New Albums & Gigs in CT

 Slowly but surely, the "live music scene" is opening up, especially here in my native Connecticut.  Here are three artists with new albums gracing music venues this weekend. 

Mary LaRose, life partner and music collaborator of saxophonist/ clarinetist Jeff Lederer, has a new album project arriving on October 7.  "Out Here" (little (i) music) takes the music of Eric Dolphy (clarinet, bass clarinet, flute, alto saxophone), adds lyrics by Ms. LaRose, new arrangements by Mr. Lederer as well as poems by Hallie Lederer and Patricia Donegan, and gives all that to a dynamic quintet of musicians to support, innovate, explore, interpret, and more.  What a fine band –– Mr. Lederer (clarinet, bass clarinet), Tomeka Reid (cello), Patricia Brennan (vibraphone, electronics), Nick Dunston (bass), and Matt Wilson (drums –– they perform nine songs from across Dolphy's discography.  The arrangements allow one to hear the influences of the blues, be bop, and classical music that permeated the Master's music.

The album opens with a delightful take of "Gazzelloni", Dolphy's tribute to the Italian flutist and teacher Severino Gazzelloni (1919-1992) who gave numerous lessons to many artists over the decades including the composer.  The introduction is a particular delight with Ms. LaRose and drummer Wilson having a playful conversation.  "Out There" has a positive message and a propulsive melody.  Ms. LaRose sings with the cello, bass, and the vibes in unison with her.  There is no tempo yet the music leaps forward on the strength of the instruments and voice. Trombonist Jimmy Bosch, percussionist Bobby Sanabria, and vocalist Maya Rose Lederer join the band for the Afro-Cuban inflected take of Sonny Simmons/ Prince Lasha's "Music Matador". Note hoe Ms. Reid's cellist interacts with the voice as does the trombone.  The show has the quality of a "show stopper"!

Parade drums lead the way into "Out to Lunch" – listen to how the tempos shift under Lederer's clarinet solo as if the vibes were going one way, the cello another, and the drums yet another while the bass keeps the structure intact.  "Love Me", a melody by Victor Young with lyrics by Ned Washington and Bing Crosby, is a duet between the Ms. LaRose's playful voice and the swooping phrases of the bass clarinet.  

"Out Here" closes with Mal Waldron's "Warm Canto" which the pianist/ composer recorded with Dolphy for his 1961 album "The Quest".  Ms. LaRose reads the Patricia Donegan's poem "Lover's Wish" supported by Wilson's fine brushes work, Ms. Brennan's electronically enhanced vibes, and Ms. Reid's expressive cello.  In the middle, the clarinet trio of Isaiah Johnson, Cameron Jones, and Mr. Lederer carry on a lively conversation.  It's the perfect ending for a delight-filled album that not only contains surprises but also soothes the soul.  Mary LaRose is quite the adventurous artist and, while she has only released five albums over the past two decades (she has also recorded with her husband), each album is required listening.

To purchase the album, go to https://littleimusic.bandcamp.com/album/out-here.  

Here's the delightful take of Dolphy's "Gazzelloni":

Mary LaRose will celebrate the release of "Out Here" on Friday 10/7 leading a quintet that includes Ms. Brennan, Matt Wilson, Mr. Lederer , and Michael Formanek in the bass chair.   For ticket information, go to http://firehouse12.com/performance-calendar/2021/10/8/mary-larose-ensemble. The event is in-person as well as streamed.  

On August 16, 2020, Jeff Lederer invited his friends Jamie Saft (organ, piano), Matt Wilson (drums, percussion), and Steve Swallow (electric bass) to record eight original compositions based on the saxophonist's study of the book "The Heart of Buddha's Teaching" by Thich Nahat Hanh. And, because of the extensive COVID-19 protocols being enforced at the time, the quartet was going to record the session outdoors.  They did just that in between the hit-or-miss summer showers.  The ensemble, known as Sunwatcher from the title of Mr. Lederer's 2011 Jazzheads release that featured Saft and Wilson plus bassist Buster Williams, creates a powerful sound pushed forward by the insistent drums and Mr. Swallow's amazing bass work.  "Eightfold Path" (little (i) music) is a guide to living a good life with the music serving as a guide to immerse one's self into the sound. Tunes such as "Right Speech" and "Right Livelihood" make one want to dance and sound great coming out of a car's speakers driving down the road.

Every time I encounter Steve Swallow's bass, I realize how much he fills the bottom and how melodic he is. Note how bluesy and fundamental he is on "Right Action" and how integral his counterpoint is behind the acoustic piano and tenor sax solos on "Right Effort".  Mr. Swallow connects with the New Orleans-tinged drums on "Right Action" playing a three-note figure similar to that of the  "Acknowledgement" movement of John Coltrane's "A Love Supreme".  Saft's righteously funky organ playing stands out on that track as well.  In an interview I conducted with Mr. Lederer and Mary LaRose, I asked if "Right Resolve" was based on the chugging rhythm of Elton John's "Bennie and The Jets" –– the composer claimed "no" but Ms. LaRose laughed and said "Told you!" Certainly the chord structure is different but.....Saft's solo roars while Wilson's drums crush beneath him.  

While the music is noisy at times, there are also several lovely ballads.  The gospel-tinged melody of "Right View", played together then in counterpoint by Mr. Lederer and Mr. Swallow, has wonderful cymbal work and rich, sustained, organ chords.  Mr. Saft's long solo adds intensity to the piece and is followed by a sweet Swallow solo. The afore-mentioned "Right Effort" and the album closer "Right Mindfulness" finds the organist on acoustic piano. The latter track features long sustained bass notes, a handsome tenor solo, and Mr. Wilson on hand-held percussion. Notice how all four musicians are essential to the music moving forward even as they create a meditative sound.

"Eightfold Path" is Jeff Lederer at his best. Yes, he still plays with a ferocity that sounds as if his saxophone will explode but he also displays a softer, more melodic, side that fits the message of the album. Great band, good music –– sure sounds like they had a delightful day in the park!

For more information, go to www.littleimusic.com/about.  To purchase the album and other releases from little (i) music, go to https://littleimusic.bandcamp.com/album/eightfold-path. 

Here's "Right Action":

Vocalist Judy Wexler, born and still lives in Los Angeles, CA, is a person who loves tell a story with each song she sings.  Her new album "Back To The Garden" (released in June of this year on her Jewel City Jazz) illustrates how the songs of 1960s, pieces written by Bob Dylan, Joni Mitchell, Stephen Stills, Sandy Denny, and others, have great resonance for this third decade of the 21st Century. With a band that features pianist and arranger Jeff Colella, guitarist Larry Koonse, bassist Gabe Davis, drummer Steve Hass, a string quartet, and more guests, Ms. Wexler comes at these tunes with a jazz sensibility and an well-developed ear for harmony while the arrangements by Collela (with two from Josh Nelson) open the songs up without losing their essential qualities.  I imagine that anyone who "grew up" with these songs (as I did) will bring a myriad memories to his or her listening experience.  

Despite the album's title, that Joni Mitchell song is not in the program but "Big Yellow Taxi" is. The melody is propelled by a funky piano phrase. Danny Janklow's alto sax fills serve as a smart counterpoint to the vocal plus delightful backing vocals (the tune's co-arranger Erin Bentlage) will make you smile.  In the midst of their Brill Building years, Gerry Goffin and Carole King composed "Up On The Roof" and the homage to star gazing in New York City was a best seller for The Drifters during the Holiday season of 1962.  Collela's arrangement and far-ranging piano solo brings Bruce Hornsby to mind.  "For What It's Worth", composed by Stills for the Buffalo Springfield, became a rallying cry for protesters around the escalating Vietnam War.  Koonse's sharp-edged solo, accompanied by the militaristic drums, is a highlight as is Ms. Bentlage's backing vocals.  

Mr. Dylan gets two songs, the political broadside "The Times They Are A'Changin'" (1964) and the sweet lullaby "Forever Young", a song the composer recorded twice for his 1974 album "Planet Waves" (featuring The Band). The former song is just as relevant now as it was nearly six decades ago while the latter is one of the sweetest and straight-forward set of lyrics in Mr. Dylan's oeuvre.  Ms. Wexler and Jeff Collela don't take liberties with these songs; instead, they make sure you hear the lyrics. Violinist Sara Caswell

makes an appearance on "Forever Young" wrapping her velvety phrases around Koonse's guitar lines and the sweet-sounding background voices.

The album closes appropriately with "Who Knows Where The Time Goes" –– the late Sandy Denny composed and recorded the song with Fairport Convention in 1969 but it was Judy Collins whose 1968 version became the title of her third album.  This lovely arrangement by Josh Nelson features a splendid trumpet solo from Jay Jennings as well as a heartfelt vocal. Nelson also arranged "American Tune" (listen below) that utilizes a string trio that underscore Ms. Wexler's emotional vocal.  

When you listen to "Back To The Garden", make sure to notice that this is not a nostalgic trip or even a tribute album: instead, notice how Judy Wexler remind us all of the power of music to be relevant over decades and generations and how jazz artists were listeners first and interpreters second, introducing great songs to new audiences.  Subtle, swinging, soothing, fun, this album is a true delight!

For more information, go to https://judywexler.com/. To hear more and to purchase the album/ download, go to https://judywexler.bandcamp.com/album/back-to-the-garden.

Judy Wexler will be performing this album and more on Saturday October 9 at The Side Door Jazz Club in Old Lyme CT.  Accompanying her will be Jim Ridl (piano), Bill Moring (bass), and Tim Horner (drums).  For ticket information, go to www.eventbrite.com/e/judy-wexler-tickets-165027442523. 

Here's Ms. Wexler's take on Paul Simon's "American Tune":

The Pianist Also Rises

The Side Door Jazz Club in Old Lyme CT maintains an amazing schedule of top quality concerts, basically, 50-51weeks a year.  Manager Rich Martin and owner Ken Kitchings make the musicians feels at home and the intimate club setting means there is not a bad seat in the house. The sound system is excellent plus the piano is always in tune.  It's a wee bit off the "beaten path" but, once you have been there, you'll beat a path back. Along with Firehouse 12 in New Haven (open six months a year), The Side Door can satisfy even the fussiest of listeners.

On Saturday January 25, The Side Door welcomes pianist Larry Fuller and his Trio (bassist Vincent Dupont and drummer Jason Tiemann) for two sets that will undoubtedly swing – that's what Mr. Fuller does so well (although his ballads have plenty of heart).  Thanks to a suggestion from drummer Jeff Hamilton, he got a gig with vocalist Ernestine Anderson who liked him so much she made Fuller her musical director.  He then joined Hamilton's Trio and, in 2000, went on to play with legendary bassist Ray Brown; in fact, he was the final pianist to tour with him.  Several years after Brown's passing, Fuller joined guitarist John Pizzarelli's band where he was a mainstay from 2005-13.  Since then, he signed a contract with Capri Records who issued his Trio album in 2014.

In May of 2019, Capri issued "Overjoyed" featuring Fuller alongside drummer Lewis Nash and bassist Hassun Shakur. Listening to pieces such as the opener "Fried Pies" (from the pen of Wes Montgomery) and Fuller's own "The Mooch", one can tell that the pianist has absorbed the styles of Mulgrew Miller, Harold Mabern, and Phineas Newborn.  Check out Stevie Wonder's "Overjoyed" – Fuller caresses the lovely melody, finding the happiness that comes playing such a handsome song.  Make sure to check out Shakur's fine counterpoint and Nash's delightful cymbal work.  In keeping with the eclectic nature of the program, there is also a lovely reading of Ray Evans and Jay Livingston's "Mona Lisa" which was such a big tune for Nat "King" Cole.  Here as well, the pianist and the bassist mine the melody for rich interactions.

The program also includes a sparkling rendition of Ray Bryant's "Cubano Chant"; the trio hits the ground running and break into quite a fast pace. Another delightful track is the New Orleans-flavored take on "Got My Mojo Workin'" that closes the album.  The piece seems short at 4:37.  They could have played it twice and one would still want to dance along.  Joy indeed!

Photo: Parker Miles Blohm

"Overjoyed" also contains two solo pieces, both ballads.  First up is a lovely "stride piano" reading of George Gershwin's "How Long Has This Been Going On"; one hears a touch of Art Tatum and  Earl "Fatha" Hines in the sparkling runs Fuller creates to accentuate the melody.  "Never Let Me Go", the second cut composed by the team of Ray Evans and Jay Livingston (who remembers that the song was composed for the soundtrack of the 1956 movie "The Scarlet Hour" in which it was performed by Nat "King" Cole) – the music has heart and soul, an oasis of quiet in the midst of the uptempo music.

The album is a delight and well worth your time.  Find it at Amazon, iTunes, and other digital outlets as well as by going to www.caprirecords.com/.

To buy tickets for the January 25 appearance of the Larry Fuller Trio at The Side Door, go to www.eventbrite.com/e/larry-fuller-trio-tickets-87566944087.

To find out more about the pianist, go to larryfuller.com.

Here's the track from "Overjoyed" dedicated to the pianist's wife:

The Drummer Tells the Story (Pt 1)

I was lucky to grow up in Middletown, CT, for many reasons: one in particular was the presence of Wesleyan University, its bookstore, galleries, theater, and, especially, the Music Department.  The University greatly expanded its World Music studies under the auspices of Robert "Bob" Brown introducing the students (and curious community members) to Javanese gamelan music as well as South Indian classical music. Members of the faculty were two brothers, T. Vishwanathan, an amazing flutist, and T. Ranganathan, who played the mridangam, a double-headed drum. "Ranga", as he was called, was one of the most out-going people one could ever meet. He had a great sense of humor and was strikingly humble about the fact he was an amazing percussionist (here he is in the 1960s - click here).  He died much too young - at the age of 62 - but I can still hear his incredible laugh and his amazing hands as they created such amazing rhythms and melodies.  Like the great tabla master Alla Rahka, Ranga could make you marvel at his technique as well as being thrilled by joyous playing.

Meet Rajna Swaminathan. She plays mrudangam (variant spelling), having studied with several current masters of the drum including Umayalpuram K. Sivaraman.  Ms. Swaminathan, born in Maryland, has been involved in both the world music and jazz scene in New York City since 2011 working with artists such as Vijay Iyer, Amir ElSaffar (she's a member of his Two Rivers Orchestra), Steve Coleman, and saxophonist Maria Grand.  She's currently a Graduate Student at Harvard University and has worked with Iyer in that capacity as well as on several concerts.  Ms. Swaminathan also composes for dance and theater productions including 2015's "The Worry Machine" (music from the Anu Yadav play, "Meena's Dream").  Her frequent musical companion is her sister Anjna who is a composer and violinist. Together with their father Dr. P.K. Swaminathan, they run a 5013-C called Rhythm Fantasies, INC, whose goal is to "promote South Indian classical music and dance in a space that encourages education and enrichment through innovation and cross-cultural collaborations."  

Now Rajna has her first album as a leader "Of Agency and Abstraction" (Biophilia Records).  The recording, co-produced by Iyer, features her group RAJAS, a quintet that features her sister (violin), Ms. Grand (tenor saxophone), Miles Okazaki (guitar), and Stephan Crump (bass) plus guest Amir ElSaffar (trumpet) and Ganavya Doraiswamy (vocal).  One of the joys of this music, this beautiful collection of original compositions, is that while it's obvious these musicians are brilliant technicians, there's more emotion inside the motion, a flow that enters one's mind, closes the eyes, and allows you to breathe easily (that's what it does for me).  Note how easily the percussive [luck of the guitar combines with the singing violin, bowed bass, bouncing mrudangan, and dancing tenor saxophone blends. 

The tendency to want to discuss this music gives way to the belief that each listener approach there album with an open mind.  If you're looking for a message, take your time to find it.  The leader describes the group's mission as one that is "a network of like-minded improvisers from multiple/overlapping traditions to experiment with new horizons of relation through hybrid forms, textures, and sensibilities." After all, RAJAS means passion/action" in Sanskrit. 

Yet, there are moments throughout that stand out.  Ms. Grand's breathy tenor leads the way on "Peregrination" with the violin in counterpoint and the rhythmic guitar in sync with the percussion.  The splendid "singing" violin meshing with the guitar at the onset of "Vigil" begins a journey that spreads over 10 minutes with the various voices adding counterpoint and harmony.  Ms. Doraiswamy and Mr. ElSaffar join the quintet on "Departures" - while you may not understand the words, the trumpet and violin create a call-and-response that helps to transmit the emotions of the lyrics.  Don't ignore the contributions of bassist Crump - his arco work throughout is deep and resonant. Without a "regular" drummer, he's free to be melodic as well as foundational.

Just listen.  As I write these words, the windows are open and birds are singing in the trees close to the house.  Their songs fit in nicely with the sounds swirling out of the speakers.  Late at night, listen.  Early in the morning, listen. Give this music all the attention you can. Time will fall away and the beauty inherent in these songs, these collaborations, the myriad voices, will seep into your soul.  Too poetic for you?  This music is quite lyrical, gentle, soothing, and challenging.  "Of Agency and Abstraction" stands out amidst the noise of the everyday. Rajna Swaminathan took plenty of time to create this music, to find the right musicians, the right sonic combinations, and the results are very impressive, very moving.  Listen.

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

Here's an example of the wondrous sounds:

The drummer, educator, and mentor Ralph Peterson literally burst into the public ears in 1985 as a member of O.T.B. (Out of the Blue), a group of young musicians that Blue Records Records created to showcase younger talent.  He worked with so many musicians through his career including Tom Harrell, Terence Blanchard, Geri Allen, Charles Lloyd, and Betty Carter.  But the once person who made the biggest impression on his person and career was drummer Art Blakey.  Peterson was one of the few drummers who the great master invited to play in his bands, the talent incubator known as The Jazz Messengers.  The younger man learned that you give everything on the bandstand and that you expect the same from the people you work with as well as to pass on the jazz traditions through your music and through teaching.  Peterson has done just that over the years creating groups that featured younger players such as clarinetist Don Byron, vibraphonist Bryan Carrott, pianist Orrin Evans, and trumpeter Sean Jones (among others).

Peterson has been recording prolifically over the past few years for his own Onyx label. Most of those albums feature younger musicians recorded live.  The newest addition to the catalogue, "Legacy Alive: Volume 6: Live at The Side Door", is credited to Ralph Peterson & The Messenger Legacy, a sextet composed of musicians who played with Mr. Blakey (1919-1990) in the late 1970s and through 80s.  What a unit - Bill Pierce (tenor saxophone), Bobby Watson (alto saxophone), Brian Lynch (trumpet, Essiet Essiet (bass), and Geoffrey Keezer (piano), who along with Peterson, swing their way through 11 pieces associated with the Jazz Messengers repertoire (the group stayed active for 35 years!)

Photo: Peter Leng Xiong

The program was recorded over two nights in October 2018. The Side Door Jazz Club in Old Lyme is owned and operated by Ken Kitchings (Rich Martin does the booking) and there is no bigger or more vocal supporter of the music in the state than he.  If you listen closely, you can hear Kitchings shouting his encouragement throughout and the end of songs. Why not?  The sextet is having a great time, they all play with gusto, the material is top-notch, and the sound is great. The drums and piano come through loud and clear; Brian Lynch's trumpet cuts through the mix with his delightful blend of riffs, smears, and articulated lines. It's so great to hear Bill Pierce playing so strong, his bluesy solos are a treat.  Bobby Watson, who joined the Messengers in 1977, has always played with wit, humor, and when called for, grace. He does so here as well.  He also has blues in his background but he can fly with ease over this band. Check him out on his "In Case You Missed It", a tune on which everyone solos with abandon.  Geoffrey Keezer, who joined the Messengers when he was 18, also plays with great wit and spontaneity.  Listen to his unaccompanied opening of "That Ole Feeling" - he sets the pace for the band who dance delightfully behind his sparkling keyboard.  His solo on Curtis Fuller's  "A La Mode" is flat-out amazing

As for the leader, he's always been fun to listen to. Yes, his power can overwhelm some groups but not this one.  His ability to push a band, to prod soloists, to stop-on-a-dime, to create a storm that not only dazzles listeners and make them shout but also is so darn joyous - Peterson is having fun, even as you realize that some of this material was composed 40, 50, over 60 years - this band makes it sound contemporary.  The Juan Tizol - Duke Ellington classic "Caravan" was first recorded in 1936. Listen here and it's alive, ebullient, and powerful.  "Three Blind Mice", credited to Anthony Rooley and Thomas Ravenscroft (who wrote the melody in 1611), was recorded by Blakey in 1962 in a quintet that included Wayne Shorter and Freddie Hubbard.  The arrangement is quite similar and the overall effect is as well.  The sextet also takes an energetic run through Shorter's "Children of the Night" (which he composed and recorded with The Messengers in 1961).

Thanks to the great engineering and mastering, the music on "Legacy Alive" is loud and clear. Every member of the Messenger Legacy gives his all (just as Art Blakey commanded them to do during their tenure with him) - it's that dedication, that desire to communicate living history, that makes this music so thrilling.  Just start with first track "A La Mode": if that does not make you jump up and shout, call the doctor immediately! Also, check out the great cover collage by CT-based artist Andres Chaparro. It exemplifies the powerhouse that Ralph Peterson has been throughout his career and who is today.

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

Here's that 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.

Late July Live Music (Inside & Out)

The Side Door Jazz Club in Old Lyme CT, now in its fifth year, is having a bang-up summer, combining programs that feature artists rarely seen in Connecticut to shows with regular visitors, some who are Connecticut natives. This weekend (7/20-21) marks the return of saxophonist (tenor and soprano) and composer Jimmy Greene.  The Hartford native, graduate of the Hartt School of Music/Jackie McLean Institute, and currently on the music faculty of Western CT State University, has worked with many greats artists including Harry Connick, The Carnegie Hall Jazz Band, Kenny Barron, Tom Harrell, and another CT native, the late Horace Silver.

Sadly, Jimmy Greene may be best known as the father of Ana Grace Marquez-Greene, one of the 26 people killed in the Sandy Hook Elementary School shooting in December 2012. The two albums that have appeared since that horrible event - 2014's "Beautiful Life" and 2017's "Flowers - Beautiful Life Volume 2", both on Mack Avenue Records - include original music inspired by his daughter, all of it life-affirming, much of it powerful.  Professor Greene plays with power and direction, his emotions poured into performances that are spirited and spiritually moving.

He's bringing his Quartet, a group that features the fine drummer Otis Brown III, bassist Luke Sellick, and pianist Taber Gable.  They will take the stage both Friday and Saturday nights at 8:30 p.m. for two sets.  For ticket information, go to thesidedoorjazz.com or call 860-434-2600.

To find out more about his music as well as the ongoing Ana Grace Project, go to www.jimmygreene.com.

Here's a funky track from the latest album:

Pianist, composer, and educator Laszlo Gardony is one of the more joyful musician on the contemporary scene. Whenever he sits at the piano, it seems as if the everyday craziness of the world disappears and he plus the audience are transported to a better place.  He can ever-so-melodic as well as percussive and pounding, bluesy as well as lyrical. With his trio of bassist John Lockwood and drummer Yoron Israel, that world expands to include creative interpretations of standards and pop songs.  When Gardony adds the reeds of Stan Strickland (tenor and soprano saxes, bass clarinet), Don Braden (tenor and soprano saxes, flute), and Bill Pierce (tenor and soprano saxes), the musical universe expands even more with touches of New Orleans and Kansas City blues and jazz, Broadway, and more standards plus more of Gardony's inspiring music.

The Laszlo Gardony Sextet comes to Hartford CT on July 23 to perform as part of the Paul Brown Bushnell Park Monday Jazz Series.  The free concert opens at 6 p.m. with a set by the Don DePalma Trio with vocalist Linda Ransom.  Mr. Gardony and friends take the stage at 7:30.  In case of rain, the concert moves indoors to the Asylum Hill Congregational Church, 814 Asylum Avenue, in Hartford.  For more information, go to hartfordjazzsociety.com/paul-brown-monday-night-jazz-2018/.

To learn more about Lazslo Gardony and the Sextet, go to www.lgjazz.com.

Here's a track to get you dancing:

On Friday July 27, The Side Door Jazz Club opens its door to New Faces, a sextet of musicians personal chosen by Marc Free, President of Posi-Tone Records for a project of "Straight Forward" music. That's the title of the album as well as the emphasis in the music.  Gathering people who have recorded for the label, the ensemble includes vibraphonist Behn Gillece, tenor saxophonist Roxy Coss, trumpeter Josh Lawrence, pianist Theo Hill and the "veteran" rhythm section of bassist Peter Brendler and drummer Vinnie Sperrazza. Several members contribute new arrangements of older pieces plus there are pieces by label mate Jon Davis and one song from back at the company's early days. The front line sounds well matched with trumpeter Lawrence and saxophonist MS Coss easily matching their sounds. Gillece's vibes blend nicely with Hill's piano throughout.  And, this is one fine rhythm section!!

The sextet should be dynamite in person, stretching some of the tunes, everyone getting a chance to really dig into their solos.  Make no mistake, they are all fine soloists (Lawrence is developing impressively each time he picks up his trumpet and Hill's work is quite a treat).  First set starts at 8:30 p.m.  To find out more, go to thesidedoorjazz.com.  

To learn more about the band, go to www.posi-tone.com/newfaces/newfaces.html.

Here's a track from the album:

Live Music: Faith and Credibility

Guitarist, composer and educator Amanda Monaco is the featured artist in the latest installment of Noah Baerman's "Jazz Up Close." Baerman, a pianist, composer, and educator, brings artists to the Hubbard Room of The Russell Library, 123 Broad Street in Middletown where they perform original material and answer questions from the audience.  Ms. Monaco, who has been a friend of Mr. Baerman since high school, is the first performer for the "Sound Belief" series music inspired by the artist's religious beliefs and faith. I had the honor of presenting Ms. Monaco's "Pirkei Avot" at Congregation Adath Israel several years ago. The name of the project translates to "Ethics (or Chapters) of the Fathers": the writings, which come from the Mishnah (which can be found in the Talmud), deal with interpersonal relationships and how one is expected to conduct his/her life.

On Thursday May 31, the guitarist and Baerman will be playing  newer songs based on the "Pirkei Avot" alongside vocalist Tammy Sheffer, recorder master Daphna Mor, bassist Henry Lugo, and percussionist Rogerio Boccato.  The program, free and open to the public, starts at 7 p.m.  For more information, go to bit.ly/2IO0hFz.

Here's a piece from Volume 1 of "The Pirkei Avot Project" featuring Ms. Monaco and Ms. Mor plus bassist Sean Conly, percussionist Satoshi Takeishi, and vocalist Ayelet Rose Gottlieb:

Another busy three-day weekend at The Side Door Jazz Club in Old Lyme kicks off on Friday June with drummer Willie Jones III and his Quintet.  Jones III is a native of Los Angeles: he first came to critical attention in Black Note, a group he co-founded in the early 1990s with bassist Marcus Shelby.  He went on to work with trumpeters Roy Hargrove and Arturo Sandoval, vibraphonist Milt Jackson, vocalist Kurt Elling, and saxophonist Sonny Rollins (among many others).  In 2000, he released his debut album as a leader. Titled "Volume 1...Straight Swingin'", the album came on the drummer's WJ3 label.  In 2017, Jones III released "My Point Is..." his seventh album as a leader.

For the Old Lyme gig, he's bringing an impressive group including Stacy Dillard (saxophones), Hartford-native Josh Evans (trumpet), Julius Rodriguez (piano), and Alex Claffy (bass). They'll hit the stage at 8:30 p.m.

To learn more about the drummer, go to www.williejones3.com.

Here's the drummer in action from 2014:

Photo" Deanna & Jimmy Katz

On Saturday, CT native Noah Preminger returns to The Side Door  with his Quartet. The ensemble - Preminger (tenor saxophone), Jason Palmer (trumpet), Kim Cass (bass), and Dan Weiss (drums) - is  celebrating the release of the saxophonist's first release on the Criss Cross label. "Genuinity" is also the first album that contains all originals composed for a band that has only been together for four years and already has four albums (this is Weiss's first time with the group, replacing drummer Ian Froman).

This has been a busy year on the album release side for Preminger.  Besides the Criss Cross date, he's also released a duo album with pianist Frank Carlberg on the pianist's Red Piano label and teamed up with bassist Cass, drummer Rob Garcia, and guitarist Nate Radley for an album of music composed by Frederik Chopin (Dead Composers Club is the name of the group he co-leads with Garcia). I reviewed all three albums (read here).

The music on "Genuinity" is among the finest that Noah Preminger has produced since he first came onto the contemporary music scene in 2008. What's amazing about the album is that the band had not played the music together before the recording. That says a lot about the intelligence and creativity of the musicians involved. The Quartet has played  a number of gigs since the album was issued so the music should be even stronger.

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

Here's the handsome piece that closes the album:

Sunday night at The Side Door should be fascinating as trombonist Delfeayo Marsalis (brother of Wynton, Branford, and Jason) brings his Uptown Jazz Orchestra to the small stage at the venue.  Mr. Marsalis created the ensemble in 2008 and recruited baritone saxophonist Roger Lewis (Dirty Dozen Brass Band) to help with the recruitment and material.  In that time, the UJO has issued three albums, the latest being 2016's "Make America Great Again" (which was issued two months before Election Day).

Not sure how big a band will perform but you should expect to hear a large amount of New Orleans music (the Marsalis's birthplace) as well a good portion of swing.  Crescent City musicians understand how to move an audience so I would not be surprised if Side Door owner Ken Kitchings leads the Second Line through the performance space and into the Old Lyme Inn on the other side of the building.  No matter what, this should be quite a Sunday treat.

For more information about Mr. Marsalis & The Uptown Jazz Orchestra, go to www.dmarsalis.com.
As for The Side Door, that door opens at 7:30 p.m. and the music commences at 8:30.  For tickets and more information, go to thesidedoorjazz.com or call 860-434-2600.

Here's the Uptown Jazz Orchestra in action:

Three Gig Night

Saturday evening April 28, CT jazz mavens have a tough decision to make. Do they head to Middletown and Wesleyan University to catch T.S. Monk celebrate the music of his father, Thelonious Monk?  Perhaps, there's drummer. composer, and arranger John Hollenbeck who brings his Large Ensemble to Western CT State University for a rare appearance. Then again, you may want to take a trip to Old Lyme to see/hear saxophonist and NEA Jazz Master Dave Liebman perform with his Expansions quintet.  What's a fan to do?

A number of great jazz artists celebrated their 100th birth anniversaries in 2017, none, arguably, more influential than Thelonious Sphere Monk (1917 - 1982).  Monk moved out of the post-World War II "be-bop" explosion to create a music that had its roots in blues, in "free" improvisation, in melodic adventure, with an uncanny sense of creating melodies that caught your ear and, often, made the listener want to tap his feet and shake his head.  While Monk only published 60+ compositions in his career, many of them have served as guideposts for several generations of creative musicians, from John Coltrane to Jason Moran and beyond.

T.S. Monk (born 1949) played in his dad's band later in the elder Monk's career. After his father's passing, the son created the Thelonious Monk Institute, not only to honor his memory but also to help young musicians along their way. The son had success in the r'n'b field in a group that featured his sister Barbara but turned to jazz in the 1990s, traveling the world and continuing his father's legacy.

T.S. Monk brings his Sextet to Crowell Concert Hall, Wyllys Avenues, in Middletown for an 8 p.m. concert.  Titled "Celebrating 100 Years of Thelonious Monk", the drummer/leader heads a fine band that includes the excellent young pianist Theo Hill plus Willie Williams (tenor saxophone), Randall Haywood (trumpet), April May Webb (vocals), Patience Higgins (alto saxophone, flute), and Kenny Davis (bass) - I realize that it's actually a septet but that's jazz for you.  For ticket information, go to www.wesleyan.universitytickets.com.

Here's a track from one of T.S. Monk's early (1997) tributes to his father:


The John Hollenbeck Large Ensemble gathers at 7 p.m. in the Veronica Wegman Concert Hall, 43 Lake Avenue Extension on the campus of Western CT State University in Danbury.  The 20-member ensemble is celebrating its 20th anniversary (!) have a new album, "All Can Work", released earlier this year on New Amsterdam Records (my review is here).  The album illustrates Hiollenbeck's myriad influences, from Kenny Wheeler to William Shakespeare to Billy Strayhorn to Cary Grant's experiments with LSD to the great trumpet teacher and Ensemble member Laurie Frink (who passed in 2013), and more.   The biggest influences on the composer and arranger Hollenbeck have been his long associations with Meredith Monk and Bob Brookmeyer (1929-2011).  One can hear the influences in the melodies the drummer creates, how he uses voice, and his fascinating arrangements.

I love how this group can go from "a whisper to a scream" in a heartbeat, how the solos grow organically out of the ensemble work, and how vocalist Theo Bleckmann is part of the ensemble sound as well as lead vocalist.  The band is stocked with many of the best musicians working in creative music, many of whom have been members since the group's inception.  For more information and a listing of the personnel, go to www.eventbrite.com/e/23rd-annual-jazz-fest-featuring-the-john-hollenbeck-tickets-44268366877.

Here's the JHLE in action:

Photo: Wolfgang Gonaus

Saxophonist, flute player, and composer Dave Liebman is in the midst of a long and successful career. Born in Brooklyn, NY in 1946, the NEA Jazz Master (2011) first came to critical notice in the 1970s playing join the bands of Miles Davis and Elvin Jones. His association with pianist Richie Bierach began during that time period, culminating with the fusion-jazz group Lookout Farm whose early albums on ECM are quite impressive.  He's recorded with so many people, teaches now at the Manhattan School of Music even as he conducts workshops all around there world.  Liberian continues to work with Bierach in various settings including the powerful Quest group (with drummer Billy Hart and bassist Ron McClure).  In recent years, he's recorded with Saxophone Summit, with the University of Toronto (CA) Jazz Orchestra, with percussionist Adam Rudolph, with the PRISM Saxophone Quartet, and his own Big Band.

Dave Liebman returns to The Side Door Jazz Club in Old Lyme with his impressive Expansions quintet.  This band - Matt Vashlishan (alto sax, flute, clarinet), Bobby Avey (piano, keyboards), Alex Ritz (drums, percussion), and Tony Marino (bass, electric bass) - has been in existence for eight years, has released three albums on Whaling City Sounds, and stays busy with tours and residencies.  The music covers a large swath of musical territory with all members contributing original material and arrangements.

The first set commences at 8:30 p.m.  For more information and reservations, go to thesidedoorjazz.com or call 860-434-2600.

Here's Expansions dancing its way through one of Wayne Shorter's classic tunes:

Late Notice - Live Music 11/30, 12/01 & 02

This from the Slifka Center, 80 Wall Street, New Haven, CT, an event featuring singer, songwriter, and artist Kathy Kosins. "Art Reception for the Exhibit “Jazz in the Abstract” featuring artwork by Kathy Kosins including a live performance. Light refreshments will be served. ASCAP award-winning vocalist Kathy Kosins has won the hearts of critics and fans around the globe with her eclectic musical palette that expands the rich history of Jazz and Soul."

Call 203-432-8523  or write juli.goodman@yale.edu for more information.

Tim Berne's Snakeoil - Berne (alto saxophone), Oscar Noreiga (clarinets), Matt Mitchell (piano, keys), and Ches Smith (drums, percussion) - perform two sets on Friday 12/01 at Firehouse 12, 45 Crown Street in New Haven.  Noisy, challenging, inventive,  dynamic, fast-moving, and so much more, Tim Berne and company have created a sound like no other ensemble on the planet.

The first show begins at 8:30 p.m..  For ticket information, go to firehouse12.org or call 203-785-0468.

Saxophonist (tenor and soprano) Dayna Stephens comes to The Side Door Jazz Club in Old Lyme Saturday 12/02. He and excellent Quartet - Aaron Parks (piano), Rick Rosato (bass), and Bill Stewart (drums) - will play music from his latest CD "Gratitude." Stephens has such a sweet tone and composes music that pulls you in on its melodies and fascinates with its power and calmness.  All four of the musicians are excellent soloists yet they also understand interactions and support.

The first set begins at 8:30 p.m.  For more information, go to thesidedoorjazz.com or call 860-434-2600.

Two Days & Plenty of Music

Saxophonist, composer, and educator Rene McLean returns to Connecticut on Friday October 6 to perform two sets of music at The Side Door Jazz Club in Old Lyme. The son of saxophonist and educator Jackie McLean, he's traveled the world, lived in South Africa for some time and returned to CT to teach at the school that bears his father's name at the University of Hartford.

Joining him in Old Lyme will be several of his contemporaries from the Hartt School including bassist Nat Reeves, drummer Eric McPherson, and trombonist Steve Davis plus Hubert Eaves III (piano), and Neal Clarke (African percussion).  You'll hear influences from throughout the eras of jazz as well as from its African roots.  For ticket reservations, call 860-434-2600.

That dapper gentleman on the left is keyboard and organ player Brian Charette. The native of Meriden CT is bring his Kürrent Trio, including guitarist Yotam Silberstein and drummer Jordan Young to Firehouse 12, 45 Crown St in New Haven on Friday.  Mr. Charette is one of the busier players in this country and in Eastern Europe whether he's playing straight-ahead jazz, rock (he plays keyboards in Allan Brothers drummer Jaimoe's Jasssz Band), or the new electronic track he takes with this group.  The trio's self-released debut, issued this summer, features Ben Monder and finds the organist also contributing electric piano, various synths, and sequencers to the mix.  The music is delightfully upbeat, a dizzying mix of funky beats, swinging grooves, and much more. Young, who has played with the organist for a long time, really drives the trio.  Silberstein is an excellent replacement for Monder and i expect the intimate performance space to rock plenty hard.

For more information, go to firehouse12.org or call 203-785-0468.  To find out more about Kürrent and its leader, go to www.briancharette.com.

On Saturday evening, The Side Door welcomes back composer, saxophonist (alto and soprano), bassist, and educator Mark Zaleski and his Band. You may recognize the last name as his brother Glenn performs with a number of groups (including his own). The Brothers from Boylston, MA, grew up playing music and both were busy around the Boston area. The saxophonist has worked with The Either/Orchestra and toured with Jethro Tull (!) plus has recorded with the Omar Thomas Large Ensemble, pianist Matt Savage (with whom he played The Side Door in 2016), and Brighton Beat.  Mark went on to study at the New England Conservatory of Music where his Band was formed 11 years ago.  The core band - Glenn, tenor saxophonist Jon Bean, guitarist Mark Cocheo, bassist Danny Weller, plus drummer Oscar Suchenek (a newcomer as he joined the band in 2013) - has a new album "Days, Months, Years" (self-released) filled with material they have played for several years.

The album is great fun. Six tracks, four of them originals plus two fascinating covers (Thelonious Monk and Kenny Clarke's "Epistrophy" and Charlie Parker's "Big Foot") and each is interesting in its own right.  The Monk tune gets "funkified" (brother Glenn on Rhodes and a hard-edged solo from Cocheo) while the Parker tune is slowed down and the group pared down to a trio (bass, drums, alto sax).  The originals are really quite impressive, most of them episodic, each with intelligent interplay, fine melodies, and strong solos.  All this bodes well for The Side Door gig as the band is "tight" and loves to play. For these sets, guitarist Carl Eisman will take the place of Cocheo.

For more information, go to thesidedoorjazz.com or call 860-434-2600.  To learn more about the leader and his many musical associations, go to www.markzaleskimusic.com.