Masters At Play & Eight Makes Great (Music)

Perfect listening for a snowy March day in central Connecticut,
"Live at U of T" (UofT Jazz) is the second CD led by the saxophone duo of Dave Liebman (soprano, tenor, flute) and Mike Murley (tenor, soprano). The former has been on the faculty at the University of Toronto as a visiting artist/adjunct Professor since 2013 while the latter has been teaching there since 2011.  Joining them is bassist Jim Vivian (who has worked with both leaders in the past, especially with Murley for over three decades) and the veteran drummer Terry Clarke (John Handy, the Fifth Dimension, Rob McConnell Boss Brass).  The quartet sounds loose and limber, each musician playing with great fire and joy.

The program includes four compositions by Liebman, two by Murley, one by Vivian, Joe Lovano's "Blackwell's Message", and a smashing cover of Ziggy Elman's "And the Angels Sing" (which was first recorded by its composer as a Klezmer-style tune in the mid-1930s before he adapted it for the Benny Goodman Big Band and Johnny Mercer added lyrics).  The quartet swings the heck of the Elman, with the two tenors trading leads and and then "trading 4's".  The rhythm section really pushes the proceedings, something they do throughout the album.

Among the highlights is "Small One", a ballad/waltz composed by Liebman where both he and Murley play soprano sax.  Both create excellent solos over the easy-going rhythm section. Listen to how they intertwine the melody and harmony of the theme section.  The two sopranos play sans rhythm section on Liebman's "Missing Persons", a piece that has the feel of a modern classical composition (yet the timbre of the sopranos and direction of the music reminds this listener of the song "Fertility" from the "Buster Bee" album on Sackville by Julius Hemphill and Oliver Lake.)  There's a sense of the mysterious in Murley's "Open Spaces", starting with the flute sounds of Liebman.  When the tenor saxophones enter, one hears the influence of John Coltrane.

"Blackwell's Message", a piece that Joe Lovano wrote in tribute to drummer Ed Blackwell, opens with a delightful drum solo by Clarke. He then falls into a New Orleans "strut" over which the soprano and tenor saxes play the plaintive melody.  Dig how Vivian creates a drone then plays in and round the pedal point.  Both Liebman and Murley create powerful solos with the drummer pushing them forward with such glee.

"Live at U of T" is a treat for those listeners who like to listen "deeply" to music.  The Liebman/Murley Quartet plays with fire, grace, intelligence, a sense of the past and present of music, and with great joy.   You should listen.

For more information, go to mikemurley.com/2017/11/new-liebmanmurley-recording-now-available-on-itunes/.

Here's the Elman/Mercer tune:

Mike Murley and Terry Clarke show up again as members of the Dave Young/Terry Promane Octet, the ensemble that has just issued "Octet: Vol. 2" on Modica Music.  Bassist Young is a veteran of the Toronto music scene, having worked in the early 1960s with guitarist Lenny Breau plus a 35 year association with pianist Oscar Peterson.  Trombonist Promane has played and taught in the Toronto scene as well (not as long as his partner), playing in pit bands for touring Broadway shows as well as with artists such as the late Kenny Wheeler, Rob McConnell, Mike Murley's Septet, and so many others. He's been on the faculty of the University of Toronto where he leads the Jazz 12Tet.  For this album, he's joined in the brass section with Kevin Turcotte (trumpet and flugelhorn) while tenor saxophonist Murley is surrounded by Vern Dorge (alto sax) and Perry White (baritone sax). Young and Clarke are the foundation of the Octet along with pianist Dave Restive.

Like "Vol. 1" (which was issued in late 2012), the new album features music from Charles Mingus ("Duke Ellington's Sound of Love") and Dizzy Gillespie ("Bebop") but there is only one original and that's Murley's "Can't You See" (the earlier album contained three tunes from Promane). This time around, the band plays music from Rodgers & Hammerstein II (the opening "O What a Beautiful Morning"), Cedar Walton (the closer "Hindsight"), Duke Pearson ("Jeannine"), Alec Wilder & Morty Palitz ("Moon and Sand"),  Jimmy McHugh & Dorothy Fields ("I Can't Give You Anything But Love"), Michel Legrand ("You Must Believe In Spring"), and Jimmy Frigo, Herb Ellis, and Lou Carter ("Detour Ahead").

With the leaders contributing four arrangements apiece, the music shows vitality, wit, and intelligence throughout. Those listeners who like swing will enjoy the rollicking "Bebop" (with a super solo from Turcotte) and the driving "Can't You See" (with its melodic bass solo and mellow trombone spotlight). Turcotte also romps through "Jeannine" as does White.

For this listener, it's the ballads that shine.  Young's arrangement of fellow bassist Mingus's "Duke Ellington's Sounds..." celebrates the song's handsome melody while featuring a heartfelt alto sax solo from Dorge.  Murley's tenor leads the way into and throughout most of "Detour Ahead" with the only other solo courtesy of the bassist.  Restivo dances through "You Must Believe In Spring" (a more uptempo take than usual) and "Hindsight", two medium tempo delights.

"Octet: Vol. 2" is good listening music.  The Dave Young/ Terry Promane Octet moves easily through this music, never taking anything for granted. This could easily be background music but the fine arrangements and strong solos holds one's attention throughout.

For more information, go to thejazzbox.ca/dave-young-terry-promane-octet/.

Large Ensembles North of the Border

Kenny Wheeler (1930-2014) played trumpet and flugelhorn and created an impressive body of compositions that covered a wide swath of contemporary music.  Born in Toronto, Ontario, Canada, Wheeler moved to England in the early 1950s, slowly, steadily, building a career in bands led by Tubby Hayes and John Dankworth. In the 1970s, he worked with various different ensembles, ranging from the avant-garde sounds of the Spontaneous Music Ensemble and the Global Unity Orchestra as well as alongside Anthony Braxton and Dave Holland.  He had a long association with pianist John Taylor and vocalist Norma Winstone performing together and recording as Azymuth.  He recorded numerous Lps and CDs for ECM, starting in 1975 with "Gnu High" and his final recording, "Songs For Quintet", released in 2015 after his passing.  Wheeler also recorded for Soul Note and CAM Jazz.

My favorite recordings of Mr. Wheeler's tend to be the Big Band albums.  His arrangements for brass and reeds have a classical sensibility yet are flavored with the experimentation that was a large part of his life. The original compositions often blend airy melodies with thick section playing, opening up for solos that seem to ride atop the rhythm section like birds gliding on columns of thermals. Best of all, his melodies are well drawn and the music often has a swing the composer/arranger had absorbed the blues arrangements of Count Basie and Duke Ellington. And his ballad pieces often have a wistful feeling, filled with emotion and, occasionally sadness.

The University of Toronto Jazz Orchestra, Gordon Foote, director, has just issued "Sweet Ruby Suite"(self-released on UofT Jazz) an album dedicated to the music of Kenny Wheeler. Joining the 18-member ensemble for this project is Ms. Winstone and guest soloist, soprano saxophonist Dave Liebman.  The 4-song program includes the 29-minute title track that Mr. Wheeler recorded in 2002 with the Maritime Jazz Orchestra plus three other shorter tracks. The arrangements, all but one by the composer, leave room for contributions by many of the band members as well as Liebman. The multi-sectioned "...Suite" does an excellent job of displaying the UTJO's strengths; those includes the excellent work of pianist Josh Smiley, bassist Victor Vrankujl, and drummer Andrew Miller plus the excellent section work His interaction with Brad Eaton's flugelhorn on "W.W" really shines.  His sweet tone meshes nicely with Ms. Winstone's scat vocals on "Canter No. 1", perhaps named for its loping rhythms -  the piece, arranged by Terry Promane, makes great use of the sections in call-and-response, counterpoint, and harmonies.  She also joins the brass for the melody line on the song which appeared on Mr. Wheeler's final ECM release.  "Winter Sweet", also first recorded with the Maritime Jazz Orchestra, is a lovely ballad complete with strong playing from Marie Goudy (flugelhorn), Conrad Gluch (alto saxophone), and Mr. Liebman.


"Sweet Ruby Suite" shines not only on the strength of the Kenny Wheeler's compositions and arrangements but also the powerful work of the University of Toronto Jazz Orchestra.  Perhaps the presence of Norma Winstone (who also wrote the lyrics) and Dave Liebman gave the musicians extra incentive; they never sound like a "backing band" for the two guests but really as equals.  If you like "modern" big band, the music of Kenny Wheeler, and the work of Ms. Winstone and Mr. Liebman, this is music worth hearing.

Personnel:
Saxophones: Naomi Higgins, Conrad Gluch, Patrick Smith, Connor Newton, Alec Trent
Trumpets & Flugelhorns: Austin Jones, Marie Goudy, Brad Eaton, Max Forster, Josh Stuckey
Trombones: Zachary Smith, Jared Kirsh, Modibo Keita, Collins Saunders
Piano: Josh Smiley
Guitar: Christopher Platt
Bass: Victor Vrankujl
Drums: Andrew Miller

For more information, go to www.uoftjazz.ca.

The University of Toronto 12TET is 11 musicians and one vocalist directed by Terry Promane, a prominent Canadian trombonist, tubaist, composer, and arranger who has worked with Rob McConnell Tentet, the Hilario Duran Latin Jazz Orchestra, and Kirk MacDonald's Big Band (among many others). "Trillium Falls" (UofT Jazz) is the ensemble's second CD and features a combination of standards, originals, and smart covers of contemporary works.

The album opens with Jon Cowherd's "Crooked Creek" which the pianist composed from Brian Blade's Fellowship. Drummer Mike Rajna arranged the piece, capturing the airiness of the original as well as the energetic forward motion. Jacqueline Teh's wordless vocal blends nicely into the ensemble on the theme, her voice pairing with the reeds. Rajna's rhythm section mate, bassist Alex Lakusta, provides the arrangements for Billy Strayhorn's "Isfahan" (from Duke Ellington's "Far East Suite") and Ellington's "Star Crossed Lovers" (from "Such Sweet Thunder").  The former is fairly straight-ahead with solos from trombonist Modibo Keita, trumpeter Emily Denison, and guitarist Dan Pitt while the latter is much more atmospheric with fine solos from the arranger and from alto saxophonist Anthony Argatoff (who suggests the classic Johnny Hodges sound without reproducing the master's solo.)

The album does cover a wide swath of musical territory. Promane (pictured left) contributes two original pieces. "The Icemaker's Mistress" suggests the music of Christine Jensen and Maria Schneider in its long melodic lines and sweeping arrangement. Pianist Jacob Thompson creates a lovely solo over the splendid brush work and bass counterpoint while trumpeter Brad Eaton flies over lush sounds from the sections.  After the solos, the piece opens up for a short interaction with the rhythm section and Ms. Teh plus a call-and-response from the sections.  The director also contributed the title track, another "open" piece, that features a flowing melody and strong solos from Harrison Argatoff and flugelhornist Emily Denison. The ensemble swings mightily on Promane's arrangement of "Witchcraft", the drummer leading the way while tenor saxophonists Kieran Murphy and Harrison Argatoff share the main melody and the solos.   UofT graduate Noam Lemish contributes "Song for Lia" (he also plays piano on the piece), a song that has a Brazilian feel in its rhythmic flow, a lovely melody that rises and falls with various voices moving in and out in the style of Maria Schneider, and smart solos from Anthony Argatoff and Pitt.


The album closes with "Hat Music", composed by Swedish saxophonist Nils Berg (for his quartet The Stoner) and arranged here by trumpeter Denison.  She captures the playfulness of the original, especially the bounce in the bass line and the rapid-fire exclamations from the drums.  The full ensemble plays at the beginning of the song, drops out for Harrison Argatoff's tenor solo and returns in the middle of pianist Thompson's excellent solo (which opens with just the accompaniment of bassist Lakusta).

What stands out when listening to "Trillium Falls" is that The University of Toronto 12TET, this small "big" band, is not only talented and full of promise but also willing to experiment and follow the vision of director Terry Promane. While jazz has moved out of clubs and mentorship has changed from learning on the bandstand to classrooms, there is often critical reaction that "institutionalizing" the music has made it stale.  You certainly do not hear that on these recordings - there is life, joy, experimentation, and community, all necessary elements to move music forward.

Personnel:
Jacqueline Teh – Vocals
Emily Denison – Trumpet/Flugelhorn/arrangement
Brad Eaton – Trumpet/Flugelhorn
Anthony Argatoff – Alto Saxophone
Harrison Argatoff – Tenor Saxophone
Kieran Murphy – Tenor Saxophone
Modibo Keita – Trombone
Zach Smith – Trombone
Dan Pitt – Guitar
Jacob Thompson – Piano 
Alex Lakusta – Bass, arrangements
Mike Rajna – Drums, arrangement
Noam Lemish – Piano, arrangement ("Song for Lia")
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Terry Promane – Director, compositions, arrangements