Messages From New Orleans

Photo: Aubrey Edwards

Saxophonist, clarinetist, and composer Byron Asher moved to New Orleans a decade ago to attend college and earn his MMA (Masters of Musical Arts).  The Maryland native became so engrossed in the sounds of the city that he has stayed.  He currently co-leads several groups and is a member of several others.  Like many transplants to the Crescent City, Asher has become absorbed in how the music, the city, and the citizens are all intertwined. Thanks to an Artist's Residency that the composer received from Tulane University, Asher not only had the time to write music but also create an Oral History project with the elders of New Orleans clarinet players.  He created a 10-member ensemble including four reed players, three brass (including cornet, trombone, and sousaphone), piano, bass, and drums – see list below.

Asher and the ensemble went into the studio in winter of 2018 and the results can be heard on the album "Brian Asher's Skrontch Music" (Sinking City Records).  The name "Skrontch" is not native to New Orleans but is the title of a 1938 piece by Duke Ellington that he used on his experiences working in Harlem's Cotton Club (check out Duke's version here).  Asher's recording is composed of five original pieces, with most of them including pre-recorded voices, old recordings, excerpts from musician interviews, etc.  The first track, "Blues Obligato", opens with the ensemble quietly in the background as recordings by Bessie Smith, King Oliver, Mamie Smith, and others weave together in a sound collage. Slowly the ensemble takes over with various instruments rising to the top of the mix. When that section is concluded, the three clarinet players play an unaccompanied somber melody for a moment before James Singleton's funky bass and Steve Glenn's sousaphone mesh with drummer James Thibodeaux to create a funky rhythm.  The main melody, really one long line repeated over and over by different instruments with a touch of counterpoint, slowly opens up for a solo section that features a call-and-response featuring the clarinet of Aurora Nealand and the trombone of Emily Frederikson.  The other front lines return and we hear a collective improvisation.

"Aural History" opens with a handsome ensemble melody before the music fades and is replaced by several different voices that belong to Crescent City clarinet stars of the early 20th Century.  Listening to their stories, one gets a fascinating and compelling picture of life in the early 20th Century. Meanwhile, the music is respectful, bluesy, playing underneath as a celebration of these musicians.  As the voices fade, the ensemble steps forward with the melody played by various sections.  Near the end, there's lovely soprano saxophone playing from Reagan Mitchell.

Illustration: John Churchill, 1977

"Comité des Cityoens" is named for the New Orleans citizens activist group whose member Homer Plessy was arrested in 1892 for entering the "white-only" passenger car and refusing to move. His case was appealed to the US Supreme Court (Plessy v. Ferguson) which decided against Plessy therefore upholding the Jim Crow laws that kept African Americans "second-class citizens" until the 1960s. Plessy's actions set the stage for the protest tactics of the Civil Rights Movement. One might expect that the music Asher created for this section would be just as somber as previous cuts; instead, the music skips forward on short blasts of reeds over a raucous drum beat.  The instrumental section of the track features a powerful statement from tenor saxophonist Ricardo Pascal followed a dazzling spin over the piano from Oscar Rossignoli.  The song closes with more quotes from the Supreme Court's decision reminding  modern listeners that there is still more work to do.

Image: YouTube

The album closes with "Elegy" and "After This, That", musical meditations on the present day with melodies and rhythms that have organically grown from the roots of the musical forefathers and mothers.  The leader creates a long and passionate clarinet solo on the final track while the rhythm section kicks up a storm. Mitchell (soprano sax) and Ms. Nealand (alto sax) also make powerful statements while Singleton plays counterpoint (he also takes a wonderful arco bass solo) and Thibodeaux dances around his drum kit.

"Byron Asher's Skrontch Music" was issued in late October 2019;  it's musical and emotional impact will last for years.  Byron Asher did his homework and created this suite of music that encompasses the width and breadth of both the history and music of New Orleans (from the Jazz Age forward).  Listen closely – there's much to be learned from all the voices that will move into your ears and your consciousness.

For more information, go to byronasher.com.

Here's a taste of this fine music:




Personnel:

Byron Asher, clarinet and tenor saxophone, compositions 
Ricardo Pascal, clarinet and tenor saxophone 
Aurora Nealand, clarinet and alto saxophone 
Reagan Mitchell, soprano and alto saxophones 
Shaye Cohn, cornet 
Emily Frederickson, trombone 
Oscar Rossignoli, piano 
Steve Glenn, sousaphone 
James Singleton, upright bass 
Paul Thibodeaux, drumset

Nutria, the trio named for a Louisiana swamp rat that Asher formed with bassist Tim Boudreaux and drummer Shawn Myers in 2014, issues its third recording on Valentine's Day 2020.  Titled "Meeting In Progress" (ears&eyes Records), the recording, made in the waning days of December 2018, presents a portrait of a group that is comfortable pushing each other forward, making music with an impressive dynamic range, a clean sound, and inviting the listener to enter into a sonic adventure that eschews labels and styles.

Each musician contributes, at least, two original compositions – still there is a unity in sound throughout the program. Asher contributed four pieces to the eight-song program including the title song that serves as the opening track. One can really hear the Air influence here especially in how the composer changes the melody and the rhythms throughout the piece. Asher's buzzing bass clarinet introduces "Once Annual Elegy" – his quiet solo is underscored by strong bass counterpoint and fine cymbal colors. The leader's other two contributions both bear names familiar to residents of Northern New England.  The sublime ballad "Tremont ME" finds Asher on clarinet and Myers's brushes setting the pace while "Monadnock" (a mountain in New Hampshire bears that name) is a ballad for tenor saxophone yet notice how all three share the melody line.  This is contemplative music that makes one listen closer.

Myers's drum work reminds this listener of New Orleans native Ed Blackwell as well as Chicago, IL, native Steve McCall (perhaps best known for his work with Trio Air). He also composed  the exciting "Forth" which rumbles forward on impressive drum beats, throbbing bass, and the composer's .  Myers is also responsible for the final track. "Lake Solitude" has a slow walking bass line, a melody line that contains echoes of Australian alto saxophonist Bernie McGann. Pay attention to the conversational drums and how Asher's tenor sax solo has such a "cool" feeling.  Boudreaux's "The Mission" also alludes to Air, displaying a Henry Theadgill influence, especially in the quirky yet emotional melody. The bassist's solo is also fascinating, especially for its melodic lines and how Myers chooses to move beneath them.

"Meeting In Progress" is the work of three friends, musicians who listen and respond to each other without making a big deal about being technically impressive.  No one voice is more important than any other – the trio's objective is to weave their life experiences into this music and see how it resonates with the listener. Nutria, the animal, lives on riverbanks, often congregates in large colonies, is mostly a herbivore, and can be dangerous to local landscapes. Nutria, the New Orleans-based trio, creates a musical environment hospitable to those willing to take the time to test the waters and then dive in!

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

Here's the title track:

Two Cohens, Unrelated: Both Can Play!

Photo: Todd Heisler/NYTimes

There is something about the sound of Anat Cohen when she's playing her clarinet.  She's a fine tenor sax player and certainly shines as well on soprano sax but her most exciting "voice" is the clarinet.  The woodwind seems to free her spirit and contains so much emotion, it makes one listen to what she plays

Her latest Anzic release, "Triple Helix", features her splendid Tentet, the ensemble that mades it recorded debut on 2017's "Happy Song."  The only personnel change is that Christopher Hoffman takes over the cello chair from Rubin Kodheli.  The title track, composed by the group's musical director Oded Lev-Ari, is a three-part, 22-minute, "Concerto for Clarinet and Ensemble" (actually the sub-title for the work) – it's quite moving.  There are sections that relate to the musics Ms. Cohen heard and played growing up.  The second movement, "For Anat", is classical in nature and construction, and all the musicians have clear roles on relating the story.  The playful third movement, "Last", starts out as a spirited dance then moves into an introspective section with the lovely clarinet interacting with the ensemble.

The album is filled with many delightful musical moments.  Ms. Cohen's "(Choro for) Miri" shows her continued interest in the Brazilian song form. Her sweet singing solo is nicely supported by Vitor Gonçalves's handsome piano.  There's a definite New Orleans tinge to "Footsteps and Smiles" thanks to Anthony Pincotti's dancing drums and the blend of Owen Broder's baritone sax with the clarinet on the main theme.  Excellent solos from Gonçalves  and vibraphonist James Shipp. Dig the break that starts with the baritone sax and cello then expands to include the brass and clarinet.    

Arranger Lev-Ari discovered "Lonesome Train" on Stan Kenton's 1952 classic Lp "New Concepts of Artistry in Rhythm" – the version here adheres to the melody line but has a stronger backbeat plus there's no vocalist.  Instead, trombonist Nick Finzer steps out while the ensemble, with Gonçalves on accordion here, builds up the intensity.  Don't miss the "deconstructed" closing section!

"Triple Helix" is a treat from Astor Paizzolla's "Milonga del Angel" that opens the program to Ms. Cohen's "Morning Melody (epilogue)" that closes it.  Anat Cohen and the Tentet are show in their best lights thanks to the ensemble's 11th member, musical director Oded Lev-Ari.   Listen closely and you will be richly rewarded!

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

Here's the opening track:

Personnel:

Anat Cohen CLARINET 
Oded Lev-Ari MUSICAL DIRECTOR 
Nadje Noordhuis TRUMPET & FLÜGELHORN 
Nick Finzer TROMBONE 
Owen Broder BARITONE SAX 
Christopher Hoffman CELLO 
James Shipp VIBRAPHONE & PERCUSSION 
Vitor Gonçalves PIANO & ACCORDION 
Sheryl Bailey GUITAR 
Tal Mashiach BASS 
Anthony Pinciotti DRUMS 

From the first time most Americans heard bassist Avishai Cohen as a member of Chick Corea's Origin ensemble (in 1997), his energetic musicality has stood out.  Not only is he a master bassist, he also plays piano (his first instrument) and he sings.  Cohen formed his own label, Razdaz Recordz, in 2002 and though you can find many of his albums there, he has also released music on Stretch Records/Concord, Sony Masterworks/France, and on Israeli labels.  His arco (bowed) playing is another strength is  his ability to synthesize Arab and Jewish melodies from throughout the Middle East into his music.

His latest RazDaz CD, "Arvoles", features his latest trio, Elchin Shirinov (piano) and Noam David (drums) plus flutist Anders Hedberg and trombonist Björn Samuelsson on five of the program's 10 tracks.  The title track ("Arvoles" is the Ladino word for "trees", hence the cover) is a traditional piece with a formal melody that the trio treats with respect.  Note that Cohen's bass solo builds off the melody and the lovely piano accompaniment. Pianist Shirinov kicks off Cohen's "Elchinov" with a circular piano line that serves as the pace-setter for the track. Make sure to notice how the bassist wraps his attractive bass sound around the pianist's active left hand.  A big plus is the active and creative drum work –David never sits still throughout; with his shifting rhythms and dancing cymbals, it's hard not to smile.

The trombone and flute add their voices to such pieces as the opening "Simonero", the evocative and classically influenced "Childhood (for Carmel)" and the funky "New York 90s."  One can hear the collision of dance beats with the Israeli songs that Cohen heard growing up.  Hedberg's alto flute adds a fine color to the melody line.  "Childhood..." features smart interplay between the musicians plus short solos from both flutist and the trombonist.  The quintet swings with glee on the album closer, "Wings", complete with sparkling brush work from David, solos from the leader and pianist that have a lightness and joy that jumps out of the speaker.

In many ways, it's easy to listen to "Arvoles" and imagine it's the product of a reflective time for Avishai Cohen.  He's been quite busy the past several years with several different projects including full concert programs with symphony orchestras and recording his "pop" album; 2017's "1970" was mostly vocal with female choruses, electric instruments, and touches of r'n'b and Gospel music. This new album is not necessarily a "return to the past" but a continuation of the bassist's life-long search to find his way in the world.

For more information, go to avishaicohen.com.

Here's the opening track:

Saturday's Sounds (Live 4/27/19)

Photo: Ben Knabe

Composer, arranger, educator, and pianist Jim McNeely is one of the busier people in jazz.  Currently, he serves as music director for the Frankfurt Radio (HR) Big Band and teaches at both the Manhattan School of Music (NYC) and William Paterson University in New Jersey.  He has played and composed for the Thad Jones-Mel Lewis Orchestra which became the Mel Lewis Jazz Orchestra (after the drummer's death, the organization became the Vanguard Jazz Orchestra). He toured with Stan Getz plus had tenures leading the Danish Radio Big Band and the Swiss Jazz Orchestra.

Hard to believe but it's nearly two decades since Jim McNeely created "Group Therapy" for his Tentet. Released on the forward-looking OmniTone label, the composer and pianist gathered 10 New York City-based musicians and recorded the eight-song program that includes five McNeely originals plus three exciting arrangements of songs by Bud Powell, John Coltrane, and the oft-recorded standard "Body and Soul" (music composed in 1930 by Johnny Green).  The ensemble included saxophonists Billy Drewes, Dick Oatts, and Scott Robinson, two trumpets (Tony Kadleck, Greg Gisbert or Scott Wendholt), Tom Varner on French horn, trombonist Ed Neumeister, bassist Cameron Brown, drummer John Hollenbeck (a veteran of Bob Brookmeyer's New Art Orchestra and the Meredith Monk Ensemble as well as his own groups), and the leader on piano.

Photo: New Jersey Star-Ledger

Jim McNeely brings the 2019 version of the Tentet to Wesleyan University's Center for the Arts/Crowell Concert Hall this Saturday as the featured group for the Wesleyan Jazz Weekend. The concert begins at 7:30 pm. The festivities open the night before with a free concert featuring the Wesleyan Jazz Orchestra, Jay Hoggard director, and the Wesleyan Jazz Ensemble, Noah Baerman director. The WJO will also open Saturday's show.

For tickets and more information, go to wesleyan.universitytickets.com/w/event.aspx?id=2924&p=1.

Give a listen to an interview with Mr. McNeely, Jay Hoggard, and CFA Director of Arts Communication Andy Chatfield.

Brian Charette, a native of Meriden, CT, returns to the state Saturday with his "electric" trio Kürrent to play two sets at The Side Door Jazz Club in Old Lyme. Charette and Kürrent - Jordan Young (drums) and Ben Monder (guitar) - released its debut album in July of 2017.  The "fusion-jazz" recording, with Charette on organ, synths, electric keyboards, was a departure from his organ trio recordings on Posi-Tone and his Sextette disks for SteepleChase.  Young and Charette are old friends and musical partners so the drummer is not afraid to challenge the leader to "go for it."  Monder, who plays such tasty accompaniments, steps out now and then to great effect; he does not always "shred" yet there is great energy in his playing.

For the Old Lyme gig, Vic Juris steps in for Monder bringing his own delightful take on jazz guitar.  Juris, who has worked alongside Dizzy Gillespie, Jimmy Smith, Sarah Vaughan, Nancy Wilson, and Dave Liebman, has recorded numerous albums as a leader and sideman for SteepleChase including the organist's collaboration with tenor saxophonist George Coleman.  He plays with both power and elegance so he should fit right in with Charette and Young.

Kürrent will play two sets with the first starting at 8:30 p.m.  For more information, go to thesidedoorjazz.com  or call 860-434-2600.

To learn about Brian Charette, go to www.briancharette.com.

Musicians From Israel (Pt 1)

As I am writing this post, radio stations throughout the US and elsewhere are celebrating the 100th birthday of Thelonious Monk.  None of the albums reviewed below have Monk compositions yet his music has influenced musicians from around the world for the last 70+ years. Ethan Iverson wrote an excellent appreciation for The New Yorker and you can - and should - read it by clicking here.
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It's amazing how many musicians from Israel have taken up residence in the United States. Among the first to be noticed was bassist Avishai Cohen who first came to critical notice when he joined pianist Chick Corea's group in 1996.

Clarinetist-saxophonist Anat Cohen came to the United States to study at Berklee College around the same time bassist Avishai Cohen (no relation - her brother Avishai is a much-heralded trumpeter) joined Corea's Origin sextet.  Moving to New York City in 1999, she joined DIVA Jazz Orchestra as well as several Brazilian ensembles plus David Ostwald's Gully Low Jazz Band, an ensemble dedicated to the music of Louis Armstrong.  In 2005, she started Anzic Records and had released eight albums as a leader, four as the Three Cohens (with her brothers Avishai and saxophonist Yuval), two each with the Choro Ensemble and Trio Brasileiro, and a duet with Brazilian guitarist Marcello Gonçalves. She has also recorded as a side person with numerous bands plus tours in a duo setting with pianist Fred Hersch.

The eighth Anzic album is "Happy Song" and features a fascinating Tentet playing quite a repertoire mostly arranged by Oded Lev-Ari (he's also the co-producer with Ms. Cohen). The ensemble for this recording includes Rubin Kodheli (cello), Nadje Noordhuis (trumpet, flugelhorn), Nick Finzer (trombone), Owen Broder (baritone saxophone, bass clarinet), James Shipp (vibraphone, percussion), Vitor Gonçalves (piano, accordion), Sheryl Bailey (guitar), Tal Mashiach (bass), and Anthony Pinciotti (drums).

 The material ranges from klezmer (the album's centerpiece is the 12:26 "Anat's Doina", a medley of three traditional melodies) to Brazil (a sweet arrangement of Egberto Gismonti's "Loro") to several impressive standards (Owen Murphy's snappy "Oh Baby" from 1924, made famous by Bix Beiderbecke and Gordon Jenkins's "Goodbye" composed in 1935 and a tune that became Benny Goodman's sign-off tune).  The program opens with two originals from Ms. Cohen, the funky title track followed by the handsome ballad "Valsa Para Alice", a piece she recorded with Trio Brasileiro on their 2016 collaboration "Algeria Da Casa."  Lev-Ari's original contribution is "Trills and Thrills", a seven-minute sonic adventure that opens in rubato until Ms. Cohen plays the lovely melody and the piece opens up with contributions from all building to a powerful, blues-drenched finish. The album's final track is "Kenedougou Foly", a high-spirited romp composed by Malian balafon artist Néba Solo (the 2006 album that features this song is well worth examining) - arranged by Ms. Cohen, each member of the Tentet adds his or her personal touch and the joyous piece is worth playing at very high volume. Special kudos to Messrs. Shipp and Pinciotti for their impressive work driving the band.  It should remind some close listeners of the work of Pierre Dørge's Jungle Orchestra.

This album does live up to its name. There are solemn moments but the album opens and closes on such "highs" that one walks...no, dances away from the speakers.  From the delightful Milton Glaser cover painting to Ms. Cohen's highly expressive clarinet playing to the intelligent and inventive arrangements and the "knockout" ensemble, Anat Cohen's Tentet's "Happy Song" is a treat to hear over and over.

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

Here's the title track:

Bassist and composer Or Bareket had an international upbringing. He was born in Jerusalem, raised in Buenos Aires, Argentina, and then in Tel Aviv, Bareket (whose brother Eden is a baritone saxophonist) is now based in New York City.  His debut album as a leader (he's worked or recorded with drummer Ari Hoenig, pianist Aaron Goldberg, plus vocalists Cyrillé Aimee and Camila Meza), "OB1" (Fresh Sounds New Talent), features guitarist Shachar Elnatan, pianist Gadi Lehavi, and drummer Ziv Ravitz.

The album opens with a bluesy guitar intro that leads into "Patience", a song that has a jump and an irrepressible forward motion that gets interrupted every now and then with melodic interludes.  Sound engineer Luis Bacque does an amazing job of capturing the band's sound, you can clearly hear the quartet's interactions as well as the intimate relationship of the drums and bass. Bareket's sound and attack remind this listener of the playing of Eric Revis; they are both so melodic yet can be percussive when need be.

What stands out throughout the program is how melodic these songs are. Influences from Middle-Eastern music, traditional Israeli music, and the innovations of 1960s Blue Note Recordings move in and out of pieces such as "Snooze" and "Misdronoth"; One hears a more traditional melody on the piano-bass duo "Elefantes I" et the piano backing has a classical feel, especially when Lehavi plays beneath the bass solo.  Still, the fun is allowing the music to just roll over you, to listen closely, then at a distance, and to hear how the music often moves seductively.

Percussionist Keita Ogawa and accordionist Vitor Gonçalves join the group for "La Musica Y La Palabra", a lovely tango composed by pianist and vocalist Carlos Aguirre.  The leader and accordionist have several lovely moments when they play the same phrases.  It's a haunting melody and Bareket deserves much praise for filling the piece with long solos but for embracing the melody with short solos that rise organically out of the thematic material.

The album closes with "Shir Lelo Shem (Song with No Name)" - composed by one of the earliest Israeli-born "rockers" Shalom Hanoch (born 1946), Bareket plays it solo, sticking to the handsome melody with several short solo excursions.  His notes are well articulated and he never lets technique stand in for emotion.

"OB1" is a memorable debut that stands out as much for the excellent musicianship as for its thoughtful melodic content.  One hopes Or Bareket continues his quest for what he has created here bodes well for his future as both a musician and composer.

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

One of the essential components of jazz has how the blues has been integrated into the music. Sometimes, you can hear it in the chord progressions, sometimes in the anguished cries or gleeful shouts of the musicians, and sometimes it's how the composer and/or musician approaches the material and performance. "Antidote" (AIMA Records) is the fourth album from Jerusalem native Rotem Sivan and the first since the guitarist/composer a seven+ year relationship with his girlfriend ended and new person entered his life.  Recorded with his "working" band of Haggai Cohen Milo (bass) and Colin Stranahan (drums), the album is, not surprisingly, an emotional roller-coaster.

photo by Tomasz Handzlik

The opening track, "Shahar", has a lighter feel. Built upon a powerful bass line and splendid brush work, the guitarist flies over the rhythms.  The title track follows. It's a bit darker, there are a touch of electronics in the background, and the melody is accompanied by whistling and wordless vocals. Milo's bowed bass work helps the dark mood as does the short, highly amplified, break.  But there is hope in the melody.

Vocalist Gracie Terzian joins the trip for a funky, danceable, version of "Somewhere Over the Rainbow" - the touch of hip hop in the rhythm section and the "chill" vocal gives the music less of a wistful feel and feels more positive.  The other non-original is Bob Dylan's "Make You Feel My Love" which turns out to be a vehicle for Milo's wonderfully melodic bass.  Sivan takes several choruses but does not stray far from the melody until his powerful solo. Urged on by conversational drums of Stranahan, the guitarist does step out and continues to ride the percussive wave until the piece fades out. Interesting to note - several cuts earlier, Sivan's hard-edged "Sun Song" sounds like variations on the Dylan song.

The bluesiest track is the ballad "Aloof", a piece with a country twang in the melody and another excellent bass solo.  Milo, who has worked with pianists Omer Klein and Jarrett Cherner plus has worked with numerous choreographers, knows how to shape a solo.  The counterpoint he creates for the drum solo on "For Emotional Use Only" includes low notes that resonate on the bottom.  The song goes through several sonic changes before the guitarist turns up his amp and rips off a powerful solo.

Rotem Sivan channeled his heartbreak and bewilderment into his music and, thanks to his trust and love for his bandmates, came up with his "Antidote."  Instead of burying himself in long self-indulgent solos, these 11 tracks come in at 38 minutes yet one does not feel short-changed.  Give it a listen at rotemsivan.bandcamp.com/album/antidote-full-album.

To learn more about the guitarist, go to www.rotemsivan.com.

Here's one of the tracks: