus one tune each by Ron Carter ("Eighty-One") and Baden Powell ("Deixa").  The trio deconstructs the Carter piece before diving into the recognizable melody while the lovely ballad by Powell gets the gentle touch.  The album opener "Idee Fixe" illustrates how the three musicians listen closely and interact and how comfortable they are with "opening up" the music.  Ellman-Bell really pushes Sacks' playful solo forward while the leader holds the center. Listen below to "Right? Wow!" for another example of the trio's playfulness and cat-like ability to instantly change directions.

Photo: Tatiana Kahvegian

Duvignau's composition are not only witty but also well-constructed.  "Miniature for Drums" has a gentle melody line that bass and piano keep repeating Ellman-Bell plays his cymbals and floor toms.   "One at a Time" has a Herbie Nichols-feel in the rising melody line –– the bassist is also quite melodic through the thematic sections, moving to a strong "walking" bass line while Sacks dances on piano.  The pianist also stands out on "Still Untitled" stating the melody with classical precision (with a slight sense of anarchy in the two-handed dance at times). The bass and drums happily play around through the solo, stopping, starting, bouncing, whispering, anything but playing it safe.     

The album closes with "Scriabingus" which reads like a skin ailment or what it really is, a piece influenced by two very different composers.  It gives the listener the opportunity to hear the leader create an impressive solo.  But, note how Sacks and Ellman-Bell acquit themselves in the service of the far-ranging composition.  "Live in Red Hook" was recorded over two nights in the Coffey Street Studios in Brooklyn –– if you are a fan of adventurous but not "free" music, you should dig into this new release from Guy Duvignau. It will bring a smile to your face and mind!

For more information and to purchase the album, go to https://guiduvignau.bandcamp.com/album/live-in-red-hook. 

Give a listen to "Right? Wow!":

George, By Denny!

 

Dr. Dennis Zeitlin, Clinical Professor of Psychiatry at the University of California/San Francisco and practicing Psychiatrist, is also Denny Zeitlin, pianist, composer, arranger, and improvisor––the latter has been playing and recording since the early 1960s when he was a Graduate Student at Johns Hopkins in Baltimore, MD.  He continued his career and began teaching after moving to the West Coast.  The pianist recorded four LPs for Columbia from 1963-67, the first in a trio with bassist Cecil McBee and drummer Freddie Waits; other ensembles featured bassist Charlie Haden and drummer Jerry Granelli. In 1969, he met percussionist George Marsh (who, like Dr. Zeitlin, was born in Chicago) forming a trio with bassist Mel Graves. Together, they recorded two albums, one ("The Name of This Terrain") recorded in 1969 that was issued in 2022, and the other ("Expansion") issued in 1973––Dr. Zeitlin had added electronic keyboards and synthesizers to his repertoire and the musical results still sound fascinating.  In 1978, he composed the soundtrack to the first remake of "Invasion of the Body-Snatchers"; that immersive electronic experiment sent him back to the acoustic piano.

In the late-2000s, after issuing on labels such as Windham Hill, Palo Alto Jazz, Concord, and one smashing Trio session on the Japanese Venus label, Dr. Zeitlin began his association with Sunnyside Records. Since that time, he has released four Trio albums (featuring bassist Buster Williams and drummer Matt Wilson), three totally-improvised electronics-laden albums with George Marsh, and six solo piano albums (one of which, 2013's "Both/And", features electronics as well).  Album #14 for Sunnyside is "Crazy Rhythms: Exploring George Gershwin" (the Doctor's seventh solo album and third recorded at the Piedmont Piano Company in Oakland, CA).  The package includes 11 Gershwin works that range from "standards" to show tunes to one fascinating find (the lovely waltz "By Strauss").  Dr. Zeitlin chose these pieces several months before the December 2018 concert, playing through and with them. He then sat in the concert space in front of the audience and proceeded to play through the program following no set format and improvising, in his estimation, 95% of the concert.

What a treat this album is.  From the opening zither-like sound of "Summertime" to the playful "I Was Doing All Right" that closes the album, the music goes in many directions. In conversation with Dr. Zeitlin, I compared the improvisor to a person diving into the water, going deep down and coming back up to touch on the melody.  Right from the start, the music does not move the way one might expect; instead, these performances are an open door into the musician's creativity. While you sing along to "How Long Has This Been Going On?", the pianist changes the tempo now and then, creating a joyful solo. "Fascinating Rhythm" bounces forward yet there are moments when the two-handed approach sounds like a JS Bach exercise before swinging away on the power of right-hand single note runs.  Listen below to "The Man I Love"–is the opening a bow to fellow pianist McCoy Tyner's use of modal chords before the music dances away?

The three pieces from "Porgy and Bess"––"Bess You Is My Woman Now", "It Ain't Necessarily So", and "My Man's Gone Now"––could be an album on its own.  The pianistic explorations on each piece not only honor the melody but the "heart and soul" in each tune.  "Bess" is just gorgeous, emotionally rich and rewarding in numerous ways.  "It Ain't...." moves far from its melodic home for a powerful journey inside the questions at the heart of faith and beliefs, not settling for a laugh.  At nearly 13 minutes, "My Man's Gone Now" is, at times, an elegy, a celebration, and a angry fist waving at the heavens, a journey inward and out again with a renewed resilience. 

That's my take. "Crazy Rhythms: Exploring George Gershwin", if you are willing to give the music the time it deserves, is quite an album. Denny Zeitlin makes George Gershwin come alive, illuminating the universality of the composer's music as well as the joy (try and sit still listening to "S'Wonderful"). Pay attention and get lost; let this music take you away from the mundane, from the troubles, for the rewards are many!

For more information and to purchase the album, go to https://dennyzeitlin.bandcamp.com/album/crazy-rhythm-exploring-george-gershwin.  To learn more about Dr. Denny Zeitlin, go to www.dennyzeitlin.com. 

Listen to "The Man I Love":

The Majesty of Magos, the Power of Expression, the Songs of Women

 Over the past month, I have listened to four different albums featuring vocalist, composer, and activist Magos Herrera. 2018 saw the release of "Dreamers" (Sony Music/Mexico), her brilliant collaboration with Brooklyn Rider while December 2020 was the release date for "Con Alma: An Operatic Tableau on Isolation" (National Sawdust Tracks), Ms. Herrera's album with Italian-born composer Paola Prestini. The newer albums are reviewed below.

For those who don't know Magos Herrera, she's a native of Mexico City who came to the United States in 1992 to study at The Musicians Institute in Los Angeles.  She continued her studies in Boston, MA, before returning to Mexico.  Her first four albums as a solo artist were recorded in her home city. In 2008, Ms. Herrera moved to New York City and, one year later, released "Distancia" on Sunnyside Records––two years later, she followed up with "México Azul" for the same label.  Since then, she was 1/2 of the duo Magos & Limón (Spanish  guitarist Javier Limón) that recorded two albums for Sony Music.  What stands out for this listener includes her persuasive contralto voice, how she inhabits each song whether she's singing in Spanish, Portuguese, or English, and how she obliterates "borders" in her music (is she a jazz singer, a classical chanteuse, or a folk artist? Yes, all that and more.

"Aire" is her 11th album as a leader, her third for Sunnyside, the first release for that label in 12 years.  With her regular working trio of Vinicius Gomes (acoustic guitar), Sam Minaie (bass), and Alex Kautz (drums and percussion) plus guest Ingrid Jensen (trumpet and flugelhorn on two tracks), Dori Caymmi (voice on "Samba em Preludio"), and Gonzalo Grau (percussion on three tracks). The Knights, the 21-member chamber orchestra (see personnel below) also appear on 10 of the 12 tracks playing arrangements by Mr. Grau, by Argentinean pianist Diego Schissi, and the great Brazilian composer and arranger Jaques Morelenbaum ("Samba em Preludio"). The material includes five originals by Ms. Herrera as well as compositions by Chilean folklorist Violetta Parra (1917-1967), by Ariel Ramírez & Félix Luna, by Guinga & César Pinheiro, by Danilo Moraes & Paulo Cesar de Carvahlo, and by Vinicius de Moraes & Baden Powell. 

Photo: Shervin Lainez

There's so many reasons to listen to "Aire", not the least of which is how strong these songs are and how the vocalist works with both the trio and the orchestra.  Whether it's the dancing rhythms of the title track that opens the album (Grau's arrangement is both lavish and supportive) or the gentle swaying of "Samba em Preludio" (the blend of 79-year old Caymmi's handsome voice with the supple quality of Ms. Herreras voice is charming and touching), the music touches the heart.  Quiet guitar introduces Violetta Parra's "Gracias a la Vida" but note how Schissi's arrangement first introduces the reeds and then the strings move around under the voice. Add Ingrid Jensen's occasional trumpet responses to the vocal rises above the orchestra and the piece has a "magical-realism".  Guinga's "Passarinhadeira" (finch) is just voice and guitar––Ms. Herrera sings so gently over Gomes's finger-picked acoustic guitar that one must lean into the song.  Schissi's handsome string writing behind the wordless vocal on the short "Papalote Intro" leads the listener into Ms. Herrera's original piece. Gomes's delightful guitar solo follows the theme with The Knights' caressing sounds swimming around beneath him. They do the same for Ms. Herrera's wordless vocal improvisation.

The album closes with "Healer", a piece dedicated to and featuring the voice Maria Sabina (1894-1985), the Mexican shaman, in the opening moment.  Ms. Sabina not only used herbs, peyote, and mushrooms but also the voice to heal people. Ms. Herrera uses her voice to deliver the message of healing through music and the celebration of life.  The blend of percussion, voices, guitars, and The Knights brings "Aire" to a magical and delightful close.

Magos Herrera has created a panacea to the fear and worries of the past few years, music to escape the myriad voices of argument and disagreement of people who use words to hurt and stress their superiority.  Can music heal our souls?  Ms. Herrera believes so and this magnificent album serves as her proof!

For more information, go to www.magosherrera.com.  To hear and to purchase the album, go to https://magosherrera.bandcamp.com/album/aire.

The Knights:

Colin and Eric Jacobsen - artistic directors

Wayne du Maine - conductor

Colin Jacobsen, Christina Courtin, Abi Fayette, Alex Fortes, Kristi Hellberg, Nannte Iwata, Yaira Matyakubova - violin

Mario Goto, Celia Hatton - viola

Gabriel Cabezas, Jia Kim - cello

Grey Fulmer - bass

Alex Sopp - flute

Michelle Farah - oboe

Agnes Marchione - clarinet

Edward Burns - bassoon

Karl Kramer-Johansen - horn

Micah Killian - trumpet

Dave Nelson - trombone

Megan Conley - harp

Blair McMillen - piano

license

Listen to "Choro de Lua":

Venezuelan-born pianist and composer Edward Simon first met Magos Herrera in 2017 when he, his trio members (bassist Joe Martin and drummer Adam Cruz) and the vocalist performed together in a 2017 tribute concert honoring the great Argentine vocalist Mercedes Sosa (1935-2009).  That planted the seed in the pianist's mind to create a follow-up to his 2016 Sunnyside Records album "Latin American Songbook".  This time, Simon with Herrera and the Trio, would focus on Latin American women composers and performers. In addition, the ensemble (with bassist Reuben Rogers replacing Martin and now including  and guest percussionist Luis Quintero) worked on a commission that Simon received from the Chamber Music's New Jazz Works––"Latino Soy" is a three-movement piece, two movements featuring lyrics sung and spoken by Ms. Herrera.

"Femeninas: Songs of Latin American Women" (artistShare)  is an 11-song, 63-minute, program that pays tribute to artists such as Joyce Moreno (Brazil), Elizabeth (Chile), Chabuca Granda (Perú), Violetta Parra (Chile), Marta Valdés (Cuba), Rosa Passos (Brazil), and Georgina Hassan (Argentina).  Opening with Ms. Moreno's "Feminina", the music jumps out of the speakers on the lively rhythms created by the trio plus the crisp acoustic guitar of Romero Lubambo (one of his two appearances on the album).  After Ms. Herrera delivers the lyrics, composed as a question to a Mother as to what "female" means, Rogers takes a delightful, melodic, solo and Quintero adds a short solo. That leads into Ms. Morris's lovely ballad "Décimas"–Simon's arrangement does not stray too far from the original until he pushes the tempo in the second half of the piece. Again, Roger's melodic bass lines stand out not only as foundational but in counterpoint to the vocal. 

Simon's suite, "Latino Soy", takes up 1/3rd of the album's running time. "Naked Sky" features original English lyrics by Ms. Herrera. The music slowly builds up behind the vocal into a fast bolero––Cruz's drumming and brush work stand out as do the richly melodic solo Simon creates.  "Buleria" is even quicker, with the feel of flamenco (Simon's piano captures the feel of a guitarist). The break in the middle for drums, handclaps, and percussion sets up a powerful with Ms. Herrera's wordless vocal soaring above the ensemble. Here, the overdubbing creates a responsive chorus that is hypnotic, mesmerizing.  The final section, "Mujer Remolino", takes its title from one of the nicknames of the shaman Maria Sabina (see above)––the words translate to "Whirlwind Woman".  The medium-tempo piece opens up to a long, twisting, rhythmical, piano solo. After a break where Ms. Herrera joins in on wordless vocal, she then begins to read the words of one of the Mexican shaman's healing ceremonies.

Other highlights include the stunning "Gracias de la Vida" ("Here's to Life") from the pen of Ms. Parra. After the voice and piano move through the verses, Cruz enters to "converse" with Simon during his solo. Rogers joins them for the final verse of the song.  The song then breaks into double-time, a dramatic close to quite a dramatic piece.  Lubambo returns for Ms. Passos "Dunas" (lyrics by Fernando de Oliviera), a delicious Bossa Nova with a pleasing solo from Simon. 

The program closes with "Hacia Donde" ("where" or "wherever"), a lovely ballad composed by Ms. Valdés (born 1928) for voice and piano.  One may not understand Spanish but you cannot miss the pensive mood of the singer and the gentle, "formal", piano in the background that carries that introspective and emotional mood throughout the performance.  

When you sit and listen through "Femeninas" several times, you can really hear how the pairing of Magos Herrera and Edward Simon is magic. One feels, actually intuits, that they have worked together for many years.  Yet, that's just part of the magic of this project. The rhythm section is powerful, able to "groove" and support in equal measure. Simon's piano work is clear, his phrases articulate, and his arrangements intelligent and respectful.  Ms. Herrera's voice is so wondrous, her ability to express emotions and transport listeners beyond the mundane explains why every project she is involved with is worth investigating.  

"Femeninas" will be released on June 8, 2023––go to www.edwardsimon.com/projects/femeninas to find out more.

Listen to and watch "Gracias a la Vida":