August Recommendations

Zacc Harris is a MInneapolis, MN-based guitarist and composer who is active as a leader, co-leader (Atlantic Quartet), sideman, and educator.  His sextet, the Zacc Harris Group, has just issued its second album, "Small Wonders" for Shifting Paradigm Records. The ZHG consists of the leader (electric guitar, compositions), Brandon Wozniak (tenor sax), Bryan Nichols (piano), Chris Bates (bass), JT Bates (drums), and the newest member John Raymond (trumpet, flugelhorn) who joined some years after the debut album. On initial listenings, one can hear the influences of Pat Metheny and Lyle Mays; when one digs deeper, you can hear the "openness" of the late Kenny Wheeler's sound as well.  Pieces such as "Sundials"(listen below) and "Civil Dawn" bear witness to those influences (splendid trumpet work on the latter plus a stunning unaccompanied piano solo) while "A Beautiful Life" with its tender melody, point to new directions.  Nichols's piano work is integral to keeping the music flowing throughout the album.  Raymond's flugelhorn stands out on "Glass Houses" as does Wozniak's tenor sax stroll through the gardens created by the rhythm section.  Meanwhile, the rhythm section burns red-hot on the hard-bop romp "The Void" plus create a New Orleans-groove on "Apple Jacks".  The latter tune opens up so the tenor and trumpet can have a sweet exchange and the guitarist have a series of playful interactions with the rhythm section.

The nine-song program closes with the lovely ballad "Maya's Song". Dedicated to Harris's daughter, the music feels as if it was composed while the guitarist was watching his daughter sleeping, imagining her dreams, and hoping for a peaceful future. The piano accompaniment is a perfect counterpoint to the leader's lines. Nichols's solo also has a dream-like quality accentuated by the quiet brushwork and simple yet effective bass lines.

"Small Wonders" is big on melody, intelligent arrangements, and powerful as well as thoughtful solos.  Check out the Zacc Harris Group ––much to enjoy!

For more information, go to www.zaccharris.com. To purchase the album, go to https://shiftingparadigmrecords.bandcamp.com/album/small-wonders.  

Listen to "Sundials":

 

There is not a lot of information on the webpage of guitarist and composer Chris Olson, who along with bassist Chris Bates and drummer Jay Epstein make up the trio know as Framework. Their new album, "Cognitive Dissonances", is the trio's first for Shifting Paradigm and its first recording in over a decade.  Featuring 11 Olson originals, the music covers a wide swath of musical territory. Opening and closing with two takes of "New Anthem", the attentive listener can hear how the trio develops material. Version one refers a bit to Jimi Hendrix in the opening seconds and then falls into the melody Americans sing at the ballparks, stadiums, hockey rinks, and elsewhere.  Bowed bass and splashing percussion support the melody, played mostly using chords by the guitar. The "alternate take" that closes the program is fairly similar, not as noisy but still played somewhat like a dirge.

In between those two tracks is a fascinating collections that spotlight the excellent group communication, Olson's fine melodies, and his spirited guitar playing. Bates and Epstein are right in there with the guitarist, pushing and prodding him needs be or strictly building the foundation to frame his melodies and improvisations.  "Hitchens" rolls forward with guitars coming out of both sides of the speakers while the melody is in the middle of the sound spectrum.  "Dawkins" gives bassist Bates a chance to step out and he leads the group forward on the strength of his thick tone and melodic prowess.  There's a wistful quality to the guitar work on the ballad "Changes We Can Believe In" but a bit of grunginess makes its way into Olson's guitar tone before the bass solo returns to the opening feel.  

Framework can swing ("Bluetrois"), can deliver a delightfully melodic waltz ("Pre-Conceived Notion"), and they can create aural waterfalls ("Tortured Thoughts") –– some of the song titles don't necessarily easily fit the songs but the trio's musicality will win you over.  "Cognitive Dissonance" does not describe how good and ultimately satisfying this music is (well, it does go a long way to describe the mood of "New Anthem"). Titles aside, this is quite an enjoyable album!

For some information, go to www.chrisolsonmusic.com. To purchase the album, go to  https://shiftingparadigmrecords.bandcamp.com/album/cognitive-dissonance. 

Hear the opening "New Anthem":

 

Many musicians used the pandemic to create new work, to hone new skills, and to find new ways to express themselves in a most uncomfortable.  It's possible Scott Reeves (valve trombone, alto flugelhorn, electronics) did all those things but he also went through his archives. When he did, Reeves listened with fresh ears to a 2005 live gig he recorded at City of College of New York with Russ Spiegel (guitar), Mike Holober (piano, electric piano), Howard Britz (bass), and Andy Watson (drums).  Now, pleased by the overall quality of the musicianship and sound, the musician/ composer passed

the tapes on to his label, Origin Records, and they released the album as "The Alchemist".  The music does not at all sound dated –– in fact, the music feels fresh and often exciting.  One can hear a link from several pieces to the music Miles Davis created for "Nefertiti" and "Filles de Kilimanjaro". 

The Davis influence is evident on the opener, "New Bamboo".  The ringing tones of the Fender Rhodes mixed with the electronically altered trombone also hearkens back to Herbie Hancock's later Blue Note recordings.  Reeves switches to alto flugelhorn, Holober to acoustic piano, for "Shapeshifter", a medium tempo flowing piece that includes a potent drum solo. "Without a Trace" is a lovely ballad with a soft melody played by guitar and trombone. The leader's solo is wistful, as if you can hear him ruminating about a person who has gone.  Spiegel produces a handsome solo but pay attention to howe Holober, on acoustic piano, responds.  Britz, who is also an accomplished pianist, plays a short yet melodic solo.  "Remembrances" is another fine ballad with fine solos from Reeves (flugelhorn), Spiegel, and Holober.  "The title track grooves atop the percolating electric piano and the raucous drums. Trombone and guitar play the head that opens to Holober's playful solo and a hard-edged trombone spot.  

That playfulness is also evident on the funky take of the standard "All or Nothing at All". The feel modulates from funk to straight-ahead and back to funk.  It's a delight hearing the Quintet playing around.  That's true throughout "The Alchemist" –– Scott Reeves and company sound like they having such a great time and the audience shows its appreciation for every solo and song!  

For more information, go to www.creativejazz.com/.  To hear more music and to purchase the album, go to https://scottreeves.bandcamp.com/album/the-alchemist.  

Here's the title track:

Mr. Parker's Trios

Photo: Peter Gannushkin

Earlier this year, AUM Fidelity released "Migrations of Silence Into and Out of the Tone World", a massive yet splendid 10-album set of original music composed and arranged by bassist-composer William Parker.  10 separate groups, 91 tracks, 594 minutes of music, which takes down to ingest, ruminate upon, and understand.  Like the recent works of Wadada Leo Smith and Anthony Braxton (also multiple disk sets), Mr. Parker's music is telling stories, narratives that blend tradition, history, and are very much a reflection of the present day. In the weeks leading to the Pandemic shutdown, the bassist recorded two albums that continue the exploration that his earlier albums began.

Both new releases are trio dates. "Painter's Winter" features the leader on bass, trombonium, and shakuhachi, Daniel Carter (trumpet, alto sax, tenor sax, clarinet, and flute) and Hamid Drake (drums).  The program opens with the hard-driving "Groove 77" led by Mr. Parker's thick bass lines, Drake's funky yet creative drumming, and Carter's muted trumpet lines.  The rhythm section, mixed up high, is in sharp contrast to the thoughtful trumpet throughout.  The title tracks opens with Mr. Parker on trombonium (a smaller, curved, trombone), Carter's flowing flute, and Drake's spare yet conversational drums.  The intensity of the flute and brass interaction picks up and the music begins to bounce as the drummer gets into conversation.  The listener can sit back and revel in the deep sounds.

Carter's smooth-toned alto leads the way on "Happiness" with the bassist, at times, playing counterpoint and Drake right/ tight in the groove. The music slows down for a frantic arco bass solo but afterwards picks up in speed. The introspective is in stark contrast to Drake's dance around the drum set and Mr. Parker's occasional walking bass line.  "Painted Scarf" pairs clarinet and shakahuchi with, at the onset, very quiet or little percussion. Over the 10:49, Drake pushes his bandmates by creating a Native American rhythm which ratchets up the intensity.  "A Curley Russell" closes the program; Mr. Parker dedicates the piece to the late "Curley" Russell, the "be-bop era" bassist who played with Tadd Dameron, Charlie Parker, Art Blakey, and Bud Powell (among others).  Carter's lively alto sax leads the way with the bassist's thick tones helping to fill the bottom.  Drake creates a rollicking drum solo which lights a fire under the saxophonist who then creates his most impassioned solo on the disk. After the delightful bass solo, the trio takes the song out in a spirited fashion.

"Painter's Winter" is an album to savor, to sit back and let the sound wash over you time and again.  William Parker, Daniel Carter, and Hamid Drake have history, as they say, know each other well, and sound as if they are having a great time –– you will as well!

For more information, go to www.williamparker.net.  To purchase the album, go to 

https://williamparker.bandcamp.com/album/painters-winter. 

This is "Painter's Winter":

"Mayan Space Station" posits Mr. Parker in the studio with guitarist Ava Mendoza and drummer Gerald Cleaver.  With Ms. Mendoza's highly amplified sound, one could easily call this group a "power trio".  Mr. Parker's locks in with the drummer and this music often has an irrepressible groove.  It's hard to sit still listening to "Domingo"; notice how the guitarist creates a sound and attack not unlike that of Nels Cline but one also hears traces of Tom Verlaine (Television) and blues great Michael Bloomfield (when he played with the Paul Butterfield Blues Band on "East-West"). Mr. Parker's infectious groove jumpstarts "Rocas Rojas" with Cleaver diving right in, moving about his drum kit in glee, Ms. Mendoza wailing and shredding above.  The title track opens in the spirited fashion of Arthur Blythe's "Down San Diego Way" with Cleaver's drums (he's using brushes, no less) and percussion paired with Mr. Parker's solid four-note bass runs. Ms. Mendoza jumps in, roaring in musical approval until the 4 minute mark, slows down for a moment, and picks up her sonic attack. The guitarist steps out of the spotlight halfway through the 14:42 track to make way for the raucous bowed bass solo over Cleaver's crashing cymbals and snappy snare.  

"Canyons of Light" is a rubato piece with tremendous cymbal and cowbell work, shimmering/ furious arco bass, and long tones and moans from the guitar. As Ms. Mendoza goes into "attack mode", the rhythm section continue to thrash around beneath. There is a hint of a steady rhythm as the piece fades down at the 10-minute mark.  It's a challenging piece of music that stands out for its aural expressions and passionate musicianship.

Photo: Peter Drukker

The album closes with "The Wall Tumbles Down", another hard-edged piece with a irresistible groove. Ms. Mendoza's chordal romp over a guitar drone gives way to a solo that builds up from a simple riff into a bluesy wailing spotlight.  One can hear the influence of Vernon Reid and Sonny Sharrock especially later in the piece when she loops police sirens. The loops don't disappear until the last minute of the piece. Perhaps, these are the walls of racism, sexism,, and intolerance: nevertheless, it's a powerful finish to an album of powerful moods and sounds.

"Mayan Space Station" is music that demands to be played loud, windows open to the world. William Parker wants to touch the world, wants to help people get out of the doldrums and away from the fears that come blasting out of our televisions, radios, and "smart" phones.  Kudos to Ava Mendoza and Gerald Cleaver for their contributions to this most appealing recording. 

To purchase the album and see more of William Parker's catalogue on AUM Fidelity, go to https://williamparker.bandcamp.com/album/mayan-space-station.

Hear the opening track, "Tabasco":