February Goes Out Like a Lion

In the midst of the seemingly unceasing cold and storms that have battered the East Coast, The Side Door Jazz Club in Old Lyme has been a beacon of live music.  Musicians love its piano and intimate performance space while patrons enjoy being part of the "action."  Plus, it's connected to the Old Lyme Inn and there are "weekend packages" where one can stay over, enjoying the food, the ambiance of a small but arts-centric community of Old Lyme, and the allure of the beaches.  All this in less than 2 years.

This coming weekend (February 27 & 28), Ken and Jan (who manage/book the club) present 2 great shows.  Friday night at 8:30, drummer/composer E.J. Strickland (pictured left) celebrates the release of his new CD, "The Undying Spirit" (Strick Muzik). Despite appearing on over 30 recordings in his career (now into its second decade), this recording is only his second as a leader (his debut "In This Day" came out in 2009).  He's bringing the musicians who appear on the recording; they include Jaleel Shaw (alto saxophone), Luis Perdomo (piano), Linda Oh (bass) and twin brother Marcus (tenor and soprano saxophones).  While E. J. could have easily made this a recording about his brilliant technical prowess, instead this is most definitely a group recording.  Ms. Oh's active bass lines, Perdomo's probing piano work, the singing reed lines of Shaw, the uplifting sound of brother Marcus's hardy tenor and the lilt of his soprano work, all this and more makes this album a success.  When you see E. J. live in concert, watch and listen to how he directs the music from his chair. The essence of the uptempo pieces is how the music moves and flows; that gives the music its excitement.    

A review of the new CD will posted here soon but, in the meantime, to find out more, go to www.ejstrickland.com.

On Saturday, bassist/composer Ben Wolfe comes to The Side Door and, like E.J. Strickland, he's celebrating the release of a new CD.  "The Whisperer" (Posi-Tone Records - here's the review). He, too, is bringing the musicians on the album, pianist Orrin Evans, drummer Donald Edwards and saxophonist Stacy Dillard. Wolfe, who has worked with so many contemporary musicians (Wynton Marsalis and Diana Krall, to name but 2), creates music that concentrates on melody and, certainly, rhythm but, unlike many leaders who come from the rhythm section, he does not take many solos (so, I suppose, it's not "all about the bass").

This particular quartet is quite strong, the revelation being the excellent saxophone playing of Stacy Dillard (pictured left). The Michigan native has worked with numerous contemporary musicians (including   being a member of Orrin Evans' Captain Black Big Band) and has released several fine CDs as a leader including 2011's Criss Cross release "Good and Bad Memories."   His work with Wolfe, especially on the numerous ballads, is heartfelt, emotionally strong and oh-so-melodic.  He also let loose with a flurry of notes when called for. Dillard is really finding his voice on his reeds and it's refreshing to find a musician who does not overtly sound like John Coltrane or Wayne Shorter or Sonny Rollins.  Check him out at www.stacydillard.net.

To find out more about Ben Wolfe and his music, go to www.benwolfe.com.

To obtain tickets to these excellent shows, go to thesidedoorjazz.com.  You can also call at 860-434-0886.

Warm Sounds Abound (Part 1) + Pray for CT

The Northern tier of the United States (in particular the Northern 1/3rd) has had a colder and snowier beginning to 2015, meaning schools are closed once or twice a week, concerts and club dates are often postponed or cancelled, and one spends a great amount of time indoors.  Luckily for music lovers, the beginning to the New Year also a blizzard of new releases.  Over the next several posts, you will read and hear about a number of them,

Amy Cervini, Hilary Gardner, and Melissa Stylianou have a lot of common. They all hail from the northern climes (Ms. C. and Ms. S. from Toronto, Canada, while Ms. G. grew up in Wasilia, Alaska), they all moved to New York City (specifically, the borough of Brooklyn), they have lovely voices, and all record for Anzic Records (in fact, all 3 released excellent CDs in 2014). Somewhere along the line, someone or ones had the brilliant idea the 3 should blend their voices and Duchess was born.  Amy's husband Oded Lev-Ari, who has produced CDs for his wife and Melissa, brought them into the studio, added the talents of Matt Wilson (drums), Paul Sikivie (bass), Michael Cabe (piano), Jeff Lederer (tenor saxophone on 5 tracks) and Jesse Lewis (guitar in 4 tracks), and the result is 13 songs that will make you smile and/or tap your feet.

The 3 chanteuses acknowledge that the major influence for their repertoire is The Boswell Sisters, a vocal trio been and raised in New Orleans who came to fame in the 1930s.  Duchess pays tribute with a rousing rendition of "Heebie Jeebies", a Boyd Atkins the Boswells recorded in 1932. That's the final track - before that, they regale us with songs associated with Peggy Lee, Blossom Dearie, Doris Day, Billie Holiday, and others plus a New Orleans-inspired rendition of "Lollipop", a 1958 "smash for The Chordettes (this version includes splendid drumming from Mr. Wilson and a raucous sax solo.)

The program opens with 2 songs associated with Peggy Lee.  In fact, Ms. Lee wrote the lyrics to "Love Being Here With You", a  crowd-pleaser built off the swinging beat and the friendly banter of the vocalists. That's followed by Fred Fisher's "There Ain't No Sweet Man Worth The Salt of My Tears" (originally recorded in 1928 by Annette Henshaw with the Willard Robison Deep River  Orchestra and then the following year by Bix Beiderbecke with Bing Crosby on the vocal, no less) - Ms. Lee's version was recorded in 1963 and has a blues-rock feel.)  Duchess lean more towards a looser reading of the original. You'll enjoy the sweet love song penned by Ira and George Gershwin; titled "Blah, Blah, Blah" (no, not the Iggy Pop or Ke$ha songs), the lyrics show that sometimes it's easier to show love than to say "I love you." There are sweet ballads in the form of "Que Sera Sera" and "I'll Be Seeing You" plus an emotional take on "P.S. I Love You", the Johnny Mercer-Gordon Jenkins composition from 1934 with features close harmonies and a fine guitar solo from Lewis (an integral part of Ms. Cervini's Jazz Country group). A raucous tenor solo enlivens the playful "It's A Man", a Cy Coben composition recorded by his orchestra supporting the vocal of actress/singer Betty Hutton.

The singer each take the spotlight for one track.  Ms. Gardner swings her way through "My Brooklyn Love Song", a tune composed by George Tibbles and Ramey Idriss.  Ms. Cervini reprises "A Doodlin' Song" from her 2012 tribute to Blossom Dearie "Digging Me, Digging You", replacing the male voices with her sisters and Josh Sinton's baritone sax solo with a playful tenor sax hit from Mr. Lederer (otherwise, the arrangement is the same.)  Ms. Styling revisits "Hummin' to Myself" from 2014's "No Regrets" release and also does not change the earlier (right down to the bass solo) but spices it up with the addition of her friends' lovely harmonies.

Sassy, sweet, fun, playful, melodic, carefree and happy, all those positive adjectives (and more) should tell you that the trio known as Duchess have made a debut recording that should bring a smile to your face. Is it a bit "retro"?  Yes, but it's never "snarky", never patronizing.  Amy Cervini, Hilary Gardner and Melissa Stylianou plus their merry band sound like they are having a swell time - you will as well.  For more information, go to www.duchesstrio.com.

Here's the opening track:

For his 2013 MaxJazz CD, "From Here I See", bassist and composer Ben Wolfe worked with a core quartet of Orrin Evans (piano), Donald Edwards (drums) and JD Allen (saxophone) plus guest artists and a string quartet. Messrs. Evans and Edwards return on his new release, "The Whisperer" (Posi-Tone Records) while Stacy Dillard (soprano and tenor saxophones) replaces Allen.  Trumpeter Josh Evans (no relation to the pianist) is the only guest and appears on 1 track. The unique painting on the cover is the work of Colorado-based Ron Fundingsland and is titled "Sanctuary."

Wolfe, who has worked with a slew of well-known artists ranging from Diana Krall to Wynton Marsalis to James Moody to Harry Connick Jr., clearly loves melody and writes pieces that have solid tunes yet leave space for solos. Only 2 of the 12 tracks are over 6 minutes and 5 are under 5 minutes.  The program opens with "Heroist", an up-tempo romp that starts with a McCoy Tyner-groove before galloping into the piano. Dillard flies over the opening groove on his soprano with Edwards urging him on.  The soprano takes the lead on "Hat In Hand", the first of several heartfelt ballads that are musically and emotionally satisfying.  "Love Is Near" is another, this time with Dillard on tenor saxophone, his breathy tone reminiscent of Ben Webster and Coleman Hawkins. Listen to how Wolfe makes each note count and Edwards barely brushing the snare and his cymbals as well as Evans's soft touch on the piano. Dillard returns to soprano for Jerome Kern's "All The Things You Are", the only piece not composed by the bassist.  The piano lines are so well-placed, with a blend of straight-forward phrases and "impressionistic" chords.  Josh Evans takes the place of Orrin Evans on the bopping "S.T.F.U", his exuberant playing pushing Dillard to a frisky soprano solo.

Edwards opens the longest track, "Chronos" (7:15) with a high-stepping drum solo before the band enters on a funky groove.  The piece is spiced by the various interactions, especially between Evans and Dillard (tenor) and then Dillard with Edwards.  The angular piano solo over Wolfe's rapid walking lines and Edwards' hop-scotch drums fills is a treat.  The drummer's cymbal work throughout the CD is perfectly captured by engineer Nick O'Toole, filling the sound spectrum with clicking sticks, the gentle touch on the ride and splash cymbals plus the occasional storms Edwards produces in support of the soloists.  He can sound so "free" at times; Wolfe's rock-solid foundation allows Edwards the opportunity to play (you can really hear him listening and reacting to the pianist and saxophonist.)

Ben Wolfe doesn't feel the need to solo on every track but he sets the table for bandmates to pay their best.  His mature compositions give "The Whisperer" a timeless quality; this is music that builds upon the sounds that Herbie Hancock, McCoy Tyner, Andrew Hill, Charles Mingus and Wayne Shorter discovered in the 1960s.  Mr. Wolfe and his cadre of excellent musicians do not copy any of those mentioned above, making his pieces sound fresh and alive.  For more information, go to www.posi-tone.com/whisperer/whisperer.html.

Here's the opening track of the album:


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The news has been making the rounds the past 24-36 hours that Clark Terry has entered hospice care. Having just viewed "Keep On Keepin' On" and now in the midst of his autobiography (check it out here), one is amazed but not surprised at Mr. Terry's resilience through his many trials and tribulations.  Say a prayer for him, for his wonderful wife Gwen and his family.  Then, go to patrickwilliamsmusic.com/leaves-evergreen-clark-terry/ and over a listen to this music from composer Patrick Williams that features a short but sweet solo from CT.

Four Bass Hits

After releasing the excellent "Noneto Iberico" (Brooklyn Jazz Underground Records) in 2011, bassist/composer Alexis Cuadrado went to work on a project on which he wrote to selected poems that the Spanish writer/poet Federico Garcia Lorca created during the 9 months he was in the United States during the time before and after the Stock Market Crash in 1929.  "Poeta en Nueva York" was not published during Lorca's lifetime but 4 years after he was assassinated in a graveyard by soldiers of Spanish dictator Francisco Franco.  Reading through the volume, one can see that the poet was shocked by what he saw and heard, a city in the thrall of racism, bootleg liquor and technology.

Cuadrado chose 8 pieces to record, resulting in the 7 tracks that comprise "A Lorca Soundscape" (Sunnyside Records).  He entrusted the words to Claudia Acuna and she is magnificent as she walks through Lorca's harsh city. The dramatic nature of the pieces blended with (often) surrealistic lyrics makes for music ripe with tension. Alto saxophonist Miguel Zenon plays with great passion throughout, as if he were channeling the poet's emotional state - when he wraps his keening saxophone around the vocalist's cries on "Asesinato (Dos Voces de Madrugada en Riverside Drive)", it's a chilling and exciting moment.  The Afro-Cuban rhythms, supplied by drummer Mark Ferber and guest percussionist Gilmar Gomes of "Danzas de la Muerte" ("Dance of Death") support rippling piano lines from Dan Tepfer as well as the rapid-fire delivery of both Ms. Acuna and Zenon.  Ferber is also quite a presence in this music; his understanding and executions of the various rhythms is vital to the success.  He drives and pushes his fellow musicians on like the intimate then fiery ballad "La Aurora" (Dawn)"; he allows the composer to play the melody and also counterpoint. Tepfer's rumbling piano supports the voice on "New York", a piece that rallies against the conspicuous consumption of the city's inhabitants.  Creative overdubbing creates a musical "Tower of Babel" in the impassioned center of the song with numerous alto saxophones arguing with multiple pianos.  Tepfer's gentle lines lead the listener into "Vals en las Ramas"(Waltz of the Branches"), perhaps the sweetest melody in the program and also some of the most surrealistic lyrics in the program (many of which explode.  When Ms. Acuna sings the following verse "Llegará un torso de sombra coronado de laurel. Será el cielo para el viento duro como una paredy las ramas desgajadas se irán bailando con él" (which translates to "A shadow’s torso will arrive, wearing a laurel crown. For the wind, the sky will be as hard as a wall and all the drowned branches will leave as they dance"), she does so with the rhythm section gently beneath but as she reaches the lines that follow, Zenon enters and the music soars.  But, Ms. Acuna calms the saxophone's swirling lines but (vocally) bringing the swirling winds of music (Tepfer's lines, at times, resemble a dust devil) down to the earth ever-so-gently.

Federico Garcia Lorca saw the United States at its worst; it scared and sickened him.  8 decades later, Alexis Cuadrado, a native of Barcelona, Spain now an American citizen, watched the US economy suffer due to the excesses of greed, squandering of natural resources and vanity.  The music he creates on "A Lorca Soundscape" reflects Lorca's shock, imbuing the words with a panoply of emotions.  With the assistance and input of Claudia Acuna, Miguel Zenon, Dan Tepfer and Mark Ferber (plus Gilmar Gomes), the words and music come alive, a cautionary tale that also dances and sways to the rhythms of the composer's (and the poet's) Spanish heritage.  For more information, go to www.alexiscuadrado.com.  

Bassist/composer Linda Oh, born in Malayasia, raised in Perth, Australia and now living in New York City, is a most intense musician.  She plays the acoustic bass with great skill yet never flaunts her technique.  Now a member of David Douglas's Quintet, she has worked with with pianists Pascal Le Beouf and Fabian Almazan.  As a composer, she writes pieces that have solid structures yet room for movement.

"Sun Pictures" is her 3rd CD as a leader and 2nd for the Greenleaf Music label.  Joining her on this session smartly recorded live in the studios of WKCR-FM New York (Columbia University) is Ben Wendel (alto saxophone), Ted Poor (drums) and fellow Australian James Muller (electric guitar).  The music ranges from the electronic collage of the opening track ("Shutterspeed Dreams") to the blues-inflected "Footfall", a tune on which the rhythm section locks into the groove and lets the music flow freely on top.  Muller, who has a successful career in his native land and has toured the world with drummer Chad Wackerman and worked with Maria Schneider, has a wonderful fluid style that matches well with Wendel's breathy abstractions.  The quartet can also fire on all cylinders, as is evident on the fiery funk of "Yoda" that builds off of the leader's percussive bass intro to a driving solo section.  The 'live" sound of Poor's drums shouts out of the speakers as the Muller and Wendel spar near the close of the song. "Terminal 3" is a sweet ballad; Poor's brush work and Muller's inventive chordal comping behind Ms. Oh's excellent solo while providing a good foundation for Wendel's melodic explorations.

Linda Oh builds most of these pieces off of strong melodies, allowing for the creative interaction throughout the program. This is music that not only displays the leader's continuing growth as a musician but her innate abilities in the rhythm section. "Sun Pictures" is indeed a collection of bright moments.  For more information, go to www.lindaohmusic.com.

Dave Holland came to the United States at the end in 1968 to join Miles Davis as the trumpeter/visionary began to move away from acoustic music (the native of Wolverhampton, England, replaced Ron Carter). After leaving Davis, he hooked with Chick Corea, Barry Altschul and Anthony Braxton to form the "free jazz" quartet Circle.  In 1972, Sam Rivers joined Holland, Altschul and Braxton to record "Conference of the Birds", considered by many as one of the best albums released by Manfred Eicher on ECM.  The bassist appeared on a number of Anthony Braxton's Lps in the mid-1970s. Anyone who has followed the bassist's career knows he has been prolific as a sideman and has lead a number of excellent ensembles.

His latest project is a quartet he calls Prism featuring Craig Taborn (piano, electric piano), Eric Harland (drums) and is a reunion with guitarist Kevin Eubanks (brother Robin played trombone with Holland's quintet, sextet and big band throughout the 1st decade of the 2000s.)   On the quartet's self-titled debut (released on Holland's Dare2 Records), the guitarist howls, wails, cries, shreds and basically obliterates his sidekick image.  He composed 3 of the 9 tunes, including the rip-snorting opener "The Watcher" (is Harland playing the intro to "Shaft" as Taborn's electric piano brings the piece in?)  Anyone who has seen and heard Eric Harland in Charles Lloyd's New Quartet or the SFJazz Collective knows how imaginative and forceful he can be on his kit. He can handle tricky rhythm changes or time signatures without blinking, caress his cymbals and kick the daylights out of his bass drum.  He's also a fine composer, with 2 of his pieces here, including the incendiary "Choir" that opens with the drums and electric guitar (sounding like a organ) pushing like mad.  When Taborn and Holland, the quartet "swing" mightily beneath Taborn's piano solo. The drummer's other contribution, "Breathe", is a stunning ballad, cymbals washing behind the rich piano lines, Eubank's long notes and the leader's handsome counterpoint.

Holland contributes 2 new pieces as well including the dynamic "A New Day" with its finely-constructed melody and chord structure plus a pulsating rhythm track that Harland shines on.  "The Empty Chair (For Clare)" is dedicated to the bassist's wife (who passed in 2011) - it is a blues built upon a simple bass line also played by Taborn on electric piano.  Holland takes a long solo, filled with blues figures but neither sorrowful or raging but emotionally strong.  Eubanks is the one who "burns", showing a touch of Jimi Hendrix and Larry Carlton in his fierce solo.  Holland's thick tones open "The True Meaning of Determination" (one of Taborn's 2 pieces) that soon moves into a jack-hammer rhythm that may remind some of pieces that Chick Corea wrote for Return To Forever.  The interaction of the acoustic piano and electric guitar over the forceful rhythm section is joyous, raucous, and, when Taborn switches to electric piano during the guitar solo, the piece gets even more intense.

Intense is a good word to describe this music.  There are quieter moments as well as a strong feel of "funk" on others. Within the space of 10 seconds on Eubanks' "Evolution", the song moves from flat-out flying over the guitar solo to a funky drive as a backdrop for the electric piano solo.  Then, there's the drum solo - let's just say it took the house a while to settle back on its foundation only to be rattling again for another guitar solo.  Prism has given fusion music an updated sound for the 2000-teens - After 4+ decades playing creative music, Dave Holland continues to enthrall listeners by taking chances and making honest music.  This music truly rocks! For more information, go to www.daveholland.com.

Mario Pavone latest venture, dubbed Arc Trio, featuring pianist Craig Taborn and drummer Gerald Cleaver, have a new album on Playscape Recordings and it is the exemplar of what creative music should.  The 3-way conversation never flags, the interactions are exciting and the music challenging.  Right from the opening notes of "Andrew", bassist Pavone (who composed all the tunes) sets the tone with his furious strumming. Taborn plays the short melody and moves right into his solo while Cleaver, who has worked on-and-off with the bassist for over a decade, kicks and pushes the rhythm.  "Not Five Kimono" is slower but no less intense, impressive in how the bass and drums fit together to not only support Taborn but continually move the piece forward. Pavone's chunky chords and Cleaver's splashing cymbals and active high-hat generate great tension that pianist pushes against and rises over. "Hotep", dedicated to the late South African pianist/composer Hotep Idris Galeta (1941-2010) who spent 6 years as a lecturer at the Hartt School of Music/University of Hartford in the 1980s, opens with a purposeful swing in the bass line then moves into a melody that displays the influence of Thelonious Monk but also has quite a percussive feel. "Alban Berg" swings lustily yet shifts tempo at ease, the bassist keeping the tempo while Cleaver alternately "swings" and "plays around" the tempo interacting with Taborn.

Mario Pavone, The bassist, who produced this live session (recorded February 1, 2013 at the Cornelia Street Cafe in New York City, chooses to fade out several of the tracks, leading one to believe that the Trio played these pieces as part of a suite.  Other pieces end without applause.  

Mario Pavone explains in the liner notes that these pieces and his approach to their performances has its roots in the music of Andrew Hill (specifically the 2-bass approach on "Smokestack"), Steve Kuhn, Dick Twardzik, Keith Jarrett (early Trio music) and Muhal Richard Abrams with Malachi Favors ("Sight Song").  Yet, "Arc Trio" is neither imitative nor dated - instead, the music stands right alongside its influences as consummate creative music.  For more information, go to www.mariopavone.com.  (Official release date is 9/17/13.)