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

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

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

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

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

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

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

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

Personnel:

Marshall Gilkes composer, arranger, trombone, conductor

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

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

Billy Test • piano 

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

Give a listen to "Cora's Tune":

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

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

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

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

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

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

Personnel:

Gregory Robbins – conductor

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

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

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

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

Guitar
Alex Goodman
Max Light (one track)

Piano
Martha Kato

Bass
Dan Montgomery

Drums
Peter Kronreif

Keyboards
Pascal Le Boeuf (first two tracks)

Get into the groove with "Stop & Go":

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

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

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

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

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

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

Personnel:

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

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

Take a listen to "Spooky Rift We Pat":

Sounds Familiar, Strange, Loud, & Quiet

Photo: NEA

I have known Taylor Ho Bynum since his student days at Wesleyan University. He earned both his BA (1998) and Master's Degree (2005) there, all the while playing with various members of the faculty including Bill Lowe and Anthony Braxton.  After graduation, he played with numerous musicians and group but especially with pianist-conceptualist Cecil Taylor, trumpeter-conceptualist Bill Dixon, and with numerous ensembles led by Professor Braxton.  In fact, Bynum was the Executive Director of Braxton's Tri-Centric Foundation from its founding in 2010 until 2018.  He currently is teaching at Dartmouth College and leading the jazz and creative music ensemble. Bynum is a founding partner of Firehouse 12 Records, one of several labels that issue his music.

His latest record, "The Ambiguity Manifesto", is his sixth for the label, each one featuring a different ensemble.  The new one features his 9-tette, composed of two brass, two reeds, two basses (one electric, the other acoustic), a cellist, drummer, and guitarist. All seven pieces are Bynum originals and, as usual, the music goes in many different directions, often in the same piece.  Those of you familiar with Bynum's recordings for Firehouse may be surprised by the James Brown-style drumming that opens the album – to these ears, it also sounds somewhat like Julius Hemphill's "Hard Blues."  The song, titled "neither when nor where" utilizes that funky beat to introduce the different instruments.  Tomeka Reid's cello lines shows the influence of Abdul Wadud and it's fun to hear Jim Hobbs' alto sax in counterpoint to  Ingrid Laubock's tenor sax.  In the bridge, Bill Lowe's trombone dances over the sympathetic reeds.  Tomas Fujiwara is rock steady behind the drum while the rest of the band frolic.

The material ranges from the free-wheeling "anter ally" to the circus-like noise of "enter (g)neither" which at 18+ minutes gives the different voices of the ensemble a chance to converse together. Mary Halvorson's guitar lines have quite a percussive feel and supported by Professor Lowe's tuba is quite playful. The section where the guitar interacts with Ken Filiano's acoustic bass and Stomu Takeishi's electric bass leads into a slow marching beat where the music feels like a slow merry-go-round – note the smooth sounds from the leader, a bluesy feel even.  A lot goes on and all of it is absorbing.

Photo: Peter Gannushkin

The last two tracks, "enter ally" and "unreal/real (for old music)", are "freer" in their structures yet there are still multiple conversations going on in each song.  The former gets a bit noisy in the middle especially when the effects-laden guitar rolls in with the droning tuba. Since the piece is continually evolving, one must listen several times to absorb the soundscapes created.  The final track opens with the leader's cornet sputtering and wheezing alongside the rippling soprano sax (Ms. Laubrock) with the bowed cello, chattering guitar , and thrumming acoustic bass leading in the trombone, drums and alto sax.  Listen closely for the clucking electric bass and alto sax and the tenor sax – in the wink of an eye, the music falls into a gentle martial beat while the other voices either create sonic effects or play melodies.  Hobbs alto sax leads the ensemble forward as Fujiwara creates a straight-forward rhythm.  Roll with it and you'll be surprised where the 9-tette takes you.

"The Ambiguity Manifesto" does not beat the listener over the head but does take one on quite a journey.  Taylor Ho Bynum seems to relish composing for a larger palette (his Firehouse 12 albums range from sextet to septet to octet to nonet to 15 members) – this album shows his continued growth as well as his need to be part of the band and not in front all the time.  There's no plans to tour the band as of its September 27th release date but the Sextet appears at Firehouse 12 on November 8, 2019.

For more information, go to taylorhobynum.com.

Here's the opening track:


Three of the four musicians pictured below – Mary Halvorson, Tomas Fujiwara, and Tomeka Reid – are on the album above plus are members of Ms. Reid's Quartet. They, along with bassist Jason Roebke, have just released a new album.

The Tomeka Reid Quartet recorded and released its eponymous debut album for Thirsty Ear in 2015.  Since then, Ms. Reid has relocated to Queens, New York, and has entrenched herself in the contemporary music scene. She plays with Anthony Braxton and Nicole Mitchell and was featured on the latest Art Ensemble of Chicago album. Ms. Reid also is part of Hear in Now, a string trio with violinist Mazz Swift and bassist Silvia Bolognesi not to forget her collaborations with Roscoe Mitchell.   Ms. Halvorson and Mr. Fujiwara works together in the trio Thumbscrew (with bassist Michael Formanek) as well as with Taylor Ho Bynum, Chris Speed, and Ben Goldberg.  Mr. Roebke is a fixture on the Chicago music scene – he studied with Roscoe Mitchell and plays in or leads numerous groups.

"Old New" (Cuneiform Records) is, if anything, even more exciting than the fascinating debut from four years ago.  What stands out (what doesn't?) is how many of these pieces – all composed by the leader – are so rhythmic.  The title track comes bursting out of the speakers with an urgency and pace sure to raise the temperature.  Reminiscent of of the opening track of saxophonist Julius Hemphill's 1977 Black Saint Lp "Raw Materials and Residuals" (with drummer Famadou Don Moye and cellist Abdul Wadud), Roebke and Fujiwara lock in and push the music forward.  Ms. Reid creates a powerful solo (with Ms. Halvorson adding playful counterpoint) and she wails away.  The melody line, which is repeated at the end of the piece, is a delightful blend of plucked notes and melodic, flowing, lines.

Photo: Jasmine Kwong

The energy continues to flow on the following track "Wabash Blues." Again it's Mr. Roebke's muscular bass and Mr. Fujiwara's powerful drumming that leads the way.  In fact, the drummer gets the spotlight right after Ms. Halvorson's solo, one that's filled with her trademark "bent notes" and rippling phrases.  "Niki's Bop" follows, ushered in by the dancing New Orleans-style drumming and contains a boppish melody line played unison by guitar and cello that will have bobbing your head.  They stretch the lines out for over a minute before Ms. Reid and Ms. Halvorson dance/solo together.  Dedicated to flutist Nicole Mitchell, the music make sone want to get up and dance.

Photo: Jasmine Kwong

The recording has so many moments that turn your head with their inventiveness and the Quartet's splendid interactions.  For instance, "Sadie" swings with glee with Ms. Reid playing pizzicato throughout – the "boppish" quality of the song brings to mind the groundbreaking cello work of Oscar Pettiford as well as the "baby bass" playing of Percy Heath and Ron Carter. Ms. Halvorson's raucous guitar playing gives the piece a more modern bent.  Listen to her "shred" on "Edelin", roaring above the solid rhythm section.  The cello solo has a power of its own, filling up the "bottom" of the sound with deep notes.

"Old New" closes with "RN",  a piece with a handsome melody yet there is a pleasing rhythm to push the music along.  Mr. Roebke actually solos before the band can introduce the melody;  before long, Ms. Reid's lovely flowing lines produce a magical solo as does Ms. Halvorson although she fills her solo with echoing phrases that feel like bubbles about to burst.  There's a "singing" quality to the track tha promises new directions for the future of the Tomeka Reid Quartet.  This program is a delight-filled group of performances that shine, swing, rock, sway, explode, and push their way into your ears and mind.  And, it's an excellent effort from start to finish – give a listen, give 10 listens!

For more information, go to www.tomekareid.net.

Here's the title track:

There is something about the music of Thelonious Monk that allows it to be very much his own yet totally open to interpretation by others.  Pianist Michael McNeill, who have been active inBuffalo, NY, but currently resides in Saluda, VA, is a member, composer, and arranger for several groups including the Buffalo Jazz Octet plus a trio with drummer Phil Haynes and bassist Ken Filiano. He's also a member of the cooperative trio with bassist Denny Ziemann and drummer John Bacon.  It is with that rhythm section that McNeill has recorded "Refractions" (Jazz Dimensions Records), a seven-song program comprised of Monk tunes, all of which are pretty well-known.

The trio approaches the music from numerous directions. Whereas the album opener, "Ugly Beauty", has an abstract impressionistic, rubato, opening, "Hackensack" swings delightfully from the opening note.  Once the former piece "opens up" into its rhythm, the music remains exploratory but retains the handsome melody, especially thanks to the fine piano solo.  The latter is the longest piece on the disc, replete with delightful interactions between the piano and drums plus a long, wonderfully melodic, solo from the bassist.  The trio takes "Light Blue" as a ballad with rich solos from McNeill and Ziemann – "Reflections" is taken even slower with the bass and piano caressing the melody, both musicians basing their solos off the opening verse.  "Let's Cool One" has that "sit back and relax" groove. McNeill creates a delightful, two-handed, solo filled with spirit while Bacon's spotlight is playfully minimalistic.

The last two tracks start with a solo piano reading of "Monk's Mood."  McNeill gives the handsome melody a Gershwin-like spin, accentuating the harmonic possibilities and leaving just the right amount of breathing room to let the notes ring n the listener's ears. After a short melodic bass intro, "Straight No Chaser" jumps into an energetic rhythm and swings forward on the power of the piano solo and Bacon's propulsive drums.  Pay attention to Ziemann's solo latter in the piece: he's plays both melodically and rhythmically, managing to steer clear of clichés throughout (plus his dialogues with Bacon really kicks nicely.

Though Thelonious Monk has gone nearly four decades (and had retired from playing 11 years before his passing), his music continues to reverberate loudly through contemporary music.  On "Refractions", the trio of John Bacon, Michael McNeill, and Danny Ziemann honor his legacy by not playing it safe, but playing with joy and with an exploratory spirit.

For more information, go to michaelgraymcneill.com.

Here's the "long" song:

These are a Lot of My Favorite Recordings of 2018

Like many critics/reviewers (I'm in the latter camp), I make a year-end list of my favorite recordings of the past 12 months.  Since I rarely, if ever, review an album I truly dislike (or even are lukewarm about), it's hard to keep that list at 10 or 20.  In June of this year, I remarked to a good friend that I could probably create a 2018 "Best of" list with all Big Band or large ensemble albums alone. Nonetheless, this year, I present you the entire list with spare comments. This list, unlike the one I created for the NPS Jazz Critics Poll (which was truly a Top 10 and will be published soon) is in no particular order.

Top Albums 2018

Felipe Salles Interconnections Ensemble – “The Lullaby Project (and Other Works for Large Ensemble)” (Tapestry Records) - Such brilliant section writing as well as memorable melodies

Jim McNeely & The Frankfurt Radio (HR) Big Band – “Barefoot Dances and Other Visions” (Planet Arts) - Same as above but with the Ellingtonian legacy of "knowing" who you re writing for

Kate McGarry, Keith Ganz, & Gary Versace – “The Subject Tonight is Love” (Binxtown Records) - The joy of intimate collaboration and emotionally strong material makes this collection something to listen over and over

Dafnis Prieto Big Band – “Back To The Sunset” (Dafnison Music) - Power and precision, melodies fired by rhythms led by an amazing drummer

Ambrose Akinmusire – “Origami Harvest” (Blue Note Records) - Mr. Akinmusire is really in a class by himself, moving in multiple directions without diluting his vision

Rudy Royston – “Flatbed Buggy” (Greenleaf Music) - Mr. Royston, known for his fiery and exuberant drumming, is maturing into a fine composer blending a variety of influences with a splendid ensemble of musical colleagues 

Kind Folk – “Why Not” – (Fresh Sound New Talent) - The spirit of the late Kenny Wheeler is celebrated here by four young musicians who gelled long before entering the studio

Andrew Rathbun Large Ensemble – “Atwood Suites” (Origin Records) - Mr. Rathbun takes a number of chances never missing his mark to bring Margaret Atwood's writing to a listing audience

Miguel Zenon & The Spektral Quartet – “Yo Soy La Tradicion”  (Miel Music) - Mr. Zenon with a string quartet playing traditional religious music and ore from his native land of Puerto Rico is chock-full of brilliant writing and playing

Edward Simon (w/ Afinidad and Imani Winds) – “Sorrows and Triumphs” (Sunnyside Records) - A subtly beautiful recording which sounds better with each listen

Thumbscrew - “Ours” + “Theirs” – (Cuneiform Records) - Amazing musicality and interplay between three masterful musicians who often think as one
Mary Halvorson - "Code Girl" (Firehouse 12 Records) - A new quintet that utilizes her Thumbscrew mates plus the expressive trumpet of Ambrose Akinmusire and amazing voice of Amirtha Kidambi. Prog-rock roots (I hear the influence of Robert Fripp in the opening guitar sounds) plus much more

Miles Okazaki – “Work: The Complete Works of Thelonious Monk”  (self-released/Bandcamp) - Wow!  So much thought and vision in this project, giving the listener an even better understanding how Thelonious Monk continues inspire generations of musicians and music

Frank Kimbrough - "Monk's Dreams: The Complete Compositions of Thelonious Sphere Monk” (Sunnyside Records - See above - Mr. Kimbrough shares the spotlight with three colleagues including the amazing multi-instrumentalist Scott Robinson

Noah Preminger – “Genuinity” – (CrissCross Records) - Moving back to Boston has energized young Mr. Preminger as both a composer and saxophonist. The addition of Dan Weiss has lit a fire under his quartet (which already boasts the great bassist Kim Cass and trumpeter supreme Jason Palmer)

Cecile McLorin Salvant – “The Window” (Mack Avenue) - What a voice! What an actress, a composer, an interpreter, and judos as well to the versatile Sullivan Fortner

Benjamin Boone/Philip Levine – “The Poetry of Jazz”  (Origin Records) - The late Philip Levine is one of my favorite poets yet it took me nine months to dig into this amazing blend of the poet's voice and the intelligent compositions and arrangements of Mr. Boone

Jeff Baker – “Phrases”  (Oa2 Records) - Another album that took its way to burrow under my skin and in my ears. Baker's emotional delivery and a great band featuring pianist Darrell Grant and drummer Brian Blade
Lorraine Feather – “Math Camp” (Relarion Records) - Ms. Feather is such a delightfully intelligent and humorous lyricist, not to forget she sings nicely as well. With science at its core, this album sparkles
Tessa Souter – “Pictures In Black and White” – (self-released) - Heartfelt, honest, adventurous, smartly arranged set of songs that allows the listener into Ms. Souter's complicated life story and her triumphs

Darrell Katz and the JCA Orchestra – “Rats Live On No Evil Star” (JCA Records) - Mr. Katz utilizes his orchestra to tell stories that range from political satire to treatises on friendship. A good number of these musicians have appeared on previous Katz/JCA recordings and he writes knowing their voices. Also, the voice of Katz's late wife, poet Paula Tatarunis, is heard in the impressive vocal work of Rebecca Shrimpton

Henry Conerway III.  "With Pride For Dignity" (self-released) – Best Debut Recording! Such joy, gospel, blues, and jazz with life experience makes for a splendid album.  

Carn Davidson 9 – “Murphy” (self-released) - I love how this ensemble blends all its voices int such a delightful stew - special shout-out to drummer Ernesto Cervini for his powerhouse yet subtle drumming

Ingrid Jensen & Steve Treseler - “Invisible Sounds: For Kenny Wheeler” (Whirlwind Recordings) - A fine quintet of musicians including the four members of saxophonist Steve Treseler's quartet plus trumpeter Ingrid Jensen pay tribute to the late Kenny Wheeler with an excellent selection of his songs

NYSQ – "Seven Steps to Heaven” (Whirlwind Recordings) - Nothing standard about this "standards" and the New York Standard Quintet - they make this material fresh and new.

Owen Broder – “Heritage: The American Roots Project” (ArtistShare) - Intelligent arrangements! Great musicianship!  Music that speaks of today by going back and examining material that mines the American spirit

Benje Danneman’s SearchParty – “Light In The Darkness”  (Self-released) - Heartfelt & thoughtful project played an amazing quintet of musicians

Anne Mette Iversen & the Norrbotten Big Band – “Everything In Between” (Prophone) -Brilliant section writing and arranging - this band loves to play!

Marshall Gilkes & the WDR Big Band – “Always Forward” (Alternate Sides Records/WDR - see comment just above

Judy Niemack & the Danish Radio Big Band – “New York Stories” (Sunnyside Records) - More great work from Jim McNeely plus great lyrics to T Monk tunes from Ms. Niemack

John Hollenbeck Large Ensemble – “All Can Work” (New Amsterdam) - Certainly one of the most intriguing group of arrangements

Joe Lovano & Dave Douglas: Sound Prints – “Scandal” (Greenleaf Music) - Two masters and great young band plus such passionate material

Jon Irabagon Quartet (with Tim Hagans) – “Dr. Quixotic’s Traveling Exotics”  (Irabbagast Records) - Perhaps the most powerful performances on record this year

Henry Threadgill Ensemble Double Up – “Double Up, Plays Double Up Plus”  (Pi Recordings)

Henry Threadgill 14 or 15 Kestra: Egg – "Dirt….And More Dirt" (Pi Recordings) - Mr. Threadgill continues to grow, expanding his interests as well as his sonic palette.

Steve Coleman & Five Elements – “ Live at The Village Vanguard (The Embedded Sets)"  (Pi Recordings) - Intense music from start to finish, a great front line paired with an equally great rhythm section

Jonathan Finlayson – “3 Times Round” (Pi Recordings) - Mr. Finlayson continues to grow as a composer and performer

Walter Smith III – “Twio” (Whirlwind Recordings) - Music that is so filled with the joy of playing together
Michael Musilami Trio + 2 - "Life Anthem" (Playscape Recordings) - Guitarist and composer Musillami bounces back after a life-threatening brain tumor - the album features his long-time trio plus cornetist Kirk Knuffke and multi-reed player Jason Robinson. Like the composer/musician, the music is so filled with life!

Jamie Baum Septet + - “Bridges”  (Sunnyside Records) - Ms. Baum's music continues to expand as she challenges her musicians and the audiences

Andy Biskin - "16 Tons: Songs from the Alan Lomax Collection" (AnDorfin Music) - Modern American music has so many influences and Mr. Biskin on reeds with a four-trumpet choir manages to mash a whole bunch together!

Geoff Bradfield – “Yes, and...Music for Nine Improvisers”  (Delmark Records) - Mr. Bradfield is a true student of jazz eras, writers and soloists. His latest mines the various strains that have developed in Chicago

Art Hirahara – “Sunward Bound”  (Posi-Tone Records) - Great band, great pianist, great material!

Tom Tallitsch – "Self-titled" (Posi-Tone) - Another artist who continues to mature with every album

Adam O'Farrill - "El Maquech" (Biophilia Records) - Great young band led by a trumpeter who already has an identifiable sound

Reissues and Historical

John Coltrane – “Both Directions At Once – The Lost Album” (Impulse) - Coltrane was always in transition and this is a fascinating example of a band in its prime

Wes Montgomery - "Wes Montgomery In Paris: The Definitive ORTF Recording” (Resonance Records) - What a treat to hear Wes let loose!

Fred Hersch Trio - “Heartsongs” (Sunnyside Records) - His first trio record, a unspoken tribute to several of his major influences as well as a reminder that Mr. Hersch's trios have been collaborative from the beginning

Sonny Rollins – “Way Out West (Deluxe Edition)” (Craft Recordings) - A favorite since forever, a one-shot trio that made history. 

Beyond Category

Yo-Yo Ma – “Six Evolutions – Bach: Cello Suites” (Sony Music) - Third time is a charm for Yo-Yo Ma in his life-long quest to plumb the depths of these amazing dance pieces - one could argue that one and second times through the music are also pretty great.
Tyshawn Sorey - "Pillars" (Firehouse 12 Records) - 21st Century Creative music with subtle influences from around the world doesn't do justice to the sounds that Mr. Sorey (drums, trombone, dungchen - low Tibetan horn, percussion, conductor) and his seven collaborators create on this trio of 75-minute + pieces

Label of the Year

Hard to choose - let's congratulate Pi Recordings, Sunnyside Records (a perennial favorite), Greenleaf Music, Whirlwind Recordings, and Resonance Records for their continuing excellence!

Best News of the Year!

Jason Crane and The Jazz Session has returned - it's still a joy to listen to.  I am so jealous of his interviewing skills and his continuing good taste (and not just because he chose to interview me.....no, really, I've written that before).

  

"Thelonious The Onliest"

I can't claim the sobriquet "Thelonious The Onliest" for my own creation (there are numerous references to where it came from) but it is certainly a fitting description.  Thelonious Sphere Monk (1917-1982) first came to critical notice in the mid-1940s during the birth of bebop and stayed popular through the 1960s.  The native of Rocky Mount, North Carolina, created a unique style with references to the "rent party" piano of James P. Johnson, the rollicking stye of Thomas "Fats" Waller, and others but, really, nobody sounded like Monk. His splintered lines and fractured rhythms stand beside his fascinating melodies as a touchstone for pianists and other instrumentalists over the past seven decades and there is no reason to think that influence will ever dissipate. He played and recorded in many settings, from solo to trio to quartet to large ensembles yet his musical style never wavered.  Songs such as "'Round Midnight", "Mistersioso", "Crepuscule With Nellie", "Well You Needn't" and so many more, show up on set lists every night in clubs and on stages from Chicago to Shanghai, New York City to New South Wales with musicians continually trying to decode his compositions.

2017 was Monk's "Centennial Year" and 2018 is shaping up to be the year where artists are making recordings of Monk's oeuvre.. Before the end of December, there will be three albums on the market.  First out of the gate in mid-August was "Work: The Complete Compositions of Thelonious Monk", a solo gem from guitarist Miles Okazaki.  The guitarist, who has worked and/or recorded with Jane Monheit, Steve Coleman, and Jonathan Finlayson plus many more, started the project in early 2017 and discovered he needed to learn a slew of the songs before he recorded.  The album is only a digital form, available through Bandcamp, but Okazaki's liner notes (found on his website at www.milesokazaki.com/albums/work-2018/) tells the tale of how he came to record this project and why, what guitar he used, and about the importance of fellow guitarist Liberty Ellman in bringing this project to fruition.

If you are a long-time fan of the man and his music, it's a delight to hear what Okazaki does with the composition.  It's important to note what he doesn't do, including any overdubbing, changing melodies or even key signatures, never utilizing different guitars, just his trusting Gibson Charlie Christian archtop guitar.  What he does do is allow the listener to soak in each and every melody as well as expose the public to less often recorded Monk tunes ("North of the Sun", "Stuffy Turkey", and "A Merrier Christmas"). There is no shortage of rhythm on the album and the guitarist's approach truly brings out the influence of the blues on Monk. Plus, dig the bossa nova influence on "Bye-Ya", the flamenco-like lines of the title track, and the emotionally strong take of "'Round Midnight."    There are moments you might think you're hearing Mary Halvorson or Howard Roberts but comparisons disappear after two or three listenings.

You can purchase "Work" as one large digital file or as six separate files of approximately 50 minutes.  Whatever you choose to do, Miles Okazaki will, at turns, charm you, make you laugh, and become wistful.  All that's there is the music of Thelonious Monk - just listen!

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

Take a listen:

In the summer of 2017, pianist Frank Kimbrough was invited to perform in a Monk Centennial program to take place later that year at The Jazz Standard in New York City. He assembled a band that featured multi-reed master Scott Robinson, bassist Rufus Reid, and drummer Billy Drummond.  After the concert, a long-time friend suggested that Kimbrough and company record the entire Thelonious Monk songbook. The pianist felt it was possible and, with the help of another good friend plus the head of Sunnyside Records François Zalacain, the project was put in motion.  The band (minus Robinson) played 15 songs in April 2018 one night at Jazz at Kitano's in NYC and then 15 more the next night (with Robinson). The ensemble them headed to engineer Matt Balistaris's Maggie's Farm recording studio and, over the span of six days (May 22-24 and May 28-30), recorded 68 tunes (Kimbrough returned in June to record the two piano solos).

The result, to be released by Sunnyside on November 23, is titled "Monk's Dreams: The Complete Compositions of Thelonious Sphere Monk" - the album comes as an entire six-album set and each CD has a subtitle. The music is delightful throughout not just for the interactions of this fine group but also for the fact that Robinson is featured on tenor and bass saxophones, trumpet, echo cornet (a cornet with a fourth valve and a detachable second bell), bass clarinet, and contrabass sarrusophone! Once the listener gets over the sound of the lower reeds, you hear just how masterful Robinson is and how he can swing on absolutely every instrument he plays.  He even plays trumpet and tenor sax on one track ("Thelonious"). It's no gimmick - it adds to the joyous sounds emanating from the speakers.

The quartet does not mess around with the songs, no radical departures but also no rote repetition of the originals. Besides the two solo pianist pieces, there is a splendid piano-tenor sax duo on "Something In Blue" where the stride piano influence on the composer comes shining through. also, dig the bass - bass saxophone duo on "Reflections" for just how sweet both instruments sound and work together to tell Monk's story.  Kudos to all involved, from the four musicians to the excellent work of Balistaris to engineer, edit, and mix.  The sound is so fine and clear, the low notes of the contrabass sarrusophone and bass saxophone rumble in your gut, Reid's class bass work stands out, Drummond's cymbals shimmer at the sides of the spectrum, and the piano tones ringing out.

I have had the opportunity to live with this music for the past month so, listening to four or five tracks each time I sit down (more on several occasions), and, if you buy "Monk's Dreams", you'll want to do the same (even though bingeing seems to be the "in thing").  I recommend you do purchase this album (as I do with the Miles Okazaki digital album) - you'll come away with an even greater appreciation of Thelonious Monk and be blown away by the brilliant musicianship!

For more information, go to home.earthlink.net/~fkimbrough/.

Take a taste here:



Frank Kimbrough, Rufus Reid, Billy Drummond, and Scott Robinson (and his instrument menagerie) appears on November 27 and 28 at the Jazz Standard, 116 E. 27th Street, New York City, NY - call them at 212-576-2232 or go to jazzstandard.com.

I did mention that there three recordings that will be released before the close of 2018. The last one to reach the public is the work of pianist Jed Distler - go here to read more.

Aretha Passes, Miguel with Strings Attached, & Monk's "Works"

And, just like that, Aretha Franklin is gone. Yes, there had been dire warnings but, until her death was announced yesterday (August 16), I could not quite believe it was going to happen. Her voice - that glorious, hair-raising, soulful instrument - has been part of my life since her Columbia Records days in the early 1960s. Those records have their moments yet the day I heard the opening minute of "I Never Loved a Man (The Way I Love You)", I was no longer an 18-year old punk but someone who began to understand what "adult" meant.  She set the bar so high. Ms. Franklin could take a song, just about any song, and make it her own.  She made Otis Redding's "Respect" her song in the manner that Mr. Redding did with the Rolling Stones "Satisfaction" (in the latter instance, the raucous remake makes the original sound like a schoolboy tune).  That first Atlantic album, named for the song listed above, unleashed Ms. Franklin's voice - she may have only been 24 but she sang like a mature "knowing" woman.  Producer Jerry Wexler (if this was Great Britain, he would be knighted for recording Aretha down South) sat her at the piano in Fame Studio, surrounding her with musicians who worked in that great Muscle Shoals, Alabama institution and let her loose.  For subsequent recordings, Wexler would bring the band (or variations) to New York City to record because Aretha was uncomfortable down South.

She had her ups-and-downs, fell in and out of favor, but the voice never wavered.  There were several  successful gospel albums, plenty of retrospectives, and a a slew of television appearances (especially in the last few years) that always served to remind people this was an artist who transcends generations, labels, and styles.  In the articles that have surfaced since the announcement of her passing, just about each one talks about 2015 appearance at the Kennedy Center Honors when she sang "(You Make Me Feel Like) A Natural Woman" in a tribute to its writer Carole King. 73 years old at the time, her voice as amazing as it was five decades before, she "owns" that song, those emotions, that crowd, even the people watching at home.  It still moves me to tears and I have watched this video clip a dozen or more times.  Whether you believe in a Heaven or Hell or even God, Aretha will bring you to your knees in praise! Bless you, Aretha Franklin! Bless you and thank you!

Take a breath....we move on!

The picture above shows the four members of Spektral Quartet, alto saxophonist Miguel Zenón, and the person who brought those musicians to the studio, bandoneeonist Julien Labro. Spektral and Labro made an album together in 2014 that the saxophonist guested on and, as you will hear in the video below, planted the seeds for a collaboration that has resulted in "Yo Soy La Tradición", an album that will be released in September on Zenón's Miel Music label.  Give it a listen plus check out the video below for a full song from the album.

One more deep breath.....and we'll change gears one more time as well.

Guitarist Miles Okazaki, a native of Washington state, moved to New York City in 1997. In the two decades since, he's made his mark working alongside vocalist Jane Monheit, pianist Kenny Barron, trumpeter Jonathan Finlayson, and, most recently, with saxophonist Steve Coleman's Five Elements (he's on the past two albums including the brand new "Live at The Village Vanguard." He's also issued four CDs under his own name.  

His latest adventure, recorded over an eight-month period (starting in September of Thelonious Monk's 100th birth year, 2017 and finishing in May of 2018), Okazaki recorded "Work", a six-volume set of the complete works on that most influential composer of the 20th Century. It's only available on the guitarist's Bandcamp page where you can purchase all six volumes together or buy each one separately.  I'll post a review soon but I can tell you this - this music is quite fascinating. I've posted one tune below as well as a link to the liner notes to whet your appetite.  

Here's the story:

www.milesokazaki.com/albums/work-2018/.