Best of 2016, Part One

It's an honor being asked to participate in a Critics Poll, fun going back and listening to albums that you really enjoyed writing about, and downright nerve-wracking trying to pick 10, especially in a year where so many good recordings crossed my desk.

2016 was a very busy year in my life and a quick glance at the number of posts over the past 12 months is evidence that I did not have as much time to sit, to listen, to contemplate, and to write.  Connecticut is a small state with a decent amount of venues for live music but, due to numerous obligations, I rarely took the opportunity to just bask in the glory of watching and listening to musicians create, interact, to give of themselves, to transport listeners beyond the mundane and into worlds of endless possibilities.  The albums listed below (and in subsequent posts) are the ones that made days special, that made me think, helped me see the "real" world in a different light, and gave me great joy.

As one gets older, it's often tough to find joy when the world is in such upheaval.  Music not only gives us a haven from the daily insanity but, like poetry, theater, books, film, sports and more, also sheds light on the issues we should not, cannot, and often ignore.

Here's Part One:

Camila Meza - "Traces" (Sunnyside Records) - This recording, issued in late Winter, is utterly delightful. Not only is Ms. Meza a fine vocalist but this recording illustrates what a good guitarist, arranger, and band member she can be.  Her group - Shai Maestro (keyboards), Matt Penman (bass), Kendrick Scott (drums), Bashiri Johnson (percussion), Jody Redhage (cello) and guest vocalist Sachal Vasandani - creates sounds that make each one of these songs stand out. In February, I wrote "Chances are good you will not hear a better CD this year." That statement, for me, still stands. (Ms. Meza is also a member of trombonist Ryan Keberle's group Catharsis whose 2016 album appears in Part Two of this list).

For more information, go to www.camilameza.com.

Enjoy this live version of the title song:

Billy Hart & The WDR Big Band - The Broader Picture (ENJA/Yellowbird) - Arranged and conducted by Christopher Schweizer, this album is a knockout from beginning to end.  Mr. Hart, who is most often heard in quartets ands quintets, is right at home pushing and prodding a large ensemble, especially one as talented as the WDR Big Band.  This album gives us the opportunity to hear the drummer's compositions in a different light and, golly, do they ever sound good.  Great drumming, impressive compositions, sparkling arrangements, and powerful solos, all add to a splendid album.

Here's a nice long track to enjoy:

Anthony Branker & Imagine - Beauty Within (Origin Records) - Dr. Branker is a composer and arranger who has been involved with music as a musician, conductor, and educator for over three decades.  His CV is deeply impressive (read it here) and his music keeps getting stronger. It's political and topical in the manner of Charles Mingus and Max Roach and this particular quintet of musicians - Fabian Almazan (piano, Pete McCann (guitars), Ralph Bowen (tenor and soprano saxophones), Linda Oh (bass), and Rudy Royston (drums) - play with such fire and finesse that this music is alive and powerful, lovely and emotionally strong.

For more information, go to sonsofsound.com/artist/anthony-branker/.

Here's a track to chew on:

Greg Ward & 10 Tongues - Touch My Beloved's Thoughts (Greenleaf Music) - The story of how this music came to life is quite fascinating (read it here); suffice to say, it's origins lay in saxophonist and composer Ward listening to Charles Mingus's "The Black Saint and the Sinner Lady" (1963).  Ward's work for 10 musicians, created for a concert of music and dance, is filled with blues, sparkling solos, and intelligent arrangements that spark comparison to Mingus's work in its scope but does not imitate it.  Especially impressive is the piano playing of Dennis Luxion and the rhythm section of Jason Roebke (bass) and Marcus Evans.

For more information, go to www.greenleafmusic.com/about-greg-ward/.

Here's a live reading of one of the album's cuts:

Patrick Cornelius Octet - While We're Still Young (Whirlwind Recordings) - Saxophonist, flutist, composer, and arranger Cornelius created this fine recording as a musical response to the stories of A.A. Milne that he was reading to his children at bedtime.   With an impressive band -  John Ellis (tenor sax, bass clarinet), Jason Palmer (trumpet), Nick Vayenas (trombone), Miles Okazaki (guitars), Gerald Clayton (piano), Peter Slavov (bass), and Kendrick Scott (drums) - and a smart group of compositions, this album features music that is contemplative yet swings, with musicians telling "stories" that flow thanks to the fine ensemble arrangements and individual solos.  My review (read it here) includes quotes from both Cornelius and co-producer Kyle Saulnier.  

For more information, go to www.patrickcornelius.com.

Here's one of the delightful tracks:

These are just five of my favorites - more to come in the next several weeks.  Enjoy!

Even More Favorites - Large Ensembles

npr.org

My "official' Top 10+ includes 3 recordings from large ensembles, each exciting and mind-expanding, with strong melodies, passionate solos and impressive arrangements.  The 3 on the list include "Views From the Inside" by the J.C. Sanford Orchestra (Whirlwind Recordings),  "The Offense of the Drum" from Arturo O'Farrill & The Latin Jazz Orchestra (Motema Music) and the irresistible "Mother's Touch" courtesy of Orrin Evans' Captain Black Big Band (pictured above - Posi-Tone Records).

Of course, there are others that deserve mention.

"Habitat" (Justin Time Records) features the enchanting music and arrangements of Christine Jensen and her 18-member Jazz Orchestra.

Alan Broadbent & The NDR Big Band - "America The Beautiful" - Jan Matthies Records - It's so good to hear the music of the pianist from New Zealand backed by the great ensemble based in Hamburg, Germany.

Here's one that should have been on my 2013 list but was released just before Thanksgiving.  "A Trumpet In The Morning" (New World Records) features the music of reed master Marty Ehrlich 
and his Large Ensemble (25 musician appear on the recording but not all at once.)

One of the members of the Ehrlich Ensemble, trombonist Michael Dease, released a swinging Big Band disc, "Relentless" (Posi-Tone Records.) 

I was pleasantly surprised by "When The Clouds Look Like This", a handsome recording from the Minnesota-based Adam Meckler Orchestra (self-released). Go to youtu.be/m-NzgW9RY90 to watch the AMO in the studio. 

Bassist-composer Matt Ulery (pictured left) released "In The Ivory" (Greenleaf Music), a 2-CD set that combines folk melodies, his impressive quartet, the chamber ensemble eighth blackbird and vocalist Grazyna Auguscik.  

Wayne Horvitz had a busy 2014 with several impressive recordings including "At The Reception" (Songlines Recordings) featuring The Royal Room Collective Music Ensemble, a 14-member aggregation based in Seattle, Washington. 

Perhaps the most fascinating entry of the year is the true story of a wandering garbage barge put to music by saxophonist John Ellis and librettist/playwright Andy Bragen.  "Mobro" (Parade Light Records).  9 musicians, 4 vocalists and a sound designer come together to remind us just how wasteful we have been and continue to be, creating mountains and oceans of trash, much of which is not recyclable.  

kpfu,org

Let's start 2015's list with Miguel Zenon's "Identities Are Changeable" (Miel Music), the latest adventure in the saxophonist's exploration of his Puerto Rican heritage and how the journey to North America continues to profoundly affect music and culture.  Released in early November, the CD features Zenon's splendid Quartet with a 12-piece reed and brass "Big Band." 

Just looking back on and listening to this recordings, I am continually impressed by the breadth and scope of American music.  2015 brings new recordings from the Maria Schneider Orchestra and Ryan Truesdell's Gil Evans Project - I'm sure there will be more to capture my fancy and yours!

Large Bands, Music of the Americas & The World

3 CDs in this review, all big bands (18 members each plus guests), each with a different take on a style of music that first came to prominence in the 1930s with ensembles led by Duke Ellington, Fletcher Henderson (who started in the 1920s) and Chick Webb.  Later in the decade and into the years of World War 2, Count Basie, Benny Goodman and Lionel Hampton expanded on the sound paving the way for Billy Eckstine, Woody Herman, Dizzy Gillespie and Gil Evans.  By the end of the 1960s, Evans, Gerry Mulligan, Bob Brookmeyer, Maynard Ferguson and, most certainly, Thad Jones, were changing the focus of big bands, inspiring people such as Maria Schneider, Ryan Truesdell, JC Sanford, John Hollenbeck and more.

Arturo O'Farrill (pictured left, piano, composer, arranger) first came to critical notice playing keyboard in Carla Bley's Big Band from 1979-83. After a decade+ working with artists such as Mr. Gillespie, Lester Bowie, Harry Belafonte and Wynton Marsalis, he assumed the directorship of the Chico O'Farrill Afro-Cuban Jazz Big Band/Orchestra in 1997, several years before his father's passing.  After a 15-year run of Sunday nights at The Birdland in New York City, that band was subsumed into the Afro Latin Jazz Orchestra, an organization that not only continued to play the music of great Latin composers (O'Farrill the father, Machito, Hermeto Pascoal, Astor Piazzolla and others) while commissioning works and/or arrangements from contemporary composers such as Gabriel Alegria, Miguel Zenon, Michele Rosewoman, Vijay Iyer, Jason Lindner, Edmar Castaneda and more. From 2002-07, the Orchestra was one of the resident ensembles at Jazz at Lincoln Center - after parting ways, Arturo O'Farrill and others created the Afro Latin Jazz Alliance to help bring the music to a wider audience and have created educational programs for young performers. The 2014 edition of the ALJO features several members of the Father's Big Band, including Jim Seeley (trumpet), Peter Brainin (tenor saxophone), and Joe Gonzalez (bongos, bell).

The ALJO's 3rd release, 2011's "40 Acres and a Burro" (Zoho Music) was a delightful recording (reviewed here), mixing danceable rhythms with more than a dollop of social commentary and sparkling solos. The new CD, "The Offense of the Drum",  is the band's first for Motema Music, continuing in the groove and direction of its predecessor.  Original pieces by Vijay Iyer, Edmar Castaneda, Jason Lindner/"Chilo" Cajigas and Arturo O'Farrill are blended with fascinating new arrangements of Erik Satie's "Gnossienne 3 (Tientos)" (arranged and conducted by Miguel Blanco) as well as rousing take of the New Orleans classic "Iko Iko" (arranged by Todd Bashore, featuring the vocals and alto saxophone of Big Chief Donald Harrison).

The "Chilo"/Lindner collaboration, "They Came", tells the story of the Puerto Rican immigration to the United States.  Poet/Spoken word artist Cajiga pulls no punches talking of the accomplishments and the struggles of his ancestors while Lindner's arrangement blends funk, hip hop, the active turntable work of DJ Logic, sweeping brass and reeds framing the words.  History in music and the music of history is energetic, invigorating for the spirit and heart.

Iyer's "The Mad Hatter" is dedicated to Arturo O'Farrill with music that fuses the myriad styles the AFLO leader brings to his music. The piece builds slowly, voices adding every 8 bars, rhythms changing and shifting throughout, all leading to a blustery, visceral, trumpet solo from Seneca Black followed by the composer's rousing spotlight.  Listen to how the brass and reeds frame the solos while the percussion dances below.

The title track, the longest piece at 11:41, is a 2-part tribute to the drum and its role in communication and community over the centuries.  Composed by O'Farrill, the music goes in many directions, often guided by the active percussion of Gonzalez, Roland Guerrero (congas), Vince Cherico (drum set) plus guests Ayanda Clarke (djembe) and Hiro Kurashima (taiko drum).  Solos from guest Chad Leftkowitz-Brown (tenor saxophone), the composer, and the rhythm-makers are celebratory and quite exciting.

There is not a weak track throughout the 74-minute plus "The Offense of the Drum"; there are memorable melodies, splendid arrangements, smart interactions, a plethora of strong solos and, yes, the drum.  Not just Caribbean and Cuban, but Brazilian and even the Colombian marching drums (on the delightful "Mercado En Domingo", composed and conducted by Pablo Mayor, leader of Folklore Urbano) make this recording a joy to listen to.  The Afro Latin Jazz Orchestra wants you to learn, to dance and to understand music does make the world a better place.  To find out more about Arturo O'Farrill and his wonderful Orchestra, go to www.afrolatinjazz.org.

Pianist, composer and arranger Alan Broadbent first came to the United States from his home in Aukland, New Zealand in 1966 to study at The Berklee College of Music in Boston, MA.  By 1969, he was the pianist/arranger for the Woody Herman Band. He decided to stay in Los Angeles, CA, join to work with vocalist Irene Kral, Nelson Riddle and David Rose.  Broadbent has worked with Natalie Cole (on her "Unforgettable" CD and subsequent tours) and was member of Charlie Haden's Quartet West.  He has arranged for vocalist Shirley Horn and Diana Krall as well as Sir Paul McCartney (for his "Kisses on the Bottom" project.)

Though he has shied away from Big Band work for the past several decades, Broadbent received a commission from the NDR Big Band (Hamburg, Germany) and proceeded to create the 9 tracks that make up "America The Beautiful", the splendid CD from Jan Matthies Records.  Over the course of 9 tracks (73:49), Broadbent revisits and rearranges compositions from throughout his career as well as adding a special touch to the title track (a tribute to the country he writes "gave me a life in music and I give thanks to it every day.") His "Sonata to Swee' Pea" is dedicated to one of Broadbent's biggest influences, Billy Strayhorn. One can hear throughout the program that influence in that Broadbent emphasizes melody and harmony over dynamic rhythmic changes.  He certainly likes to "swing" as demonstrated on "Sonny's Step" composed in honor of pianist Sonny Clarke (1931-1963) where the NDR sections gets to "strut its stuff" along with strong solos.

The handsome ballad "The Long White Cloud" pays tribute to his native land, its title derived from the Maori People's name for New Zealand (Aotearoa translates to "the land of the long white cloud").  The piece builds slowly, from the piano melody (over a rhythm section that suggests the influence of Herbie Hancock) to the sectional responses that turn into the melody lines, all leading to a forceful solo from tenor saxophonist Christof Lauer.  The track that follows, "Love In Silent Amber", was composed during his Woody Herman days and also features a strong melody line, an un-rushed rhythm and the pretty interjections of the brass and reeds.

The title track is a splendid re-contruction and re-imagining of church organist Samuel Ward's melody, originally composed in 1882 to accompany a church hymn. Here, Broadbent hints at the melody early in the arrangement, choosing to use a rhythm that suggests South America to underpin the various melodic fragments he inserts until the original melody rises out of the flutes, precipitating a martial beat that then supports a slow, respectful, recitation of the melody from the brass and reeds - the short coda that follows is the "fireworks" one hopes for on July 4th.

"America The Beautiful" celebrates the music of Alan Broadbent as much as it honors the music that brought him to the USA nearly 5 decades ago.  Blessed with the cooperation of a top-notch band, the composer/arranger creates a program that emphasizes both his strengths and the musicians working with him.   Despite the many years Broadbent has shunned writing for a large ensemble, he is in top form on this excellent new CD. And, his piano work is splendid throughout.  For more information, go to www.alanbroadbent.com or janmatthies.com/blog/en/.

Georgia native Michael Dease is a multi-instrumentalist known mostly for his work on trombone but is also proficient on trumpet and saxophone.  He has established himself as a producer and sideman, appearing on dozens of recordings and gigs ranging from Alicia Keys to Illinois Jacquet's Big Band to Neil Diamond to Maceo Parker.  There are a number of good reasons he's such a popular musician - he can play any and everything plus he knows his musical history.

"Relentless" (Posi-Tone Records) is his 6th release as a leader and first in front of a large ensemble. He has stocked the band with excellent players including saxophonists Tim Green, Todd Bashore and Diego Rivera, a trumpet section led by Seneca Black, Greg Gisbert and Etienne Charles and fellow 'bone players such as Tom Malone and Jeff Nelson.  The first-class rhythm section features Miki Hayama (piano), Linda Oh (bass) and Ulysses Owens Jr (drums).  Wycliffe Gordon makes 2 appearances on the program, joining the trombones for the slinky reading of "Autumn Leaves" (nice marimba work from Gwendolyn Burgett) and switching to slide trumpet for "Two Bass Hit."  On the latter track, Gordon, Dease and trumpeter Benny Benack III engage in some sprightly scat work while, on the former, there are a slew of short but strong solo before the leader sings a verse before the song closes out by returning to its opening "groove."

Then, there's "Webster Grooves", an uptempo Dease original (4 of the 10 tracks are penned by the leader) with the feel of a blues shuffle (a la Bill Doggett's "Honky Tonk") that morphs into a "swinging" piece with excellent section writing and more short but hardy solos.  Ms. Oh, who is rarely heard on record in a big-band setting, locks in with drummer Owens, keeping the band on an even keel.  The title track lives up to its name, pushed mightily by the fine work of Owens and the smart work of the reeds and brass. "The Takeover" takes off on the strength of Ms. Hayama's piano work but hits its stride when the sections play off each other, all of which leads to a fiery solo from Bashore plus a friendly "give-and-take" from trombonists Malone and Jerrick Matthews before Charles and Ms. Hayama take turns flying over the bass & drums.

Other highlights include a lovely reading of Jimmy Dorsey's "I'm Glad There Is You", a ballad that gives Dease the spotlight as both a soloist and arranger.  His dramatic arrangement for the bridge section is forceful.  Guitarist Andrew Swift electrifies the band on its heavy funk reading of "Roppongi", a tune Randy Brecker composed for the Brecker Brothers Band.  Ms. Oh's electric bass anchors the piece while Owens Jr's drums propels the funk forward.  Eric Alexander's "Little Lucas" is a medium-tempo ballad that opens with more fine work from Ms. Hayama before Dease gives the melody and harmonies to the sections.  Tim Green's alto solo has a bit of a rambunctious edge, setting the stage for a strong solo turn from the leader.

Michael Dease understands the power of a big band and, to his credit (and our pleasure), these songs are filled with excellent section writing.  There are certainly plenty of fine solos but what stands out on each subsequent listen are the strong arrangements and first-class work of the rhythm section. Both recording engineer John Davis (Bunker Studio in Brooklyn, NY) and mixing/mastering engineer Nick O'Toole (Woodland Studio, Lake Oswego, OR) make sure we hear all the musicians, especially the superior efforts of Ms. Oh, Ms, Hayama and Mr. Owens Jr.  "Relentless" is the proper name for this appealing CD and it's well-worth exploring.  For more information, go to www.michaeldease.com or www.posi-tone.com/relentless/relentless.html.

Big & Small Ensembles

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Big Bands Rock & Swing

A Single Sky - Dave Douglas with Jim McNeely + Frankfurt Radio Big Band (Greenleaf Music) - Trumpeter/composer Dave Douglas is nothing if not prolific but, unlike some artists, his quality level is quite high.  This CD, released in October 2009, is his first "big band" recording and it is quite impressive.  3 of the disk's 7 pieces are part of Douglas's "President's Suite", commissioned by NDR (North German Radio) and premiered at the Jazz Baltica Festival 2008.  There is a grandeur and a heaviness to "The Presidents", the track that opens the program, the soloists striding over the fullness of the horns and the pounding percussion.  "Campaign Trail" is a bluesy romp (a la Thad Jones/Mel Lewis Orchestra), bouncing along atop as rhythm not unlike what Shelley Manne played behind Sonny Rollins on "I'm An Old Cowhand" - the piece gets bluesier during the solos and, at times, feels like a train moving from tow to town with the candidate onn a "whistle stop tour."  "Blockbuster" kicks up the intensity another notch or 3 with strong solos from Douglas and tenor saxophonist Tony Lakatos over a blazing, declamatory, horn arrangement from the composer. The other 4 tracks are older works by Douglas,, arranged for the big band by the WDR resident conductor Jim McNeely. He took these "small group" pieces and captured both the composer's melodic and emotional intentions. "Bury Me Standing" (from "Mountain Passages") is quite atmospheric, whisper-quiet at times, with a long, probing solo from trombonist Christian Jaksjö and a strong lead line from the composer.
Other highlights include the fast-paced title track with a forceful brass arrangement and fiery drumming from Jean Paul Höchstädter. The pretty ballad "Tree and Shrub" (a piece from Douglas's Quintet week at Village Vanguard) features Douglas alongside fellow trumpeter Axel Schlosser. The silky sounds of trombonist Peter Feil are featured on "The Persistence of Memory", a piece from the 1990s which builds in intensity as Douglas builds his memorable solo.
The rhythm section shines throughout (especially the drummer and pianist Peter Reiter) and there really is no weak link.  The "section" parts are so well written and set off the solos dramatically. 2009 was a splendid year for large ensemble recordings and "A Single Sky" is no exception.  The music is compelling, forceful and alive with possibilities, not unlike the political landscape the composer illustrates in his suite.  For more information, go to www.greenleafmusic.com. 

Bombella - Abdullah Ibrahim & WDR Big Band Cologne (Intuition) - One of my favorite large ensemble recordings is Ibrahim's 1980 "African Marketplace", one of the more evocative albums released.  Ibrahim recorded the Lp with a (mostly) American lineup - to the best of my knowledge, there are few other examples of the pianist/composer in a "large band" setting. There is nothing confrontational about this music; instead, it swings, bounces, bubbles with positive emotions, and features impressive solo and ensemble work.  The melodious arrangements come from the pen of British composer Steve Gray, who passed away 5 months after the recording.  Ibrahim's songs come from his South African homeland, many have a bluesy, gospel, feel, rising and falling on the fine rhythm section of John Goldsby (bass), Hans Dekker (drums) and Paul Shigihara (guitar). Ibrahim opens the program with "Green Kalahari", a solo piano improvisation.  He's featured on the lovely "Meditation", a contemplative solo piece that gives way to "Joan Capetown Flower (Emerald Bay)", a sweet ballad for Ibrahim and tenor saxophonist Olivier Peters. An interesting change of pace is the medley of Thelonious Monk's "I Mean You" and Ibrahim's "For Monk." The piece swings sweetly with strong solos from Shigihara, trumpeter John Marshall, and tenor saxophonist Paul Heller.  Gray creates a whirling transitional section out of which the pianist takes the Monk melody and grafts it onto his piece, slowing the pace as the band reenters for Peter's splendid soprano sax solo. Karolina Strassmeyer's piccolo flute leads in "Mandela", a swing piece that could easily come from the fertile mind of Henry Mancini with an arrangement that blends the feel of South Africa with the Kansas City blues of Count Basie.

Ibrahim's "For Lawrence Brown (Remembrance)" celebrates the fine trombone player from the Duke Ellington Orchestra; it's a ballad spotlight for Ludwig Nuss (trombone) and a short but ever-so-sweet piano interlude.

Ibrahim's sliinky piano intro gives way to a slinky bass line, the pitter-patter sounds on the snare drum and slippery horn lines on "African River." Strassmeyer's exciting also sax work dances atop Dekker's "parade drum" accompaniment (sounds a bit New Orleans-influenced) as does the fine trumpet work of Rob Bruynen. Strassmeyer leads the reed section as they trade licks and spar with the brass sections.

"Bombella" is a joyous celebration of the work of Abdullah Ibrahim, a composer/performer whose music is a cogent reminder how one can rise above the humiliation and injustice of their native land to create beauty. For more information, go to www.intuition-music.com.