Trumpeter and composer Jason Palmer continues to go from strength to strength. Over the past decade, he's produced 10 fine albums for Steeplechase Records with one for Whirlwind Recordings as well. Palmer has also recorded and performed with tenor saxophonist Noah Preminger for six albums over the five years. Last year, Giant Step Arts issued "Rhyme and Reason", a splendid quartet session with tenor saxophonist Mark Turner, drummer Kendrick Scott, and bassist Matt Brewer recorded live at The Jazz Gallery in New York City. Both Turner and Scott are longtime associates with the trumpeter having appeared on his second Steeplechase album, 2011's "Here Today."
They are both back for his latest Giant Step Arts venture "The Concert: 12 Musings for Isabella"––joining them are bassist Edward Perez (who appeared on the 2011 CD) and vibraphonist Joel Ross. The new double-CD pays tribute to 10 paintings and two pieces of ornamental art that were stolen (and have never been recovered) in the March 1990 robbery of the Isabella Stewart Gardner Museum in Boston, MA (in fact, the album was released on the 30th anniversary of the event - March 18). For his blog, Palmer wrote an extensive piece on the program and it's well worth reading even if you do not listen to the music; of course, the writing helps even more if you listen to the pieces. Like his previous Giant Step album, this was recorded live, this time at the Harold S. Vanderbilt Penthouse at the Intercontinental New York Barclay.
Painting: Rembrandt (1633)
The program begins with "A Lady and Gentleman in Black" (the image to the left); everything that is impressive about the album is laid out within five minutes, from the brilliant drum to the melodic, percussive, bass lines to the crisp, clear, trumpet to the handsome, post-bop tenor sax. The critical element, besides the excellent writing, is the Joel Ross, the sound of this vibes, how he "colors' the music, his counterpoint, interactions with Scott, and his deceptively inventive solos. Label owner and co-photographer Jimmy Katz engineered the session and mixed it with Dave Darlington––they expertly capture the quintet's sounds so you can hear all the different voices clearly. Only one of the 12 tracks is under eight minutes long with seven running more than 11 minutes. Nevertheless, it's such a pleasure to hear this intelligent music that one finds listening to one disk in one sitting is hardly a chore and to both time well spent.
Painting: Vermeer
Listening to the skittish melody line of "The Concert" (Vermeer painting to the left) and noticing how inventive yet quiet Scott (brushes) and Perez (counterpoint) are during the long vibraphone solo is such a treat. The slow opening section of "Landscape With an Obelisk" (painted by Govert Flinck in 1638) features a short yet delightful drum solo before the band kicks the piece into a much higher gear. "A French Imperial Eagle Finial" (one of two pieces for ornamental art) has quite the formal opening for trumpet and tenor sax but the body of the piece dances atop impressive bass playing and Scott's inventive drum playing.
Painting: Degas
While the Gardner Museum may still hope to retrieve these stolen masterpieces, this album offers the audience the opportunity to spend two hours+ in the company of five masters. Jason Palmer was obviously inspired by these paintings to create his own musical canvasses and allow his friends to add their own touches to the works. If you have had the privilege to hear the trumpeter in concert, you know he never relies on cliches or effects during his solos or his composing. One could say the same about the playing of Mark Turner and Kendrick Scott plus the intelligent listening and responding of Edward Perez as well as how young Joel Ross (24) is on his way to a long creative career. "The Concert: 12 Musings for Isabella" is a real delight!
Bassist and composer Peter Slavov already had a busy career as a teenage musician in his native Bulgaria when he came to the United States and the Berklee School of music in 1998. After graduation, he moved to New York City and within two years, was working with Joe Lovano, Quincy Jones, Kevin Mahogany, and others. The bassist works in Lovano's Quartet and Nonet plus in US Five band. He's also recorded with saxophonists Patrick Cornelius and Uri Gurvich, pianist Alfredo Rodriguez, and drummer Francisco Mela. Slavov never seemed to have time or the inclination to create his own music; after his father (drummer Peter Slavov Senior) died in 2008, a long period of thinking, composing, and arranging began. The recording sessions began in early 2017 and continued in its own pace until September 2019. The results can now be heard on "Little Stories", Slavov Jr.'s self-released album and dedicated to the memory and inspiration of his father.
As you can see by the personnel listed below, there were a lot of people involved in bring the music to life. Yet, the program feels organic, organized in a sensible fashion so that one can hear all the various influences on the bassist's life and career without imitation. The string quartet intro to "Gone", with the composer's bass lines as counterpoint, opens to a gentle piano melody that pushes forward on the power of the rhythm section and the delicate string arrangement; pianist Nitzan Gavrieli is the focal point and his work is delightful. John Ellis's reed presence is quite impressive on the five tracks on which he plays, none more so than "Bye", a song composed about the last time Slavov's waved goodbye to his son. It's emotional without being sappy while the interplay of Ellis (tenor sax), the bassist, pianist Gavrielli, and drummer Diego Ramirez is lovely. Mi Kim adds her wordless vocals to the Brazilian-inspired "History of Beauty" and "Ghost", her ethereal sound rising in tandem with the acoustic guitar (Marcio Philomena) and then weaving around the active bass lines on the former track. For the latter, her voice sets the mood, picked by Gavrielli's excellent piano solo (note the fine bass counterpoint and active drumming), and joining in with Ellis's alto sax.
Photo: Facebook
There are many different moods on the album. "Small Little Things" has a funky rhythm and a lively sound darkened a bit by the woody bass clarinet sounds of Mark Small. His interactions with the rhythm section are delightful. Ellis's rich tenor sounds leads the rhythm section into the bluesy "Photos", yet another tune about memories composed right after the bassist moved to the US. The lovely, medium-tempo, ballad "A.M." features the breathy tenor sax of Matt Marantz (who creates quite a strong solo in the later part of the tune) plus more excellent piano work.
The album closes with "Elegy", a solo bass piece (with overdubbed arco and pizzicato)––composed for a friend who recently died, the music focusses on how melodic a soloist Slavov can be. The piece is not very long but still powerful....and truly hopeful and healing.
"Little Stories" is certainly not small music nor is it loud or annoying. Instead, this program, conceived and composed by Peter Slavov, soothes as much as it excites, makes one think on the stories from our own lives and how being apart from loved ones is never easy. The blend of sounds, of strings and reeds plus piano and vocals, makes for good listening any time.
Peter Slavov - bass, compositions, arrangements, producer John Ellis - saxophone, bass clarinet (on five tracks ) Mark Small - bass clarinet ("Small Little Things" only) Matt Marantz - tenor saxophone ("A.M." only) Nitzan Gavrieli - piano Dan Kaufman - piano (opening track) Mark McLean- drums (on two tracks) Diego Ramirez - drums Marcio Philomena - guitar ("History of Beauty" only) Mi Kim - voice (2 tracks) Entcho Todorov - violin (opening track and "Gone") Patti Kilroy - cello ("Gone") Jen Herman -viola ("Gone") Yves Dharamraj - cello ("Gone") Adele Stein - cello (opening track) Miguel Lagos - executive producer Maria Jose Concha - cover art
Trumpeter and educator John Bailey has been impressing audiences since his high school years in the mid-1980s. He went on to play with such greats as Ray Charles, the Buddy Rich Orchestra, Woody Herman, Ray Barretto, and, most recently, with Arturo O'Farrill's Afro-Latin Jazz Orchestra and the Ed Palermo Big Band. Before moving to New York City, Bailey taught at the First School School of Music/ University of Miami and Florida International University. He now teaches private lessons.
Baileys second album as a leader, "Can You Imagine?", is also the inaugural release on his Freedom Road Records. The trumpeter's ensemble includes Stacy Dillard (tenor and soprano saxophones), Stafford Hunter (trombone), Edsel Gomez (piano), Mike Karn (bass), and Victor Lewis (drums, percussion) plus Janet Axelrod (flutes) and Earl McIntyre (bass trombone, tuba). The program features three original pieces from the leader, two from drummer Lewis, and one each from Chico O'Farrill, Chico Buarque & Francis Hime, saxophonist Dillard, and the venerable "People" (composed by Bob Merrill and Jules Styne).
The album is built around the 12+ minute "President Gillespie Suite", a three-part Bailey composition inspired by trumpeter Dizzy Gillespie's 1964 run for the Presidency. What began as a fundraiser in 1963 for CORE (the Congress of Racial Equality) and other Civil Rights organization grew into a semi-serious attempt to raise people's awareness of the struggle for equal rights, not escalating the Vietnam War, and more. Gillespie reworked his classic "Salt Peanuts" to replace the title phrase with "Vote Dizzy!" Bailey's piece celebrates the peaceful, improvisatory, nature of Gillesie's music, featuring excellent solos from McIntrye (trombone) and himself. Pay attention to the splendid work of the rhythm section and how each musician interacts and responds. Right after the trombonist 's fine solo, the front line breaks into a four-way conversation. The third movement, "President Gillespie's Birthday Song", is based on the changes of the classic "I Can Dream, Can't I" takes off into a rapid-fire bebop rhythm with a sly wink from pianist Gomez to the "Salt Peanuts" riff and delightful solos from Dillard (tenor sax) and Bailey as well as "trading 8s" section with drummer Lewis. Don't miss the fine trumpet coda at the close.
The suite is not the only reason to dig into the album. Lewis's "The Touch of Her Vibe" is a splendid Latin influenced ballad which opens with hand drumming leading into a fine melody line. Note how Bailey (flugelhorn), Dillard (tenor), and trombonist Hunter share the melody plus how Lewis ups the ante throughout the song by changing and mixing tempos, overdubbing tabla drums, and creating a sensuous flow. O'Farrill's "Ballad From Pro, Incienso Y Mirra" is a stunning work – originally composed for a Christmas Eve concert that features Dizzy Gillespie and Machito, the lovely piece rises on the fine melody and solos from the leader (trumpet), Gomez (right in the melody, the rhythm section doubles the tempo), and more great drumming. Ms. Axelrod's excellent bass and alto flute shines on Chico Buarque's "Valsa Rancho" with a shout out as well to Gomez's sympathetic piano accompaniment and Lewis's fine brush work.
"Can You Imagine?" covers a lot of musical territory; the music is lively, heartfelt, sweet, sensual, swinging, with excellent contributions from every involved. Not sure if John Bailey is hitting the campaign trail in this, arguably, most fractious of election year but his music and message deserves your attention.
Trombonist Audrey Ochoa is a multi-talented musicians and songwriter who is comfortable in a multitude of settings including jazz, rock, punk, ska, Latin – you can tell by listening to her broad tone and selection of material that she has no fear. She also has quite the sense of humor – her 2014 debut album, "Trombone and Other Delights", not only features songs such as "Zombie Apocalypse" and "Painting Rice in the Finland Woods" but also the cover is a tribute to Herb Alpert's "Whipped Cream & Other Delights" - see it here! Her 2017 followup, "Afterthought", is a trio date which also features contributions from electronica dj Battery Poacher.
Album #3 is "Frankenhorn" (Chronograph Records) and it's certainly moving in new directions. While bassist Mike Lent, who appeared on Ms. Ochoa's first two CDs, is here as is pianist/keyboards player Chris Andrew (album #1) and drummer Sandro Dominelli (album #2) plus the return of Battery Poacher, the album also features contributions from a three-piece string section, two percussionists, and electric bassist Rubim de Toledo. A gander at the album cover plus the album title give us the hint that this music is the result of many different ingredients and Ms. Ochoa's expansive imagination. The melodic string arrangement on the opening track, "Swamp Castles", gives the music a lift over the lively rhythm section. The trombone sound is creamy as it is on the following track, the handsome ballad "Bench Warning". Here, the music bounces along atop percussionist Luis Tovar's congas and Andrews's melody yet percussive piano work. The leader's solo is highly melodic and, again, the strings serve to frame her playing in a lighter mood.
Battery Poacher creates a "chill" mood for Ms. Ochoa and Andrews's synths on two tracks. "Huggy Dance" not only utilizes drum machines but also the trombone is overdubbed to create a harmonic choir. Poacher's other contributions can be heard on "Groundhog Day" – the blend of acoustic instruments (trombone, piano, and conga) with the droning synths create a handsome soundtrack. Again, the overdubbed trombones play harmony but also serve as a choir.
Two other tracks stand out. The hard-edged "Silver Linings", a trio cut with Lent and Dominelli, is quite powerful with a trombone solo that "rocks" pretty hard. The closing track, "My Reward", also has a harder edge this time with a deep bluesy feel. Just bass and trombone, the "conversational" quality of Ms. Ochoa's attack and the deep sound tha Lent produces, is a treat – listen below.
"Frankenhorn" is fun music; Audrey Ochoa is a serious musician who does not take herself too seriously. Yet, the album does not descend into mere frivolities. At 40 minutes, one can sit down and listen to the entire program. And you should – there's lots to absorb!
The Westerlies is a brass quartet (two trumpets, two trombones) that came together in 2011 in Seattle, WA. All four members are from the Pacific Northwest including new trumpeter Chloe Raymond (who replaced co-founder Zubin Hensler in 2018) while trumpeter Riley Mulherkar, trombonists Andy Clausen, and Willem de Koch fill out the ensemble. The group's repertoire covers a wide swath of musical territory and it's mission is education and community engagement plus reaching out to as many young musicians as possible. Their first album, "Wish The Children Would Come On Home", was dedicated to the music of pianist Wayne Horvitz and was issued in 2014. They followed that two years later with a self-titled recording that featured pieces by each member plus composers Sam Amidon, Charles Ives, and Duke Ellington.
"Wherein Lies The Good" (The Westerlies Music) reunites the band with producer Jesse Lewis (he produced the 2016 recording and their 2018 video recordings) – each member contributed, at least, one original composition, plus there are pieces by Robin Holcomb (the title track), folk singer Judee Sill, the 19th Century harpist John G. McCurry, experimental cellist Arthur Russell, a playful piece from Charles Ives as well as a traditional American tune adapted by that composer, and a medley of Gospel pieces from the repertoire of the Golden Gate Quartet. With the exception of Ms. Holcomb's 14+ minute piece and the three-part, 10+ minute "Entropy" (by Mulkerhar), the songs are fairly short.
One's initial impression of this album is that the Quartet is deeply invested in "Americana" music. You hear that on the earlier albums but the inclusion of the often-rousing five selections associated with the Golden Gate Quartet plus Ives's delightful "Memories" illuminates the ensemble's funkier and more fun side. The Gospel tunes have quite a groove with shouts and prayers mixed together, truly the bedrock of the blues. Here there is a connection to the Deep South of the United States, to the hopes and dreams of African Americans. Sam Amidon's arrangement of McCurry's "Weeping Mary" (listen below) is an evocative hymn based on the composer's Shape Note style while Charles Ives's adaption of the traditional spiritual "Give Me Jesus" (retitled "In The Mornin'") is sweet and gentle.
Ms. Rowland's contribution is the lovely ballad "Laurie" dedicated to her teacher Laurie Frink who died in 2013. Before her passing, her reputation as one of the finest teachers and practioners of the trumpet was legend. Her presence graced numerous large ensembles including the Maria Schneider Orchestra. De Koch's "From The Very First Time" was written with the experience of the ensemble's residency in Kenner, LA. It's a subtle work, with emotional melody lines amid a handsome background.
Photo: Peter Gannushkin
Ms. Holcomb's piece is an episodic work that features several of her short, often melancholic, melodies tied together by intelligent harmonies, changes in tempo, and ringing long tones. The sound of the recording reverberates at the end of each short section, giving the musicians and the listeners a short rest before moving on.
"Wherein Lies The Good" closes with Murkerhar's "Entropy", a piece that tells the story of a person dealing with the myriad changes to his/her world through his/her lifetime. The opening fanfare is uplifting but, as the piece progresses, the changes (to the world) become too much, the music and the sound becomes harsher and the person succumbs. The closing section, therefore, is an elegy, a remembrance, a prayer.
The Westerlies create a number of scenarios on "Wherein Lies The Good" and there are times that the program is dizzying in its scope. Take your time, enjoy the more accessible tunes but remember to return for the pieces that need deeper listening. If you have the opportunity, see the band in person; that written, sit quietly and listen for your soul will be moved!
Last July, I had the opportunity to see and her the sextet New Faces, an ensemble that features saxophonist Roxy Coss, trumpeter Josh Lawrence, vibraphonist Behn Gillece, pianist Theo Hill, bassist Peter Brendler, and drummer Vinnie Sperrazza (although there was a sub on drums). They were touring to support the self-titled debut album on Posi-Tone Records and the sextet filled The Side Door Jazz Club with its joyful mix of hard-bop and ballads. All of the members have issued albums on the label as leaders and Posi-Tone co-owner Marc Free organized the recording session and the tour to showcase their talents in venues around the United States. Everyone played well but I was particularly knocked out by the work of Behn Gillece. I have heard and reviewed his work with saxophonist Ken Fowser; I liked the music but was not overly impressed with the vibraphonist until seeing him in a live setting. Each solo was a compact yet expansive treat with an excellent blend of melody and percussion that intelligent players bring to the instrument.
My positive impression carries over to his new album. "Parallel Universe" is his fourth release for the label and features an impressive lineup. Tenor saxophonist Stacy Dillard, trumpeter Bruce Harris, pianist Art Hirahara, bassist David Wong, and drummer Rudy Royston (all leaders on their own except for Wong whose sideman credits are quite stellar) sound as if they are having a ball in the studio making their way through 11 Gillece originals. "Break The Ice" opens the program in a "smoking" vein, with a feel in the rhythm section plus piano as if the song would fit right in on a McCoy Tyner album. Royston plays with the abandon one has come to expect from him without overshadowing the soloists. Hirahara's accompaniment is top-notch (throughout the whole album) and Wong really gets the bottom moving.
Beside the great energy the sextet exudes, Gillette's melodies do a fine job of setting the table for the soloists. The title track's opening section highlights Royston's fills during the melody and then jumps right into a muscular tenor sax solo. At the start of his solo, Harris brings the intensity level down but just for a moment before diving into a playful improvisation. Royston creates a funky feel at the onset of "Smoke Screen", a quartet track that finds Hirahara on Rhodes electric piano. Wong locks into the groove giving the song a dancing foundation. Another quartet track, "Evening Glow", opens slowly before the pianist introduces the handsome melody line. Listen to the interactions throughout, the responses of the piano to the vibes, Wong's melodic bass, Royston's splendid cymbal work - it's easy to get lost in this song. Hirahara returns to Rhodes on the final quartet track "Candle in The Dark", the lovely ballad that closes the album.
Photo: Mark Robbins
If you're like me, it's the faster tracks that will initially catch your attention. "Alice's Journey" is a high-powered barn-burner with both the leader and Dillard firing on all cylinders over the manic pace set by the rhythm section. If anything, "Eviscerate" is even a bit faster with the saxophonist and leader delivering splendid solos. Dillard also plays with abandon on "Shadow of the Flame", pushed forward by the active piano, "running" bass line, and the powerful drums. Harris delivers a hardy solo before Gillece jumps in with a fiery statement.
"Parallel Universe" is the quintessential Posi-Tone release with great musicians having a ball playing tunes that allows enough time to create fine solos without going on and on. Behn Gillece is a smart leader, never hogging the spotlight but being happy as a member of this powerhouse ensemble. Time to go back and listen closely to his previous releases to figure out what I missed. In the meantime, check out this delight-filled music.
For more information, go to www.behngillecejazz.com.
Here's the opening track:
Trumpeter and composer Josh Lawrence also shone brightly during The Side Door gig. He plays with such assurance and a sparkling wit, even when his line explodes out of the horn, Lawrence keeps his cool. "Triptych", his third album as a leader (and third for Posi-Tone Records) shows his continuing maturation process, especially as a composer. Comprised of three suites plus one song from the Earth, Wind, & Fire canon, Lawrence wrote and arranged the music for a splendid quintet including Hartford, CT, natives Zaccai (piano) and Luques (bass) Curtis, drummer Anwar Marshall, alto saxophonist Caleb Curtis (no relation, on five tracks) and organist Brian Charette (on the EW&F tune).
Photo: Ola Baldych
The first suite of songs, "Happiest Together", takes its name from the opening track "We're Happiest Together." The bright, mid-tempo, waltz has the feel of a walk through a green park on a late Spring day. Both Lawrence and Zaccai Curtis base their solos on the melody while Luques Curtis plays excellent counterpoint and Marshall sets a sprightly tempo. "Sugar Hill Stroll" continues the "walking together" theme opening with trumpet and bass setting up the melody and the pace. There's such a bright feel to the tune and to Lawrence's jaunty solo. "Sunset in Santa Barbara" is the final track in this suite and is a subtle, Latin-influenced, ballad with excellent muted trumpet from the leader and a lovely pianist solo as well.
Suite #2 is titled "Lost Works" and is an original piece supported by a grant from Chamber Music America funded by the Doris Duke Charitable Foundation. Nowhere on the album does it give the listener the history of the composition but, in the promotional material (as well as on the trumpeter's website), one learns the suite is "a eulogy for the first three paintings of Vasily Kandinsky's (1866-1944) "Composition" series which were labeled "Degenerate Art" by the German Nazi Party, confiscated...and ultimately destroyed during World War II." Surprisingly, the first section of the "...Works" (labeled "Composition #1") is a high-powered romp, fueled by Marshall's galloping drums and strong solos from pianist, alto saxophonist, and trumpeter. "....#2" is slower, darker, its rhythm and tone introduced by the piano. When the trumpet and alto sax play the melody, there is a sad component, almost a religious feel as well as a hint of a 1950s-60s ballad by Miles Davis. After a fine bass solo, Lawrence and Caleb Curtis weave their instrumental voices around each other before pianist Curtis plays a splendid solo. Saxophonist Curtis creates a lovely solo that starts up in the higher register of his instrument and serves as a "light" in the darkness of the mood. "...#3" builds off the active left hand of pianist Curtis and his brother's foundational bass lines. More uptempo the the previous track, it speaks to the power of art, whether visual or instrumental, to bring one hope in troubled times.
"Earth Wind Fire", the final suite, is dedicated to the band that intrigued the trumpeter was a youngster. The mysterious rhythms of the bass and piano, the keening alto sax, the short, low, lines of the trumpet, and Marshall's dancing drum lead "Earth" in until the piece falls into a sinuous rhythm. You can hear everybody's voice as they dance around but it's the drummer who commands one's attention with his playful work. There are moments where the music takes on an African feel. "Wind" is a soulful ballad with Lawrence's mid-range animated trumpet substituting for Philip Bailey's falsetto. While there are no lyrics, both the piano and especially the trumpet have a vocal quality in their solos. The bass and drums set up such a hypnotic beat and feel, it's easy to get lost in these sounds. "Fire" lives up to its name, an incendiary piece of music built upon Zaccai Curtis's powerful McCoy Tyner chords and the polyrhythms from the drums. Pay attention to the bass lines as Luques Curtis locks in with Marshall and gives the music even more of an explosive feel. And the solos from the front line are all worthy of attention.
"Triptych" closes with "That's The Way fo the World", the lovely ballad from the pens of Charles Stepney, EW&F bassist Verdine White, and the band's founder and leader Maurice White. Brian Charette's organ work gives the piece an extra voice that is soulful and sweet plus opens up the path for Zaccai Curtis to create his own soulful sound. Zan added attraction is the overdubbed trumpet choir that serves as the "horn section" for the track. The piece serves as a tribute to the band and as a reminder that popular music has its roots in jazz, blues, rhythm 'n' blues, and in the communities around the United States that supported musicians when the "establishment" looked down their noses at "popular" music.
As I wrote earlier, Josh Lawrence continues to grow as a musician and especially as a composer. Go see this band live as their music, interactions, and the excellent material they play will warm you as much as it will excite you!
Over the past 13 years, bassist, composer, and record label owner Matt Ulery has proven himself to be one of the more adventurous souls in contemporary music. Sit through one of his albums and you'll hear elements of jazz, "prog-rock", art music, classical strains and much more.
That description hold true on his latest effort. "Sifting Stars" (Woolgathering Records) is his eighth album as a leader. The program is two distinctive suites played by two very different ensembles. The first four songs features the Sifting Stars Orchestra, a 16-piece unit (although all 16 do not play together on each track) along with vocalists Grazyna Auguscik or Katie Ernst on three of the tracks as well as four members of eighth blackbird, the wonderful Chicago-based chamber sextet.
Photo: Harvey Tillis
The opening two pieces have arrangements that feature an emphasis on the strings. Ms. Auguscik's voice is featured on "The Remanent of Everything" telling a story of loneliness and disconnection, all the while the strings flow in and around her with both the melody and arrangement being quite lovely. Ms. Ernst, bassist in the trio TwinTalk and a solo artist in her own right, takes the lead vocal on "Pictures in Grey", a fascinating song with lush film-noir string sweeps plus a section with a rhythmic pattern influenced by Steve Reich. The voice becomes part of the ensemble and one must literally "go with the flow' of words and melody.
The six person brass section is more prominent on the next two tracks. Ms. Auguscik returns for "I'm So Shallow" that, after repeated listenings, sounds like a blend of a Paul McCartney melody with a Philip Glass arrangement. Yet, one grasps for comparisons; other listeners will hear other songs in this music. At times gentle, over times, the music becomes darker. The fourth song is all instrumental. "The Prairie Is a Rolling Ocean" is another melody with trombones, French horn, bassoon, and trumpets blending with flute to move the piece forward. There is a splendid pianist solo from Ulery's long-time musical partner Rob Clearfield with different horns and reeds rising out of the background to create a compelling counterpoint.
The album then shifts sonic gears. "Ida" is a six-part suite performed by Axiom Brass, a quintet also based in Chicago. Ulery was inspired to write the suite after viewing the Ivan Albright painting, "Into the World There Came a Soul Called Ida" (see it here). Here, the composer creates a world for the character in the painting, what she may be thinking and feeling at the moment captured by the artist. Look and listen. Do you see and hear emotion? Are their feelings that are not easily defined by mere words but better by the sounds you hear? "Sifting Stars" is quite a recording. Not only does the music created by Matt Ulery, the Sifting Stars Orchestra, and Axiom Brass make you pay attention but it also transports one beyond the everyday, the mundane. This is an album for a cold morning as the sun rises or late in the evening when the house is quiet and the streets are still. Give this music time and you will be moved. For more information, go to www.mattulery.com. Here's one of the tracks:
Personnel:
Sifting Stars studio orchestra:
Matt Ulery – double bass and voice Rob Clearfield – piano Michael Caskey – percussion Grazyna Auguscik – voice Katie Ernst – voice Yvonne Lam – violins Jeff Yang – violins Aurelien Pederzoli – violas Nick Photinos – cellos Michael Maccaferri – clarinets Nathalie Joachim – flutes Ben Roidl-Ward – bassoons Andrew Nogal – oboes and english horns Liz Deitemyer – french horns James Davis – trumpets Chad McCullough – trumpets Steve Duncan – trombones Chris Shuttleworth – trombones
Axiom Brass:
Dorival Puccini – trumpet Kris Hammond – trumpet Melanie Erena Kjellsen – french horn Mary Tyler – trombone Kevin Harrison – tuba
Photo: The Chicago Reader
Trumpeter and composer Russ Johnson has been one of the busier musicians for the past quarter century. A list of his associations on record and the bandstand includes artists such as Lee Konitz, Steve Swallow, pianist Kris Davis, bassist Matt Ulery, alto saxophonist Greg Ward, and a host of others. He was a member of the Other Quartet and has recorded seven albums as a leader or co-leader. It's easy to hear why. He possesses quite a powerful and expressive sound plus a facile mind.
His newest album, "Headlands" (Woolgathering Records) is his third since leaving New York City for the midwest. Since 2010, Johnson has been Director of Jazz Studies at the University of Wisconsin/Parkside. Located 65 miles north/northwest of Chicago, IL on the shores of Lake Michigan, the trumpeter is often in the Windy City for gigs. The program is a 12-song suite, through-composed with six songs, 4 short improvisations (one for each member of the ensemble), plus a theme at the beginning and a longer reprise at the close (notice how the bass line is similar to that of the "hook" of Sly Stone's "Thank You (Falettin Me Be Mice Elf Agin"). Joining Johnson is bassist Ulery, Rob Clearfield (keyboards), and Jon Deitmeyer (drums) - the album recalls the work of Miles Davis in 1969 just before "Bitches Brew", the music channeling mainstream jazz, rock elements, fiery passages, and impressive interplay.
Photo: The Chicago Reader
But Davis comparisons aside, this music moves in its own creative fashion. There are moments when the blend of the active drums with the bass serving often as counterpoint to the soloist, the atmospheric electric piano while the trumpet plays flowing melody lines stand out. The handsome "Fjord" and the darker "Kapoj" are pieces that open in a quieter fashion but both tunes pick up in intensity along the way, especially the latter cut. And there are times when the quartet breaks into hard-edged pieces that push against any soft edges, with roiling sounds from both Johnson and Clearfield plus powerhouse work from the bass and drums. Tunes such as "Serpent Kane", the roller-coaster-like "Mons Calpe", and "Wellenpeitschen" offer a much different feel. The last track mentioned starts quietly with an handsome trumpet intro before the the rhythm section kicks in and the music takes off. The title can be translated as "wave whip" - one hears that in the kicking drums and the rapid-fire melodic lines.
The liner notes state that the suite is "...intended to be listened to in its entirety." That makes great sense, although s few people have the patience to do that on record. You actually do not realize this is a "live" album until the applause comes in at the end. Russ Johnson has created music on "Headlands" that may remind you of the stormy months and events of the late 1960s, a time that many people have been equating to what's been happening in the United States for the past decade. "Headlands" is an album one can play play several times in a row and discover new elements each time. Give it a try.
Over the past year, it's been quite tough for anyone not to hear the voices of women around the world rising up to proclaim "Enough." Enough of the sexual harassment and inequality in the work place, whether it be perpetrated by Hollywood Big-wigs, national and local politicians, sports doctors, educators, or someone in your neighborhood.
Saxophonist and composer Roxy Coss participated in the Women's March the week of Donald Trump's inauguration. She carried a sign that read "The Future is Female"; that's the title of her new album, a of 10 original compositions featuring her working ensemble of Alex Wintz (guitar), Miki Yamanaka (piano), Rick Rosato (bass), and Jimmy Macbride (drums) with bass clarinetist Lucas Pino on one track.
Song titles such as "#MeToo", "Nasty Women Grab Back", and "Females Are Strong as Hell", might make you think that music has a strident quality. Many of the songs have great power but Ms. Coss wants to entertain and educate. While you're grooving to the great rhythm section or enjoying Wintz's delightful guitar solos or Ms. Yamanaka's foundational piano, the leader wants you to think, wants you to react to the issues she's presenting that you will begin to take action and demand better behavior throughout the country.
Sitting and listening to the music, one hears the influence of Charles Mingus (whose song titles made you sit up) and the power of Art Blakey and Max Roach. Those artists and others were also fighting for the cause of equality. Sometimes, their music rankled listeners but, more often than not, the sounds excited those who listened and, perhaps, even made them change attitudes for the better. Ms. Coss's lovely ballad "Choices" is filled with emotion while "Mr. President" starts slowly with a somber melody over martial drums. Soon, the rhythm section kicks into high gear and Ms. Coss's tenor sax pushes them forward. "Feminist AF" is a blues - no surprise there - that hints at both John Coltrane and Wayne without imitating either one. The afore-mentioned "Nasty Women..." features the leader on soprano and, while the rhythm section has some "bite", the solos soar, especially Wintz's rippling guitar lines.
Besides her work on the bandstand, Roxy Coss is the founder and director of WIJO (Women in Jazz Organization) - their Mission Statement is quite clear:
"WOMEN IN JAZZ ORGANIZATION INTENDS TO HELP LEVEL THE PLAYING FIELD IN JAZZ, SO THAT WOMEN AND NON-BINARY PEOPLE HAVE AN EQUAL OPPORTUNITY TO PARTICIPATE IN AND CONTRIBUTE TO JAZZ, LEADING TO AN IMPROVED AND MORE RICH, DIVERSE, AND SUCCESSFUL ARTFORM. THE ORGANIZATION IS COMMITTED TO HONORING BLACK AMERICANS AS THE CREATORS OF JAZZ."
Give a listen to "The Future is Female" - it's music that swings and rocks plus has a number of messages you should pay attention to (if you haven't already). For more information, go to www.roxycoss.com and wearewijo.org.
Here's the opening track:
Pianist, composer, and educator David Ake is a native of New Haven, CT, but spent his formative years in Chicago. He did his undergraduate at the University of Miami before heading to the West Coast to do post-grad work at the California Institute of the Arts and UCLA. He has taught at the University of Nevada/Reno and is now on the faculty of the Frost School of Music at the University of Miami.
Ake's fifth album on Posi-Tone is titled "Humanities" and features the powerful musical voices of his fellow CalArts colleague Ralph Alessi (trumpet), Ben Monder (guitars), Drew Gress (bass), and Mark Ferber (drums). If you have heard any of Ake's earlier group albums, you'll know he's a powerful and thoughtful pianist while his music often has a powerful forward motion.
There are moments on the new album where the music leans towards Americana, not surprisingly on the quintet's reading of The Grateful Dead's "Ripple" (the only "cover" tune on the CD) - they don't mess with the gentle bluesy quality of Jerry Garcia's sweet melody. Alessi's muted trumpet brings the sound of Ron Miles to mind and the piece would not be out of place on a Bill Frisell album (but note the alternate chords at various times throughout the piece). The piano introduction to "Drinking Song" has the feel of a Randy Newman ballad but there is a spare quality to the melody. The trumpet and guitar play the melody and counterpoint while the rhythm section tosses and turns beneath them, not disrupting the flow as much as creating dynamic differences.
Photo: Anna Yatskevich
What stands out throughout the program is how distinctive all five voices are. On songs such as "The North", one can hear the power of the guitar, the rich melodic sense of the trumpet, the "heavy" chords from the piano, the counterpoint and melodies from the bass, and the driving force of the drums. Ferber is truly in the driver's seat; listen to his strength on "Rabble Rouser", how Gress helps him push the music forward, and then how the soloists are inspired by the rhythm section. And, they can swing! "Hoofer" starts out with the drummer's brush work creating his own sweet soft-shoe. Ake picks up on that and dances right through his sly Monk-like solo. The bassist leads the group through the beginning of "Stream" - much of the fun of the piece is how the dynamics change on the fly. After the opening, the band moves into a harder-edged melody but drops back for the piano solo. Ake build the tension as the trumpet and guitar play a unison counterpoint to his solo. A similar interaction takes place beneath Alessi's solo, this time the pianist and guitarist playing chordal patterns as Ferber builds the tension with a fiery drum spotlight.
The program closes with "Walter Cronkite": that's the newsman's voice you hear near the beginning saying "...it's the ultimate question that being a democracy we the people are responsible for the actions of our leaders". Alessi's keening, questioning, trumpet moves atop the rumbling piano, droning bass, quiet guitar fill, and active drums, giving the rubato piece the feel of an elegy, at times, a prayer. There is a short section where the trumpet and piano sounds like a telegraph signaling an urgent question across the great divide before the music fades.
To do justice to the music on "Humanities" is truly to tell you to listen and listen deeply. David Ake composes music that asks questions, that plumbs the depth of the human spirit, and looks for the soul within the songs. And the musicians know how to transmit those questions and searches to an eager audience. Give some time to this music; it will make you think and, perhaps, even move you to action in these often tense times.
The young trumpeter Josh Lawrence is making quite a splash on the contemporary scene as a player and composer. "Contrast" is his second Posi-Tone album within 12 months to feature his Color Theory ensemble. What a fine band! The rhythm section includes the Curtis Brothers, Zaccai (keyboards) and Luques (bass) plus Anwar Marshall (drums) while the front line has Lawrence paired with alto saxophonist Caleb Curtis (no relation to the Brothers). Orrin Evans joins the band on piano for several tracks as does trombonist David Gibson.
The album has two distinct sections. The first four tracks have the bop and hard bop feel of Lawrence's 2017 "Color Theory", shorter tunes with melodic heads and fine solos ("Dominant Curve" is a standout cut with its Charlie Parker-type melody and attack). The program changes on track #5, the powerful "In The Black Square." Now, the influence is McCoy Tyner and the music he began to make in the early 1970s. The shifting rhythms (Marshall is on fire here), the pounding piano chords, and the leader's fiery solo.
Photo: Ola Baldych
The next song, "Gray", is a handsome piece fueled by the richly melodic lines of Luques Curtis, the active drums and cymbals, and the adventurous work of Lawrence and Caleb Curtis. It opens in a fiery tone with the front line dancing through the melody and then the alto sax rides atop the rhythm section. Following that, the song slows down, with quiet sax and muted trumpet - Lawrence builds a fascinating solo, rolling his lines around the drums and bass then moving "out" near the end before the sax returns. Drums and bass reintroduce the opening section, the front line repeat the original melody and the piece romps to its close. There's a touch of electronics on the muted trumpet opening of "Brown", with Lawrence and Caleb Curtis exploring a fine melody. The power is kicked up a notch on "Agent Orange", the rubato opening featuring trumpet, saxophone, and trombone. Gibson takes the first pass through the melody pushed forward by Zaccai Curtis's powerful piano chords. Note the slight change as the bass and drums fall in to a driving rhythm for the sax solo. Lawrence has a powerful interaction with the pianist, giving the piece the feel of the classic Miles Davis Quintet music of the mid-1960s. The music fades with the pianist playing "My Country, Tis of Thee" over quiet cymbal touches.
Orrin Evans on acoustic piano and Zaccai Curtis on Rhodes ride a funky beat at the onset of "Blues On The Bridge." The opening is reminiscent of Julius Hemphill's "The Hard Blues" but, when the keyboards kick in, the song moves into Cannonball Adderley style rhythm 'n' blues. The groove opens up for the trumpet solo gets back to its original "greasiness" for Evans's playful solo.
The program closes with a soft version of Prince's "Sometimes It Snows in April", just muted trumpet and piano (Evans again), a lovely tribute to the artist. The version does not stray far from the original ballad, the piano giving the song more weight than Prince's acoustic guitar and trembling voice.
"Contrast" continues Josh Lawrence's fascination with colors and illustrates how the trumpeter is expanding his palette. He is growing as an artist on so many levels, not just as an excellent soloist but as a composer and bandleader. Grab ahold of this album and get into its grooves - the music is very alive and moving!
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