Masters At Play May 2021

The decade between 1963-1972 was such a fertile time for Creative Music.  Musicians like John Coltrane, Charles Mingus, Miles Davis, Muhal Richard Abrams, the Art Ensemble of Chicago, and others were stretching, even obliterating the boundaries of music and sound. The artists mentioned below, especially Wadada Leo Smith, Dave Holland, and the late Milford Graves, have never sat still waiting for the world to catch up with them; instead, they have dedicated their creative lives to continually exploring the myriad possibilities open to them and fellow musicians.

Photo: Petri Haussila

Wadada Leo Smith (12/1941, Leland. MS) began playing trumpet when he was 12 years old. After completing high school, Mr. Smith played in various soul rhythm 'n' blues, and blues bands before joining the U.S. Army, studying in the Music Program and playing in Army bands.  After leaving the service, the trumpeter settled in Chicago where he began playing with saxophonist Anthony Braxton and violinist Leroy Jenkins. Like a number of musicians associated with the AACM (the Association for the Advancement of Creative Musicians), Mr. Smith developed his musical philosophy which he called Ankhrasmation Symbol Language which he utilizes to this day.  In 1970, he moved to New Haven, CT,  working with numerous groups (including New Delta Ahkri and The Creative Improviser Orchestra) as well as studying at Wesleyan University in Middletown, CT.

Photo: Petri Haussila

In 1992, Mr. Smith moved to Southern California to teach at the California Institute of the Arts (CalArts) where he remained for two decades.  He organized new ensembles and worked alongside guitarist Henry Kaiser in Yo Miles! while still working with his AACM cadre.  Over the past two decade, Mr. Smith has recorded numerous albums with various ensembles that he has led (and still leads) plus continuing to work on solo material.  His albums have appeared on ECM Records, Tzadik, Moers Music, Cuneiform, Pi Records, Nessa, Clean Feed, his own Kabell label, and, since 2011, on the Finnish TUM Records label.

2021 will see a flurry of new releases from Wadada Leo Smith beginning with two three-CD sets from TUM. "Trumpet" is just that; a solo program recorded over 4 days in July of 2016 inside St. Mary's Church in Pohja, Finland (approximately one hour west of Helsinki).  Officially, it's his eighth "solo" album but only the second that is exclusively trumpet (the other one being "Solo: Reflections and Meditations on Monk" released by TUM in 2017 – 2001's "Red Sulfur Sky" on Tzadik is mostly trumpet and some flugelhorn).  If you are a devotee of Mr. Smith's music, you will be pleased by this 134+ minutes, 14-song program. The first two discs each contain a five-part composition while disk three contains two four-part pieces. Each disk is housed in a cardboard jacket featuring original artwork by the trumpeter.  For neophytes, it's best to just sit down, sit still, and listen.  Don't try to make sense of either the music or the fact that each work is dedicated to someone who has had a powerful influence or relationship with Mr. Smith.  Disk one opens with "Albert Ayler" and is followed by the five-part "Rashomon", named for the movie that so moved the composer.  Elsewhere there are works dedicated to violinist Jenkins, the author James Baldwin, drummer Steve McCall, pianist/ vocalist Amina Claudine Meyers, bassist Reggie Workman, and to Mr. Smith's family. 

Photo: Petri Haussila

There is no mistaking Mr. Smith's sound, his clarion call tone clear inside the church.  His ability to blend sound and silence, to make his muted trumpet cut through the air like a saber and sill be grounded in the blues, to absorb how his long notes resonate, and to sit straight up during his rapid-fire phrases, all this has only grown more powerful over his musical lifetime.  Plus, by dedicating these pieces to various people, curious listeners will discover musicians and thinkers who they may be able to learn from. To understand "Trumpet", you must surrender to the fact that you have entered the multi-cultural world of Wadada Leo Smith: his music, his rules, his ideas and ideals of freedom. 

Here's the album opener "Albert Ayler":

 

Braithwaite & Katz · Wadada Leo Smith - Albert Ayler

"Sacred Ceremonies" is the second three-CD set to released this month by TUM. Disk one (5/27/2016) is a duet with Wadada Leo Smith in musical conversation with percussionist Milford Graves, disk two a duo with Mr. Smith and bassist Bill Laswell (recorded the day before), and disk three with all three participants (recorded 12/11-12/2016).  While the bassist has worked with both the trumpeter and the percussionist in the past, this looks to be the first time Mr. Smith and Mr. Graves (who passed earlier this year) met in the studio.  The majority of the material on the duo albums is composed by the trumpeter while four of the seven trio tracks are credited to all three musicians.  Clocking in at 174 minutes, the three albums are chock-full of ideas, fascinating interplay, and the joy of three people creating musical conversations

Photo: R.I. Sutherland-Cohen

Unlike "Trumpet", "Sacred Ceremonies" is three distinct recordings yet sharing the same title.  Mr. Smith has always had a special affinity with drummers having recorded duo albums with Ed Blackwell, Jack DeJohnette, Adam Rudolph, Louis Moholo-Moholo, Gunter "Baby" Sommer, and now Milford Graves.  This session with Mr. Graves is a joy from start to finish with the drummer displaying his affinity to African drumming as well as rhythms from the Caribbean and South America.  Among the highlights is "Baby Dodds in Congo Square", a nearly 14-minute opus with drums that rumble and tumble while the trumpet sharp tone sings, shouts, and praises "freedom".  The interaction between the two throughout is a pleasure to hear.  Mr. Graves's high-hat work is fascinating on several tracks but especially on "The Poet: Play Ebody, Play Ivory"; the gentle rhythmic propulsion shimmers beneath the floating trumpet phrases.

Photo: R.I. Sutherland-Cohen

The combination of Mr. Smith and electric bassist Laswell hearkens back somewhat to both musicians love of electric Miles Davis.  The bassist appeared on Mr. Smith's "Najwa" album (TUM 2014), the recording with four guitarists. Recorded in Mr. Laswell's West Orange, NJ, studio, all of the tracks feature synths (presumably the bassist playing them) washing behind the musicians.  The program features performances dedicated to Prince, Donald Ayler, Tony Williams, and the late vocalist Minnie Ripperton.  "Prince –– A Blue Diamond Spirit" is actually quite funky with its dancing bass line, "wah-wah" bass, and overdubbed counterpoint bass while the trumpeter wails above. "Tony Williams" opens with a muted trumpet melody, circular in its intent.  The basses enter and the music bounces forward. Mr. Smith stays close to the original melody until he bursts out momentarily for 15-20 seconds before giving the music over to the synths.  

Photo: R.I. Sutherland-Cohen

The third disk brings the three musicians together for more adventures in creativity.  After Mr. Graves sets the pace on the opening track, "Social Justice –– A Fire for Reimagining the World", Mr. Smith makes a blazing statement atop the powerful rhythm section.  This album also hearkens back to the electric Miles period; you hear it in the rhythms and in the muted trumpet trumpet attack.  Throughout most of this recording, the drummer is the one who sets the pace, builds the foundation of the music while the bassist and trumpeter weave around each other.  Mr. Laswell's thick bass melody opens "Waves of Elevated Horizontal Force", soon joined by the muted trumpet on countermelody –– one hears echoes "In a Silent Way".  The pulsating and pounding drums change the mood and the music rumbles forward.  Mr. Graves leads the way into "The Healer's Direct Energy" (a reference to the work the drummer conducted on the healing properties of music); when Mr. Smith and Mr. Laswell enter, the music takes a slower route forward, one that depends upon the long trumpet tones and the bassist's responses.  

As Wadada Leo Smith moves through his 80th year in this dimension, he continues to create fascinating music in so many different contexts.  These two TUM releases, "Trumpet" and "Sacred Ceremonies", should certainly satisfy long-time listeners; if you have never spent time in his worlds, start with the Milford Graves/ Bill Laswell set as it covers so much territory.  If you love a challenge, go for the trumpet solo albums as the music will teach you and make you think.  

For more information, go to www.tumrecords.com/new-music.  To learn more about the trumpeter's amazing career, go to https://wadadaleosmith.com/home/. 

Here's the Trio and "Social Justice –– A Fire For Reimagining the World":

 

Braithwaite & Katz · Wadada Leo Smith - Social Justice - A Fire for Reimagining the World

Photo: Ralf Dombroski

Bassist and composer Dave Holland (born 1946) began his professional career at the age of 14 playing in dance bands in and around his hometown of Wolverhampton, England.  Four years later, he moved to London and soon began playing in jazz ensembles led by saxophonist Tubby Hayes, pianist Chris MacGregor, and reed master John Surman. The story goes that trumpeter Miles Davis heard young Dave Holland at Ronnie Scott's Jazz Club and invited him to join his new acoustic/ electric ensemble. Over the next few years, Holland played on "Filles de Kilimanjaro", "In a Silent Way", and "Bitches Brew", finding time to work with Chick Corea and the Thad Jones/ Mel Lewis Orchestra. After leaving Davis's employ, he joined pianist Corea, reed master Anthony Braxton, and drummer Barry Altshul to create the free jazz-minded Circle.  The bassist signed to ECM Records where, within a few years, he produced his first masterpiece in 1972, "Conference of the Birds" (with Mr. Braxton, Mr. Altschul, and Sam Rivers), and then co-created Gateway, a trio with guitarist John Abercrombie and drummer Jack DeJohnette.  Holland became an in-demand studio bassist appearing on scores of ECM dates and more.  His original music and powerful as well as melodic bass playing has kept him in the spotlight for five decades.

In 2019, Holland debuted on Edition Records in Fall 2019 in "Good Hope", a trio with saxophonist Chris Potter and tabla master Zakir Hussain.  His debut as a leader for the label is "Another Land", a trio that reunites the bassist with guitarist Kevin Eubanks and is his first recording with drummer Obed Calvaire.  The Trio has actually been together over five years but this is its debut recording.  Holland, who knows how to to create a good groove, pulls out his electric bass for the opening "Grave Walker" –– he immediately locks in with Calvaire and the album is off to a deeply funky start.  Eubanks jumps right in and plays a powerful solo that includes long phrases, choppy r'n'b chords, and a percussive drive of his own.  Later in the program, the deep tones of the electric bass begin a mysterious journey title "The Village" that features a long, languorous, opening that explodes when Eubanks enters. Calvaire's solo is a thunderous treat that inspires a fiery guitar solo. 

Holland's thick acoustic bass lines lead in "Gentle Warrior", a piece that should remind you of pieces that the bassist has written for his sextet.  There's an airy quality to the melody line but Calvaire's drumming, front and center, keeps up the heat.  "20 20" opens with quiet work from the Trio but then Holland's electric bass plays a line that would not be out of place in a "prog-rock" setting. For the bulk of the tune, he shifts between the acoustic and electric basses, the former for solos.  The title track is a handsome blues-tinged piece buoyed by a repetitive bass line, gentle acoustic guitar, and quiet cymbal work as Eubanks (on electric) plays the gentle melody. One expects the piece to explode at any time yet the gentleness continues throughout (Holland's long solo is quite impressive while Calvaire's cymbal work never rises above a whisper). 

Photo: Megan V. Agins/ NY Times

Rockers such as "Mashup" and the rip-roaring "The Village" mesh nicely alongside the lovely ballad "Passing Time" and the elegant solo guitar piece, "Quiet Fire".  The solo piece is reminiscent of John Abercrombie's "Timeless"; not as trancelike, Eubanks moves easily through the melody without trying to dazzle or impress the listener. In fact, this is one of the most impressive recordings that the guitarist has made. He's creative and he does not let his impressive technique get in the way of his soulful, exciting, contributions.

"Another Land" closes with the deep blues of "Bring It Back Home". Featuring a subtle acoustic bass solo and a splendid guitar spotlight, pay attention to how Calvaire does not overplay but takes it nice and gritty.  We listeners are so lucky that Dave Holland continues to move forward, never resting on his imposing laurels.  Turn up the volume and give a listen! 

For more information, go to https://daveholland.com/.  

Here's "Mashup" –– play it loud!

2014 Favorites Solos, Duos and Trios

Although none of the following CDs were listed in my "official" Top 10, any one of them could have made.  You may notice the preponderance of recordings with Matthew Shipp and why not? He's one of the more original musicians on the scene, never worrying about "the fashion of the day."

Mr. Shipp goes in a number of fascinating directions on "I've Been To Many Places" (Thirsty Ear), from Gershwin to Coltrane and through his own fertile mind.  This solo recording stands out in an impressive discography as does his latest Trio CD, "Root of Things" (Relative Pitch) - the work of drummer Whit Dickey and bassist Michael Bisio is so wild and free yet always interacting with the pianist.  Perhaps my favorite release with Mr. Shipp is "Alternating Currents" where he is a part of a cooperative Trio recorded by and released by drummer Jeff Cosgrove, an ensemble that also features bassist William Parker. All good music and well worth checking out.

Pianist Manuel Valera, who is usually seen in the company of his New Cuban Express or Trio, self-released "Self Portrait" this year - listen to this all the way through and you hear a musician reaching for the stars.

Producer Todd Barkan continues to reach back to his days at San Fransisco's Keystone Corner to surprise fans of Jaki Byard with more solo piano music from his concerts in the Bay Area venue.  "The Late Show: An Evening with Jaki Byard (HighNote Records) - one can hear just how much the great man influenced pianists who are active today.

The duo of Steve Wilson (reeds) and Louis Nash (drums and more drums) has worked together over a decade but released its first CD, "Duologue" (Manchester Craftsmen's Guild) and what a delight it is. True masters at work!

Avishai Cohen (trumpet), Omer Avital (bass) and Nasheet Waits (drums) make up the trio Triveni and create such delightful sounds together. "Dark Nights" (Anzic Records) is their 3rd collaboration and continues their streak of excellent sessions.

In a year where so many piano trio CDs were released (why should this year be different from others?), "Affirmation", the 2nd CD from the Jason Yeager Trio (Inner Circle Music), was certainly a real treat.

His teacher, Fred Hersch, had yet another as performer and producer.  Palmetto Records not only released the stunning DVD of "My Coma Dreams" but also his splendid new Trio disc, "Floating" featuring bassist John Hebert and drummer Eric McPherson.

Talk about "super groups" - drummer/composer Jeff Ballard released his debut as a leader, "Time's Tales" (OKEH Records), with his good friends Lionel Loueke (guitar) and Miguel Zenon (alto saxophone).  This is "dance music" for the heart, mind and soul!

Alto saxophonist Alex LoRe released his debut Cd as well - "Dream House" (Inner Circle Music) has a "dream team" of a rhythm section in bassist Desmond White and drummer Colin Stranahan. Such fun music!

As the year moved and I returned to CDs reviewed previously, "Inward Looking Outward" (RopeaDope), the debut of pianist J J Wright kept jumping to the top of the pile.  With drummer Nate Wood and bassist Ike Sturm, Wright created a program of originals and "pop" covers that tickles the ears while making one think - that's a talent.

Tyshawn Sorey continues to go in his own mind-stretching direction. His CD "Alloy" (Pi Recordings) features bassist Chris Tordini and pianist Cory Smythe playing 4 pieces driven more by melodic fragments and textures than formidable beats. Music one can truly get lost in and be happy for the experience.

Here's the initial entry for the 2015 list - Sam Newsome's brilliant solo (with multiple overdubs) CD "The Straight Horn of Africa" (self-released) is an utter joy and a true work of art.

The final entry will feature groups sized 4-7 and probably won't be posted until next week - family is on the way.

Big & Small Ensembles

Hard to believe it's been just over 3 years since Posi-Tone Reecords released the self-titled debut CD from the Captain Black Big Band. Culled from 3 live dates, the music was hard-hitting, raucous, even fevered at times but filled with soulful melodies, smart arrangements and great solos.

8 months after that release (11/11), pianist, composer, founder and leader Orrin Evans took the band into Systems Two in Brooklyn to record the follow-up.  Partially crowd-funded through United States Artists (find out more about the organization here), "Mother's Touch" is even better.  6 of the 9 tracks are Evans' originals with one each from Eric Revis, Donald Edwards and Wayne Shorter.  6 different arrangers contributed to the program with the 2-part title track (cuts 3 and 8) attributed to the 20-member ensemble made up of approximately 5 trumpeters, 7 reed players, 5 trombonists and a rhythm section.

The opening track, "In My Soul", welcomes the listener with warm reeds and brass, a slow blues featuring excellent solos from Evans and tenor saxophonist Marcus Strickland. Gianluca Renzi's arrangement has the flavor of Julius Hemphill in the lush saxophone melody and Thad Jones in the brass.  Trombonist David Gibson arranged Evans' piece "Explain It To Me", a piece that blends a fiery Latin feel with several straight-ahead sections.  Strickland delivers a soaring soprano sax solo while Ralph Peterson drives the band with his usual abandon - it's the drummer's only appearance on the CD with the bulk of the tracks driven by Anwar Marshall.  The pianist's sweet ballad "Dita (for Karyn Warren)" has a lovely melody that Evans delivers in a most deliberate manner and the alto solo from Todd Bashore (who arranged the cut) is short but loaded with soul.  The arrangement calls for clarinets and flute plus a sweeping trumpet counterpoint and low trombones. Edwards' "Tickle" is a straight-ahead "barn burner" that smokes all the way through its 4:06, especially when tenor saxophonist Stacy Dillard flies atop the amazing bass and drum work. Evans follows with his own energetic solo.  Revis, who is the bassist in the trio Tarbaby as well as long-time member of the Branford Marsalis Quartet, penned "Maestra"for the latter group. Here, the handsome ballad gets a funky makeover with a classy arrangement by Laura Kahle Watts (wife of drummer Jeff "Tain" Watts) featuring strong support from Evans plus fine solos from Victor North (tenor sax) and Fabio Morgera (trumpet). Trumpeter Tatum Greenblatt created the arrangement for Wayne Shorter's "Water Babies" with its fine "call-and-response" featuring the soprano sax and muted trumpets at the onset.

The program closes with "Prayer for Columbine", an Orrin Evans composition first recorded with drummer Ralph Peterson on his 2003 "Tests of Time" Criss Cross release (there is also an Evans Quintet live version from 2013 - you can watch it here.) Here, the Todd Marcus arrangement speeds the piece up a bit while creating a sweeping arrangement of the melody line from the trumpets (with saxophone counterpoint and trombone support.)  The tension builds throughout the 4 solos that start with trombonist Conrad Herwig and moves up to baritone saxophonist Mark Allen and then onto a conversation with the alto saxophone of Tim Green and tenor sax of Stacy Dillard. By the climax of the piece, the 2 men are center stage, their sounds converge then take the piece down to its quiet conclusion.

"Mother's Touch" is an excellent recording, from the compositions to the arrangements to the solos.  The sound is stunning, crisp drums and piano stand out as does the way the mix spreads the reeds and brass sections around the spectrum. Orrin Evans makes a positive impression with every project he creates, he questions conformity and makes political statements yet does so with true belief. If you like large ensemble music, you should love the Captain Black Big Band! To make the connection, go to www.facebook.com/pages/Captain-Black-Big-Band/103205286379384.

If you listen to WBGO/NPR's "Live at The Village Vanguard", you may remember the June 27, 2012 edition that featured the Marc Ribot Trio (you can still listen online by going to www.npr.org/event/music/155441977/marc-ribot-trio-live-at-the-village-vanguard).

3 nights later, the Trio played the music that is featured on its new CD "Live at The Village Vanguard" (Pi Recordings).  Like the earlier performance, the set here includes pieces by Albert Ayler, John Coltrane and 2 standards. They switch the order around, starting the CD set with Coltrane's "Dearly Beloved" (it's the closing piece on the NPR set while the CD's fourth track, "Bells" opens the radio set.) Bassist Henry Grimes goes it alone for the first several minutes with an impressive bowed solo that quietly introduces Ribot and drummer/producer Chad Taylor. Stealthily, they build the intensity over a rubato setting before kicking the piece into a higher gear. As Ribot begins to "wail", Grimes and Taylor create a rhythmic storm.  At the climax of the guitar solo, Taylor takes a powerful solo to the end of the piece with the guitar and bass joining to close the performance. The ensemble then breaks into a "rockabilly" beat for Ayler's "The Wizard" first recorded on the saxophonist's 1965 ESP release "Spiritual Unity".  It's amazing where the Trio takes the piece as one hears echoes of Carlos Santana and Thurston Moore in the guitar solo.  Although the pace slows down for Grimes' energetic solo, the bassist brings such intensity to his work that both Taylor and Ribot pick up on it and then bring the piece up to another roar.

The reading of "Old Man River" (composed by Jerome Kern and Oscar Hammerstein II for 1927's "Showboat") displays Ribot's fine blues chops, his ability to build a solo off the melody and his intelligent rhythm guitar backing.  The other standard, "I'm Confessin' (That I Love You)" is from 1930 and has been recorded by Louis Armstrong, Les Paul & Mary Ford, Anne Murray and, most recently, Tony Bennett & K.D. Laing.  The Trio really "swings" the tune, with great brush work, a bouncy bass line and a rippling guitar solo.

The musicians have great fun with Ayler's "Bells" over its 19-minute journey.  Starting quietly in a folk vein, the music builds slowly to a long bass solo (more excellent arco work) and, when Ribot re-enters at the 7-minute mark, the music goes through a number of impressive changes, from a "free-form hoedown" to a fiery "free" blast closing on a hearty drum solo. The CD's closing cut, Coltrane's "Sun Ship", caps off the set with a another blazing guitar solo that builds over 5 minutes to a howling climax into a thundering drum solo and a short reiteration of the theme.

Play it loud, play it often!  "The Marc Ribot Trio: Live at The Village Vanguard" will make you sweat, swear, holler, smile and, ultimately, clap your hands at its audacious musicality.  For more information, go to www.marcribot.com.

The duo of Kendra Shank (voice, electronic looper, effects, shaker) and John Stowell (guitars) has worked together on-and-off for over 2 decades.  "New York Conversations" (TCB Records) was recorded in 2 sessions at the guitarist's long-time friend John Stowell's studio in New York City (guitar overdubs were recorded by Stowell in Portland, Oregon.)  The results prove to be one of the more "playful" collaborations heard recently.

The program includes  4 completely improvised tracks plus several that sound spontaneous, such as Stowell's bluesy "Throop."   "Rush Hour" features acoustic guitar and wordless vocals with the duo dancing around each other while "Za-Zoh" finds Ms. Shank setting the pace with her sweet nonsense lyrics, "looped" vocals and long tones.  The rhythmic interactions on "WalkTalk" give way to a vocal hi jinx (thanks to the octave divider and looper).  The final track is also the 4th improvised cut; in 75 seconds, "Glad Mango" is a joyous dance with bright Brazilian overtones.

There are also several standards sprinkled into the program.  The CD opens with a wistful take on Irving Berlin's "Blue Skies" - the vocal begins in a straight-forward manner but Stowell's guitar fills push the piece into a more percussive direction.  The Rodgers-Hart classic "My Romance" (from the 1935 musical "Jumbo") is one of the pieces that sounds spontaneous with the wonderful interaction of the wordless vocals with the sprightly acoustic guitar.  Ms. Shank gets to the lyrics after a sweet guitar solo and her playful take meshes nicely with the guitar.  "Like Someone in Love" (from Jimmy van Heusen and Johnny Burke) opens with a lovely vocal but it's Stowell's delightful guitar solo that stands out.  Ms. Shank's stunning vocal reading of "I'll Be Seeing You" (Sammy Fain and Irving Kahal) stands out in its sincerity and honesty.  The medley of Woody Guthrie's "Hard Travelin'" with the traditional "Motherless Child" rises up from Ms. Shank's vocal drone. The voice and the bluesy licks from the guitars give the track its dark feeling.

The title track adds Ms. Shank's lyrical tour of the New York City neighborhoods to Mr. Stowell's original "Lonely Blue Angel" while "Ghost" is a memory of one of the vocalist's close friends who took his own life. The latter piece is suffused with the light of understanding that life is fragile and "..much to short not to forgive...now."  The gentle feel of both vocal and guitar is buoyant and kind.  "Simple Pleasures" affixes wordless vocals to a handsome Stowell melody; the looped voices give the piece its dreamy quality while the fine acoustic and overdubbed electric guitar work adds a lovely counterpoint.

There is much to digest on "New York Conversations" but one cannot miss the obvious affection that Kendra Shank and John Stowell have for each other and this project.  They do not force the action, the songs move organically, even the "electronic effects" feel just right.  This music might not knock you over but there are a surplus of moments that will give you great comfort.  For more information, go to www.kendrashank.com.

The Intimate Voice

When I Was Long Ago - Rebecca Martin (Sunnyside) - Rebecca Martin is a vocalist who is not best served by singing with a large ensemble.  Throughout her solo career, she has created CDs with small ensembles that frame her sweet and sometimes raspy voice with restrained acompaniment (the one time I saw Ms. Martin onstage, her partner was guitarist Ben Monder.)  Therefore, one can tell lyrics are very important and, on her recordings, the voice is quite present.

Her 2nd effort for Sunnyside features saxophonist Bill McHenry (tenor, alto, and soprano) and her husband Larry Grenadier (bass).  Judging by the promotional video, the trio stood in a circle inside the Clubhouse studio in Rhinebeck, NY, with no sound baffles, interacting with care and a quiet demeanor.  With the exception of a short track on which Ms. Martin attempts to coax her song Charlie to sing, the tunes are all standards. Ms. Martin supplies the lyrics to the Ellington/ Strayhorn composition "Low Key Lightly" from the soundtracks of "Anatomy of a Murder", making it into "Lucky In Love." She rides atop the supple walking bass line while McHenry trills and plays long notes in the background. There are many really lovely tracks, including the opening "For All We Know" -  it commences with McHenry and Grenadier creating a musical prologue before the vocalist takes up the short first verse.  Her vocal is devoid of effects, right in the listener's ear as if she was singing just for one.  McHenry's tenor work in the background is quiet, spare and ruminative.  They do not rush, caressing the words and the handsome melody.

That's the blueprint for this ensemble, keep it simple; yet there is nothing plain about these performances.  It's obvious the trio loves these tunes and feels comfortable making them their own. No fuss, no fooling, no long complicated solos, just pleasing melodies and smart playing.  And, it's not all ballads.  Ms. Martin and her husband put a pleasing spin on "Wrap Your Troubles In Dreams" and put a bluesy charge into "Willow Weep For Me"  (there's a "cool" soprano solo in the middle.) 

Rebecca Martin makes music that is personal and draws the listener in.  After the music fades, one is left wanting to once more dive into such refreshing air.  For more information, go to www.rebeccamartin.com.

La Voz De Tres - Bernal/Eckroth/Ennis (Jola Sete Productions) - When reviewing Tessa Souter's "Obsession", I was quite taken by the guitar work of Jason Ennis. Throughout the varied program, his work was surprising, lyrical yet rhythmic, strong but not overpowering. For this project, he's working with the fine young vocalist Natalia Bernal, who's just as comfortable (and impressive) singing Peruvian folk songs as she is interpreting Antonio Carlos Jobim. Also onboard is pianist Mike Eckroth, an accomplished player with roots in Latin music.

For the trio's debut recording, they perform Brazilian standards from Jobim and Baden Powell, an Andean folk tune, a work from Cuban composer Julio Gutirrez, the jazz standard "Tenderly", and 4 Bernal originals.  The musicianship is impeccable and Ms. Bernal's voice is a revelation.  She possesses a pleasing contralto voice, her pronunciation is faultless and the lyrics are always clear. You may not understand the words (because of the language) but you can't miss the emotion. Among the many highlights is the exciting take on the Powell/Vinicius de Moraes classic "Berimbau." The rhythmic interaction of the acoustic guitar (Ennis plays only 7-string guitar on this CD)  and piano has the right amount of tension and the spare but intelligent overdubbed vocals makes the tune stand out. Bernal's "Cuentane Tu Pena" also displays a rhythmic tension behind a mature melody line that also for impressive dynamic shifts. Jobim's "Fotografia" finds Eckroth switching to electric piano, giving the sweet tune a  "pop" feel - Ennis's acoustic guitar solo is short yet rich with harmonic possibilities.  When the voice rises up behind the electric piano solo, it's such a pretty touch and shows that the trio has worked on making their presentation special.

"La Voz De Tres" ("The Voice of Three") is music that takes time to reel the listener in but, unless you're a cold fish, you can hear that the trio that has crafted this special recording love what they are doing - the joy is palpable. For more information, go to www.bernaleckrothennis.com.