New Ideas for The New Decade

Photo: William Brown

Pianist and composer Theo Hill, a native of Albany NY, continues to mature with every gig and every recording.  A graduate of SUNY/ Purchase, he's been on the New York City scene for the past 16 years performed with numerous ensembles large and small. He's currently the pianist in the Mingus Big Band; thanks to his association with Posi-Tone Records, he has recorded with trombonist David Gibson, saxophonist Sam Dillon, and is a member of the sextet New Faces.  Hill has also recorded with trombonist Frank Lacy, trumpeter Josh Evans, and saxophonist T.K. Blue.  His 2014 recording debut as a leader was "Live at Smalls" featuring a quintet of saxophonists Dayna Stephens and Myron Walden plus bassist Joe Sanders and drummer Rodney Green.

"Reality Check" is Hill's third recording for Posi-Tone.  Featuring an excellent trio of young musicians including Joel Ross (vibraphone), Rashaan Carter (acoustic and electric bass), and Mark Whitfield Jr. (drums).  The 10-song program contains seven originals plus one each each from David Berkman, Stevie Wonder, and Mulgrew Miller.  What one notices on initial listening is the energy level of this music and how well the participants listen to each other as well as interact.  Opening with Berkman's "Blue Poles" (from the pianist's 2000 album "Communication Theory"), the focus is on melody, rhythm, and getting to the heart of the performance. While the rhythm section pushes the vibes and piano forward, the music does not settle into a groove even as Ross charges forward. Before you realize, Carter locks in Ross while Hill feeds them chords and Whitfield Jr. plays with abandon.  It takes a few seconds to notice how the rhythm section drops into a rapid-fire swing for Hill's delightful solo.

Besides acoustic piano, Hill plays Fender Rhodes as well as synthesizer on the album.  His creamy Rhodes sound atop the bubbling rhythm section on "Swell" is a delight while the string sounds produced by the synth on "Afrofuturism" does more than fill out the sound, helping to illustrate the title of the track (be sure to note Whitfield Jr.'s excellent drumming as well as Carter's fine bass accompaniment and counterpoint). After the delightful bass intro to "Aquanaut", the band kicks in to a hearty beat, not unlike pieces by McCoy Tyner (but a touch funkier).  The powerful forward motion of the piece has an urgent quality as do the solos by Hill and Ross.  The quartet's take on Mr. Wonder's "Superwoman" (more Rhodes and synths) is quite handsome – again, listen how the drummer "colors" the proceedings while the electric bass swims beneath the piano.

"Reality Check" also includes Mulgrew Miller's "Pressing The Issue"; the piece is a hard-hitting, high energy, track featuring fiery solos from Ross and Hill, one more track that brings McCoy Tyner to mind. The final tune, "Song of the Wind", is an attractive blend of Rhodes, synth, and vibes that gives the piece an ethereal feel.  Carter's bubbling base lines and Whitfield Jr.'s intelligent brushes leans towards a "fusion" feel yet the interactions are exciting while the solos are probing.  Theo Hill and company have created a soul-satisfying song experience, music with heart and soul as well as plenty of rhythmic fire.  Play it loud and often!

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

Photo: Emra Islek

For the past decade+, bassist and composer Harish Raghavan has been the foundation of rhythm sections for artists such as Kurt Elling, Walter Smith III, Eric Harland, pianist Taylor Eigsti, and Ambrose Akinmusire (and others).  The native of Northbrook, IL (just north of Chicago) first studied drumming and took up the bass when he was 16.  He attended college at USC and studied with John Clayton and privately with Robert Hurst.  Upon moving to New York City in 2007, Raghavan started to work on a regular basis and continues to do to this day.

The bassist formed his first band in 2017 and wrote numerous compositions for a quintet.  He went into the studios in December of 2018 with Joel Ross (vibraphone), Micah Thomas (piano), Immanuel Wilkins (alto saxophone), and Kweku Sumbry (drums).  The results can be heard on "Calls For Action", the two-Lp/ one CD set issued in December of 2019 on Whirlwind Records.  While Raghavan is the leader and wrote all 15 of the pieces on the program, this is most certainly a group effort.  His interactions with drummer Sumbry (from Washington D.C.) are stimulating throughout – the bassist frees up up the young percussionist who pushes at the melody lines, interacts with the solos as the leader keeps the music moving forward (check out the lovely ballad "I'll Go and Come Back" for evidence of their work).

Photo: Emra Islek

Ross and Thomas tease out the melody of "Los Angeles" as the bassist strums accompaniment as the drummer dances around his cymbals. Wilkins, a native of the fertile Philadelphia, PA. scene, gets to state that melody. The ballad moves slowly, in a stately fashion, even as Sumbry threatens to explode.  The lovely piano and vibes accompaniment set the tone for Wilkins's handsome solo.  The generous support from the rhythm section pushes the vibraphonist and pianist to create counterpoint while the saxophonist keeps his cool and helps to calm the rest of the band. It's a gorgeous piece.

Then there are the pieces that tear the tops off one's speakers.  "Sangeet" starts quietly, alto sax and bass, stating the folk tune-like melod. As the quintet digs into the piece and Sumbry heats up, the group kicks into a higher gear and really begin a frantic dance.  "4560 Round Top" comes in on a rapid-fire circular melody presented by the front line while Raghavan and Sumbry play rhythms that have a South Indian feel. Listening to Ross dance above them is one of the many album highlights. Thomas and Sumbry combine to push the intensity even higher as the piece races to the finish line.  The drummer takes a long, passionate, solo at the opening of "Junior", setting the pace for a romp – the sax and vibes introduce the rhythmical melody line weaving in and around each other.  The thick bass lines and the skittering drums create a swirling storm never overwhelming those playing solos or melody lines.

It's amazing to read that Harish Raghavan and company created the 15-song, 70-minute, "Calls For Action" in one marathon session on December 15, 2018 – obviously, the group was ready. Such an impressive program, one that sounds great (you can really hear the deep notes of the leader's bass, especially on the three short solo pieces at the beginning, middle, and end of the album); the music also makes one wish to hear this youthful ensemble (all but the 37 year-old bassist are in their mid-20s) in person.  Kudos to engineers Joe Blaney (studio), Andy Taub (mix), and Dave Darlington (master) plus producer Walter Smith III for jobs well done.  Harish Raghavan may have been quite patient in waiting to record as a leader but the wait was well worth it.

For more information, go to harishraghavan.com.

Check out "Los Angeles":

Photo: Aaron Winters

Saxophonist and composer Luke Norris, a native of Long Island, recently completed his studies at the Eastman School of Music in Rochester, NY.  His first two EPs, both issued on Bandcamp, posit him as singer-songwriter playing guitar, drum machines, keyboards, and doing all the vocals.  Meeting guitarist Mike Baggetta as a summer music camp pushed Norris in a new direction and he began writing pieces that combine an acoustic trio (saxophone, bass, and drums) with electric guitar.  Baggetta'a use of looping and other electronic programs for guitar created a sound in the saxophonist's mind that is now realized on "Northernsong" (Ears&Eyes Records).

With the rhythm section of Tyrone Allen (bass) and Daniel Sunshine (drums) plus the guitarist's inventive playing pushes the eight-song program in often mesmerizing territories.  From the opening notes of the opening track, "Sketches in C", one hears music that takes Norris's interest in folk music and makes it move in unexpected ways.  The song has a long, handsome, melody played by tenor sax and guitar, while the bass and drums move freely underneath. Baggetta's shimmering guitar tones give the piece an ethereal feel, especially the quiet looped drone in the background. On the closing track, "Things Ending Begin Again",  the "nervous" drone beneath the lovely melody Norris writes for soprano sax and guitar is somewhat off-putting. Yet, the interaction of the quartet creates a melodic portrait that resonates long after the guitar sounds take the piece out.

The guitarist and rhythm section give Norris a comfortable cushion to go for a fascinating soprano sax adventure on "Bruising Stones."  Allen and Sunshine lock in with Baggetta and really push the piece forward.  When the guitarist creates his solo, the tempo becomes understated but picks up intensity as he creates his handsome solo. "Strong Heritage" is more raucous, Baggetta going for a harder tone yet when the leader (on tenor) starts his solo, the guitarist drops out for a moment, returning to underpin the solo with fiery chording. Baggetta then roars through his solo, Sunshine sounding on the drums as Allen unites with Norris to keep the song on its foundations.

Dig the rocking opening of "Excavate", the guitar and drums connecting once more to create a wall-of-sound.  The contrast with Norris's melodic tenor creates a tension that rarely lets up. The saxophonist leaps into the fray as the piece careers forward, as the rampaging drums and insistent guitar lines urge him on.  Yet. Norris and Allen return to the melody to bring the piece to a place where Baggetta's unaccompanied electric guitar can wind the music down.

"Northernsong" may frustrate some listeners who want their musical experience easily put into a genre or style. The addition of guitarist Mike Baggetta gives the music a more dynamic and wider range of sounds. The more Luke Norris can perform this music and begin to comprehend its myriad possibilities, the more roads he can explore in the future. With this release, he's definitely on his way.

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

Here's a track to whet your appetite:

Three's Such Good Company (Pt 1)

Face it - at this moment, there are, at least, a zillion trios (okay, maybe only a few million) working in jazz and creative music.  Whether it's by the musicians choice or by economic need, the trio "form" is well-known to most music listeners. To this listener, the best threesomes are the ones who break, or really, "tweak" the mold and are a working unit of equal partners instead of leader with rhythm section.  It's nothing new. Remember the Benny Goodman Trio with pianist Teddy Wilson and drummer Gene Krupa or Lester Young's Trio with Nat "King" Cole (piano) and drummer Buddy Rich? They was first formed respectively in 1935 and 1951.  Move to the 1980s for the trio of Paul Motian (drums), Joe Lovano (saxophones), and Bill Frisell (guitar); they were active up until the drummer's passing in 2011. Trumpeters Dave Douglas and Avishai Cohen have led successful trios. The list goes on and on.

This post looks at three recordings by two trios, one a regular working group, the other created for the studio.

Photo: Amy Touchette

Thumbscrew, the trio of Mary Halvorson (guitar, effects), Tomas Fujiwara (drums, and Michael Formanek (bass), came together by accident or divine intervention when the bassist subbed in a grape that the guitarist and drummer were playing in.  One thing led to another and they formed a trio (now they work together in Formanek's Ensemble Kolossus, in Ms. Halvorson's Code Girl, and Fujiwara's The Hook Up - unlike those groups listed, Thumbscrew is a true cooperative with each member contributing works for the group. In fact, the band's self-titled Cuneiform Records debut featured three pieces each by the members (as does the new recording, "Ours").  Since the beginning, it's been clear that these compositions are written with this band in mind.

Now, we get not one but two new albums from Thumbscrew; like the others, both are on the Cuneiform label (a sweet surprise because the label was supposed on a year-long sabbatical).  "Ours", as stated above, is composed on all original pieces while "Theirs" features 10 classic works by a fascinating blend of composers. The pieces on album #1 go in so many and varied directions.  There's the well-constructed melody of Ms. Halvorson's "Snarling Joys" that opens the album.  She builds such a fascinating picture as there piece commences. The rhythm section feeds in ways that may remind some of the psychedelic jams of The Grateful Dead.  Formanek's "Cruel Heartless Bastard" has the feel of work by Nirvana, save for the crazy variations on the speed of the music.  The thunderous drums and bass that open Fujiwara's "Saturn Way" have an ominous feel heightened by the skewed guitar sounds.

Photo: Amy Touchette

The bassist shines on "One Day", his strong melodic feel plus his innate sense of rhythm is the driving force of the piece (Fujiwara drives it forward as well but the bass is more upfront).  My favorite song title is Formanek's "Words that Rhyme With Spangle (angle bangle dangle jangle mangel mangle strangle tangle wangle wrangle)" - it takes a long to write that title as it does to listen to the song (4:59) but what a fun cut. There are moments when this music gets so funky while the guitarist dances atop the beat.  The song that closes the album, "Unconditional", is a sweet ballad from the pen of the bassist. It's a treat to hear how each member embellishes the melody, Ms. Halvorson taking the lead, Formanek playing counterpoint, and the rolling drums that color the proceedings.

"Ours" and "Theirs" were recorded over four days in June 2017 while the trio was in residence at City of Asylum in Pittsburgh, PA.  In its own words, "City of Asylum creates a thriving community for writers, readers, and neighbors."  The directors first invited the Trio there in 2015 which led to their second album, "Convallaria."  Both times, Thumbscrew had the time to workshop the material and try the songs out in front of an audience before recording.  That could be another reason why the music sounds so fresh.

Here's the other lovely ballad:

The composers that Thumbscrew investigate on "Theirs" include Benny Golson, Jacob Do Bandolim, Herbie Nichols, Jimmy Rowles, Brooks Bowman, Evelyn Danzig, Julio De Caro, Wayne Shorter, Stanley Cowell, and Misha Mengelberg.  Some names you might recognize, others you might know the song but not the composer (Bowman composed "East of the Sun" for a Princeton review while Ms. Danzig is best known for "Scarlet Ribbons"). Then there are "foreign" composers such as the late Mengelberg, the Brazilian Do Bandolim, and the Argentinean De Caro. The project reminds me of the "Free Jazz Classics" that Ken Vandermark & The Vandermark 5 recorded in the early 2000s, several albums on which the band revisited music by the artists who influenced them individually and collectively.

That's what happening here. We hear Nichols's delightful "House Party Starting" with its melody that straddles bebop, Monk, and blues. Shorter's "Dance Cadaverous" opens gently, the three musicians feeling their way into the melody. Ms. Halvorson's electric-acoustic guitar sounds like a mandolin on the theme; slowly, the piece opens up, the intensity rises and Fujiwara leads the way.  The trio deconstructs and the re-constructs "East of the Sun", making oblique references to the melody all the way through. The album's "dance piece" is "Benzinho"; composed by mandolin master Do Bandolim (1914-1969), the music bounces along happily.

Photo: Amy Touchette

Among the 10 cuts are two surprising performances. Jimmy Rowles's "The Peacocks" is a certified "classic standard" with hundreds of cover versions since the original was issued in 1975 as a duo piece featuring the composer on piano with saxophonist Stan Getz. Here, the trio opens the piece in rubato but soon moves onto the melody in a slow, gentle, fashion.  Ms. Halvorson's effects create a short echo at the end certain but she stays true to the melody through the bridge and into the next verse (the bass counterpoint is also gentle and filled with quiet spaces). While the guitar dominates the solo section, the rhythm section keeps its cool and the piece is a treat. The reading of "Scarlet Ribbons (For Her Hair)" owes much to guitarist Johnny Smith's 1958 version (listen here), especially is slow and steady pace as well as the gentle reading of the melody. Fujiwara's brush work is so sweet while Formanek is steady and solid beneath the wide-ranging solo.

"Ours" is a blueprint for the music of Thumbscrew - yet, the band has been together for three years at the time of the recording so one feels this album is as much listeners to understand the myriad influences that goes into the compositions of Mary Halvorson, Michael Formanek, and Tomas Fujiwara.  The trio is one tour the second half of June and then has a six-day run at The Village Vanguard in New York City (July 17-22). One hopes this excellent pair of recordings gives a boost to the fortunes of Cuneiform Records, one of the most impressive of independent labels in the United States.

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

Here's the Herbie Nichols track:

Photo: Anna Yatskevich

Pianist and composer Theo Hill, a native of Albany, New York, first studied jazz piano with the late (and, in her neck of the woods, legendary Lee Shaw (1926-2015). After graduating from the Jazz Conservatory at SUNY/Purchase, Hill moved to New York City.  Slowly yet steadily, he has built quite the resume working with drummer Jeff "Tain" Watts, trumpeter Wallace Roney, vocalist Gregory Porter, and many others. He has recorded with trombonists Frank Lacy and David Gibson; currently he holds down the piano chair in the Mingus Big Bang and with T. S. Monk. His debut album. "Live at Smalls", came out on SmallsLIVE in 2014 and featured a quintet. Hill now records for Posi-Tone Records which released his label debut, a trio date titled "Promethean", in May of 2017.

Hill's new Posi-Tone recording, "Interstellar Adventures", features the first-rate rhythm section of Rashaan Carter (acoustic and electric bass) and the sublime Rudy Royston (drums and percussion).  The ensemble alternately dances, roars, pounds, caresses, and glides its way through a program that includes five Hill originals plus five songs by composer/performers you could say are the pianist's influences and musical mentors.  "Promethean" only had one original amidst the 11 tracks, with two composed by the late Kenny Kirkland.  You can hear the influence of that pianist's appealing ballad "Revelations" as well as on Hill's originals, such as the title track. It's in the turn of a phrase or the attack at the beginning of the solo; not overt but there.  Hill also covers Marcus Miller's "For Those Who Do" and one can hear how his flowing lines show that pianist's influence.

Instead of looking and listening for influences, dig into the music itself.  The trio shines on Tony Willams's "For Those Who Do", a fiery number that flies forward on the propulsive bass lines and the thunderous drums.  Hill taps into those energy sources, builds on its intensity, and delivers a stunning performance. Sam Rivers's "Cyclic Episode" may start in a gentler fashion but soon builds up its own head of steam. This time, it's Royston responding to Hill's flying fingers and matching him phrase for phrase, power to power. Carter's bass is the foundation but he really captures the intensity. Hill moves to electric piano and Carter to electric bass for a romp through Jan Hammer's "Thorn of a Wild Rose", a tune the composer recorded with both Charlie Mariano and Elvin Jones.  The thick bass groove, the delightful cymbal work, and the leader's strong piano work give the song a real lift.

Hill's originals shine as well. After an introspective opening statement, "The Comet" thunders out on the power of the pianist's left hand (a hint of McCoy Tyner here), Carter's intelligent bass work, and Royston's percussive storm. It's breathtaking music at any volume but, played very loud, might just bring down walls. The album closes with "Enchanted Forest" with both Carter and the pianist going "electric." The bassist gets the first solo, showing a melodic side to his obvious impressive technique.  Hill approaches the electric piano in a different manner, somewhat quieter, and enjoying the sonic capabilities of the instrument. It's a placid finish to an imposing program.

The interaction of the three musicians, the intelligent compositions, and knowing the strengths of the rhythm section, all that and more makes "Interstellar Adventures" worth listening to again and again.   Theo Hill is making the most of his many and varied collaborations and sideman gigs, maturing before our very ears.  Going to be exciting to see and hear how he continues to grow.

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

Turn it up and feel the power: