Certain about Uncertainty

In the midst of this very busy week, I received a reminder about the goings-on in the Elm City.  Here's the info:

"Please come out to "Take Your Time" and the Uncertainty Music Series this weekend (5/4 & 6) to hear and see a broad range of performances.  On Saturday, trumpeter/composer Liz Albee presents new works ("Quadraphonic Trumpet", "Stethoscope" and "EITHER for fingertips and small motors" followed by "Stack" and "Bound", a collaboration of choreographer Rachel Bernsen and visual artist Megan Craig. The event begins at 8 p.m. and takes place in The BIG ROOM, 319 Peck Street, Building 6W, Studio D.

The following evening at 7 p.m. in the same venue, the Uncertainty Music Series presents the duo Secret Keeper (pictured above) at 7 p.m.  Composed of guitarist Mary Halvorson and bassist Stephan Crump, the adventurous ensemble has just issued its debut CD, "Super 8" on the INTAKT label.  Ms. Halvorson is well-known for her work with Professor Anthony Braxton, Taylor Ho Bynum, her duo with violist Jessica Pavone plus her fine Trio and Quintet recordings on the Firehouse 12 label.  Mr. Crump is an accomplished bassist/composer who has been a member of pianist Vijay Iyer's Trio for over a decade and also works with singer/songwriter Jen Chapin.  He leads the acoustic trio (2 guitars and bass) Rosetta Stone.

For more information about Secret Keeper and to hear samples of the CD, go to stephancrump.com/albums/super-eight/.  To  make a reservation (highly recommended) for either or both shows, send an email to thebigroomnewhaven@gmail.com.

Got Live (Music) If You Want It! (Part 1)

With the advent of the summer months, a number of venues close down (mostly those on college campuses) but, here in Connecticut, June remains a busy time.

 It's a busy week for the Uncertainty Music Series with 3 concerts between Wednesday and Sunday.  First up is guitarist-vocalist-New Haven native Michael Gregory who performs a rare solo concert at 9 p.m. in Elm Bar, 372 Elm Street in New Haven.  Gregory first came to critical notice in the late 1970s; in those years, he used his full name - Michael Gregory Jackson - dropping the last name in the 1980s (for obvious reasons.)  He played more experimental jazz with saxophonist Oliver Lake and trumpeter Baikida Carroll yet he also recorded several Lps that were serious forays into danceable r'n'b (including one produced by Nile Rodgers.) Gregory seemed to disappear in the 1990s but has been more active in the 2000s, touring and recording again with Oliver Lake as well as with Wadada Leo Smith.

For ticket information, go to uncertaintymusic.com.  In part 2 of this column, I'll write about Saturday and Sunday's concerts, though you can see for yourself by going to the website. 

The "Improvisations" series at Real Art Ways, 56 Arbor Street in Hartford, presents "IX" on Thursday June 7 at 7 p.m.  Curated by guitarist/bassist Joe Morris and trumpet person extraordinaire Stephen Haynes, the programs have been nothing short of fascinating.  This time around, the "dynamics" duo will sharing the performance space with J.D. Parran (reeds, flutes, pictured left) and vocalist Dean Bowman.  As a college student, Parran played with the Black Artists Group in St. Louis with musicians like Julius Hemphill, Oliver Lake and Hamiett Bluiett (3/4s of the World Saxophone Quartet.  He went on to record with Stevie Wonder, John Lennon and flutist Robert Dick as well as continuing a long relationship with Anthony Braxton and Anthony Davis.  Bowman hasd worked and recorded with clarinetist Don Byron, Steven Bernstein's Millennium Orchestra and Screaming Headless Torso. For more information, call 860-232-1006 or go to www.realartways.org.

The Firehouse 12 Spring 2012 Concert Series presents its penultimate (always like to use that word) program this Friday June 8 when the Ernesto Cervini Quartet comes to the Elm City performance space.  Drummer-composer Cervini, brother of chanteuse Amy Cervini, is a wonderfully musical percussionist with an intelligent sense of propulsion and coloring.  He also knows how to assemble an ensemble - joining him in the rhythm section is bassist Dan Loomis (he of the Wee Trio) with Adrean Farragia on piano and the former Connecticut resident Joel Frahm on saxophones.  The group's 3rd CD, "There" (Anzic Records), was recorded live in Vancouver, B.C. in November of 2010.  The music is quite energetic - save for Frahm's soft ballad "Alert" and the drummer's sweet tribute, "Gramps" - with a lively sense of interplay.  These guys sound like they are having the best time and their joy is contagious.  The ECQ will play 2 sets - 8:30 and 10 p.m. - for ticket information, go to firehouse12.com or call 203-785-0468. Check out the band at www.ernestocervini.com.

Here's a taste of the ECQ:

Saturday is the 8th Annual Connecticut Open House Day, meaning that venues such as museums, galleries, historic sites, theaters and more will be open all day. You can check out the day's events by going to bit.ly/Lpfbtt. 

That evening, there's a whole lot of music going on.  The Buttonwood Tree, 605 Main Street, presents the Danny Fox Trio at 8 p.m.  The Brooklyn-based Fox (piano), a graduate of Harvard, plays in the "pit band" of The Big Apple Circus and has worked with the Max Weinberg Big Band but the Trio is his main vehicle.  Bassist Chris van Voorst van Beest and drummer Max Goldman interact in an organic fashion, pushing the music in fascinating directions.  The pieces Fox writes for the band are always evolving on the bandstand as the Trio finds new modes of expression.  Their debut CD, "The One Constant" (Songlines Records), was issued about a year ago to strong critical praise (my review is here) and I, for one, can't wait to hear how the music has grown.  For ticket information, go to www.buttonwood.org or call 860-347-4957.

Lots more to write about and I'll do just that very soon.  I've also added a download to my review of the new Orrin Evans CD, "Flip The Script" - check it out at bit.ly/Lc6UfT.

A Catastrophe in New Haven (Positive One) + CD Pick + Interview

I posted a review of the new Taylor Ho Bynum Sextet CD this morning and forgot to add that he's playing this Saturday evening (11/19) at 8 p.m. in The Big Room, 319 Peck Street in the Elm City.  The composer/cornetist is appearing with Positive Catastrophe, the 10-member band he co-leads with Abraham Gomez-Delgado (vocals, percussionist).  The band plays a fascinating mix of Latin, progressive jazz and world music (the co-leaders call it "trans-idiomatic") and they do it with panache and great joy.  The other members of the band include Kamala Sankaram (voice, accordion), Mark Taylor (french horn), Reut Regev (trombone), Matt Bauder (tenor saxophone), Michael Attias (baritone saxophone), Pete Fitzpatrick (electric guitar), Alvaro Benavides (electric bass) and Tomas Fujiwara (drums). The New Haven gig is the second in a 4-day jaunt that starts in New York City on Thursday and ends on Sunday in Baltimore. The band is working on new material in preparation for its second CD (to be released on Cuneiform Records in the Spring of 2012.) Seating is limited for The Big Room so send an email to thebigroomnewhaven@gmail.com and reserve your tickets. To find out more about this adventurous group, go to www.cuneiformrecords.com/bandshtml/positive.html.

Israeli-born guitarist Assaf Kehati came to the United States in 2007 to study at the New England Conservatory of Music in Boston, Massachusetts.  There, he had the opportunity to study and play with saxophonist George Garzone, pianist Ran Blake and drummer Billy Hart.  "Flowers and Other Stories" (AK Jazz) is his 2nd release and also the 2nd one to feature his Israeli "working band" of Alon Farber (saxophone), Daniel Sapir (bass) and Udi Shlomo (drums).  Kehati's music is a pleasing blend of jazz and world music influences with an occasional touch of adult-contemporary rock music.  One of the most pleasant aspects of the program is that the compositions and arrangements are so intelligent - this is not just theme-solo-theme music.  Kehati's round tone may remind some of Kurt Rosenwinkel and Pat Metheny; his single-note runs rise pleasingly over the lively and involved rhythm section ("Mr. Mario" shows them at their best, both reacting to and pushing Kehati forward.) There's a melancholy sweetness to "Tali" and Farber's fluid soprano saxophone. Shlomo's drumming has a conversational feel yet is not intrusive.  Kehati's hypnotic guitar chording leads in the 12-minute "The Most Beautiful Flower";  his solo, following Farber's reading of the theme, starts so quietly, little fragments of melody supported by Sapir's long bass tones and the gentle drum work.  As the solo continues, the intensity builds and Kehati's lines get longer until Farber takes over and goes on his own dynamic roller-coaster.  Again, Shlomo's drum work stands out, his propulsion and fire leading to the quiet guitar chords that slowly take the song to its conclusion.

"Don't Attack" is another long piece (just under 10 minutes) that starts as a ballad and again Farber's sweet soprano lays out the melodic theme.  As he moves through his fine solo, the rhythm section begins to intensify their attack and continue the driving support as Kehati digs deeply for his solo.  Sapir's bass work on "The Snow and the Sun" is exemplary, quite melodic even as he is supportive. Here, Farber's tenor saxophone explores a melody that is closer to folk-rock.  The final track, "Invisible Green", is a ballad all the way through.  Farber sits out as the guitarist plays the plaintive theme (reminiscent of Pat Metheny but also one might hear The Beatles in several of the chord patterns) and delivers a solo filled with rippling lines and bell-like tones.

"Flowers and Other Stories" does not hit the listener over the head with pounding rhythms and long, complicated, solos.  Instead, it is thoughtful and thought-provoking music that attracts one with its melodic framework, its dynamic variations and strong instrumental work from all involved.  Music to ponder not to blast through the house.   For more information, go to www.assafkehati.com. 

Gerald Wilson, composer and bandleader, turned 93 in September of this year.  Mack Avenue released his latest CD, "Legacy", in July and Jason Crane of The Jazz Session conducted a 2-part interview with the master arranger that he posted in late October.  Thanks to the late October snowstorm here in Central Connecticut, our yard is filled tree limbs and scattered branches.  Listening to Mr. Wilson account of how he got started in the world of jazz made the cleanup go a lot easier.  Crane let the Mississippi native dominate the conversation and the story of his time with Jimmy Lunceford as well as how Eleanor Roosevelt coerced the United States Navy to start a jazz band in World War II is both entertaining and priceless.  Go to thejazzsession.com/2011/10/24/the-jazz-session-318-gerald-wilson-part-1/ and enjoy the history (and civics) lesson.

Recommended Live Music (a reminder) + CD Pick

Last week, I wrote about the duo of vocalist Jen Shyu (pictured left) and bassist Mark Dresser appearing Tuesday September 13 (tonight!) at The Big Room, 319 Peck Street in New Haven. Seats are still available for this show and I heartily recommend attending.  The duo explores many facets of creative music but especially the interactions of voice and bass, how artists use their different styles to create music that is organic, not forced.  Go to http://thebigroomnewhaven.com or http://uncertaintymusic.com for directions and more information.

This coming Friday, the many (musical) personalities of pianist Fabian Almazan will be on display as opening program in the Fall 2011 Concert Series at Firehouse 12, 45 Crown Street in New Haven.  His debut CD, "Personalities", is released on October 4 (I imagine there will be copies on sale at the shows) - my review is forthcoming.  Almazan, who has worked with trumpeter Terence Blanchard and co-produced (and performed on) the 2011 CD release of Bryan & the Aardvar ks (click here to find out more about the group), writes and plays music that blends influences from his native Cuba with jazz, classical, pop and much more.  Joining him will be the excellent young bassist Linda Oh and drummer Kendrick Scott. They'll play 2 sets - 8:30 and 10 p.m. - and you can find out more by going to www.firehouse12.com.

Alto saxophonist Kenny Shanker has been involved with jazz since his early teens - he even toured Japan twice with the Monterey Jazz Festival High School All-Star Big Band. He makes his Posi-Tone Records debut with "Steppin' Up" and, like the Patrick Cornelius release I reviewed a few weeks back (read here), Shanker builds the majority of his songs off of strong melodic lines.  He gets great support from the sparkling rhythm section of bassist Yoshi Waki and drummer Brian Fishler.  Add to them the hard-edged piano of Art Hirahara plus energetic contributions from guitarist Lage Lund and the listener is rewarded time and again.  Listen to the short but lovely "Rhapsody" or the rollicking "E,J.", 2 very different pieces yet both have excellent melodies - the latter piece is enlivened by the interplay of Fishler with the soloists.  Pianist Mike Eckroth replaces Hirahara on 3 cuts, including the hearty "Quirk", the sweet ballad "Sarah", and the lovely take on Leonard Bernstein's "Somewhere" that closes the CD (and is the only non-original in the program.)

Through it all, Shanker's alto saxophone playing is impressive for the way he builds his solos, his warm tone and lively engagement with the band.  Lund matches warm tone as well as creating solos off the energy of his band mates.  Hirahara continues to impress as a sideman and soloist; in the former role, he does not just lay back but engages the soloist with fine chords and counterpoint while his own solos have an energy that reflects the influence of Bud Powell (my opinion) without being derivative of anyone in particular. 

Thanks to the fact that my new job has me in the car 5 days a week, I have been listening to most of my music "on the road."  "Steppin' Up" sounds like great with the windows down driving the back roads, the music washing over me like a friendly rain storm.  Wherever you decide to listen to Kenny Shanker's debut CD, you'll enjoy the sonic ride.  For more information, go to www.posi-tone.com. 

Live Music Keeps One Alive

Don't know about you but there are times I am afraid to turn on the news or open the morning papers.  Tragedies abound, many of them man-made and, often, there is no recourse, nothing one can do to make it better. Yes, we can (and should) donate money or supplies at times of famine, natural disaster and other horrific events.

Music has always been my escape valve; when my sister died, I played the Bach "Cello Suites" while writing her eulogy. Sadly, the older one gets, it seems that bad news often outweighs the good.

This week, with the horrible news from Japan amidst the continuing political unrest at home and abroad, I really felt the need for "live" music. Luckily, the Taylor Ho Bynum Sextet decided to play a "warm-up" gig before he headed off to Europe for 5 weeks and then entering the studio later in the Spring. The group assembled in The Big Room, a new performance space in New Haven and proceeded to blow the roof off the place (figuratively, of course.)  Joining Bynum (pictured above) was trombonist Bill Lowe, alto saxophonist Jim Hobbs, guitarist Mary Halvorson, bassist Ken Filiano and drummer Tomas Fujiwara.  The sextet were using the evening to revisit "Apparent Distance", a long, multi-sectioned composition that Bynum created thanks to a grant from Chamber Music America/The Doris Duke Foundation.  They warmed up with a piece dedicated to trombonist Lowe (partially in honor of his 65th birthday), "Look Below", a hard-bop romp where everyone got the chance to "strut their stuff."  Ms. Halvorson's wonderfully angular guitar lines worked well with Hobb's high-energy saxophone and Filiano's agile bass lines.  The birthday celebrant blew long and hard lines that swung mightily atop Fujiwara's active brush work.  Bynum's cornet sputtered, spattered, whooshed, and danced above the fray.
"Apparent Distance" opened with a long unaccompanied introduction from the composer.  Utilizing "circular breathing" (a method in which the musicians must breathe through his nose while continuing to expel air through his mouth, allowing him to play a constant tone on the instrument while inhaling), Bynum made all sorts of noises, from short melodies to sputters to snorting and more. Once the ensemble entered, they played a long, flowing, melody that opened into numerous solo sections.  Hobbs is one of the more energetic alto players one will ever hear  - he absolutely "wails" on the sax, with so much force there are moments onje expects he will just explode.  Ms. Halvorson played fascinating counterpoint on several of the solos and created her own statement, manipulating her foot pedals, bending strings, varying her volume.  Everyone got the spotlight and all played well. At one point, the cornet, saxophone and trombone played sans rhythm section, weaving lines in and around each other.  This is the piece they will record in May and one will be able to hear how the sections flow together as well as how the piece continually moves forward from the opening statement.
For an encore, the Sextet played the blues.  "Bowie" hit hard and low, with a "beat" that struck the listener in the chest, making the body shake.  Hobbs and Ms. Halvorson combined for a squalling duo, both wailing over the beat, the saxophonist making the most harsh yet fascinating sounds.  Lowe started his solo by digging into the slow beat but the rhythm section had other ideas, doubling the pace, lowering the volume and "swinging" through the changes.  Filiano played a lovely solo (yes, the bass can make lovely sounds), filled with melodic fragments, overtones and harp-like flourishes.

Was it fun? Absolutely!  My "blues" melted away as the Sextet wailed into the evening.  Harsh at times? O yes, there were moments when noise supplanted melody but the music never lost its way.  The bad stuff is still there, happening all the time but, for 75 minutes, I had the good fortune to forget it all and enjoy great creative music.

Here's a video from last summer of the band hard at play.



Click on this link to watch the video in full size.
http://www.youtube.com/watch?v=VZ-YmC8SNYI&feature=related