Drummer and composer Florian Arbenz, a native of Switzerland, is a musician that has his hands and feet in both the classical and jazz worlds. Active for over two decades, Arbenz has worked with numerous American musicians –– he co-leads a duo with saxophonist Greg Osby plus has played with trombonist Glenn Ferris, reed masters Bennie Maupin and Dave Liebman, as well as Swiss composer/ conductor Heinz Holliger and American conductor Kent Nagano. Arbenz is also one-third of VEIN, a jazz trio that also features his brother Michael on piano and bassist Thomas Lähns.
The drummer's latest project is dubbed Convergence, an apropos name for a group that features musicians from Cuba, Brazil, Great Britain, Australia, and Europe. The sextet –– Arbenz (drums, compositions), Jim Hart (vibraphone), Jorge Vistel (trumpet), his brother Mikael (tenor saxophone), Nelson Veras (guitar), and Rafael Jerjen (acoustic bass) –– has just issued its self-titled debut album (on the drummer's Hammer Music label).One can hear the influences of the afore-mentioned Mr. Osby plus Steve Coleman, and Dave Holland (in the blend of vibes with sax and trumpet). The music jumps out of the speakers with an urgency of the newer sounds of Liberty Ellman and Steve Lehman. Tunes such as the album opener "Little Idea" (listen below) and "Sound" have a funky dance/ M-Base Collective feel.
Once you have listened through the album, go back and check out songs such as "Translacion" and "Nocturne". The former opens with the unaccompanied Hart setting up a three-chord pattern. Bass and drums enter quietly, then guitar, sax, and trumpet. The foppish melody line is a pleasing contrast to the trance-like rhythm section. Jerjen's fine bass intro leads into a heart-felt ballad with the emotionally rich tenor sax and trumpet glide easily over the gentle cymbal and brush work of the drummer and the long, resonant, tones of the vibes.
Photo: Hans Buerkle
Like most albums, the more you listen to Convergence, the more the individual work of the musicians stand out. Veras's excellent guitar work is featured throughout "Ambar" while the rest of the band movie and around him. Turn up the volume for the aptly-titled "Sound" and listen to the excellent interaction of Arbenz and Jerjen. The album closer, "Edificio 17", is a fast-paced, even breath-taking groove with the Vistel brothers working in tandem and also echoing each other on the opening theme. Mikael's mid-range tenor solo feeds off Arbenz's energy. The leader takes a long yet exciting solo in the middle before Jorge Vistel's fine solo, his tone reminiscent of the late Kenny Wheeler, leads the sextet forward to a rousing close.
One hears plenty of promise in the debut recording of Florian Arbenz & Convergence. Each of the musicians involved have developed strong voices and the more they play the leader's music, the more those voices will push the material forward. As debuts go, this one rocks!
Are you still mourning the passing of pianist McCoy Tyner? Do you miss the sound the pianist's 1970 albums for both Blue Note and Fantasy? May I draw your attention to "Happy Synapse", the second album on Rainy Day Records by drummer Sasha Mashin. Mashin, a resident of Moscow, Russia, gathered a mighty sextet with fellow native musicians Dmitry Mospan (tenor saxophone) and Mikan Novikov (acoustic bass) plus Rosario Giuliani (alto saxophone, from the Veneto region of Italy), Benito Gonzalez (piano, from Venezuela, now in NYC), and Josh Evans (trumpet, born in Hartford, CT). Everyone but the bassist and drummer contributed two pieces to the album (which is split into "1" and "2" on Bandcamp, iTunes, and from other suppliers)
The power in this music comes from the leader who drives each tune as if he were driving a race car through the streets of Moscow. The album opens with a drum solo before the pounding piano chords take the sextet into the theme of Giuliani's "The Hidden Voice" –– Mashin pushes the band in the style of Art Blakey and Jeff "Tain" Watts. Gonzalez's solo harnesses that power and blazes forward before Mospan jumps in and flies away. "Incantation", one of the three tracks on the collection that clocks in near or above 13 minutes, opens with a fiery bass solo. When Novikov drops into a circular bass line, the band enters playing Mospan's composition and its echoing voices. The composer's powerful tenor solo leans more to Coltrane as he piles up phrase-upon-speedy phrase, setting quite a high bar for those who follow. Evans is more than up to the task before Gonzalez enters and rides the powerful waves of sound generated by the rhythm section.
Evans contributes the most Tyner-ish piece, the delightful "Sulieman Saud" that opens disk 2. The pianist states the opening theme before the reeds and trumpet enter with a fascinating, if a bit dissonant, second theme. Gonzalez produces a tremendously playful solo giving way to solos from Mospan followed by the composer (his most playful spot as well). The drummer takes a turn supported by the thunderous chords and booming bass.
The album closes with the longest track (13:19), Giuliani's "The Hidden Face of Stars", its rubato opening giving way to a modified Latin and Blues groove. The theme is a call-and -response between the "front line" and the piano. The sextet takes its time working through lengthy melody section but then they move easily into the solos. Evans goes first and creates a fascinating story moving in and around the beat and the insistent and exploratory piano chords. Mashin sounds busy beneath him but he's really stroking the fire as he does throughout the album.
An album as boisterous as "Happy Synapse" deserves to be heard, to be listened to loud, and, in a less panic-stricken, to be heard in person. The only overt political statement about the album is how this American art form, Creative Black Music, stealthily has made inroads into Eastern Europe, the Middle East, the Far East, and just about everywhere. Sasha Mashin and his international sextet play this music with enthusiasm, with joy, and abandon –– enjoy the ride!
I was lucky to grow up in Middletown, CT, for many reasons: one in particular was the presence of Wesleyan University, its bookstore, galleries, theater, and, especially, the Music Department. The University greatly expanded its World Music studies under the auspices of Robert "Bob" Brown introducing the students (and curious community members) to Javanese gamelan music as well as South Indian classical music. Members of the faculty were two brothers, T. Vishwanathan, an amazing flutist, and T. Ranganathan, who played the mridangam, a double-headed drum. "Ranga", as he was called, was one of the most out-going people one could ever meet. He had a great sense of humor and was strikingly humble about the fact he was an amazing percussionist (here he is in the 1960s - click here). He died much too young - at the age of 62 - but I can still hear his incredible laugh and his amazing hands as they created such amazing rhythms and melodies. Like the great tabla master Alla Rahka, Ranga could make you marvel at his technique as well as being thrilled by joyous playing.
Meet Rajna Swaminathan. She plays mrudangam (variant spelling), having studied with several current masters of the drum including Umayalpuram K. Sivaraman. Ms. Swaminathan, born in Maryland, has been involved in both the world music and jazz scene in New York City since 2011 working with artists such as Vijay Iyer, Amir ElSaffar (she's a member of his Two Rivers Orchestra), Steve Coleman, and saxophonist Maria Grand. She's currently a Graduate Student at Harvard University and has worked with Iyer in that capacity as well as on several concerts. Ms. Swaminathan also composes for dance and theater productions including 2015's "The Worry Machine" (music from the Anu Yadav play, "Meena's Dream"). Her frequent musical companion is her sister Anjna who is a composer and violinist. Together with their father Dr. P.K. Swaminathan, they run a 5013-C called Rhythm Fantasies, INC, whose goal is to "promote South Indian classical music and dance in a space that encourages education and enrichment through innovation and cross-cultural collaborations."
Now Rajna has her first album as a leader "Of Agency and Abstraction" (Biophilia Records). The recording, co-produced by Iyer, features her group RAJAS, a quintet that features her sister (violin), Ms. Grand (tenor saxophone), Miles Okazaki (guitar), and Stephan Crump (bass) plus guest Amir ElSaffar (trumpet) and Ganavya Doraiswamy (vocal). One of the joys of this music, this beautiful collection of original compositions, is that while it's obvious these musicians are brilliant technicians, there's more emotion inside the motion, a flow that enters one's mind, closes the eyes, and allows you to breathe easily (that's what it does for me). Note how easily the percussive [luck of the guitar combines with the singing violin, bowed bass, bouncing mrudangan, and dancing tenor saxophone blends.
The tendency to want to discuss this music gives way to the belief that each listener approach there album with an open mind. If you're looking for a message, take your time to find it. The leader describes the group's mission as one that is "a network of like-minded improvisers from multiple/overlapping traditions to experiment with new horizons of relation through hybrid forms, textures, and sensibilities." After all, RAJAS means passion/action" in Sanskrit.
Yet, there are moments throughout that stand out. Ms. Grand's breathy tenor leads the way on "Peregrination" with the violin in counterpoint and the rhythmic guitar in sync with the percussion. The splendid "singing" violin meshing with the guitar at the onset of "Vigil" begins a journey that spreads over 10 minutes with the various voices adding counterpoint and harmony. Ms. Doraiswamy and Mr. ElSaffar join the quintet on "Departures" - while you may not understand the words, the trumpet and violin create a call-and-response that helps to transmit the emotions of the lyrics. Don't ignore the contributions of bassist Crump - his arco work throughout is deep and resonant. Without a "regular" drummer, he's free to be melodic as well as foundational.
Just listen. As I write these words, the windows are open and birds are singing in the trees close to the house. Their songs fit in nicely with the sounds swirling out of the speakers. Late at night, listen. Early in the morning, listen. Give this music all the attention you can. Time will fall away and the beauty inherent in these songs, these collaborations, the myriad voices, will seep into your soul. Too poetic for you? This music is quite lyrical, gentle, soothing, and challenging. "Of Agency and Abstraction" stands out amidst the noise of the everyday. Rajna Swaminathan took plenty of time to create this music, to find the right musicians, the right sonic combinations, and the results are very impressive, very moving. Listen.
The drummer, educator, and mentor Ralph Peterson literally burst into the public ears in 1985 as a member of O.T.B. (Out of the Blue), a group of young musicians that Blue Records Records created to showcase younger talent. He worked with so many musicians through his career including Tom Harrell, Terence Blanchard, Geri Allen, Charles Lloyd, and Betty Carter. But the once person who made the biggest impression on his person and career was drummer Art Blakey. Peterson was one of the few drummers who the great master invited to play in his bands, the talent incubator known as The Jazz Messengers. The younger man learned that you give everything on the bandstand and that you expect the same from the people you work with as well as to pass on the jazz traditions through your music and through teaching. Peterson has done just that over the years creating groups that featured younger players such as clarinetist Don Byron, vibraphonist Bryan Carrott, pianist Orrin Evans, and trumpeter Sean Jones (among others).
Peterson has been recording prolifically over the past few years for his own Onyx label. Most of those albums feature younger musicians recorded live. The newest addition to the catalogue, "Legacy Alive: Volume 6: Live at The Side Door", is credited to Ralph Peterson & The Messenger Legacy, a sextet composed of musicians who played with Mr. Blakey (1919-1990) in the late 1970s and through 80s. What a unit - Bill Pierce (tenor saxophone), Bobby Watson (alto saxophone), Brian Lynch (trumpet, Essiet Essiet (bass), and Geoffrey Keezer (piano), who along with Peterson, swing their way through 11 pieces associated with the Jazz Messengers repertoire (the group stayed active for 35 years!)
Photo: Peter Leng Xiong
The program was recorded over two nights in October 2018. The Side Door Jazz Club in Old Lyme is owned and operated by Ken Kitchings (Rich Martin does the booking) and there is no bigger or more vocal supporter of the music in the state than he. If you listen closely, you can hear Kitchings shouting his encouragement throughout and the end of songs. Why not? The sextet is having a great time, they all play with gusto, the material is top-notch, and the sound is great. The drums and piano come through loud and clear; Brian Lynch's trumpet cuts through the mix with his delightful blend of riffs, smears, and articulated lines. It's so great to hear Bill Pierce playing so strong, his bluesy solos are a treat. Bobby Watson, who joined the Messengers in 1977, has always played with wit, humor, and when called for, grace. He does so here as well. He also has blues in his background but he can fly with ease over this band. Check him out on his "In Case You Missed It", a tune on which everyone solos with abandon. Geoffrey Keezer, who joined the Messengers when he was 18, also plays with great wit and spontaneity. Listen to his unaccompanied opening of "That Ole Feeling" - he sets the pace for the band who dance delightfully behind his sparkling keyboard. His solo on Curtis Fuller's "A La Mode" is flat-out amazing
As for the leader, he's always been fun to listen to. Yes, his power can overwhelm some groups but not this one. His ability to push a band, to prod soloists, to stop-on-a-dime, to create a storm that not only dazzles listeners and make them shout but also is so darn joyous - Peterson is having fun, even as you realize that some of this material was composed 40, 50, over 60 years - this band makes it sound contemporary. The Juan Tizol - Duke Ellington classic "Caravan" was first recorded in 1936. Listen here and it's alive, ebullient, and powerful. "Three Blind Mice", credited to Anthony Rooley and Thomas Ravenscroft (who wrote the melody in 1611), was recorded by Blakey in 1962 in a quintet that included Wayne Shorter and Freddie Hubbard. The arrangement is quite similar and the overall effect is as well. The sextet also takes an energetic run through Shorter's "Children of the Night" (which he composed and recorded with The Messengers in 1961).
Thanks to the great engineering and mastering, the music on "Legacy Alive" is loud and clear. Every member of the Messenger Legacy gives his all (just as Art Blakey commanded them to do during their tenure with him) - it's that dedication, that desire to communicate living history, that makes this music so thrilling. Just start with first track "A La Mode": if that does not make you jump up and shout, call the doctor immediately! Also, check out the great cover collage by CT-based artist Andres Chaparro. It exemplifies the powerhouse that Ralph Peterson has been throughout his career and who is today.
Pianist and composer Emilio Teubal, the son of Argentinean parents who were in exile in Spain at the time of his birth ands returned to Buenos Aires when he was eight years old, first came to my attention with his fine 2013 BJU album, "Musica Para un Dragon Dormido." His new recording, "Memorias de Otro Tiempo" (Music of Another Time), finds him in a trio setting with acoustic guitarist Federico Diaz and clarinetist Ivan Barenboim as well as on a new label, Not Yet Records. I wrote of the earlier album "Teubal has woven threads of numerous musical styles into his compositions without losing touch with his "roots." The same is true here but the smaller ensemble allows the listener to hear his impressive work at the keyboard where he supplies melodies, harmonies, and, often, the rhythmic flow.
The forward motion of pieces such as the title track, "La Inquieta", "Playing", and "El Orzuelo" will remind listeners of Astor Piazzolla and Guillermo Klein yet Teubal is no mimic. Guitarist Diaz is quite percussive on "El Orzuelo" with his powerful strumming in the opening section and his pounding on the body of his instrument during the powerful piano and clarinet interaction. He takes a similar approach on the opening of "La Inquieta" before he joins the piano and clarinet in the escalating melody lines (Teubal's left hand builds an excellent foundation for the melody and the interactions). The trio chases after each other in the delightful romp of the solo section. It's joyous, impressive, and certainly breathtaking music. The previous track, "Playing", is a delight-filled solo piano piece that one might expect at the close of the program. Here, it's in the middle of the album, literally pulling the listener into the songs that follow.
The ballads are equally as breathtaking but for other reasons. "April 7th" opens with bass clarinet, soft guitar, and slowly unwinding piano melody. As the intensity builds, so does the emotion. The piano gives way to a plaintiff clarinet melody with smart counterpoint from the guitar. There is a melancholy sadness to "En la Dia de los Muertos (An American Tragedy)", not surprising since the pianist composed the piece on the November 2016 night of the US Election Day. With that amount of gravitas, one is temper to read many things into the music. Put that out of your mind and let the music flow into your ears and get wrapped up in the excellent interaction of the trio.
Memorias de Otro Tiempo" is truly lovely music Well-played, intelligently composed and arranged music that plays to the strengths of the trio. On this, his fourth album as a leader, Emilio Teubal not only displays his great talent but also a emotional depth that makes this music personal and universal. Listener, sit back and let the music wash over in and take over your mind. Don't worry about labels such as "Chamber jazz" or "South American folk music", just listen.
Drummer and composer Jeff Williams is, perhaps, best known for his work with Stan Getz and with Dave Liebman and Richie Bierach in Lookout Farm. He's played with many great artists but did not record as a leader until the 1990s when he released two small group albums on SteepleChase Records and Willful Music (his own label). Whirlwind Recordings has issued four albums since 2011, the latest being a live date from June 2017. "Lifelike" features a group that expands on the 2016 quintet that recorded his previous album "Outlier"; pianist Kit Downes, bassist Sam Lasserson, and tenor saxophonist Josh Arcoleo return and are joined by alto saxophonist John O'Gallagher (who appeared on Williams's first two Whirlwind albums) and special guest, trumpeter Gonçalo Marquez.
photo by John Rogers
The sextet rambles, rumbles, and rocks through seven Williams originals, several from earlier albums. There is plenty of fire in the performances, from the powerful drive of "The Interloper" to the relentless tension of "Dream Visitor" to the hard-edged "Double Life." Yet, it's hard not to be seduced by the subtle tempo changes and searching quality of "Under The Radar". Marquez's solo on the tune belies the fact that this is the first time he played with this time yet he connects with the rhythm section for a powerful solo. Lasserson's melodic bass solo at the opening of "Lament" sets the tone for the lovely ballad. With O'Gallagher's lovely alto sax on the melody, the piece rises gently on Williams's skittering brush work and Downes's excellent piano solo. There are moments on this album when one is reminded of Keith Jarrett's work with his American Quartet (Dewey Redman, Charlie Haden, and Paul Motian). This is one and so is the the exploratory "Canção do Amolodar" where the trumpet and saxophones ride atop a powerful wave of percussion, piano, and throbbing bass.
photo: Danielle White
Thanks to the excellent sound quality, one feels as if he is in the audience of London's Vortex Jazz, right in the middle of the action. Jeff Williams is one of those leaders who also is in the middle of the action without hogging the spotlight. Tenor player Josh Arcoleo continues to mature and blends well with O"Gallagher's alto. Downes stands out for his melodic and adventurous playing while Lasserson is solid and strong. Marquez is a new name, a graduate of Berklee College who also blends well in the front line plus creates several exciting solos. All told, "Lifelike" is full of life, an hour of progressive music not beholding to any genre other than than six musicians fully involved in playing in the moment.
Walter Smith III is one of the cadre of musicians who hail from Houston, Texas, who are important members of the contemporary music scene (a group that includes pianists Jason Moran and Robert Glasper, bassist Christian McBride, and drummer Eric Harland). Both McBride and Harland are present on Smith's new album "Twio" (Whirlwind Recordings) with the bassist billed as a special guest (he's on four of the nine cuts). Harish Raghavan also plays bass on four tracks: he's toured and recorded with Smith3 for several years when he's not touring with trumpeter Ambrose Akinmusire.
Fellow tenor player Joshua Redman joins the ensemble for two tracks, the easy going "On The Trail" and the rollicking "Contrafact." The latter track open with the two tenors going full out on the melody line sans rhythm section. When Harland and McBride, the tenors rip through the melody before both soloing with abandon (not hard when the rhythm section is playing up a storm behind you). The Ferde Grofé tune, from his 1931 "Grand Canyon Suite", swings delightfully with solos that bow in the direction of Sonny Rollins without imitating his free-flowing style. Redman and Smith3 sound as if they are having the best of times and that joy permeates the performances. This is not a cutting section but truly a collaborative effort.
Smith3 and Raghavan are part of Harland's Voyager ensemble also it's easy to hear his comfortable they are with each other. Listen to how they dive into Wayne Shorter's "Adam Apple", not only making sure one hears the melody but also with solos that are inspired and powerful. They swing the daylights out of Jerome Kern's "Nobody Else But Me" and take an adventurous stroll through Thelonious Monk's "Ask Me Now." When Harland and Raghavan drop into the rhythm for the first part of the tenor solo, the listener feels like settling in. The fun here is that the tempo changes, gets friskier, then calms down, heats up again. Dig the delightful sax cadenza right near the end.
There are also a pair of impressive duo tracks. Harland and Smith3 give a sweet reading to "We'll Be Together Again", taking their time to make sure you hear the melody. The tenor solo is drenched in the blues and rarely strays from the melody. Harland stays close to the beat but still manages to prod the tenor forward. McBride joins Smith3 for a sweet traipse through Gigi Gryce's "Social Call" - it's fun to hear how the two interact, sometimes hewing close to the melody, other times dancing around each other with glee.
"Twio" stands out for many reasons, not the least of which is how much fun the musicians are having in the studio. Walter Smith III displays a "clean and clear" sound with little vibrato and his solos steer clear of cliches. With "Contrafact" the only original tune, the musicians make these standards anything but "standard." What a treat from start to finish!
Chances are good if you have been listening to jazz and creative music for the past four decades, you have run across the drummer Adam Nussbaum. He has worked extensively with saxophonist Dave Liebman, the late guitarist John Abercrombie, bassist Steve Swallow, saxophonists Jerry Bergonzi and the late Michael Brecker, composer-arranger George Gruntz, even the Allman Brothers Band, and many more. Nussbaum is one of those musicians who makes everyone him sound better because they never have to worry about the beat disappearing. Plus, he is one of the finest cymbal players extant
Now, at the age of 62, Nussbaum's first project to bear his name is "The Lead Belly Project" (Sunnyside Records). The album features saxophonist Ohad Talmor plus guitarists Steve Cardenas and Nate Radley. On first listen, one will be reminded of the Paul Motian - Joe Lovano - Bill Frisell trio or Frisell's Americana albums but a deeper examination will lead you to hear the program as delightful blend of blues, country, folk, and early jazz. Without a bassist, the music depends on the essential drumming of the leader (his brush work throughout is quite delightful). It's also fun to hear how the guitarists complement each other, especially on pieces such as "Bring Me a Little Water, Sylvie", "Green Corn", and the rollicking, rocking "Black Betty." Both Cardenas and Radley crackle on that last track mentioned, soloing at the same time as Nussbaum stokes the fire. Listen to how they support Talmor's sweet tenor sax solo on "Bottle Up and Go", creating a country-blues shuffle along with the drummer that is delightfully seductive.
The Israeli-born Talmor, who did not grow up with this music, adds a great deal to these songs. He never wastes a note, displays a bluesy side one may have never heard in his playing, and makes sure you hear the melody line. His is the first voice you hear on the album, introducing the melody of "Old Riley" before the guitar and drums enter. The quartet plays the piece in rubato for the first 90 seconds before Nussbaum plays the scrappy rhythm and the band takes off. On "Insight, Enlight" (one of the two Nussbaum originals), Talmor sounds as if he's playing a lullaby for his children. His mellow sound wraps around the two guitars on "Black Girl (Where Did You Sleep Last Night)", remaining calm as Nussbaum ratchets up the intensity. The ending is really quite enchanting.
The music of Huddie Ledbetter, a.k.a Lead Belly, has touched American music fans for nearly100 years. He sang his way out prison twice, was brought to New York City by folklorist John Lomax, performed throughout the 1940s but succumbed to ALS (Lou Gehrig's Disease) in 1949. A few months after his passing, the folk group The Weavers sold two million copies of "Goodnight Irene"; sadly that success would have pulled him out of poverty but he did not live to see it. That song closes "The Lead Belly Project" and, save for the short drum introduction, stays close to the melody line. The solos that follow use the melody line as their North Star (even the leader plays the melody about a minute before the end of the track.
Adam Nussbaum may have waited a long time to release his debut album but he has been an active and influential member of the creative music scene for a long time. "The Lead Belly Project" plays tribute to a giant of American music and proves how his music is integral to the development of popular music. This album won't challenge the listener but will certainly soothe, amuse, and entertain anyone who gives it a spin.
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