Songs We Sing, Songs We Play

Photo: Mercedes Jelinek

John Hollenbeck, a composer, arranger, bandleader, drummer, percussionist, Professor, and now a label owner (more below), received a commission in 2010 from the Frankfurt Radio Big Band and began a project he called "Songs I Like a Lot"(Sunnyside Records).  He enlisted vocalists Kate McGarry and Theo Bleckmann plus pianist Gary Versace. The album was issued in 2011 featuring songs by Jimmy Webb, Ornette Coleman, Queen, and more.  Four years later, the entourage reassembled (Uri Caine taking over the piano choir for all but one track) and issued "Songs We Like a Lot" (also Sunnyside). That album included songs by Burt Bacharach/ Hal David, Cyndi Lauper, and others including two Hollenbeck originals. At that time, Hollenbeck said that the project would be a trilogy with fans around the world sending in suggestions for the final installment.

For this album, Ms. McGarry and Mr.Bleckmann built a list of the Top 20 vote getters and, without the drummer's input, chose seven songs.  Not surprisingly, the new album is titled "Songs You Like a Lot" and is issued on Hollenbeck's newly-formed Flexatonic Records label (available through Bandcamp with all profits going to Black Lives Matter).  Everyone is back with Versace on all eight tracks. The eight-song program (one Hollenbeck original) ranges from the traditional folk song "Down To The River to Pray" to The Bee Gee's "How Deep Is Your Love" plus James Taylor's "Fire and Rain", "Pure Imagination" (from the original "Willie Wonka and The Chocolate Factory" movie, and a fascinating deconstruction of the Brain Wilson classic "God Only Knows", titled here "Knows Only God."

Starting with The Beach Boys tune (that closes the album), Hollenbeck the arranger switches sentences around, speeds up the tempo, uses Versace's organ to shadow the vocals, and the reeds and brass for fluttering colors, powerful blasts, and thumping beats.  On initial listens, the song is off-putting but subsequent listens unveil brilliant new harmonies and reveals the emotions. The fiery ending is a gas.  The performance is truly a tour-de-force!

Photo: Bill Douthart

No matter how you feel about The Bee Gees, Hollenbeck reinvents "How Deep Is Your Love" with the reeds playing Steve Reich-like figures along with the guitar. Both vocalists embrace the melody and lyrics with great emotion but never overdue. Ms. McGarry and Mr. Bleckmann sing one of the choruses in unison, the latter's falsetto absolutely beautiful.  Steffen Webber's powerful tenor saxophone solo kicks the band up a notch.  The lone trumpet of Axel Schlosser kicks off Peter Gabriel's "Don't Give Up", sounding like a tribute to the composer's songs for Genesis.  When the voices come in (Ms. McGarry has the Gabriel part while Mr. Bleckmann takes the place of Kate Bush), the song changes directions. Note the lovely deep brass and organ plus the sweet soprano sax right before the soulful/ gospel section sung by Ms. McGarry.  The ending is a hoot, a "revival meeting" powered by the playful electric bass of Hans Glawischnig and the repetitive "Don't Give Up."

The opening track, the traditional "Down to The River...", is a piece you will play over and over.  There is so much going on yet the piece never feels cluttered. Listen for the vocal harmonies, the fine solos (acoustic bass, piano, and Martin Scales on guitar), how the melody and background changes each time through the simple homily/ verse culminating in full band sound that resembles the Shaker Hymn rearranged by Aaron Copland for his "Appalachian Spring."

Each album in the trilogy, all available digitally through Flexatonic Records (link is below), is filled with intelligent arrangements, brilliant vocals, impeccable musicianship, and the overall emotion that music, whether familiar or not, can bring the listener a sense of wonder, feelings of joy, and hope for better times.  Kudos to John Hollenbeck, brava to Kate McGarry, Theo Bleckmann, Gary Versace, and the Frankfurt Radio Big Band––savor all these sounds.

For more information, go to https://johnhollenbeck.com.  To purchase the music from Flexitonic, go to https://johnhollenbeck.bandcamp.com/album/songs-you-like-a-lot.

Here's the Peter Gabriel song:



Personnel:

John Hollenbeck composer, arranger, conductor 

Theo Bleckmann · voice 
Kate McGarry · voice 
Gary Versace · piano, organ 

Frankfurt Radio Big Band 

Heinz-Dieter Sauerborn · alto/soprano saxophone, clarinet, flute 
Oliver Leicht · alto/soprano saxophone, clarinet, flute, piccolo 
Ben Kraef · tenor/soprano saxophone, flute 
Steffen Weber · tenor/soprano saxophone, clarinet, flute, alto flute 
Rainer Heute · bari/bass saxophone, Bb/bass/contra-bass clarinet, flute 

Frank Wellert · trumpet/flugelhorn 
Thomas Vogel · trumpet/flugelhorn 
Martin Auer · trumpet/flugelhorn 
Axel Schlosser · trumpet/flugelhorn 

Christian Jaksjø · trombone 
Felix Fromm · trombone 
Shannon Barnett · trombone 
Manfred Honetschläger · bass trombone 

Martin Scales · guitar 
Hans Glawischnig · bass 
Jean Paul Höchstädter · drums 
Special guest: Claus Kiesselbach · mallet percussion, timpani 

Photo: D'Addario Woodwinds

Massachusetts native, saxophonist, flutist, composer, arranger, and educator Dave Pietro moved to New York City in 1987. Over the past 33 years, he has worked with the Maria Schneider Orchestra, Darcy James Argue Secret Society, and spent 1994-2016 as the lead alto saxophonist in the Toshiko Akiyoshi Jazz Orchestra. His list of sideman gigs ranges from jazz acts to pop/ rock singers to studying and performing East Indian music with tabla master Sandip Burman.  Pietro has issued seven CDs as a leader, the most recent "New Road: Iowa Memoirs" crowd-financed through ArtistShare. For that album, he convened a group that included Alex Sipiagin (trumpet, flugelhorn), Gary Versace (piano), Johannes Weidenmueller (bass), and Johnathan Blake (drums) with perciusionist Rogerio Boccato contributing on percussion.

Those same musicians, plus trombonist Ryan Keberle, reconvened in June of 2019 to record Prieto's new ArtistShare album "Hypersphere."  The title refers to multi-dimensional sphere of four or more dimensions––if you are curious, click here.  These musicians are all first-class improvisors and Prieto writes to their strengths.  But, this is not merely a "blowing" album. The leader writes intelligent, well-constructed, melodies with smart harmonies plus the music often gives the rhythm section the opportunity to determine the flow. Listen to how he makes the six or seven piece ensemble (Boccato appears on six of the nine tracks while Keberle plays on five) sound like a 10 or 12 piece band with his fine voicings and overlapping melodies on many of the themes.  When he and Sipiagin blend their voices (as they do on the title track and on "Incandescent"), the songs remind this writer somewhat of the Andrew Hill especially on his 1999 Palmetto album "Dusk".  Blake, who now plays alongside the saxophonist, Versace, and Keberle in the Maria Schneider aggregation, is a powerhouse throughout the recording.  Just listen to how he and Weidenmueller combine to push the ensemble forward on "Quantum Entanglement" as well as on the opening track "Kakistocracy."

Photo: Jimmy & Dena Katz

The opening of "Boulder Snowfall" features overdubbed flute. Following the intro, Pietro takes off on a long, delightful, solo that uses the song's melody as a touchstone. Versace's richly melodic solo starts as a duet with bassist Weidenmueller that soon adds Blake to the mix––the three rides the rhythmic waves for several minutes.  The chiming sounds of an electric piano leads the ensemble into "Tales of Mendacity" which is a musical comment on the attack on truth going on all around us.  The blend of Blake's martial drumming and the gently chiming electric piano underneath Pietro's flowing solo is a highlight of the first half leading into Sipiagin's dancing solo.

The album closes with "Orison", an archaic word for "prayer".  After a handsome solo bass intro,
Boccato's bells and hand percussion plus Blakes's exploration around the drum kit underpin the lovely three-way melody.  Keberle steps into his short, yet, heartfelt solo, joined half-way through in conversation by Sipiagin's flugelhorn––Pietro on soprano sax and Versace's acoustic piano join the those voices until the four parts join together in melody while the drums create a righteous storm.

"Hypersphere" is intelligent, often powerful, music, an album that blends strong compositions with excellent musicianship without sounding technical or emotionless.  Dave Pietro, the composer, is responding to the world around, to the crazy shifts in politics and, in hindsight, in global health, reminding us we are stronger when working together than standing apart.

For more information, go to www.davepietro.com. To purchase the album, go to https://www.artistshare.com/Projects/Experience/361/515/1/Dave-Pietro-Hypersphere?v=2 or to https://davepietro.bandcamp.com.

Listen to the evocative ballad "Boulder Snowfall":

Live Singer, Songwriter, and Large Ensemble

Photo: TEDxNew York

Somi, vocalist, musician, composer, and activist, is a first generation daughter of a couple who came to the United States from Rwanda and Uganda. Over the past decade, she has released four albums, toured the world and is the founder of "Salon Africana", an arts agency that celebrates the arts from the African continent. What audiences have discovered over the years is an artist with a wonderful voice, a fine lyricist who tells stories that touch on current issues as well as issues that touch on Africa and on the role of women in society.

Her new recording (her debut on her own label), "Holy Room: Somi Live at Alte Oper" (Salon Africana/ hr Big Band), pairs the singer with the Frankfurt Radio Big Band for a live concert. John Beasley did all the arrangements for the 15-member ensemble plus two of Somi's touring band, pianist Toru Dodo and guitarist Hervé Samb.  All the compositions come from the vocalist except "Alien" (written by Sting as "Englishman in New York" with new lyrics by Somi) and "Lady Revisited" (written by Fela Kuti as "Lady" with new new lyrics). Eight more songs come from Somi's two most recent albums, while one is a piece from 2007.  Right from the opening, this music is enchanting, rhythmically exciting, with soaring vocals, stunning ballads, and intelligent arrangements for the Big Band.

The 92-minute (two disk) concert program opens with "Kadiatou the Beautiful". Originally recorded for the 2017 "Petite Afrique" album (OKeh Records), the songs starts as a meditation before the African rhythms kick in and guitarist Samb breaks out into a powerful solo. Kudos to the Big Band's rhythm section, bassist Hans Glaswischnig (acoustic and electric basses) and Jean Paul Höchstäder (drums) for creating such deep beats.  Listen to them push the vocalist on "Black Enough" while the band wails in the background. Dodo's electric piano solo roils on top of the band.  "Ankara Sundays" (from 2014's "The Lagos Music Salon", also released on OKeh) features a splendid Beasley arrangement which, at times, has a Maria Schneider feel.  Somi's vocal is stunning as she inhabits the soul of a woman dreaming a way through her present life.  Samb's evocative guitar is the only accompaniment at the onset of "Like Dakar"––the reeds lead the band in and the songs drops into a sensuous rhythm thanks to the bass and drums. Listen to how the vocalist accompanies the guitar solo as if she was a part of the reed section.

Disk 2 opens with "Alien", Christian Jaksjö's amplified trombone leading the song in.  Somi tailors the lyrics that speaks to her experiences in the City ("I'm a legal alien/ I'm an African in New York") singing from the viewpoint of a taxi driver.  Listen to the various voices accompany the trombone solo, blowing like a wind through the caverns of Manhattan.  Dodo's classically inspired solo introduces "Two Dollar Day" (from "The Lagos Music Salon"), an impressive story of a young Nigerian widower trying to bring home enough money to feed her hungry children. We look at her from the outside, not knowing her name but realizing "her days are numbered."  "Look away, look away, if you dare" cries the vocalist before Samb's blues-soaked solo.  The guitarist has a long, unaccompanied, introduction to "Ingele" (from Somi's 2007's "Red Soil in My Eyes") is melodic and percussive as is the song that follows.  The vocalist plays with the title and adds others words but mostly utilizes her voice to interact with the band.  Samb and baritone saxophonist Rainier Huete create fiery solos over the rampaging band before Somi's voice, accompanied only by Hochstäder's fiery drumming brings the song to a close.

Photo: hr Big Band

The album closes the lovely "Holy Room", a prayer that, similar to the Old Testament's "Song of Songs" in the way the words are a love song to her religion, to her God. Yes, there is a sensuality to the song but it's not lurid, sexy, or suggestive––the music is gentle, the vocal is lovely, and the arrangement handsome and supportive. Samb's guitar solo flows like birds dancing on the wind, the rhythm section  pushing but gently with the low reeds in the background.  

"Holy Room", the album, is a treat for tired ears and minds.  It gets noisy at times but this is a joyful noise.  The lyrics are sometimes sad but the vocalist never sounds as if she has given up hope. John Beasley does excellent work here as does the Frankfurt Radio Big Band. While one may view this program as a reassessment of her earlier work, Somi gives her all to her art so this music sounds fresh, relevant, contemporary, and refreshing.   Such an excellent recording is worth your full attention!  

For more information, go to www.somimusic.com.  To listen to more and purchase the album, click on  

https://somi.bandcamp.com/album/holy-room-live-at-alte-oper-with-frankfurt-radio-big-band. 

Here's an exciting track:

Visions, Dreams, and Realities

What a treat to immerse oneself in a big band recording!  To hear how the different sections work together and independently, how the solos are built upon such elegant and intelligent foundations, how melody leads to counterpoint, how rhythm leads to interaction, how the composer and arranger utilizes all these voices to tell his or her story, all this and more is exciting to these ears.  The sound of the big band in jazz has grown from the primitive yet really sophisticated work of Edward Kennedy "Duke" Ellington and Fletcher Henderson in the 1920s and 30s, from the "territory" dance bands of Benny Moten and Count Basie, the high-powered swing of Benny Goodman and Chick Webb, the smoother sounds of the Dorsey Brothers (together and separately) and Glen Miller and beyond.  The work of Gil Evans with and without Miles Davis in the 1950s and 60s as well Gerry Mulligan and Bob Brookmeyer paved the way to the work of Maria Schneider, John Hollenbeck, Alan Ferber, Ryan Truesdell (in his case, Gil Evans) and a number of younger voices such as Darcy James Argue, Ayn Inserto, and more.

 Jim McNeely (born 1949) grew up (musically) in the 1970s, working with the likes of the Thad Jones/Mel Lewis Orchestra, Phil Woods, and Stan Getz.  After Thad Jones moved to Europe, he began working with the Mel Lewis Orchestra and soon discovered how much he loved arranging and writing for big bands.  Mentored and employed as a pianist by Bob Brookmeyer, McNeely learned much and soon began working with big bands such as the Vanguard Jazz Orchestra, the Carnegie Hall Jazz Band, the Danish Radio Big Band, and, since 2008, has been the chief conductor of the Frankfurt Radio (HR) Big Band. That group is featured on his new album "Barefoot Dances and Other Visions" (Planet Arts), a stunning and highly enjoyable seven-song suite that speaks to the composer's relationship with these musicians and their myriad abilities.

What composer McNeely envisioned was a song cycle that pulled together a number of story-lines, from the celebration of Mr. Brookmeyer that opens the album, the playful and ebullient "Bob's Here", to the somber, wistful yet a bit bouncy ballad "A Glimmer of Hope" to the wondrous swing of "Redman Rides Again" (a tribute to the arranging style and adventurous nature of Don Redman (1900-1964) - the stunning interaction on the last track mentioned between the clarinets of Heinz-Deiter Sauerborn, Stefan Weber, and Rainier Heute with the electronically manipulated clarinet of Oliver Leicht is flat-out brilliant.

When you listen to program, notice the brilliant foundations laid down by bassist Thomas Heidepriem, how the electric guitar work of Martin Scales is so important to both the power and direction of certain pieces, the amazing work of the brass and reeds, and how drummer Jean Paul Höchstäder is the linch-pin for so much of the music - his power, his push, his fills - just the way he dances underneath trombonist Günter Bollman and the rest of the band on the title track is life-affirming. As you work your way back through the music, you'll hear soloists such as trombonist Peter Fell, tenor saxophonist Tony Lakatos, and trumpeter Axel Schlosser maneuver through the arrangements to create memorable solos.

With exception of his work with the Vanguard Jazz Orchestra (also released on Planet Arts as well as New World Records), "Barefoot Dances and Other Visions" is only other large ensemble work by Jim McNeely to be issued on an American label. This is music that should be heard - like the best work of the afore-mentioned composers and arrangers (Ellington, Brookmeyer, Schneider), the music builds off the past but is clearly of its day. This is also music that speaks of the creativity of the American musical experience, when freedom, creativity, talent, and the curiosity to see how one can continue to move forward collide to create art.  Plus, it's great fun from the opening minute right to the end!

For more information, go to www.jim-mcneely.com and to www.hr-bigband.de/english/index.html. The latter site has several concert videos (not of the music on the new CD but of collaborations with bassist Dave Holland and vocalist Gretchen Parlato).  

Personnel:
​THE BAND
Heinz-Dieter Sauerborn--Alto Sax, Soprano Sax, Flute, Alto Flute, Bass Flute, Clarinet
Oliver Leicht--Alto Sax, Clarinet, Flute, Alto Clarinet, Alto Flute
Tony Lakatos--Tenor Sax, Flute, Alto Flute
Steffen Weber--Tenor Sax, Flute, Clatinet, Bass Flute
Rainer Heute--Baritone Sax, Bass Clarinet, Alto Flute
 
Frank Wellert--Trumpet, Flügelhorn
Thomas Vogel--Trumpet, Flügelhorn
Martin Auer--Trumpet, Flügelhorn
Axel Schlosser--Trumpet, Flügelhorn
 
Günter Bollman--Trombone
Peter Feil--Trombone
Christian Jaksjø--Trombone, Valve Trombone
Manfred Honetschläger--Bass Trombone
 
Martin Scales--Guitar
Peter Reiter--Piano
Thomas Heidepriem--Bass
Jean-Paul Höchstädter—Drums

The Diva Jazz Orchestra, founded in 1992 by Stanley Kay after he conducted a band with Sherry Maricle as its drummer, is celebrating its birthday and continued existence with the "25th Anniversary Project", a smashing new recording produced and released through ArtistShare.  Instead of focusing on earlier works or standards, music director Ms. Maricle asked members of the all-women group to submit new works.  She brought two pieces to the project and eight other members have one each.  A number of these musicians and composers have busy careers outside the band but they have brought their best to this effort.

By this time, most people have gotten over the novelty of the "all female big band" and can concentrate on how good this music (besides, when one is listening to a recording, can you tell if it's a woman or a man playing - and does it matter at all?)  The program opens with the rollicking "East Coast Andy" composed and arranged by baritone saxophonist Leigh Pilzer (also a member of the Smithsonian Jazz Masterworks Orchestra) - the song is a spunky romp a la the Basie Orchestra with fine solos from the composer and trumpeter Jami Dauber. Clarinetist/tenor saxophonist Janelle Reichman blends Eastern European sounds and chords with a lively Latin rhythm on "Middleground" (co-arranged with bassist Noriko Ueda) - it's a delight to hear how the sections add to the melody section before pianist Tomoko Ohno dances over the rhythm section. Then, Ms. Reichman takes off with the reeds and brass playing counterpoint.  All the while, the bass and drums keep the piece percolating.

Every track as its standout moments. There is the delightful double trumpets solo (Leisl Whitaker and Barbara Laronga) on "Jami's Tune" and the powerful tenor saxophone statement by Erica von Kleist on "Darkness of the Matter" (composer Sara Jacovino adds a hardy trombone solo as well).  Ms. Maricle's lovely ballad "Forever in My Heart" features a handsome melody by Rachel Therrien on flugelhorn plus intelligent fills from the reeds and brass (excellent baritone sax work from Ms. Pilzer underneath).  The drummer also contributed the final track, aptly titled "The Rhythm Changes", which has a dazzling opening theme that breaks into exciting solos from trumpeter Laronga and alto saxophonist Mercedes Beckman.  Both bassist Ueda and drummer Maricle take short solos with the reeds and brass adding occasional "shout" phrases or bluesy riffs - the scramble at the end of the piece that leads back into the opening melody takes the album on a triumphant note.

Diva Jazz Orchestra may be 25 years old but this album sounds fresh and on target.  There's neither a weak tune nor boring solo in the 65-minute program. Yes, you can hear echoes of Count Basie, touches of Duke Ellington, a bit of Woody Herman but they are just that - echoes.  What truly stands out is how strong this music, how much fun the musicians are having as an ensemble, and how positive the listening experience is.  Happy "25th Anniversary Project"!  Here's to many more.

For more information, go to divajazz.com.

Personnel:
Alexa Tarentino: alto and soprano saxophones
Mercedes Beckman: alto saxophone, flute, clarinet
Janelle Reichman: tenor saxophone, clarinet
Erica von Kleist: tenor saxophone
Leigh Pilzer: baritone saxophone, bass clarinet
Leisl Whitaker: trumpet, flugelhorn
Jami Dauber: trumpet, flugelhorn
Rachel Therrien: trumpet, flugelhorn
Barbara Laronga: trumpet, flugelhorn
Jennifer Krupa: trombone
Sara Jacavino: trombone
Leslie Havens: bass trombone
Tomoko Ohno: piano
Noriko Ueda: acoustic bass
Sherry Maricle: drums, music director
with guest soloist Marcia Gallas on one track

Large Ensembles 2015 (Part 2)

John Hollenbeck is a composer, arranger, drummer and percussionist of the highest order.  He is the leader of the acclaimed Claudia Quintet and the John Hollenbeck Large Ensemble plus has a list of sideman ranging from Meredith Monk to Tony Malaby to Fred Hersch and beyond.

"Songs We Like a Lot" (Sunnyside Records) is a follow-up to 2013's "Songs I Like a Lot" - both feature vocalists Kate McGarry and Theo Bleckmann plus the Frankfurt Radio Big Band who also commissioned both recordings.  Gary Versace (who, as an accordionist, is an integral member of the Maria Schneider Orchestra) plays keyboards on the 2013 recording (and appears on 1 track here) while Uri Caine is at he piano and organ for the newer disc. Both recordings feature an eclectic repertoire that takes inspiration from American pop music and folk music (plus a few surprises). The album opens with lovely take on "How Can I Keep From Singing", a Christian hymn that Pete Seeger learned from folklorist Doris Plenn and is attributed to the 19th Century minister Robert Lowry. Before Ms. McGarry sings the plaintive melody, the vibraphone of guest Claus Kiesselbach creates a contemplative mood as befitting the lyrics. The mix of reeds and brass bring Aaron Copland to mind.

nytimes

Among the standout tracks is the impressive rearrangement and performance of "True Colors", the Tom Kelly/Billy Steinberg composition that was a big hit for Cyndi Lauper in 1986, with floating horns, played legato and an emotional vocal from Bleckmann. Ms. McGarry creates a assured reading of "Close To You" (the Bacharach-David tune that The Carpenters in 1970) while Bleckmann's falsetto backing mirrors the reed section.  When the rhythm section kicks in (great work from drummer Jean Paul Höchstäder), the vocals become wordless in the background behind the intertwined solos of Axel Schlosser (flumpet, a hybrid of flugelhorn and trumpet) and Martin Scales (guitar). The leader's infatuation with the songs of Jimmy Webb continues here with the inclusion of "Up, Up and Away" (the giant 1967 hit for The Fifth Dimension). The blend of the voices is lovely and Hollenbeck builds the arrangement off of the rhythms of the original.  The vibraphone shadows the vocalists in the middle of the piece before the pace of the song slows down as if this was now a dream. Everything shifts as the musicians and vocalists play a rearrangement of the opening verse. The surprising "Get Lucky Manifesto" pairs the performance of Daft Punk's "Get Lucky" with a Russian translation of Pharrell Williams' lyrics dealing with sexual conquest.  The emotionless computer-generated female Russian voice adds a quirky twist to the dark section playing and throbbing drums.

photo by Bill Douthart

Hollenbeck (pictured left) sets the words of the Persian poet, Sufi mystic and scholar Rumi (1207-1273) to a hypnotic Middle Eastern rhythm for "Constant Conversation" - Versace's melodica plays in unison with soprano saxophone of Julian Argüelles while Bleckmann's electronically manipulated voice swirls and weaves in and out.  Ms. McGarry recites pieces of the poem, an ode to the reed, as the instruments pulsate and moan. Kenneth Patchen's poem "The Snow Is Deep On the Ground" (published 1943) supplies the words for the longest track on the recording (11:19), an episodic work that has qualities of the music of Terry Riley, Americana and more. The dark mood of the anti-war poem is matched by the horns throughout.

"Songs We Like a Lot" is yet another triumph for John Hollenbeck. His writing for large ensembles, nurtured by his relationships with Bob Brookmeyer and Meredith Monk, stands out among contemporary composer/arrangers, alongside the work of Maria Schneider, Jim McNeely, and Michael Gibbs. This music will take several listens to begin to sink in - if you give the album time, the music will reward you time and again.

For more information, go to johnhollenbeck.com.

Here's the Jim Webb song: