These are a Lot of My Favorite Recordings of 2018

Like many critics/reviewers (I'm in the latter camp), I make a year-end list of my favorite recordings of the past 12 months.  Since I rarely, if ever, review an album I truly dislike (or even are lukewarm about), it's hard to keep that list at 10 or 20.  In June of this year, I remarked to a good friend that I could probably create a 2018 "Best of" list with all Big Band or large ensemble albums alone. Nonetheless, this year, I present you the entire list with spare comments. This list, unlike the one I created for the NPS Jazz Critics Poll (which was truly a Top 10 and will be published soon) is in no particular order.

Top Albums 2018

Felipe Salles Interconnections Ensemble – “The Lullaby Project (and Other Works for Large Ensemble)” (Tapestry Records) - Such brilliant section writing as well as memorable melodies

Jim McNeely & The Frankfurt Radio (HR) Big Band – “Barefoot Dances and Other Visions” (Planet Arts) - Same as above but with the Ellingtonian legacy of "knowing" who you re writing for

Kate McGarry, Keith Ganz, & Gary Versace – “The Subject Tonight is Love” (Binxtown Records) - The joy of intimate collaboration and emotionally strong material makes this collection something to listen over and over

Dafnis Prieto Big Band – “Back To The Sunset” (Dafnison Music) - Power and precision, melodies fired by rhythms led by an amazing drummer

Ambrose Akinmusire – “Origami Harvest” (Blue Note Records) - Mr. Akinmusire is really in a class by himself, moving in multiple directions without diluting his vision

Rudy Royston – “Flatbed Buggy” (Greenleaf Music) - Mr. Royston, known for his fiery and exuberant drumming, is maturing into a fine composer blending a variety of influences with a splendid ensemble of musical colleagues 

Kind Folk – “Why Not” – (Fresh Sound New Talent) - The spirit of the late Kenny Wheeler is celebrated here by four young musicians who gelled long before entering the studio

Andrew Rathbun Large Ensemble – “Atwood Suites” (Origin Records) - Mr. Rathbun takes a number of chances never missing his mark to bring Margaret Atwood's writing to a listing audience

Miguel Zenon & The Spektral Quartet – “Yo Soy La Tradicion”  (Miel Music) - Mr. Zenon with a string quartet playing traditional religious music and ore from his native land of Puerto Rico is chock-full of brilliant writing and playing

Edward Simon (w/ Afinidad and Imani Winds) – “Sorrows and Triumphs” (Sunnyside Records) - A subtly beautiful recording which sounds better with each listen

Thumbscrew - “Ours” + “Theirs” – (Cuneiform Records) - Amazing musicality and interplay between three masterful musicians who often think as one
Mary Halvorson - "Code Girl" (Firehouse 12 Records) - A new quintet that utilizes her Thumbscrew mates plus the expressive trumpet of Ambrose Akinmusire and amazing voice of Amirtha Kidambi. Prog-rock roots (I hear the influence of Robert Fripp in the opening guitar sounds) plus much more

Miles Okazaki – “Work: The Complete Works of Thelonious Monk”  (self-released/Bandcamp) - Wow!  So much thought and vision in this project, giving the listener an even better understanding how Thelonious Monk continues inspire generations of musicians and music

Frank Kimbrough - "Monk's Dreams: The Complete Compositions of Thelonious Sphere Monk” (Sunnyside Records - See above - Mr. Kimbrough shares the spotlight with three colleagues including the amazing multi-instrumentalist Scott Robinson

Noah Preminger – “Genuinity” – (CrissCross Records) - Moving back to Boston has energized young Mr. Preminger as both a composer and saxophonist. The addition of Dan Weiss has lit a fire under his quartet (which already boasts the great bassist Kim Cass and trumpeter supreme Jason Palmer)

Cecile McLorin Salvant – “The Window” (Mack Avenue) - What a voice! What an actress, a composer, an interpreter, and judos as well to the versatile Sullivan Fortner

Benjamin Boone/Philip Levine – “The Poetry of Jazz”  (Origin Records) - The late Philip Levine is one of my favorite poets yet it took me nine months to dig into this amazing blend of the poet's voice and the intelligent compositions and arrangements of Mr. Boone

Jeff Baker – “Phrases”  (Oa2 Records) - Another album that took its way to burrow under my skin and in my ears. Baker's emotional delivery and a great band featuring pianist Darrell Grant and drummer Brian Blade
Lorraine Feather – “Math Camp” (Relarion Records) - Ms. Feather is such a delightfully intelligent and humorous lyricist, not to forget she sings nicely as well. With science at its core, this album sparkles
Tessa Souter – “Pictures In Black and White” – (self-released) - Heartfelt, honest, adventurous, smartly arranged set of songs that allows the listener into Ms. Souter's complicated life story and her triumphs

Darrell Katz and the JCA Orchestra – “Rats Live On No Evil Star” (JCA Records) - Mr. Katz utilizes his orchestra to tell stories that range from political satire to treatises on friendship. A good number of these musicians have appeared on previous Katz/JCA recordings and he writes knowing their voices. Also, the voice of Katz's late wife, poet Paula Tatarunis, is heard in the impressive vocal work of Rebecca Shrimpton

Henry Conerway III.  "With Pride For Dignity" (self-released) – Best Debut Recording! Such joy, gospel, blues, and jazz with life experience makes for a splendid album.  

Carn Davidson 9 – “Murphy” (self-released) - I love how this ensemble blends all its voices int such a delightful stew - special shout-out to drummer Ernesto Cervini for his powerhouse yet subtle drumming

Ingrid Jensen & Steve Treseler - “Invisible Sounds: For Kenny Wheeler” (Whirlwind Recordings) - A fine quintet of musicians including the four members of saxophonist Steve Treseler's quartet plus trumpeter Ingrid Jensen pay tribute to the late Kenny Wheeler with an excellent selection of his songs

NYSQ – "Seven Steps to Heaven” (Whirlwind Recordings) - Nothing standard about this "standards" and the New York Standard Quintet - they make this material fresh and new.

Owen Broder – “Heritage: The American Roots Project” (ArtistShare) - Intelligent arrangements! Great musicianship!  Music that speaks of today by going back and examining material that mines the American spirit

Benje Danneman’s SearchParty – “Light In The Darkness”  (Self-released) - Heartfelt & thoughtful project played an amazing quintet of musicians

Anne Mette Iversen & the Norrbotten Big Band – “Everything In Between” (Prophone) -Brilliant section writing and arranging - this band loves to play!

Marshall Gilkes & the WDR Big Band – “Always Forward” (Alternate Sides Records/WDR - see comment just above

Judy Niemack & the Danish Radio Big Band – “New York Stories” (Sunnyside Records) - More great work from Jim McNeely plus great lyrics to T Monk tunes from Ms. Niemack

John Hollenbeck Large Ensemble – “All Can Work” (New Amsterdam) - Certainly one of the most intriguing group of arrangements

Joe Lovano & Dave Douglas: Sound Prints – “Scandal” (Greenleaf Music) - Two masters and great young band plus such passionate material

Jon Irabagon Quartet (with Tim Hagans) – “Dr. Quixotic’s Traveling Exotics”  (Irabbagast Records) - Perhaps the most powerful performances on record this year

Henry Threadgill Ensemble Double Up – “Double Up, Plays Double Up Plus”  (Pi Recordings)

Henry Threadgill 14 or 15 Kestra: Egg – "Dirt….And More Dirt" (Pi Recordings) - Mr. Threadgill continues to grow, expanding his interests as well as his sonic palette.

Steve Coleman & Five Elements – “ Live at The Village Vanguard (The Embedded Sets)"  (Pi Recordings) - Intense music from start to finish, a great front line paired with an equally great rhythm section

Jonathan Finlayson – “3 Times Round” (Pi Recordings) - Mr. Finlayson continues to grow as a composer and performer

Walter Smith III – “Twio” (Whirlwind Recordings) - Music that is so filled with the joy of playing together
Michael Musilami Trio + 2 - "Life Anthem" (Playscape Recordings) - Guitarist and composer Musillami bounces back after a life-threatening brain tumor - the album features his long-time trio plus cornetist Kirk Knuffke and multi-reed player Jason Robinson. Like the composer/musician, the music is so filled with life!

Jamie Baum Septet + - “Bridges”  (Sunnyside Records) - Ms. Baum's music continues to expand as she challenges her musicians and the audiences

Andy Biskin - "16 Tons: Songs from the Alan Lomax Collection" (AnDorfin Music) - Modern American music has so many influences and Mr. Biskin on reeds with a four-trumpet choir manages to mash a whole bunch together!

Geoff Bradfield – “Yes, and...Music for Nine Improvisers”  (Delmark Records) - Mr. Bradfield is a true student of jazz eras, writers and soloists. His latest mines the various strains that have developed in Chicago

Art Hirahara – “Sunward Bound”  (Posi-Tone Records) - Great band, great pianist, great material!

Tom Tallitsch – "Self-titled" (Posi-Tone) - Another artist who continues to mature with every album

Adam O'Farrill - "El Maquech" (Biophilia Records) - Great young band led by a trumpeter who already has an identifiable sound

Reissues and Historical

John Coltrane – “Both Directions At Once – The Lost Album” (Impulse) - Coltrane was always in transition and this is a fascinating example of a band in its prime

Wes Montgomery - "Wes Montgomery In Paris: The Definitive ORTF Recording” (Resonance Records) - What a treat to hear Wes let loose!

Fred Hersch Trio - “Heartsongs” (Sunnyside Records) - His first trio record, a unspoken tribute to several of his major influences as well as a reminder that Mr. Hersch's trios have been collaborative from the beginning

Sonny Rollins – “Way Out West (Deluxe Edition)” (Craft Recordings) - A favorite since forever, a one-shot trio that made history. 

Beyond Category

Yo-Yo Ma – “Six Evolutions – Bach: Cello Suites” (Sony Music) - Third time is a charm for Yo-Yo Ma in his life-long quest to plumb the depths of these amazing dance pieces - one could argue that one and second times through the music are also pretty great.
Tyshawn Sorey - "Pillars" (Firehouse 12 Records) - 21st Century Creative music with subtle influences from around the world doesn't do justice to the sounds that Mr. Sorey (drums, trombone, dungchen - low Tibetan horn, percussion, conductor) and his seven collaborators create on this trio of 75-minute + pieces

Label of the Year

Hard to choose - let's congratulate Pi Recordings, Sunnyside Records (a perennial favorite), Greenleaf Music, Whirlwind Recordings, and Resonance Records for their continuing excellence!

Best News of the Year!

Jason Crane and The Jazz Session has returned - it's still a joy to listen to.  I am so jealous of his interviewing skills and his continuing good taste (and not just because he chose to interview me.....no, really, I've written that before).

  

You Want Live Music? Friday 6-15-18 Has Got You Covered

Such a busy week of live music and arts events here in CT. While the Firehouse 12 Spring Concerts series comes to a close on Friday (with trombonist's Samuel Blaser's Trio), the International Festival of Arts & Ideas in New Haven is in the midst of its annual two-week run, and The Side Door Jazz Club in Old Lyme welcomes drummer Alex Syndman's Trio (Friday) and the Whitfield Family Band (Saturday).

This post features two younger artists, one a CT native, performing this Friday.


Vocalist, composer, and West Hartford native Allegra Levy comes "home" (she now lives, works, and gigs in New York City) to play a  CD Release Party at 8 p.m. in the performance space at The Hartford Flavor Company, 30 Arbor Street, in Hartford. The distillery is becoming well-known in the Capitol City Region for its line of Wild Moon Liqueurs with flavors such as birch, cranberry, rose, and others.  An incredibly astute person reached out to Ms. Levy and invited her to perform based on the fact that her third album, issued this week on the SteepleChase Records label, is titled "Looking At The Moon ", a program of songs (all covers) that range from "Moonshadow" to "Polka Dots and Moonbeams."  She's bringing the trio of musicians featured on the album - bassist Tim Horton (also a West Hartford native), pianist Carmen Staaf, and guitarist Alex Goodman - and they will play two sets.  The distillery is also creating a signature drink in honor of Ms. Levy and the new album.

For ticket information, go to www.eventbrite.com/e/allegra-levys-looking-at-the-moon-cd-release-show-tickets-45628344607. To learn more about the vocalist and her music, go to www.allegralevy.com.

Here's a track from the new album:

www.steeplechase.dk/audio/Harvest_Moon_SAMPLE.mp3.

The Buttonwood Tree, 605 Main Street in Middletown, presents the Danny Green Trio in concert at 8 p.m.  The Trio - Green (piano, compositions), Justin Grinnell (bass), and Julien Cantelm (drums) - began their musical journey together in 2010 (the association of Grinnell and Green started three years before that) and have released four albums together. The Trio was signed to OA2 Records in 2014 and, with the recent release of "One Day It Will", now have issued three CDs on the Seattle-based label.

The new album is what brings the San Diego, CA resident and his band to the East Coast.  The recording features a string quartet, an idea that Green brought to his previous album for three songs. The reception was so positive that the composer and arranger created a full program for the his band and the strings. And, this is not just piano trio with strings for sweetening.  Green has created melodies especially for the two violins, viola, and cello in which the Trio supports, interacts, and creates new harmonic possibilities.  Also, Green's music has moved away from the strong Brazilian influence that one could hear on the first two recordings.  Now, one can hear hints of Chick Corea, Keith Jarrett, Bill Evans - nothing overt, mind you but truly a sign of growth, maturity, and curiosity.

Photo: Sasha Israel

The Buttonwood gig is one of several on this East Cast swing without the strings. Nevertheless, the music should be listened to for the melodic content and the intuitive interactions of the rhythm section.  What is great about the venue is that you can really pay how the Trio creates its sounds, the communication taking place, and how they respond to the audience.

Danny Green is conducting a Master Class at 6:30 p.m. (with a separate admission charge).  The Danny Green Trio takes the stage at 8 p.m.  For tickets and more information, go to buttonwood.org/event/the-danny-green-trio/ or call 860-347-4957.

To learn more about the man, the Trio, and the music, go to dannygreen.net.

Here's the opening track of the new album:

Ladies Day April 17 Edition (Part 2)

Composer, arranger, and valve trombonist Bob Brookmeyer released his final album late in 2011. Titled "Standards", the recording featured the New Art Orchestra plus guest vocalist Fay Claassen. I had enthusiastically reviewed her 2010 release with the WDR Big Band Cologne ("Sing!"); Mr. Brookmeyer 's album came a year later and was even better (the version of "Love For Sale" is simply stunning).

"Luck Child" (Challenge Records) is her seventh release as a leader and the first time I have heard her sing with a small group (though not the first time she's recorded with one).  The recording features pianist Olaf Polziehn, guitarist Peter Tiehuis, and bassist Ingmar Heller plus Ms. Claassen's husband Paul Heller (clarinet, bass clarinet, tenor saxophone on one track).

The repertoire is a smart mixture of standards, songs by contemporary songwriters, and a pair of tunes from her husband.  Opening with the title track, a tune from guitarist Leni Stern with lyrics by Catriona O'Daly, it's a handsome melody (influenced by Jimmy Webb) with a stay-strong story. Ms. Claassen has a funky time with Paul Simon's "One Trick Pony" (excellent work from Tiehuis); good choice as it's one of the songwriter's least-covered tunes and is perfect for the vocalist's range.  Paul McCartney's "Blackbird" has been covered dozens of times and Ms. Claassen's soulful version is one of the best. The musicians play it fairly straight yet it's the vocal that takes flight throughout.

Other highlights include Kenny Wheeler's "Fay" (written for the vocalist) with her splendid overdubbed vocals taking the parts of an instrumental front line and a deep blues-soaked reading of Duke Ellington's "In a Sentimental Mood" (her high notes are stunning, loud and clear).  Her husband contributes "Miniature No. 7", a 60-second piece on which he overdubs a reed section which  Ms. Claassen joins while the composer roars along on tenor sax.  The other Heller song, "Finding You", is a contemporary love song with another soaring vocal and bright piano solo. Pianist Fred Hersch and vocalist Norma Winstone composed "Song of Life" for a duo album issued in 2003, recording it as a ballad.  This version is faster with a rippling guitar solo that gives the piece a Bruce Hornsby feel (one hears that in the lovely choice of chords and releases).

Fay Claassen attempts to blend old and new, hard and soft, happy and sad, doing so in a trip setting that is both comfortable and challenging.  There are musical surprises along the way (a sweet version of "Oh Shenandoah" and a good take of Burt Bacharach/ Hal David's melodramatic "A House Is Not a Home"); the vocalist is strong throughout and "Luck Child" succeeds on the strength of her performances, the musicians' interactions, and the variety of the material.

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

Here's the title track:

Saxophonist, bass clarinetist, educator, and composer Roxy Coss has a new album, her third as a leader and first for Posi-Tone Records. "Chasing the Unicorn" features six original pieces plus works by Joe Henderson, Wayne Shorter, Lionel Loueke, Lennon & McCartney, and Willie Nelson. With her regular band, composed of Alex Wintz (guitar), Glenn Zaleski (piano), Rick Rosato (bass), and Jimmy Macbride (drums), the sounds explode out of the speakers with great urgency and high spirits.

The title track opens the album with the leader on soprano sax but also overdubbed tenor sax and bass clarinet.  That "full" sound plus strong solos from Ms. Coss, Wintz and Zaleski as well as the intelligent arrangement is rewarding for the listener. The tenor sax leads the way on another original "You're There", the music pushed along by Macbride's active drumming. Ms Coss's solo rides the percussive wave. Wintz and Zaleski offer good counterpoint as the solo continues.  The melody of "Unwavering Optimism" moves upward throughout yet notice the step down as the band moves into the solo section.

As for the non-original pieces, Loueke's "Benny's Tune" brings back the bass clarinet in a supporting role as the band explores the rhythmic melody line. The interweaving of piano and tenor sax while Wintz joins the rhythm section catches the ear as does the guitarist's high-energy solo. When Ms. Coss re-enters for her tenor solo, she dances atop the bouncy rhythms.  "Oh Darling" (from The Beatles "Abbey Road") maintains its bluesy feel but with a sophisticated touch, not unlike a David "Fathead" Newman approach to a "pop" tune. The Quintet darts through Joe Henderson's "A Shade of Jade" with Ms. Coss's tenor leading the way. Strong solos all around from the front line on the hard-bop track. Wayne Shorter's lovely ballad "Virgo" puts the bass clarinet up front, a classy move, and Ms. Coss's solo is quite impressive. But, pay close attention to the work of Zaleski, Rosato, and Macbride as they are quiet yet active in support.  The album closes with Willie Nelson's "Crazy" - the tenor solo is reminiscent of both Coleman Hawkins and Ben Webster in tone and attack.  Wintz's guitar solo stands out as well.

Photo by Anna Yatskevich

"Chasing The Unicorn" follows Ms. Coss's "Restless Idealism" (Origin Records) release by 15 months yet feels like a giant step in her career.  One can hear in the maturity of the compositions, in her development on both the soprano sax and bass clarinet, and her work as a bandleader.  This is a group you'll want to see and hear. Each member plays with strength and intelligence, adding to the songs in many different and often subtle ways. The faces of contemporary music are always changing, more young people are getting involved (even now, at a time when the business end of the "business" can be frustrating), and we are hearing news way to approach both tradition and change.  Give a close listen to Roxy Coss and this ensemble.

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

Enjoy the title track:

I first met guitarist, composer, and educator Amanda Monaco when she played in my hometown early in the new Millenium as a member of The Lascivious Biddies, a quartet that combined witty lyrics, strong vocals, and sharp musicianship. Turned out that Ms. Monaco has grown up in nearby Wallingford CT and had been schoolmates with tenor saxophonist Wayne Escoffery and pianist Noah Baerman. After leaving the Biddies in the mid-2000s, she has led several ensembles, released four albums as a leader, and built upon her teaching career.

"Glitter" (Posi-Tone Records) is her fifth release and finds her leading an ensemble that features Lauren Sevian (baritone saxophone), Gary Versace (organ), and Matt Wilson (drums). Just looking at the lineup and several of the song titles ("Gremlin From the Kremlin", "Mimosa Blues", "The Mean Reds"), one gets the feeling the listener is in for a good time.

downtownmusic.net

And this truly is a good time. Opening with the swinging "Dry Clean Only", this band digs in and lets loose (yes, that's possible). Keeping the solos short, the song has an urgency that's hard to resist (plus, who swings harder than Matt Wilson?) Ms. Sevian is a versatile player whose solos really dance (as she does on "Mimosa Blues" and Tommy Flanagan's "Freight Trane").  Versace's roller-rink organ introduces "Gremlin..." (check out the martial drums as well) - the Eastern European-style melody and chord changes open up to playful solos sounding like a Lieber & Stoller tune from the late 1950s mixed with Micky Katz. "The Mean Reds" also could have come from the '50s, the organ splashes and "rocking" guitar riffs being pushed along by Wilson's splashy cymbals.

There is a serious side to this fun session.  "Theme For Ernie", a Fred Lacey composition recorded by John Coltrane in his Prestige Records, is a lovely ballad (amazing how Wilson can play so softly and still be integral to the music) with lovely solos from baritone, guitar, and organ (although Versace does dance through his chorus).

Best advice about "Glitter" is to enjoy the ride - no doubt that these four musicians are having a blast. This is the best and "loosest" I have heard Amanda Monaco play. That's not a slam against her earlier work. This program works so well because of the temperament and talent of the ensemble as well as how the composer understands how to let her music "breathe." Play it loud and relax.  Just maybe the world is not coming to an end.

For more information, go to amandamonaco.com.

Enjoy the opening track:

Busy Musical Weekend

Laurent Leduc image

Vocalist/pianist Champian Fulton has a new album, "After Dark" (self-released), dedicated to the music of Dinah Washington (1924-1963). Ms. Washington, born Ruth Lee Jones, started out performing in her adopted hometown of Chicago in her late teens, worked with numerous musicians and made her first recordings in a group led by vibraphonist Lionel Hampton. She signed with Mercury Records in 1946 and began recording a string of hits that ranged from blues to jazz standards to adaptations of country songs and much more. She sang with many fine bands and big bands, from Cannonball Adderley to Count Basie to Duke Ellington.  Although there are still a number of albums and compilations available, you rarely hear Ms. Washington's music these days.

Along comes Ms. Fulton, the Oklahoma native who was born into a musical family (Dad is a trumpeter and educator).  In an email conversation, she writes " When I was about 5 years old, my father began to buy me CD's, which were still a bit new back in the early 90's, and the second CD he gave me was "Dinah: For Those in Love". He thought I would love Dinah's singing, but also Clark Terry was a very good family friend, and that made the recording even more precious. I became obsessed with that record. I only had a walkman, so we had to make a cassette so I could listen to it whenever I wanted. Pretty soon I learned every song and every solo. My father and Clark thought this was HILARIOUS and would make me sing bits of the record at parties. After all this, when I was about 8, I decided all I would listen to was Dinah. So everytime we went record shopping, that's all I bought and eventually I had most of her recordings. I spent most of my younger years with her, only listening to Billie Holiday, Sarah Vaughan, etc etc, once I was a teenager. To this day Dinah remains my touchstone and my constant companion and inspiration. Doing this project was a great deal of fun, for that reason. I selected the tunes from among my favorite Dinah recordings, some were big radio hits and some were only big hits to me."

The new album features bassist David Williams, drummer Lewis Nash and, on flugelhorn and trumpet, her father Stephen Fulton. If you've not heard the music of Dinah Washington or only know her from her 1959 mega-hit "What a Difference A Day Makes", this recording will be a real treat. That song is here but with a subtle Latin rhythm and no big string orchestra. You'll hear the influence of the vocalist on Ms. Fulton and that's fine - Ms. Holiday and Ms. Vaughan can be heard but this is no imitation. And, this recording also has quite a fine piano solo.  Dad turns up on "Ain't Misbehavin'", his muted trumpet work playing some fine blues lines.  On "A Bad case of the Blues", the elder Fulton channels Louis Armstrong (at times) but stays in the horn's middle register.  There's a great blues piano solo on "Baby Won't You Please Come Home" with Ms. Fulton ranging up an down the keys but always in her blues mode. Williams' thick tone on bass and Nash's splendid cymbal work also stand out. The program closes with "Midnight Stroll"; just piano on this reflective walk, the strong left hand keeping the bottom covered while the right hand tells the "story", telling the "truth" of why she's strolling alone.

Champian Fulton and band - Dad on flugelhorn Adi Meyerson on bass, and Ben Zweig on drums - will be this Friday February 19 at 9 p.m. in the 9th Note, now located at 15 Band Street in Stamford.  The venue moved from its original home in New Haven some months ago and has been great entertainment 4 - 5 times a week.  To reserve tickets and get directions, call 203-504-8828 or go to www.the9thnote.com.  To find out more about Ms. Fulton, go to www.champian.net.

Here, give a listen:

On Saturday night (2/20), the 9th Note welcomes guitarist Syberen Van Munster and his Quintet.  The Dutch guitarist and composer released his debut CD, "Plunge For Distance", last Marchand brings most of the musicians who participated on the sessions to the Stamford night club including Ben van Gelder (alto sax), Vitor Gonçalves (piano/accordion) and Rick Rosato (bass).  Joining them on drums will be Mark Ferber, one of the finer drummers on the NYC scene. 

I have yet to hear the recording but below is a video of the title song which will give you an idea of the musical and emotional qualities in the guitarist's compositions. To find out more about his life and work, go to www.syberenvanmunster.com.  For ticket information, call the club at 203-504-8828.

The Side Door Jazz Club in Old Lyme has yet another impressive weekend of music planned for this week. On Friday night, Jan and Ken welcome baritone saxophonist Gary Smulyan with the fabulous rhythm section of bassist Ray Drummond and drummer Billy Drummond (no relation).  Smulyan, a native of Bethpage, NY, joined the Woody Herman Young Thundering Herd in 1978, a high-powered ensemble that also included saxophonist Joe Lovano and bassist Mark Johnson. He then went on to play with the Mel Lewis Jazz Orchestra as well as the Mingus Big Band and is now a mainstay in the Vanguard Jazz Orchestra.  He's also worked with dozens of pop and jazz stars plus has recorded 10 albums as a leader.  Smulyan is one of the baritone players who uses the full range of the big wind instrument and sounds great in every one of them

He and the Drummonds will hit the first notes at 8:30 p.m.  For more information and ticket reservations, call 860-434-0886.

On Saturday, bassist Ben Wolfe returns to Old Lyme and he brings 2 of his favorite musicians and collaborators, pianist Orrin Evans and drummer Donald Edwards.  Both appeared on Wolfe's excellent 2015 PosiTone Records CD, "The Whisperer" (that session also featured the fine reed player Stacy Dillard) and have recorded several dates as a unit (including the one below).  Wolfe, who can swing with the best of them, also is a fine composer, writing tunes that bring out the best in the musicians who are featured.  He's worked with vocalists Harry Connick, Jr. and Diana Krall as well as with groups led by Wynton Marsalis, his brother Branford, pianist Marcus Roberts, and drummer Carl Allen.

Doors open at 7:30 p.m. and the Trio will begin at 8:30.  For more information, go to thesidedoorjazz.com or call the number above. To find out more about the bassist, go to www.benwolfe.com.

Here are Messrs. Wolfe, Edwards, and Evans playing the blues from Orrin Evans' "Flip The Script" CD on PosiTone Records:

Music with Warmth & Color

As I write this, the temperature in central CT is plummeting towards 0 degrees and the wind is rattling the windows. But the music contained on the 2 CDs below is filled with warmth, creativity, joyous interactions, and humanity.

Camilla Meza came to the United States in 2009 from her native Chile in 2009 and, since then, has slowly but steadily become a force to reckon with.  Originally a guitarist, she discovered the joy of Wes Montgomery and Pat Metheny, studying throughout her teens and pushed by a mentor to begin using her voice as well. Over the past few years, she has worked and recorded with vocalist Sachal Vasandani, pianist Fabian Almazan (she's part of his impressive "Rhizome" project, and trombonist Ryan Keberle's Catharsis quintet (see below). She's also collaborating with Israeli bassist and composer Noam Weisenberg in The Nectar Orchestra.

With 2 albums released in Chile (only 2009's "Retrato" has been issued in the US), Ms. Meza recorded her previous CD in 2013 with pianist Aaron Goldberg, drummer Clarence Penn, reed player John Ellis, and bassist Pablo Menares.  The 6-song "Prisma" (self-released) illustrated her growth not only as a guitarist and vocalist but also as an arranger. Her assured vocals and vocal lines stand out, placing alongside contemporaries Kate McGarry, Kavita Shah, Gretchen Parlato and Becca Stevens as brilliant interpreters.

Her new album, "Traces" (Sunnyside Records), features Ms. Meza with a stellar band - Shai Maestro (keyboards), Matt Penman (bass), Kendrick Scott (drums) and Bashiri Johnson (percussion) - playing a brilliant program of originals and smartly chosen interpretations. In charge all the way (Ms. Meza co-produced the recording with Matt Pierson), this music wraps its arms around the listener, pulling him/her closer - it's not that all the music is bright and sunny but many different aspects of adult life are open for inspection.  Mr. Vasandani and cellist Jody Redhage join the group on the original "Away", a song about relationship in trouble.  You hear the emotional darkness in the cello lines but the voices are calm (beautiful harmonies).  Once you've absorbed the lyrics, vocals, handsome acoustic guitar and brooding cello, listen to the brilliance of the rhythm section, to Penman's solid bass lines and Scott's gentle but sturdy brush work. The percussive push of the guitar on "Amazon Farewell" (from the pen of Djavan) sets the tone for propulsive snare drum.  The message is just as important bow as when the original appeared in 1990, the destruction of the natural environment for the advantage of outsiders.  Ms. Meza also pays tribute to a slain Chilean activist, singer-songwriter Victor Jara, who was brutally slain during the coup of General Pinochet, with a lovely voice and acoustic guitar reading of "Luchín", a story of poor boy playing in the rain. And her interpretation of Stephen Sondheim's "Greenfinch and Linnet Bird" (from "Sweeney Todd: The Demon Barber of Fleet Street") flows atop the impressionistic piano of Maestro and propulsive work of the rhythm section.  One can hear the essence of freedom in how the vocal and guitar lines flow freely through the song. Ms. Meza has such a pliable voice; she never rushes a vocal and also has learned how to integrate her guitar so that the two are extensions of each other. Listen as she dances through "Emerald", her rapid-fire guitar riffs complement the sustained notes and emotion in the vocal.

Chances are good you will not hear a better CD this year.  "Traces" is, blessedly, adult music with being middle-of-the-road, music that lingers in the mind's ear long after the final notes fade.  Camila Meza, songs, voice, and guitar, the entire package, all will bring a smile.  Highly recommended!

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

Here's Camila Meza talking about the album:

One of the other projects Camila Meza is involved with is Ryan Keberle & Catharsis.  She joined the trombonist/composer's band for their previous album, 2014's "Into The Zone" (Greenleaf Music). Her voice is front and center on the band's new Greenleaf CD "Azul Infinito", an equal alongside Keberle, Mike Rodriguez (trumpet, pandeiro), Jorge Roeder (electric and acoustic basses), and Eric Doob (drums) - the program is a tribute to the South American music community in New York City that welcomed Keberle into its bands when he first moved from the Pacific Northwest.

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People such as vocalist/songwriter Sebastian Cruz, bassist Pedro Giraudo, percussionist Samuel Torres, pianist Emilio Solla, and vocalist Ivan Lins have tracks dedicated to them on the album.  The program opens with voice, then one-by-one, the other musicians enter and the melody is played by Roeder on electric bass. By the middle of "I Thought I Knew" (for Pedro Giraudo), one does even notice that there are no chordal instruments. But listen to how the rhythm section fills the sound spectrum, how the interwoven lines of trombone and trumpet really drive the music, and how Ms. Meza not only sings the lyrics but serves as another instrument. The lovely ballad "She Sleeps Alone" (for Sebastian Cruz) sounds like a ballad from a 1940s romance or mystery film, the brass melodies having a film noir feel while Doob and Roeder move impressionistically underneath. The piece closes with Keberle on melodica (hand-held keyboard that one blows into to create an accordion-like sound) right after Ms. Meza's lovely vocal. Cruz's "Cancion Mandala" has an infectious rhythm, a lovely acoustic bass counterpoint, a heartfelt turn from the vocalist, and a rousing trumpet solo.

There are so many special moments throughout the album.  The influence of Kenny Wheeler can be heard in the free-wheeling (some pun intended) "Quintessence" (for Ivan Lins), especially in the fiery rhythmic drive and hardy brass solos.  "La Ley Primera" is a lovely ballad from the pen of bassist Giraudo that Keberle had songwriter Roxana Amed write the lyrics to.  Again, it's Roeder's electric bass leading the melodic way beneath the vocal as Rodriguez and Keberle weave lovely harmonies in the background. Both solo. limpid sounds that reflect the blues in the lyrics.  The bounce in the rhythm section and the splendid vocal on "Madalena" brings the album to a close on a playful note. Listen for the section with trombone, wordless vocal and the pandiero and one will hear the essence of dance in South American music.  When Doob and Roeder return, the music dances even more, an urgent reminder to shed our worries and, if only for the length of the song, live in the moment.

"Azul Infinito", the 3rd album by Ryan Keberle & Catharsis (among the trombonist's 5 CDs as a leader), may be its finest.  The musicians are comfortable with each other to push the boundaries and the addition of Camila Meza takes the music to great heights.  Everyone plays so well, the recording ring out the nuances and power in the rhythm section and Keberle's voicings for his trombone and Michael Rodriguez's trumpet are inventive, filling the sound spectrum with impressive harmonies and counter-melodies.  Ryan Keberle continues to mature as a composer, arranger and musician; the avid listener is the beneficiary.

For more information, go to ryankeberle.com.

Here's the opening track:

Trumpets + Guitar + Voice Live + 2 CD Picks

The Side Door Jazz Club in Old Lyme opens its door this Friday and Saturday nights to 2 fine trumpeters.  First up is Jeremy Pelt (pictured left) and his Face Forward ensemble.  Pelt, who is on the faculty of the Jackie McLean Institute at the Hartt School, is a fine player who blends numerous styles into his original music.  The California native studied at the Berklee School of Music and went on to work with groups led by Roy Hargrove, Greg Osby, and Ravi Coltrane as well as the Mingus Big Band. Since his 2002 debut CD, Pelt has produced 11 recordings for labels such as MaxJazz, Criss Cross, Smalls Live and, most recently, HighNote.  The Face Forward ensemble, named for his latest release, mixes electronic and acoustic instruments plus elements of jazz, r'n'b, soul music and more into a highly listenable stew.  To find out more and the talented trumpeter/composer, go to www.jeremypelt.net.

On Saturday, Etienne Charles returns to The Side Door (he was  member of Rene Marie's band that appeared just a few weeks ago). Born in Trinidad and raised in Florida, Charles, who is still in his 20s, studied with Marcus Roberts and has worked with saxophonist Benny Golson, Roberta Flack, Wynton Marsalis, and Maria Schneider.  He has created 3 CDs for his own Culture Shock label, the latest being 2013's "Creole Soul".

Charles possesses a bright tone, a sound which serves his music, a delicious gumbo of Caribbean, New Orleans, blues and jazz, so well.  He's now on the faculty of Michigan State University while maintaining a busy performance schedule. To learn more about the musician, go to www.etiennecharles.com.

For tickets to either one or both of these shows, go to thesidedoorjazz.com or call 860-434-0886.

Firehouse 12 in New Haven presents the duo of Brandon Ross (guitars, banjo) and Stomu Takeishi (acoustic bass guitar) in concert this Friday May 30. They are touring under the name of For Living Lovers and in support of their debut CD "Revealing Essence" (Sunnyside Records).  The album, much of which was recorded in the Firehouse 12 studios by Nick Lloyd, is filled with haunting melodies, quiet solos, fine supportive work from Takeishi and intriguing ideas from Ross. The music is dream-like, rarely forceful but emotionally powerful.  Ross, who has worked with Henry Threadgill and Cassandra Wilson (among others), plays acoustic guitar in ways that suggest both Derek Bailey and James Emery without sounding like either one. Takeishi, who played alongside Ross in Mr. Threadgill's ensemble, has also worked with pianist Myra Melford and cellist Erik Friedlander.  His bass lines are clear and clean, with round tones that fill the tunes.

For Living Lovers plays 2 sets - 8:30 and 10 p.m. - for more information, go to firehouse12.com or call 203-785-0468.

Vocalist Karen Frisk, a native of Cromwell, CT, brings her fine Quartet to The Buttonwood Tree, 605 Main Street in Middletown this Saturday (5/31) for an 8 p.m. performance.   Ms. Frisk, who possesses a 5-octave range, started singing at a young age in her church choir and in community theater productions. She went on to study both piano and voice, moving to Cape Cod, MA, performing there and in Boston.  She's living in Connecticut again and performing throughout the Northeast.  Her excellent band includes pianist Kent Hewitt, the great bassist Brian Torff, and drummer Rich Tortorigi.  To find out more about Ms. Frisk, go to www.karenfrisk.com.  For reservations and ticket information, go to www.buttonwood.org or call 860-347-4957.

Bassist Jeff Denson, who has worked and recorded with Lee Konitz plus is 1/3rd of the trio Minsarah (with pianist Florian Weber and drummer Ziv Ravitz, has issued a most uplifting duo recording with pianist Joshua White.  "I'll Fly Away" (pfMENTUM Records) is a album of gospel tunes, several of which the bassist  played at the funerals of his grandmother and father.  The title tracks - 3 versions of the Alfred Brumley tune - range from  the opening Fats Waller meets Charles Ives version to the deep blues of the second reading to the manic all-out swing version that closes the CD.   It's not that White or Denson are being facetious but more that they are celebrating the joy that the music brings and the good memories of the people who passed.  Denson's bowed bass reading of "Amazing Grace" stresses the beauty of the melody while going on to give the tune the feel of an Appalachian folk tune. His other solo piece, "Crying In The Chapel", is wonderfully melodic, getting quite bluesy at times.  The duo is pensive on "What A Friend We Have In Jesus" and take "When The Saints Go Marching In" on a jaunt that runs the gamut from hard-bop to traditional.

Joshua White, a native of Southern California, is a splendid pianist who has worked with bassist Mark Dresser, trumpeter Ambrose Akinmusire and guitarist Anthony Wilson - he currently leads a quartet that features saxophonist David Binney as well as drummer Mark Ferber.  He and Jeff Denson have an excellent rapport, supporting each other and sometimes playing independently.  "I'll Fly Away" is filled with fine religious music but should appeal to music lovers of all faiths.  For more information, go to www.jeffdenson.com.    

Saxophonist Rich Halley lives in Oregon and enjoys hiking through the mountains in the central part of the state, understanding the majesty of nature and man's role in both destroying and protecting his environment.  He also leads the Rich Halley 4, a group that features Michael Vlatkovich (trombone), Clyde Reed (bass) and his son Carson (drums). "The Wisdom of Rocks" (Pine Eagle Music) is the quartet's 4th CD in 4 years and may be the best of a very strong bunch of recordings.  There are 2 short group improvisations, a duo for tenor and drums, and some of the strongest rhythms you'll hear this or any year.  The band comes blasting out for the chute with "The Atoll" that has the drive of the music created by the Vandermark 5, a hearty tenor solo and a forceful trombone solo.  The rhythm section pushes with great intensity without losing its focus.  The title track has a "cool" feel and a wonderful blowsy 'bone solo.  One can see the band contemplating the heavens on "Faint Scattered Lights", a short ballad with an insistent throbbing beat and moaning sounds from the sax, 'bone and bowed bass.  There's a ton of funk on "The Get-Go" and a deep sense of the blues on "Heat In May", featuring a subdued tenor sax solo.  More blues can be felt and heard on "Radial Symmetry" but this time it burns with a fever; the saxophonist  certainly can stoke the fire while the trombonist gets pretty hot himself. The program closes with the group composition "Conversation In Blue", a short piece that reminds this listener of the mid-50s work of Jimmy Guiffre and Bob Brookmeyer but with a bit of an edge.

The music on "The Wisdom of Rocks" feels both new and familiar.  The  has worked together long enough now to know each other's strengths, understand how to support and egg each other on, and feel that that the music does not need to be complicated to be creative.  The music of the Rich Halley 4 does satisfy the soul - to find out more, go to www.richhalley.com.