If I count correctly, "Fred Hersch Trio: Live in Europe" (Palmetto records) is the 12th trio album has released since 1984. The pianist seems to have transcended the genre with his only equal, the now-defunct trio of Keith Jarrett, Jack DeJohnette, and Gary Peacock. In some ways, the Hersch Trio - bassist John Hébert and drummer Eric McPherson has been the rhythm section since 2009 - has, arguably, passed the Jarrett Trio for its inventive and playful approach. The new album, recorded on the penultimate date of the Hersch Trio's second 2017 European tour, came about through serendipity. Recorded in a 1930's-built hall in Brussels, Belgium, the pianist did not know the group was being captured on tape until after the concert. Upon learning of the recording's existence and listening back to the show, Hersch knew this music had to be released.
Photo: John Abbott
The word "playful" is a perfect description of the first four tracks. The album opens with a sprightly reading of Thelonious Monk's "We See", a performance that owes as much to the Marx Brothers as any other group. The interaction of the three musicians is joy personified. Even when Hébert and McPherson fall into a swiftly swinging tempo, Hersch goes in many different directions. Next is "Snape Maltings" which is actually a town in England 105 to the Northeast of London (and not related to "Harry Potter"), shows the dynamic range of the Trio as the melody moves from one instrument to the next with delightful elasticity. The following song, "Scuttlers", is not a misspelling of the famous Boston, MA, night club but a musical interpretation of the songs of crabs "scuttling" along the beach. Kudos to McPherson who truly captures the sound of crabs on his trap set (pun intended). The fun continues as the Trio revisits "Skipping, a Hersch original they recorded on the first album they did together, 2009's "Whirl." It's a aural treat to hear where the group takes the sweet melody.
The album also includes three tribute songs (all composed by Hersch). There's the lovely ballad, "Bristol Fog" (for the late pianist John Taylor), and the sweet, sashaying, tune "The Big Easy" (dedicated to New Orleans resident, author Tom Piazza (the novel "City of Refuge", "Understanding Jazz: Ways to Listen", and the major write for the HBO series "Treme"). Sandwiched between those two tracks is the rambunctious "Newklypso", dedicated to Sonny Rollins. It's a treat to hear the pianist dancing atop the delightful rhythm section.
The final three tracks include two compositions of Wayne Shorter ("Miyako" from 1969's Blue Note Lp "Schizophrenia" and "Black Nile" from 1964's "Night Dreamer"). The former is a medium-tempo ballad with a splendid piano solo over the fine work of the bass and drums. The latter jumps out of the gate with a strong drum solo before the Trio pushes the piece forward - if you ever had a doubt about Hersch's "bop chops", listen here and listen closely. The "encore" tune is a piano solo stroll through "Blue Monk" - the composer Monk has been a great influence on the musician Hersch as he takes the classic tune through a delightful transformation without losing the heart of the original (dig the stride section which says a lot about Monk's inspirations).
"Live In Europe" is an excellent addition to the other recordings by the Fred Hersch Trio - the program rivals 2014's "Floating" as one of this ensemble's best. If you love the music this group makes, you'll buy the album with or without my recommendation. If you have never heard Messrs. Hersch, Hébert, and McPherson live or on CD, wait no longer - this is glorious music and deserves your attention!
Here's a live take on the tune for Mr. Rollins from earlier in 2017:
It's hard to believe that the trio of Larry Goldings (Hammond B-3 organ), Peter Bernstein (guitar), and Bill Stewart (drums) first played together in 1991. All three musicians have had busy careers: Goldings has appeared on a slew of albums and has toured with the likes of James Taylor, John Mayer, Maceo Parker, and Jim Hall. Bernstein first hit the jazz road with saxophonist Lou Donaldson in 1990 and has toured and recorded with drummer Jimmy Cobb and Joshua Redman. He's released a number of excellent albums for Criss Cross, SMALLS Live, and Smoke Sessions. Stewart has a had a very busy career, also working with Maceo Parker as well as Seamus Blake, Pat Metheny, and John Scofield. He has led groups that have recorded for Blue Note, ENJA, and Pirouet.
"Toy Tunes" is the trio's 12th album in its career and their second for the German-based Pirouet Records. From the opening moments of "Fagen" (Goldings tune for the Steely Dan co-founder) to the gently swinging "Maybe" (from the musical "Annie"), it's clear that these three musicians are on the same wave-length. There's no clutter, you can hear each instrument clearly, and melody is king. Besides the "Annie" tune, the trio also take a delightful ramp through "I'm In The Mood For Love", pushed forward by Stewart's splendid brush work beneath the guitarist and organist sharing the melody before Bernstein takes off on a delightful solo. Goldings has active bass pedal feet and really shows his swinging side on this track.
To their credit, this trio is not afraid to take a few chances. Carla Bley's "And Now The Queen" is a challenging piece that heads out but never loses its way (Bernstein's guitar work brings Mary Halvorson to mind). The title track is a Wayne Shorter tune from his Blue Note days that was to released by the label until 1980 and is on the "Et Cetera" album. The tune has a pleasing melody played by the guitarist with his partners creating an easy swing beneath him. Stewart's "Calm" may remind some of John Abercrombie's "Timeless" - not so much for the melody but for the atmosphere the organ and brushes create for the guitar lead to travel over.
On initial listening, "Toy Tunes" sounds a bit tame yet, if you sit and really listen, you will be rewarded. Larry Goldings, Peter Bernstein, and Bill Stewart are masterful artists and the musical portraits they create/play bring to mind Larry Young (in his Blue Note days). This is fun, funky, classy music that has surprising depth and warmth.
Drummer and composer Jeff Cosgrove is a fearless musician/improviser. He lives in rural Maryland, performs mostly in the Washington D.C. , Virginia, and West Virginia areas. He has played and recorded with musicians such as violist Mat Manieri, saxophonist Noah Preminger, pianists Matt Shipp and Frank Kimbrough, plus saxophonist Jeff Lederer and bassist Martin Wind. Check out his page at Bandcamp for a slew of live recordings.
His latest release, "Hunters & Scavengers" (self-released), features the dynamic duo of Scott Robinson (tenor and baritone sax) and Ken Filiano (bass). With Cosgrove's muscular drumming leading the way, this trio powers through 10 pieces, all but one (Ornette Coleman's "Lonely Woman") credited to the three participants. There are moments when the pace is blistering, such as the aptly titled "Don't Look (Just Run)"; its fire is created by the manic bowed bass and strong cymbal work while Robinson's sax plays whirling figures.
Cosgrove's roiling drums join in dialogue with Robinson's tenor sax for the first 2/3rds of "Patterned Behavior", reminding this listener of dialogues that John Coltrane created with Rashied Ali on "Interstellar Space." Here, the duo never gets as frenetic as that duo: when Filiano joins in, the music gets a bit more heated yet never loses its forward motion. The bassist's arco work is other-wordly on "Simple Justification", moaning and keening while Robinson creates an emotional melody and Cosgrove drives. Soon, Filiano steps out for a powerful pizzicato solo, his full tone and melodic sensibility helping to mold the piece, push his companion in a different direction.
There's a noisy playfulness (and a bit of electronic manipulation on the bass) to "Song of The Cuddlefish" - it's one of the pieces that you have to listen to several times to hear how the three instruments move in towards each other and then away, responding to each other's power as well as the subtle gestures each musical makes. The trio can be gentle, as they demonstrate on "Rays of Dawn." The piece unfolds slowly, no one rushes, there is intelligent of silence, longer tones from both Robinson and Filiano while the leader slides his brushes over the snare drum and cymbals.
Jeff Cosgrove gathers master musicians, does not impinge on what artists such as Scott Robinson and Ken Filiano do best, and adds his own special spices to create quite the tasty stew. There is power, intelligence, and delight at play in this music. It's challenging music for sure but the challenges reap many rewards.
The final concert in the Spring 2016 Concert Series at Firehouse 12 in New Haven brings the Jay Rosen Clarinet Madness to the recording studio/performance venue. Rosen, a drummer and composer, has been a vital member of the creative music scene for nearly three decades having worked with artists such as reed master Vinny Golia, trumpeter Paul Smoker, violinist Billy Bang and many others. He's a member of Trio X, an improvising trio that also features saxophonist and trumpeter Joe McPhee and bassist Dominic Duval. Their series of albums for the CIMP label are recommended listening.
For this gig, Rosen is joined by long-time associates Perry Robinson and Michael Marcus. Both clarinetists are also veterans of the scene with Robinson (77 years old) first recording in the 1960s and Marcus (63) in the late 1980s. Both have extensive credentials ranging from intimate duos and trios to big bands.
Clarinet Madness will play two sets - 8:30 and 10 p.m. - with separate admissions. For more information, go to firehouse12.org or call 203-785-0468. Originally, this concert was to be the last of this season but there is to be a coda - more on that later in the week.
allaboutjazz.com
Trumpeter, composer, and educator Duane Eubanks is the youngest of three brothers, all of whom are making their mark of the contemporary music scene. Older brothers Kevin and Robin are busy leading their own ensembles; both have been integral members of bands led by bassist Dave Holland as has Duane (Holland's Big Band). Slowly but sure, Duane has built a career as a bandleader, worked with artists such as the late Mulgrew Miller, Orrin Evans, and drummer Jeff Williams as well as with Alicia Keys, Wu Tang Clan, and Mos Def. His new Sunnyside release, "DE3: Live at Maxwell's", is an impressive triumph finding him in a trio setting with drummer Eric McPherson and bassist Dezron Douglas, both musicians with solid connections to Hartford, CT (studying at the Jackie McLean Institute at The Hartt School with the bassist also a Hartford native.)
Duane Eubanks brings a Quintet to The Side Door Jazz Club this Friday (6/10) that not only features young Mr. Douglas and Mr. McPherson but also the fine tenor saxophonist Abraham Burton (he, too, studied with Mr. McLean) and pianist Allyn Johnson (an excellent musician from the Washington D.C. area). This is shaping up to be quite a fine night of music at the Old Lyme venue.
The Door opens at 7:30 p.m. and the band takes the stage at 8:30. For more information, go to thesidedoorjazz.com. To learn more about the trumpeter, go to www.duaneeubanks.com.
Here's the group in the studio (Marc Cary on the piano) from 2015:
On Saturday, Jan & Ken welcome back the Eric Wyatt Quartet. The saxophonist and composer first played in Old Lyme in July 2014 celebrating the release of his Posi-Tone CD, "Borough of Kings." Mr. Wyatt has been mentored by Sonny Rollins ( a family friend as well as being the great saxophone master) and worked with saxophonist Kenny Garrett, trumpeter Jeremy Pelt, drummer EJ Strickland, and many more.
Joining him will be pianist Benito Gonzalez (who's also featured on the album), bassist Essiet Essiet, and drummer Chris Beck. Expect the music to be powerful (there's a live performance of John Coltrane's "Pursuance" on Wyatt's website that will tear the speakers off the wall) as well as sensitive and blues-drenched. The man plays with conviction and soul so expect to be moved when the Quartet hits the stage.
For more information and reservations, call 860-434-0886. To learn more about the saxophonist, go to www.ericwyatt-music.com.
Here's the Quartet (different rhythm section) live at Small's in 2015:
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Organist Brian Charette (also quite a fine pianist) has a new album whose concept came during a break at a recording session where he found a copy of his book "101 Hammond B-3 Tips" resting atop the studio's organ. Looking back through the instructional guide where he had written about the "giants of the Hammond Organ", Charette decided his next album would include works by many of this giants as well as nods to the new "Lions" of the instrument.
"Once & Future" is his fourth Trio CD for Posi-Tone and features guitarist Will Bernard and drummer Steve Fidyk. Out of the 14 tracks, three are originals, one is a standard ("At Last" from the pens of Mack Gordon and Harry Warren), and the rest come from either organists or jazz greats - there's even a mighty funky version of James Brown's "Ain't It Funky Now" which would sound out of place on an album by The Meters. There's the hard-edged funk of Larry Young's "Tyrone" that he recorded on his debut for Blue Note "Into Something". A little more of "swing-funk" is heard of "Hot Barbecue" which Jack McDuff recorded in 1965. Fidyk's cymbal work is pretty impressive as is Bernard's chunky riffs and sparkling solo. The legendary Jimmy Smith wrote "Mellow Mood" for his collaboration with guitarist Wes Montgomery who contributed "Road Song" to their project. Charette and company play the tunes back-to-back; the former has a bit of a mysterious sound in the opening that flows throughout the organ solo while the latter is a medium-tempo groove with a pleasant melody and excellent solos from Charette and Bernard (this is his second recording with the organist's trio).
There are a pair of splendid cuts back-to-back in Bud Powell's "Dance of the Infidels" and Woody Shaw's "Zoltan" (as recorded by Larry Young in 1966). Both tracks swing with delight, the former jumping atop the excellent bass lines of Charette while the latter retains the marching band introduction from the original before Fidyk's fine cymbals sets the pace for the organ and guitar.
The leader's three contributions include's the program's closing track, the blues-soaked shuffle "Blues For 96." The sounds the organist gets from his various drawbar settings changes from track to track as well as during the song. What stands out is that not only does each song have its own personality but also that Charette, Bernard, and Fidyk never lose their focus or push the proceedings but let each song unfold organically. And, they are having fun.
"Once & Future" is a pleasure to sit down and listen to. Everyone plays well, the program is smartly chosen, and, with a little digging, you discover organists you have never heard (for instance, Freddie Roach and Leon Spencer). Hats off to Brian Charette for another fine disk. Now, see if you can convince producer Marc Free to record your Sextette!
As a reviewer, I get plenty of music to fill my days and nights. But, I grew up in the 1960s, falling in love with the music of The Beatles, The Who and The Rolling Stones but also The Coasters, The Drifters, The Four Tops, Booker T & The MGs, and Otis Redding. First William Bell song I ever heard was "You Don't Miss Your Water ('Til Your Well Runs Dry)" off of Redding's "Otis Blue" Lp. I sought Mr. Bell's recordings (on Stax Records) and, while he don't have grit and "oomph" of Otis, his smooth voice and articulation stood out from the "Soul Shouters" (closer to Sam Cooke than Wilson Pickett). He composed a number of good-sized hits including "Born Under a Bad Sign" for Albert King (this version still sends chills up and down my spine) and "Everybody Loves a Winner" for Delaney and Bonnie.
photo by David McLister
After Stax collapsed in the 1970s, Bell continued writing and recording songs, having hits on both "pop" and "r'n'b" charts. Artists such as Billy Idol, Linda Ronstadt, Rod Stewart, and Etta James recorded his songs Bell has never given up performing and, over the past few years, he has been quite busy with movie appearances, most notably in the documentary "Take Me To The River" where he is heard alongside Snoop Dogg. In 2013, he was part of a large contingent of musicians and vocalists who appeared "In Performance at the White House: Memphis Soul" - click here to watch the entire show.
Now, thanks to Concord Records, Stax is back in business and the label's latest release is "This Is Where I Live" by William Bell. Produced by John Leventhal (Rosanne Cash), the music is that wondrous mix of gospel, blues, country and soul that Bell has created for nearly 60 years. Listening to the new album and checking out the recent videos, he's got quite a voice at the age of 77. It's got a bit more grit which he uses to great effect on the remake of "Born Under a Bad Sign" (snappy new arrangement from the producer). The ballads, such as "All Your Stories" and "The House Always Win", recall his earlier songs but display the wisdom of maturity. There are cuts that are so funky yet so melodic - "Mississippi - Arkansas Bridge" and "People Want to Go Home" - you just start to tap your foot and, before the songs ends, you're singing along.
photo by D. McLister
If you like classic soul music, never lost your fervor for the sounds of Stax/Volt, and enjoy a well-constructed song with a real story (not just lines that leads to a catchy hook), "This Is Where I Live" will more than satisfy your cravings. It's such a treat that William Bell is back on the radio, back on record, still writing songs from the soul, filled with that irresistible Memphis beat. As I write above, plenty of music comes out of my mailbox and into my in-box every month, but I purchased this recording and it is worth 10 times what I paid. Go home to William Bell and, despite all the madness around s every day, the world will feel less frightening.
The lady on the left is the fabulous vocalist and composer René Marie. She and her accomplished trio - pianist John Chin, bassist Elias Bailey, and drummer Quentin Baxter - are making a return trip to The Side Door Jazz Club in Old Lyme this Saturday (2/27). Last time she was at the venue, she celebrated the release of "I Wanna Be Evil (With Love to Eartha Kitt)" (Motema Music), one of the more delightful albums of 2014. Ms. Marie is more than a torch singer bit you can singe your ears with her exciting music. Plus, her ballad singing is just wonderful. As for her stage presence...well, she is graceful, witty, sassy, sexy and soulful.
Doors open at 7:30 p.m. and the music commences 60 minutes later. Call 860-434-0886 for reservations.
Here's a track from the Kitt CD, the delightful "I Rather Be Burned As a Witch":
On Friday night (2/26), The Side Door opens up for the Mike Casey Trio. The Hartford-area born tenor saxophonist graduated from the Jackie McLean Institute of Jazz at the University of Hartford and has played alongside the likes of trumpeter Charles Tolliver, pianist Marc Cary, trombonist (and one of his teachers) Steve Davis and bassist Dezron Douglas. The saxophone trio has been an honored tradition since Sonny Rollins recorded and toured with various rhythm sections in the mid-1950s (and recorded a number of Lps including "Freedom Suite" and "A Night at The Village Vanguard"). Joining young Mr. Casey will be bassist Matt Dwonczyk and drummer Corey Garcia.
Here's the Trio with a rousing reading of Jackie McLean's "Little Melonae":
anna yatskevich
Tenor saxophonist and composer Ken Fowser recently released his debut CD as a leader. "Standing Tall" comes after 4 CDs co-leading an ensemble with vibraphonist Behn Gillece, all, like his debut, on the PosiTone Records label.
Mr. Fowser is bringing his Quintet to the 9th Note, 15 Bank Street in Stamford this Friday evening. It's the same group that recorded "Standing Tall" including pianist Rick Germanson, trumpeter Josh Bruneau (a graduate of the Jackie McLean Institute), bassist Paul Gill, and drummer Jason Tiemann.
There's a breezy, bluesy, feel to the music on the album. One can hear the influence of the Blue Note Records sounds of the late 1950s through the mid 60s, for instance the sound of McCoy Tyner, Herbie Hancock, Freddie Hubbard, and early Wayne Shorter. To his credit, the young saxophonist does not imitate any particular saxophonist, mixing the essence of Shorter, John Coltrane, Joe Henderson, and Michael Brecker into his pleasing tenor tone. Bruneau has a crisp attack and articulates his notes with brio. He also has a mellow side, especially when he use a mute (as he does on "Hanging On." "Mode for Red" frolics at the pace of a high-energy Tyner track. One hears it in the opening chords and theme as well as during Germanson's short but rousing solo. Out of the 12 tracks, there is only one song over 6 minutes and that's the mellow, medium-tempoed "Timeless." "Filling In The Blanks" is a blues with one of Fowser's more emotionally rich solos.
The music on "Standing Tall" is good and is probably even better in person. The rhythm section is solid without being flashy (Germanson is so fundamentally sound) while both Ken Fowser and Josh Bruneau play with taste and, in the case of the trumpeter, with great fire. To find out more about the album, go to www.posi-tone.com/standtall/standtall.html. To learn more about the saxophonist, go to www.kenfowserjazz.com.
The gig on Friday night starts at 9 p.m. For reservations and more information about the venue's weekly calendar, go to www.the9thnote.com or call 203-504-8828.
Pianist David Berkman, saxophonist Tim Armacost, and drummer Gene Jackson formed the New York Standards Quartet in 2005 and wound up spending a lot of time playing in Japan. Each musician had his own career performing and teaching but so much enjoyed each other's company that they continue to get together each year for a trip to the Orient.
They've managed to record 4 CDs over the decade for 4 different labels. But "Power of 10" changes that part of the story in that it is the 2nd straight release to be issued by Whirlwind Recordings. There s also a new bassist n the group (Yosuke Inoue was featured on the first 2 and Daiki Yasukagawa on the next 2) and it just happens to be the head of the label, Michael Janisch.
www.theguardian.com
The band's format has not changed as they continue their personal spin on "standards." They like to put their own spin on these songs so there are 3 variations of "On Green Dolphin Street" including Berkman's concise solo piano Doll's Phone Cause" (:26 seconds) and Armacost's "Green Doll's Phone" and "Doll's Phone Effect." There is a medium tempo take on "All Of Me" (with Armacost on soprano) that has the energy of a McCoyTyner piece. The rhythm section really pushes these piece forward and the saxophonist whirl and dances above them. The choice of Elvin Jones' "Three Card Molly" is an inspired one as the powerful work is a highlight of the album. Jackson does not choose to imitate Mr. Jones but plays with his own sense of thunder; his intensity and the incessant pain chords push the Armacost (on tenor) to really dig in. Berkman follows and display his own sense of vigorous combination of chords and rushing single-note runs. Jackson's gentle but active brush work adds a lighter touch to the bittersweet reading of Billy Strayhorn's "Lush Life." Janisch is an excellent addition to the group, not only because he keeps the bottom of the sound moving but also he is an articulate and melodic soloist (one hears all that and more on the short "Secret Fondness", his intro to "Hidden Fondness", Berkman's hard-swinging take on "Secret Heart").
"Power of 10" is notable for its powerful music, intelligent interactions, excellent solos and music more. The New York Standards Quartet takes music many listeners are familiar with, styles we can put a name to, and creates a program that illustrates just how alive jazz can be.
Here's the NYSQ in concert with bassist Janisch from 2011:
Guitarist Ed Cherry, a New Haven CT native, first came ti critical notice as a member of trumpeter Dizzy Gillespie's bands from 1978 until 1992. His clean, clear, tone, his intelligent and funky chording, and his ability to make a melody stand out, all of that plus solos that incorporate jazz and blues, makes his music so attractive.
"Soul Tree" is his second release for PosiTone Records. Like 2012's "It's All Good", the guitarist utilizes an organ-drums-guitar format, this time with utilizing the talented duo of Philadelphia-based musicians, Kyle Koehler on the Hammond B-3 and Anwar Marshall on drums. The majority of the material covers a wide swath of the jazz idiom, from Jimmy Heath's "A New Blue" to Mal Waldron's "Soul Eyes" to John Coltrane's "Central Park West" yet the program opens with the trio's funky, high-energy, take on Kool and the Gang's "Let The Music Take Your Mind." Marshall's spirited drumming pushes his cohorts hard and with Cherry and Koehler respond with brawny solos. Cool organ tones lead the band into a quiet, tuneful, reading of Harold Land's "Ode to Angela" - Cherry's solo is so bluesy, the rippling phrases rolling over the movement of the rhythm section. The trio swings the heck out of Freddie Hubbard's "Little Sunflower" (note the excellent cymbal work of Marshall, how he pushes the tempo but the ride cymbal stays steady.)
The guitarist contributes 2 originals, the sweetly swinging "Rachel's Step" and the cool medium tempo ballad "Little Girl Big Girl". The former jumps atop the propulsive drumming and insistent organ chords yet the melody unfolds over several changes in tempo. The give-and-take with Marshall at the end of the first chorus is a pleasant surprise; that seems to give the piece its energetic backbone and the solos are spirited. The latter sounds and feels personal, as if the composer was painting a portrait of someone he deeply loves. The interaction of the guitar and the organ throughout the song plus the smart brushwork of Marshall at the beginning and the end stands out. Koehler's solo adds a bit of heat after Cherry's cool playing (a touch of Wes Montgomery shows up in his solo) but never shatters the calm demeanor of the tune.
"Soul Tree" lives up to its name on many levels; the music is certainly soulful and Ed Cherry pays tribute to his "roots" by playing songs that influenced him to create his own "voice." The contributions of Kyle Koehler and Anwar Marshall go a long way to making the album a most enjoyable listening experience.
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"Toy Tunes" is the trio's 12th album in its career and their second for the German-based Pirouet Records. From the opening moments of "Fagen" (Goldings tune for the Steely Dan co-founder) to the gently swinging "Maybe" (from the musical "Annie"), it's clear that these three musicians are on the same wave-length. There's no clutter, you can hear each instrument clearly, and melody is king. Besides the "Annie" tune, the trio also take a delightful ramp through "I'm In The Mood For Love", pushed forward by Stewart's splendid brush work beneath the guitarist and organist sharing the melody before Bernstein takes off on a delightful solo. Goldings has active bass pedal feet and really shows his swinging side on this track.
