Bley & Bowie

There are plenty of appreciations of Paul Bley floating around the internet since his passing on January - you read Peter Hum's column by clicking here and Ben Ratliff's application in the New York Times here. I bought my first Bley LP in the early 1970s, an electric date titled "Paul Bley & Scorpio" issued on Fantasy (the leader looking quite stoned on the cover).  I then discovered his work for ECM, moved backwards to his earlier music and followed along as the decades progressed.  Over his career (which spanned 6+ decades (!), Bley worked with Chet Baker, Charlie Parker, Ornette Coleman, Jimmy Giuffre, Albert Ayler, Charlie Haden and Gary Peacock.  He married Carla Bley and, even though they divorced after several years (in the 1960s), he continued to play her music throughout his career. Later in that decade, he married composer-keyboard artist Annette Peacock and, again, though the marriage was short-lived, the pianist play her music for much of his career.

Over the past decade, I discovered Paul Bley again through a series of solo piano CDs on the Canadian Justin Time label and on ECM.  The pianist claimed he rarely practiced or rehearsed but he would sit and play everyday.  In concert, his songs would stretch out, go in various directions, and rarely end up where they began.  He was creative and curmudgeonly, to the point, and highly creative Thankfully, he left a world of music behind with much to chew on about creativity, emotion and technique intermingle.

Here's a clip from a 1973 documentary:

David Bowie came to popularity in the late 1960s as The Beatles were breaking down and the Rolling Stones were being busted on a regular basis.  Personally, my attention was being turned towards creative Black music and what I felt were more soulful recordings than what a fey rocker was producing ("Space Oddity").  His "glam-rock" phase did not appeal although I liked his more funky recordings such as "Fame" and "Let's Dance." But, it was not until his 2014 collaboration with the Maria Schneider Orchestra that I listened again.  (O, I am such a purist! I even missed his 1985 work with the Pat Metheny Group on "The Falcon and The Snowman" as well as the appearance of trumpeter Lester Bowie on "Black Tie White Noise" in 1993).  "Sue, (Or, In a Season of Crime)" did make quite an impression and led Bowie to work with Donny McCaslin, Jason Lindner, Mark Giuliana, Tim Lefevbre, and Ben Monder on his latest release "Blackstar" (or "★" ) - in the light of his passing made public earlier today, the darkness of the lyrics on the album make more sense.  According to his producer Tony Visconti, "He made "Blackstar" for us, his parting gift." Perhaps the best part of this recording is that it's not Bowie meets jazz or Bowie sings standards but an artist looking for new modes of expression.  The videos released so far are quite ominous, even scary, but the music buzzes with creativity and Bowie's voice is quite strong.

Paul Bley and David Bowie had long productive careers creating music that challenged listeners to follow them on their ever-changing musical paths.  Whether you liked their approach or not, both men were artists who kept pushing forward with or without the approval of the general public.

NEA Honors Jazz Masters 2012

The National Endowment of the Arts presents its annual Jazz Masters Fellowship tonight at Lincoln Center in New York City (January 10, 2012), a presentation that can be viewed, via webcast, at www.jalc.org/neajazzmasters/.

The NEA originated this program in 1982 to pay tribute to those artists who have enhanced this American art form with originality, spirit and the desire to educate.  This year's honorees are no exception.

Sheila Jordan (pictured above), born in Detroit, Michigan and raised by her grandparents in Pennsylvania, became exposed to jazz when she returned to the Motor City during the early years of World War II.  She met numerous jazz musicians and, by the end of the decade, was singing in a vocal trio.  Moving to New York City in 1952, it was 10 years before she made her recording debut on composer/arranger George Russell's "The Outer View." Within in few months, she released her first Lp under her own name on the Blue Note label, "Portrait of Sheila." Over the next decade-and-a-half, she spent much of her time raising her daughter yet found time to perform in clubs and churches as well as working with trombonist Roswell Rudd.  In the late 1970s, she began working, recording and touring with pianist Steve Kuhn - their 2 recordings for ECM helped to bring Ms. Jordan to a wider audience. She also displayed an affinity for performing in duos with bassists.  She's recorded with Arild Andersen, Steve Swallow, Cameron Brown (a collaboration that continues to the present day) and Harvie S.  Later this month, HighNote Records will issue "Yesterdays", a recording of a 1990 concert with Harvie S. Sheila Jordan still tours and teaches workshops around the world. Find out more by going to www.sheilajordanjazz.com/.

For many music fans, tenor saxophonist Von Freeman, born in October 1923, is Chicago jazz personified (truly, he shares that title with the late Fred Anderson.)  Freeman made the Windy City his base of operations for a career that spans over 7 decades!  After spending World War II in the US Navy band, he returned to Chicago and began performing in clubs with his brothers George and "Bruz", often backing touring jazz artists. In the 1950s, he played with Sun Ra, pianist Andrew Hill, blues man Jimmy Witherspoon and others.  Freeman made his national recording debut in 1972, "Doin' It Right Now", an Lp produced by Rahsaan Roland Kirk.  Later recordings paired with his son Chico (1982) and another fine Chicago saxophonist Frank Catalano (1999) - the series of CDs on Premonition Records (recorded and released between 2001 and 2006) are among his strongest work. In June 2010, Von Freeman received the Jesse L. Rosenberger Medal from the University of Chicago "in recognition of achievement through research, in authorship, in invention, for discovery, for unusual public service or for anything deemed of great benefit to humanity."

New York City born and raised (December 9, 1943), trumpeter Jimmy Owens began his studies at the age of 14 with Donald Byrd.  He would go on to study with composer Henry Brant and get his Masters Degree in Education from the University of Massachusetts.  Owens also has been a very busy musician, performing alongside Dizzy Gillespie, Kenny Burrell, Kenny Barron, Gerald Wilson, Max Roach and Billy Taylor.  He was a charter member of the Thad Jones-Mel Lewis Jazz Orchestra and musical director of musical director of the New York Jazz Repertory Company. Owens has been an educator on campuses and on the streets (working with Billy Taylor's Jazzmobile Program) and an advocate for the rights of performing artists, helping in the foundation of the Jazz Musician's Emergency Fund, a program to help individual musicians with medical, financial, and housing assistance. Jimmy Owens is the recipient of the 2012 A.B. Spellman NEA Jazz Masters Award for Jazz Advocacy. This month, IPO Records issues Owens' newest CD, "The Monk Project", dedicated to the music of Thelonious Monk and featuring, among others, Kenny Barron, trombonist Wycliffe Gordon and saxophonist Marcus Strickland. To find out more and check out his extensive discography, go to jimmyowensjazz.com.

 If you are not aware of bassist Charlie Haden's impressive body of work as well as his commitment to social and political justice, you've missed a lot. Moving to Los Angeles, California, in 1957 from Missouri, the bassist came in contact with legendary musicians such as saxophonist Dexter Gordon, pianists Hampton Hawes and Paul Bley.  Still, it was his meeting with saxophonist Ornette Coleman that set his career in motion.  The series of recordings Coleman made for Atlantic Records from 1959-61 turned the jazz world on its ears.  Haden went on to work with pianist Keith Jarrett, first in a trio setting with drummer Paul Motian - with the addition of saxophonist Dewey Redman, the pianist's "American Quartet" made an impressive group of recordings for Impulse and ECM.  In 1969, Haden paired with pianist/composer/arranger Carla Bley to create the Liberation Music Orchestra, a big band that combined jazz and politics to shed light on causes the bassist felt were quite important (most especially, American "Imperialism.")  He's recorded in so many settings, from duos (with Hank Jones, Keith Jarrett, and Pat Metheny) to trios (with Geri Allen and Paul Motian as well as Jan Garbarek and Egberto Gismonti plus Don Cherry and Ed Blackwell) to leading his Quartet West (displaying his love of standards and Hollywood movie music).  This week sees the release of "Come Sunday", a duo CD with Hank Jones. To find out more, go to www.charliehadenmusic.com.

Another musician who should need no introduction to jazz fans is drummer/pianist/composer Jack DeJohnette. The Chicago native first came to critical notice in 1966 as a member of saxophonist Charles Lloyd's Quartet (also featuring Keith Jarrett) and, within a few years, recorded with pianist Bill Evans, saxophonist Joe Henderson, trumpeter Freddie Hubbard, Herbie Hancock and Chick Corea.  He joined Miles Davis "electric" band and appeared "Bitches Brew" and other recordings from that era. DeJohnette is featured on many ECM recordings, including 10 as a leader.  He started his own label, Golden Beams, with releases ranging from "New Age" to piano trio jazz.  To celebrate his 70th birthday, DeJohnette will bring 3 groups to this summer's Newport Jazz Festival and, next week, E1 Records will issue "Sound Travels", a project that finds the drummer playing many different styles of music with guests Bruce Hornsby, Bobby McFerrin, guitarist Lionel Loueke, trumpeter Ambrose Akinmusire, Jason Moran and Esperanza Spalding (DeJohnette appears on 3 tracks on her upcoming release.) To find out more about his amazing career, go to www.jackdejohnette.com.  For an excellent interview, go to thejazzsession.com/2012/01/09/the-jazz-session-336-jack-dejohnette/  and listen to his chat with Jason Crane. 

If you want more information about the NEA, its Jazz Initiatives and the Jazz Masters Program, go to arts.gov/national/jazz/index.html.

Elm City Live

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'Tis a busy weekend in New Haven with 2 big days of music including the return of the New Haven Jazz Festival on Saturday.

But, first, on Friday, venture down to Bru Cafe, 141 Orange Street, for the opening night of the 2-day Uncertainty Music Series.  Curated by bassist/composer/conceptualist Carl Testa, the first show features Bird Fly Yellow, String 4Tet and the duo of Testa & Adam Matlock. Bird Fly Yellow features the brass work of Joe Moffett (trumpet) and Dan Blacksburg (trombone) paired with the rhythm section of Matt Engle (bass) and Dave Flaherty (drums). String 4Tet combines the sounds of Nathan Bontrager (cello) and Al Margolis (violin) with James Ilgenfritz (bass) and Ben Shirley (guitar). Testa & Matlock blends accordion, string bass and electronics to create many fascinating sounds.  The music starts at 7:30 p.m.

The following night at 8 p.m., the Series moves to Never Ending Books, 810 State Street, to present the fascinating quartet of Kyoko Kitamura (voice), Anne Rhodes (voice), Nathan Bontrager (cello) and Adam Matlock (accordion). Both vocalists do amazing things with their voices to further the music; they create sonic images that can surprise and challenge the listener. Ms. Kitamura has recorded with cornetist Taylor Ho Bynum, the Laura Andel Orchestra, and flautist Jamie Baum and co-leads the adventurous quartet known as ok|ok.  Ms. Rhodes did her graduate work at Wesleyan, working closely with Professors/composers Alvin Lucier and Anthony Braxton as well as Jay Hoggard (jazz vocals) and B. Balasubramian (South Indian music.)  With Messrs. Matlock and Bontrager, she is an integral part of the chamber music trio Broadcloth.

For more information, go to http://carltesta.net or uncertaintymusic.com to check out all the exciting events.

Speaking of Assistant Professor of Music at Wesleyan Jay Hoggard, he's the headliner for Saturday's New Haven Jazz Festival to be held on the New Haven Green from 4:30 - 9 p.m.

The music starts with the Ryan Sands Quartet.  The drummer/bandleader is the younger brother of rising piano talent Christian Sands and will front a group that features trumpeter Adam O'Farrill (the son of composer Arturo O'Farrill), bassist Daryl Johns (son of drummer Steve Johns) and guitarist Gabe Schnider.  Following them at 5 p.m. will be a quartet led by another drummer, Hartford native Jonathan Barber.  His high-powered band features the excellent trumpeter Jeremy Pelt, pianist Zaccai Curtis (another Hartford native) and bassist Stephen Porter.  Ed Fast & Conga-Bop takes the stage at 5:45 for a high-powered set of Latin-flavored music.  Drummer Fast, also a Connecticut-based musician, has worked with the likes of Chita Rivera, Paul Anka and Aretha Franklin while maintaining his popular octet.

If you are one of the many who flocked to the Long Wharf Theater in New Haven to see the exciting production of "Ella" (yes, about the great jazz vocalist Ella Fitzgerald), you'll be thrilled to know that the person who played and sang the title role, Ms. Tina Fabrique, will be gracing the Green stage at 7 p.m. With her years of work on the stage and in nightclubs, Ms. Fabrique has built quite the repertoire.

As mentioned, vibraphonist Jay Hoggard will be the headliner and he's bringing his Africaribbean Vibes octet to entertain the crowd.  Featuring the former New Haven resident (and super guy) Dwight Andrews (saxophones), long-time associate James Weidman (piano), Belden Bullock (bass), Tony Lombardozzi (guitar), fellow Wesleyan associate Pheroan akLaff (drums) and a percussion section consisting of Asher DeLerme, Jawara Brian Gray and Middletown resident Kwakuu Martin Obeng, this music will get you off the ground and dancing (yes, you can dance to jazz.) And, the whole evening of music is free!

For more information, go to www.jazzhaven.org - they are the fine folks who put the event together.

Gil Evans at 100

Among the great recordings that helped initiate my ears to the joys of jazz was Miles Davis's "Sketches of Spain."  First issued in 1960, the recording paired the mercurial trumpeter with arranger/composer Gil Evans (pictured left) on a program of Spanish music from the pens of Manuel de Falla and Joaquin Rodrigo (as well as one of Evans' compositions.)  Evans utilized a large orchestra with as many as 14 brass players, 5 reed players, a harpist, acoustic bass and kit drummer.  "Beautiful" and "haunting" are good words to describe the results of their collaboration - Davis and Evans would go on to release "Miles Ahead", "Quiet Nights",  and "Porgy and Bess" - they had first worked together in 1949 on Davis's groundbreaking "Birth of the Cool" but their 4 releases on Columbia found great popular success.

All that leads into an email I received earlier today (reproduced below.)  This looks and sounds like an exciting adventure, one that should appeal to fans of Evans' unique approach to jazz and contemporary music.  

THE GIL EVANS CENTENNIAL PROJECT

Newly Discovered, Un-Recorded Works by Gil Evans Brought to Life

February 2011 Launch - March 13, 2011 Kick-off Concert in NYC

CD Release on May 13, 2012, Evans' 100th Birthday

"It's been a dream of mine to hear new Gil Evans works unearthed because I learn so much every time I hear his music. I don't know anybody who knows Gil's music better than Ryan and I can't wait to hear this music realized." - Maria Schneider

Next year will be the 100th anniversary of Gil Evans' birth, and the Centennial Countdown begins on February 16, 2011 when composer/producer Ryan Truesdell launches The Gil Evans Centennial Project (GilEvansProject.com) with the assistance of fans, friends, and musical colleagues, powered by an ArtistShare® experience.

While many centennial milestone celebrations involve collections and selections of greatest hits from the past, this centennial celebration brings to light newly discovered compositions. Most people know of Gil Evans' work with Miles Davis, but combining all of Evans' work with Davis accounts for only a few years out of a five-decade career. "Gil was an amazingly prolific composer and arranger. I saw thousands of pages of music manuscript, more tunes than I could count. As I went through this music, I started to realize that so many of these were never recorded or were heard live only a few times," explains Truesdell, the first person outside the Evans' family to have been granted full access to the musical archives.  As Miles Evans says: "I'm very excited about this project, and I'm behind Ryan Truesdell 100%.  He's a very talented young man, an excellent musician who has taken the time, and has the talent, to pull this off." 

Having sifted through stacks of music, some full scores, some just sketches, Truesdell has selected works that will give participants and listeners a look at Evans' musical world before and after his collaborations with Miles Davis. Among the works to be recorded for the first time are a number of pieces dating back to Evans' work in the late 1940s with the Claude Thornhill Orchestra, a few works written for singers including one originally arranged for an Astrid Gilberto album but never used, and never-before-heard works for a 24-piece ensemble that includes oboes, bassoons, French horns and percussion. This project will bring Evans out of the shadows, show him to be the pioneer that he was, and shine a new light on his legacy as a 20th century composer and orchestrator.

The Gil Evans Centennial Project provides an opportunity for fans and aficionados, students and professional musicians, to all join together in bringing the music of Gil Evans to life. What could be a better birthday present?

Fan-funded projects, a concept pioneered by ArtistShare®, not only support works of artistry, they provide participants with a behind-the-scenes view of the creative process. Through online audio, video, and journal entries, project participants will share the journey as Truesdell finds Evans' music, documents and compares the scores and sketches, applies deductive reasoning to prepare tempi, style and approach, and rehearses the band. Along the way, interviews with experts such as Evans' biographer Stephanie Crease, composer Maria Schneider, members of the Evans family, musicians who worked with Evans, and others who have been deeply influenced by his work will provide depth and historical context by sharing their experiences and insights. The project will continue with the recording, mixing and final release of the CD on May 13, 2012, Evans' 100th birthday.

On March 13, 2011, just one week shy of the anniversary of Evans' death, special guests Phil Woods, Andy Bey and Frank Kimbrough will join the Eastman School of Music Chamber Jazz Ensemble conducted by Truesdell for a New York City kick-off concert. The 7 PM performance at St Peter's Church will be preceded by both a 3:30 PM afternoon panel discussion moderated by Stephanie Crease with Howard Johnson, Helen Merrill, Maria Schneider and Ryan Truesdell, and the Church's weekly 5 PM Jazz Vespers that will feature the music of Gil Evans with guest soloists Frank Kimbrough, Helen Merrill, Howard Johnson, and Steve Wilson as part of "Prez Fest 2011 - Celebrating Gil Evans."

Truesdell, who was co-producer of Maria Schneider's award-winning album Sky Blue, is not only spearheading the project, but he will personally conduct the orchestra in live and recorded performances and produce the CD. A full range of participant levels is available from the $12.95 Download Participant to the $25,000 Executive Producer. Of special note is the $125 Composer Participant level that includes access to six audio lessons analyzing specific aspects of Gil's scores. Additionally, a brand new participant offer is still being designed that would enable schools, organizations, or even local communities to bring Truesdell to town where he would hold master classes and/or workshops as well as conduct a local ensemble in a concert of Evans' music, just as he did during the out-of-town preview concert that took place on February 17th at the Eastman School of Music in Rochester, NY.

Participation in The Gil Evans Centennial Project is available exclusively through ArtistShare®, a company noted for its groundbreaking approach to connecting fans with the creative process.

To participate, go to: http://www.artistshare.com/projects/project_experience.aspx?ProjectID=376&artistID=279&salesTypeID=6

"It's never too late to fall in love with Gil Evans" - Stephanie Crease

"[Gil] never wasted a melody, he never wasted a phrase. Students will discover him. They'll have to take his music apart layer by layer. That's how they'll know what kind of genius he was."- Miles Davis


ABOUT RYAN TRUESDELL

Composer - Producer - Educator

Ryan Truesdell is a composer of diverse musical tastes and influences with a healthy reverence for jazz tradition and an ever-broadening sonic palette. He received his Masters degree in Jazz Composition from the New England Conservatory and immersed himself in a broad range of musical styles while studying composition with Bob Brookmeyer and Lee Hyla. He composes and arranges music for an eclectic variety of ensembles ranging from small ensembles to big bands, wind ensembles to string quartets. Recent commissions include arrangements for trumpeter Ingrid Jensen with the U.S. Air Force Band of the Pacific, new music for pianist Frank Kimbrough with the University of Minnesota's Jazz Ensemble, and a new piece for Bob Brookmeyer's 80th birthday concert at the Eastman School of Music. Ryan was also awarded the First Music commission from the New York Youth Symphony's Jazz Band Classic, and conducted its premiere at the Allen Room at Jazz at Lincoln Center in 2009.

As a producer, Ryan has already distinguished himself as a valuable resource in the studio.  In 2004, he served as production assistant for Maria Schneider's record, Concert in the Garden, which won a Grammy award for Best Large Jazz Ensemble.  He co-produced Schneider's next recording in 2007, Sky Blue, which has received unanimous praise including "Jazz Album of the Year" from the Village Voice Critics Poll, a Choc Award from Jazz Magazine in France, and a five-star review from DownBeat in 2007 (one of only two albums to receive that honor). Sky Blue was also nominated for two Grammy Awards, and won the category of "Best Instrumental Composition" (Cerulean Skies).  Most recently, Ryan traveled to Hamburg, Germany to produce a recording with Bob Brookmeyer and the Norddeutscher Rundfunk (NDR) Big Band, including both new and old works from Bob's catalog.

Ryan is an active guest clinician and conductor, working with musicians at a number of schools and organizations including Lawrence University (Appleton, WI), University of Minnesota, Twin Cities (Minneapolis, MN), Eastman School of Music (Rochester, NY), and the New York Youth Symphony's Jazz Band Classic (New York, NY).

For more information, visit www.ryantruesdell.com. 

A Gentle Soul Passes, A Former Rocket Scientist in New Haven, + 2 Swell CDs

By now, you have undoubtedly read of the passing of pianist Hank Jones.  The 3rd and final Jones brother who had a major impact on the world of jazz (trumpeter/composer/arranger Thad and drummer/bandeader Elvin having passed earlier), Jones hailed from the Detroit, Michigan area, via Vicksburg, Mississippi.  Hank lived 91 years and played piano for just about all of them. The list of musicians he worked and recorded with is amazing, including Coleman Hawkins, Artie Shaw, Benny Goodman, Charlie Parker, Lester Young, Ron Carter, Tony Williams, Charlie Haden, Joe Lovano, and many more.  He served as staff pianist for CBS Studios and as conductor/pianist for the Broadway production of "Ain't Misbehavin'." In recent years, he accompanied vocalist Roberta Gambarini in person and on recordings.
His recent recordings as leader or sideman showed no diminution of ideas - he was the consummate accompanist and his solos were as sprightly and thoughtful at 90 as when he was 30.  Even at the age of 91, he continued to perform, completing a tour of Japan in February of this year - read Peter Keepnews' obituary from the New York Times here.
Here's Mr. Jones in "conversation" with bassist Christian McBride from 2009 (courtesy of Mack Avenue Records and IODA Promonet.
Alone Together with Hank Jones (mp3)

Pianist/composer Jean-Michel Pilc (pronounced "pilk" and pictured left) performs at Firehouse 12, 45 Crown Street in New Haven, this Friday (5/21) with the first set at 8:30 p.m. Pilc, who relocated to New York City from his native Paris, France, in 1995, has a gentle, melodic, yet often assertive style that has earned him gigs with artists such as Harry Belafonte, Roy Haynes, Michael Brecker, Dave Liebman, Marcus Miller, Kenny Garrett, Chris Potter, John Abercrombie, and the Mingus Dynasty and the Mingus Big Band.  He's released 6 CDs since his arrival in the US, including "True Story" (Dreyfus Jazz) reviewed below.

For the 2 sets in New Haven, Pilc will be accompanied by bassist Boris Kozlov and drummer Johnathan Blake (son of violinist John Blake, Jr.)  For ticket information, call 203-785-0468 or go to www.firehouse12.com.

And, before Pilc dedicated his life to music, he worked for several years as a rocket scientist - he talks a bit about that with WBGO's Josh Jackson on a recent edition of The Checkout - hear it here.

True Story - Jean-Michel Pilc (Dreyfus Jazz) - What a sweet collection of tunes make up Pilc's latest release.  Flanked by Boris Kozlov (bass) and Billy Hart (drums), the pianist makes one sit up and listen from the opening notes of "The Other Night" (which has a similar set of cascading notes as a section of Dire Straits' "Why Worry") through the classical strains of "Mornings with Franz" (dedicated to Schubert, whose work "Relic" is given a jazz arrangement elsewhere on the disk)  to the dramatic tango rhythms of "My Heart Belongs to Daddy."  Along the way, the Trio gets a bit Monkish on "B.B.B." and takes a lovely and adventurous stroll through "Try To Remember" (from the long-running musical "The Fantasticks"). The work of Kozlov and Hart is impressive throughout - there's more than a hint of Keith Jarrett in the pianist's attack on "PBH Factor" and the bass and drums react with strength and glee. The title song is actually a 5-part suite that goes in many directions yet rarely gets loud.  Hart's drum work on "Scene 3" and "Scene 4" is remarkable in its restraint and inventiveness.
Much of this music is quiet but there is a power in the melodic inventions and rhythmic interplay.  A lightness of spirit pervades many tracks (quite notieable on "High Sky - The Elegant Sky") and the joyous interactions of the musicians really makes for delightful listening.  For more information, go to www.jmpilc.com.

Trombonist Steve Swell (pictured left, image by John Rogers) has 2 new CDs on the market and both are worth your attention.  The Ullmann/Swell 4, composed on Swell, Gebhard Ullmann (tenor saxophone, bass clarinet), Hilliard Greene (bass) and Barry Altschul (drums) create quite an explosive program on "News? No News" (Jazzwerkstatt).  The first thing one notices is the powerful tandem of Greene and Altschul, who really stoke the fires of this music.  Even works that have quiet sections, such as "New York 5:50", have roiling rhythm tracks that push the soloists along. Altschul's African-inspired swing patterns enlivens Swell's "Planet Hopping on a Thursday Afternoon" and his unstinting drive and ability to change dynamics gives the title track its immediate appeal (and gooses Ullman's bass clarinet to an exciting solo.)
Other highlights include Ullmann's mysterious ballad "Kleine Figuren #2" with its blowsy, almost boozy, melody line from the trombone and the 2 "GPS" tracks that are group improvisations - "#`1" skitters along while "# 2" rumbles and squeals over pounding drums.
The sound quality on "News? No News!" gives the edge to the rhythm section - both Greene and Altschul stand out, making the music more immediate and, honestly, "in-your-face."  Ullmann and Swell react in kind making this effort "good news fit to hear." 

5000 Poems - Steve Swell's Slammin' The Infinite (Not Two Records) - This is the 4th recording for this ensemble and the second featuring pianist John Blum.  With multi-reed player Sabir Mateen (alto & tenor saxophones, clarinet & alto clarinet, flute) on the front line and an excellent rhythm section in Matthew Heyner (bass) and Klaus Kugel (drums), the music moves "in and out" with abandon yet has a purpose.  Swell, who composed all the material, knows his cohorts, writes to their strengths and allows them the freedom to work "outside" the compositional "box." Therefore, the first 60% of "Sketch #1" is a fiery conversation for Mateen on flute and Blum that gives way to a trombone and drums interplay for another several minutes until the band plays a short theme and the piece closes with a bowed bass solo before the theme makes a short return.  It's the sort of material that works well in concert but one that needs to pay attention to on a recording to understand the links between sections.  Blum's full-fisted chords and quick single-note "jabs" give "Where are the Heartfelt?" a Monk-like feel (albeit, "out" Monk), opening the door for Mateen's incendiary tenor solo and Swell's blazing romp.  Heyner and Kugel are like "shape-shifters" beneath the soloists, reacting to or prodding the front line, toying with tempos and dynamic variations - their work beneath Blum's blazing solo is one of the highlights of the program.
There's more than a hint of the blues that radiates throughout "My Myth of Perfection", the "stop-and-start" feel in the rhythm section below Swell's fine solo as well as Mateen's sweet alto spotlight.  Swell's muted trombone has an acidic edge as does Mateen's high-energy clarinet through the first half of "The Only Way Out" yet, after the bowed bass solo, the piece takes on an ebb and flow with each player moving with abandon towards the sire-line wail at the end. 
"5000 Poems" is an apt title for this program, as each piece contains pithy, abstractions from which one can glean a multiplicity of meanings (Yes, this is "mood" music in that one has to be in the right frame of mind to listen completely - definitely not "background" music.)  Recorded early in 2007 but just seeing the light of day, this is exciting, challenging and rewarding modern music.  For more information, go to www.steveswell.com. 

Weekend in Chicago

Just returned from 5 days and nights in Chicagoland and music played an integral part of the first few nights.

 The Heath Brothers Band was performing at Joe Segal's Jazz Showcase and we caught the first set on Friday night.  Before the band hit the stage, Albert "Tootie" Heath (left) was in rare form, joking with customers and picking on the "babies" in the band (pianist Jeb Patton is 35 while bassist David Wong is but 28.) We mentioned we had seeing the band 32 or 33 years ago (when brother/bassist Percy was still alive and Connecticut-based guitarist Tony Purrone was in the group) and "Tootie" (aged 75) shook his head saying "who can remember that far back?" and pointing to bassist Wong, "Not this guy!"
Jimmy (84 years old) came over and we mentioned that we were from Connecticut and he reminded us that the group was scheduled to play at "Jackie McLean's place" (The Artist's Collective in Hartford) on Saturday May 15 and he'd be signing copies of his newly published autobiography "I Walked with Giants" the day before at the Hartford Public Library (to find out more about both events, call 860-527-3205.)
Then, the band played - if you've never experienced "Tootie" Heath, you are missing a treat. Yes, he's a master drummer and showman but he's really the heart and soul of the quartet. Always in motion, working the cymbal and the snare drum, really pushing the beat. Always in eye contact with either the bassist or pianist, making sure he's with them. Both Patton and Wong are excellent players with the pianist displaying serious blues roots and the bassist incredible facility and great melodic sensibility.  Jimmy played tenor sax most of the set and switched to soprano for one fine ballad.  Despite a small audience, they had fun playing together and for us.
On the way out, Jimmy Heath shouted back to our goodbyes, "Thanks for coming, Connecticut!"

The following morning, I was strolling through the area where we were staying and discovered, quite by accident, that Anat Cohen was performing a free concert at 12noon in the music department of Border's Books.  We returned in time to watch the Israeli-born clarinetist play a short and sweet duo set with Chicago-based guitarist Andy Brown.  Cohen was promoting her new ANZIC recording, "Clarinetworks" - shew had just finished a short tour with one group and was getting ready for a short tour with pianist Benny Green, bassist Peter Washington and drummer Lewis Nash (the rhythm section on the new disk playing music inspired by Bennie Goodman.)
For the Borders' hit, the duo played 4 standards including a sweet version of "Fats" Waller's "Jitterbug Waltz."  Ms. Cohen is quite the fluid player, with a sound that is "sweeter" than Goodman's but filled with smears, lightning-quick runs and gutsy blues phrases.  She chatted up the crowd, signed copies of the new CD and then headed off into misty Chicago afternoon.

We ate well (love that Eleven City Diner), visited family, drove to Milwaukee for a Brewers-Cubs game (with side trips to the Milwaukee Art Museum and Kopps' Custard Stand) and walked through Millennium Park (twice.)  Good to get away.

More music to follow, including a preview of Tomas Fujiwara at Firehouse 12 Friday and Bennie Maupin Trio (with Buster Williams and Billy Hart) on Saturday.

Potpourri for Spring (CD Reviews)

Noir Blue - Ken Peplowski (Capri Records) - The proper word to describe this program of 7 standards and 3 originals is "delightful." With a crackling rhythm section of Shelley Berg (piano), Jay Leonhart (acoustic bass) and Joe La Barbera (drums),  Peplowski (carinet, tenor saxophone) bops, swings and strolls in a most entertaining way.  Berg is such a creative player, either rumbling through a solo or playing the right accompaniment.  Leonhart can deftly underpin a tune as well as create a fine solo and La Barbera is as creative behind the soloist as he is designing the right setting for each tune. Peplowski's tone on clarinet (an instrument he took up as a member of Benny Goodman's mid-1980s ensemble) is warm and inviting.  He creates a South American atmosphere on "Bourbon Street Jingling Jollies", an Ellington/Strayhorn collaboration from "The New Orleans Suite."  He and Berg caress Strayhorn's bittersweet "Noir Blue", never rushing through the melody, making sure each note counts.  Peplowski brings out the tenor sax for Hoagy Carmichael's "Riverboat Shuffle", giving the 1920s composition a more up-to-date "mainstream jazz" sound. Yet, Peplowski's tenor tone hearkens back to Lester Young (even more so on "Love Locked Out.") Some listeners may be surprised by the leader's tribute to Ornette Coleman -  "Little Dogs" evokes the Coleman Quartet of the late 1950s - early 60s, with Berg's bouncy, Monkish piano sounds replacing Don Cherry's trumpet. The "swing blues" track closes this most impressive program.
If you love jazz, "Noir Blue" covers a wide swath of creative territory, with ballads that rise slowly and burners that make one's feet bounce.  And, nary a false note.  Highly recommended! - for more information, go to www.caprirecords.com. 

Yaounde - Samuel Torres (Blue Conga) - Percussionist/composer Torres' second CD as a leader shows him as a progressive, blending traditional rhythms with intelligently crafted melodies and smart arrangements.  The core sextet features the excellent drumming of Cuban native Ernesto Simpson, bassist John Benitez, the sparkling keyboards of Manuel Valera, the expressive trumpeter Michael Rodriguez and saxophonist Joel Frahm. Frahm's playing continues to impress, especially his rich soprano sax (just beautiful on "Bambuco") and his muscular tenor.  Clarinetist Anat Cohen gets added to the mix for "Macondo", with its staggered rhythms and the blend of her woody tone with Rodriguez's shiny brass, Frahm's hearty tenor and Valera's exclamatory piano chords is quite handsome. The hustle and bustle of "Lincoln Tunnel", with its flashy electric bass lines, guest Ralph Irizarry's thumping/popping timbales and a "stop-start" melody line, is irresistible (Rodriguez's fiery trumpet solo is also a joy.)  Vocalist Sofia Rei Kuotsovitis joins Torres for "Ronca el Canalete", overdubbing several voices to create a choir that moves sinuously over the congas.
Torres takes several solo turns, including the hypnotic 4-minute "Chia - The Moon Goddess", cuts that not only display his formidable technique but also his ability to create melodies for his drums. There's much to absorb on "Yaounde" and repeated listenings only heighten the experience.  To find out more, go to www.samueltorres.com.

Like A Rusted Key - Peter Van Huffel Quartet (Fresh Sounds New Talent) - Alto saxophonist/composer Van Huffel, a native of Canada now living in Berlin, Germany, creates music that insinuates its way into your mind.  Not outwardly ebullient, the songs move with a purpose. And, this CD, his 3rd with pianist Jesse Stacken and first with the rhythm section of fellow Canadian Miles Perkins (acoustic bass, toys) and Swiss drummer Samuel Rohrer. "Drift", the longest track in the program. opens quietly with percussion, the staccato piano behind the handsome melody. Slowly, steadily, the song builds in intensity, the fullness of the alto saxophone rising over the simple piano rhythm.  A martial drum beat announces the bass solo and then the leader returns, his introspective phrases reflecting the raga-like lines that bassist Perkin played.  The directions that the piece takes reminds this listener of Keith Jarrett's European Quartet from the 1970s (with Jan Garbarek, Palle Danielson and Jon Christensen.) But, this group goes its own way with the intensely-rhythmic "Tangent", moving with an urgency that reflects modern rock and the fire of Cecil Taylor. Pianist Stacken drives through his solo, prodded by the pounding drums and bass.  All drop out for the alto sax to move out of time - they return, yet drop away to return again to ratchet up the intensity.
There's plenty of variety, from the Kurt Weill-like melody and circus atmosphere on "Engehavej"(and when the piece opens further, the music lurches then propels forward) to the mysterious, percussion-driven excitement of "Backwards Momentum" - Rohrer moves like a dervish over his kit beneath Stacken's driving solo then really pushes the proceedings when Van Huffel takes over. Silence is a key ingredient of "Melancholic", with the tolling piano chords that slowly lead the piece in until one can notice the light echoing alto and hushed percussion - not much changes save for the intensity of the long notes until the long quiet fade.  If one is patient, the work is meditative and calming.
"Like a Rusted Key" is quite the group effort - even though the songs are all composed by Peter Van Huffel, each member of the Quartet is intimately involved in the creation of the music and that intimacy is what shapes the program and makes it work.  Stick with it and the rewards are plentiful. To find out more, go to www.petervanhuffel.com.

Rainbow - Kronos Quartet, with Alim  Fargana Asimov and Homayun Sakhi (Smithsonian Folkways) - Over the course of 30+ years, Kronos Quartet has effectively redefined the role of the string quartet in the 20th and, now, 21st century. Not only have they championed new works by many American composers, they have turned their eyes and ears to the world and brought listeners into the folk musics of Asia, South America and elsewhere.
Their latest venture is Volume 8 of the Smithsonian Folkways "Music of Central Asia" series and finds the KQ (violinist and founder David Harrington, long-time members violinist John Sherba and violist  Hank Dutt along with cellist Jeffrey Zeigler) working with Afghan composer and rubab player Homayun Sakhi (and trio) as well as with Azerbaijani composer/vocalist/percussionist Alim Qasimov (and his Ensemble.) The disk opens with the intensely beautiful "Rangin Kanan", Sakhi's work for the quartet plus rubab, tabla and percussion.  The arrangement, by Stephen Prutsman, truly integrates the 2 groups and the music initially is introspective then soars with power.  The remainder of the CD is given over to Qasimov's music, arranged by Jacob Garchik for KQ to have them become part of the ensemble that supports the incredible voices of the composer and his daughter Fargana. Qasimov's supporting musicians include Rafael Asgarov (balaban or wooden flute),  Rauf Islamov (kamancha, a stringed instrument), Zaki Valiyev (tar, or long-necked lute) and Javidan Nabiyev (naghara, or drum.) Alim Qasimov has a voice with an incredible range, sounding not unlike the cadences one hears at the Muslim call for prayer. His other instrument is the daf, or frame drum.  The 5 cuts range from "Kohlen Atim" ("My Splendid Horse"), a piece that starts slowly and then builds to an intense finish to the highly dramatic "Getme, Getme" ("Don't Leave, Don't Leave") to the rampaging "Leyla" (short but incredibly forceful.)  "Mehriban Olaq" opens like a Aaron Copland work (the furious bowing of the strings) before dropping into long tones, then the full ensemble enters and the piece becomes a duet for the voices over thunderous percussion and flying strings. The final track, "Qashlarin Kamandir" ("Your Eyebrows are Bow-like"), is episodic, with sudden and dramatic tempo changes, more great vocal exchanges and an amazing propulsion.
Kronos Quartet is nothing if not adventurous and "Rainbow" is yet another example of the ensemble's tremendous appetite.  The music has moments of splendor and force, joy and introspection.  Musical and educational, this CD is worth seeking out.
The "hard" copy, as opposed to the Mp3 download, includes an video that shows Kronos hard at work with their collaborators creating this program as well as a guide to the instruments on the recording.  To find out more, go to www.folkways.si.edu/albumdetails.aspx?itemid=3255.

Creative Explorations

The Whole Tree Gone - Myra Melford's Be Bread (Firehouse 12 Records) - In the 2+ decades pianist/composer Myra Melford has been on the contemporary music scene, she has created a good number of impressive recordings.  With a piano style well-versed in both the blues and avant-garde as well as studies that have taken her to India and beyond, her music is truly her own.  This latest disk features a smashing sextet including Ben Goldberg (clarinets), Cuong Vu (trumpet), Brandon Ross (acoustic guitars), Stomu Takeishi (acoustic bass guitar) and Matt Wilson (drums) and it's truly a group recording.  Melford has a way of orchestrating "group" arrangements that makes the music, at times, sound bigger.  Each piece stands on its own, with sections that allow the musicians to move easily and creatively through the music.  To these ears, many of the pieces have a Brazilian influence, in the long, well drawn, melodies and the smartly-crafted dynamics (there are moments that are so quiet one must lean into the speakers.)  Ross's acoustic work is crisp, forceful, contemplative and commands the listener pay close attention.  His long abstract unaccompanied solo on "Moon Bird" leads into a slow, introspective, solo from Vu (whose playing is solid throughout.)  Goldberg's clarinet voice works well within the ensemble, a softer color next to the sharp trumpet, rippling piano and Ross's crackling guitar. Goldberg's lines fly over the roiling, rhythmical, piano on the title track, a work with wide shifts in dynamics and mood. Wilson truly pushes the soloists in the faster sections as Takeishi's swift bass lines act as the anchor. The group interplay on "I See A Horizon" is arresting, the rhythm section pushing the volume and the leads moving, really dancing, within the piece. "On The Lip of Insanity" glistens with melodic invention, a musical chess match in which each player moves the piece along - Vu's solo over the tolling piano chords and the hard-edged drums has great power and dynamic force yet the piece remains a ballad throughout.

Melford can play hard and fast with the best of them, with knuckle-busting phrases that jump out at the listener, short solo sections that are stunning for their power and rhythmic fire.  Yet, she also displays a melodic grace and creative sense of wonder.

"The Whole Tree Gone" is beautifully recorded, intimate, music that opens with each listen - take the time to listen to how each musician works within the compositions and enjoy the interaction. For more information, click http://firehouse12.com/firehouse12_records_release.asp?id=79354 or go to www.myramelford.com.

Many Worlds - Greg Burk (482 Music) -  Pianist/composer Burk takes a similar approach to his quartet's endeavor as does Myra Melford. Many different elements make up this program, with the emphasis on group interaction and a creative intensity that elevates the music. Bassist Ron Seguin's "Sonny Time" opens the disk, hearkening back to the music of the classic John Coltrane Quartet (save for multi-reed player Henry Cook's flute.)  Drummer Michael Lambert provides the muscle and Burk the sheets of sound.  He's most often a percussive pianist and his interactions with Lambert keep the listener's attention throughout.  The drummer contributes "Storm Cloud", with its eerie flute sounds (provided by Cook on the washtint, an end-blown flute from Ethiopia.) The piece feels like the moments before a late summer deluge, just as the wind has picked up and loose leaves are skittering aross the landscape. 

In interviews, Burk refers to his band's creations as "rubato music", with "a way of approaching rhythm that doesn’t involve a fixed pulse." That's true, yet you have lovely works like "Look to the Lion" that rise out of the rubato, with a loping gait that dances with grace and serenity.

The "Many Worlds Suite" makes the final 32 minutes of the program.  Credited to the entire group, it features the fieriest music on the disk, especially in the opening minutes of the title track and a good part of "The Strong Force."  The music never dissolves into pure chaos, pushing forward on the power of rhythm section, Burk's expressive piano and Cook's high-energy alto. The pianist leads the way on "Waves/Scattering Matrix", with a long, winding, solo that pushes against the intermittent bass lines and interacts with Lambert's gentle yet intense percussion.  Cook's introspective alto lines weave in and out of the piano lines, short interjections that reflect the drummer's skittery work. The Coltrane influence returns on the final track, "The Spirit Will Take You Out", all the more for Cook's sweet soprano lines. But the fine reed player, who has worked with Salim Washington, Frank Lacy, the Either/Orchestra, and co-led a group with drummer Bobby Ward, is no Coltrane clone possessing a tone and style more akin to Yusef Lateef and Charles Lloyd (both saxophonists who also play the flute.)

"Many Worlds"contains an intensity that is shared among the 4 musicians, who did not come together to just  play "the changes" or show off their "chops" - instead, this fine recording demonstrates the results of working together and trusting each other to create music that is expansive, highly emotional and free-spirited.  To find out more, go to http://www.482music.com/albums/482-1063.html.

Listening Pleasures

I have often praised WBGO-FM's "The Checkout", a show heard every Tuesday evening and which I download from iTunes.  Last week, they began a 2-part show honoring the 2010 NEA Jazz Masters. The show featured interviews with vocalist Annie Ross, producer George Avakian, and pianist/composers Muhal Richard Abrams (pictured) and Cedar Walton.  Each person is fascinating in her or his own right and worth your attention (click on the show name above to find out more.) This week, the spotlight turns on pianist Kenny Barron, composer/arranger Bill Holman, vibraphonist Bobby Hutcherson, and reed master/educator Yusef Lateef. If you listen "live", you can hear the NEA Induction Ceremony following "The Checkout."

Hearing the interview led me to Cedar Walton's latest CD, "Voices Deep Within", issued late last year on the HighNote Records label.  It's a sweet set, featuring the splendid, buttery-toned bass of Buster Williams, the high-energy drum work of Willie Jones III, and, on 4 tracks, tenor saxophonist Vincent Herring.  This is mainstream jazz at its best with fine playing and creative interplay, smart compositions, and an overall aura of fun. Walton, who turns 77 this coming Sunday (1/17), sounds as if he is having the greatest time, dropping song "quotes" into his solos and playing with glee.  Even the slower tunes, such as "Dear Ruth" (which the pianist wrote for his mother) and John Coltrane's "Naima", are light-hearted yet heartfelt.  Herring, who is better known as an alto saxophonist, plays well on his appearances and shows great spunk on Sonny Rollins' "No Moe" (he follows the leader's sprightly solo with a muscular tour-de-force.)

When you gets the tag "jazz master" applied to his or her name, one might expect that the artist's better days are in the past.  Listening to the interviews on "The Checkout" and to Cedar Walton's latest recording, you know that's pretty much a crock (gosh, Avakian, who turns 91 in March, is still producing recordings and is excited about new musicians.) 

Perhaps, the best "new music" label in the few years has been Clean Feed. The label, based in Portugal, has released a high number of quality in the past half-decade and starts 2010 off with a bang with the release of "Voladores", music by Tony Malaby's Apparitions. The tenor saxophonist surrounds himself with class musicians including bassist Drew Gress, drummer Tom Rainey and percussionist John Hollenbeck (all great players.) If you want to get a taste of this fine music, go to www.emusic.com and search for the CD (you can also click here.) I'll post my review in a few weeks but, from initial listening, this music is fiery and involving, hard-edged jazz that keeps one guessing.

Three 2009 CDs That (almost) Got Away

Seize The Time - Ted Sirota's Rebel Souls (NAIM) - Drummer/composer Sirota is a jazz activist in the manner of Charles Mingus and Max Roach with influences as far-ranging as Curtis Mayfield and The Clash.  He's not afraid to mix his music and politics (listen to his interview with Jason Crane by clicking here) but even those folks who don't pay attention to politics will be moved by the music he makes.  Flanked by Geof Bradfield (tenor sax, bass clarinet), Greg Ward (alto sax), Dave Miller (electric guitar) and Jake Vinsel (acoustic and electric basses), the drummer creates a program that blends music by several of his influences with fine originals.  The CD starts with 3 pieces from those influences, "Clampdown" (The Clash), "13 de Maio" (Caetano Veloso), and "Free Cell Block F, 'Tis Nazi USA" (Mingus) as well as a gospel-soaked rendition of Stephen Foster's "Hard Times (Come Again No More.")  It's easy to get lost in the calypso rhythms of Veloso's tune without knowing the song celebrates the day slavery ended in Brazil.  Mingus's tune is quite melodic and rhythmical, a work written in the 1970s whose title reminds us that all men are not created equal in the eyes of a corrupt government.  Other highlights include the drummer's dub-soaked "Killa Dilla" and Ward's funky yet progressive "The Keys to Freedom."

Though this music celebrates freedom, it's not a chaotic free-for-all. Some of the beats are pretty heavy yet each song has a distinct melody (even Sirotta's unaccompanied tribute to Max Roach, "Viva Max!", has a melody line.)  The solos are, for the most part, short yet most are well thought-out.  No matter your politics, "Seize The Time" is powerful creative music that offers much to the willing listener.  For more information, go to www.tedsirota.com.

Since Forever - Fred Simon (NAIM) - Fred Simon has been an active musician/composer for nearly 4 decades.  His music, as displayed on this fine CD, straddles the lines between jazz, adult-contemporary, and popular song.  With a sharp rhythm section (bassist and co-producer Steve Rodby and percussionist Mark Walker) and the strong reed playing of Paul McCandless (soprano sax, oboe, english horn, bass clarinet, duduk), Simon's compositions create aural paintings that invite listeners to sit back and get lost in the sounds.  McCandless has always been an expressive player (best known for his work with Oregon) and he never relies on cliches to get through a solo.  His use of the double reed duduk on "Song of the Sea" is highly evocative and gives the piece a stately yet mysterious presence.
"No War Nowhere" has a sprightly rhythm and lyrical melody and Simon's two-handed piano work behind the soprano sax is forceful yet supportive. "Simple Psalm" rises sweetly above Walker's active cymbal and percussion work, with a melody that is soulful and touching. The inclusion of Joe Zawinul's "In A Silent Way" is a perfect compliment to Simon's originals pieces and could be viewed as a sonic template for the program.
"Since Forever" is music for the colder months in that it easily warms the soul of the listener.  But, it's also music that rises easily on the breezes of spring and summer.  Some readers may perceive the words "pretty" and "sweet" as describing light or inconsequential music but Fred Simon's CD is mature, intensely melodic, and a balm to the darkness of the "real" world.  For more information, go to www.naimlabel.com/recording-since-forever.aspx.

Bim Bom: The Complete João Gilbert Songbook - Ithamara Koorax & Juarez Moreira (Motema) - Voice, acoustic guitar and the music of João Gilberto, who could ask for much more, especially when the vocalist is the highly impressive Ms. Koorax.  How best to describe this CD?  The words "lovely" and "intensely melodic" easily come to mind. It's so easy to fall under the spell of this short (barely 41 minutes) but ever-so -sweet.  Guitarist  Moreira is up to the task of playing melodically yet keeping the rhythms flowing on the uptempo tunes, such as the title track and the disk's only purely instrumental piece, "An Embrace to Bonfa."  The hypnotic "Undiu", with its droning low strings and nearly wordless vocals, is one of the finer cuts as is "Valsa (Bebel)", written for Gilberto's oldest daughter (who now is one of the most popular singers from Brazil.)  The latter track features an overdubbed guitar solo and has a sound that might have influenced the songwriting of Paul Simon. Moreira overdubs electric guitar on the English language version of "Hô-ba-lá-lá" that closes the program.
Ithamara Koorax has such a fine voice with an easy delivery that rings true throughout the program.  Moreria's guitar is the perfect partner, always supportive, with clear, articulated, lines and short pithy solos. João Gilberto's music has rarely sounded better.  For more information, go to www.motema .com or www.itharamakoorax.blogspot.com.

Here's the title track of the CD, courtesy of Motema Music and IODA/Promonet.

Bim Bom (mp3)

2009, a Great Year for Big Bands & Large Ensembles

Part 1 of "My Favorites of 2009" included 21 solo, duo, trio or quartet CDs that are worth your attention.  This posting is dedicated to the larger group (6 or more members) recordings of the year. There was much to savor, from the high-energy burn of Darcy James Argue's Secret Society's "Infernal Machines" to the intricate arrangements and generous melodies of John Hollenbeck's Large Ensemble's "Eternal Interludes" to the classical and creative pieces that make up the Gotham Wind Symphony's "New Year, New Music."  What those 3 recording have in common is the influence of composer/arranger Bob Brookmeyer.  In fact, you can say that about Dave Rivello's "Facing The Mirror" and the Schumacher-Sanford Sound Assembly's "Edge of the Mind." Each group is different and the composers whose works are used come from varied experiences but every one of the disks is built around the "total" sound and not merely vehicles for soloists.

The SF Jazz Collective continues its impressive run of concert recordings.  The 2009 edition is dedicated to the music of McCoy Tyner and the septet (Dave Douglas, Joe Lovano, Robin Eubanks, Miguel Zenon, Renee Rosnes, Matt Penman and Eric Harland) plays with great precision, gusto and, at times, abandon.  Per usual, the program also includes original works by the members of the group and they do not disappoint.  In January 2009, I reviewed the 2008 edition, an octet (Stefon Harris on vibes) that explored the music of Wayne Shorter.  You cannot do wrong by checking out any or all of this organization's recordings. For more information, go to www.sfjazz.org.

Here's the rest of the list:

"From Seeds" - Michael Musillami Trio + 3 - (Play-scape Recordings)

"Cycles Suite" - Jentsch Group Large, featuring Mike Kaupa - Fleur de Son Records)

"We Take No Prisoners" - Joris Teepe Big Band -  (Challenge Records)

"Farewell Walter Dewey Redman" - Mark Masters Ensemble - (Capri Records) -  A heartfelt musical tribute to the fine tenor saxophonist notable for the impressive work of trumpeter Tim Hagans and the highly-charged alto saxophone of Oliver Lake.

"Pluto Junkyard" - Lucky 7s - (Clean Feed) - A great combination of musicians and ideas, including a smoking brass section of trumpeter Josh Berman and trombonists Jeb Bishop and Jeff Albert.

"Madeleine Dreams" - Taylor Ho Bynum & SpiderMonkey Strings - (Firehouse 12 Records) - A fine ensemble recording, featuring smart arrangements and the fascinating vocal work of Kyoko Kitamura.

"Spiritual Dimensions" - Wadada Leo Smith  - (Cunieform Records) - Actually 2 sessions, the first with a crackling quintet featuring pianist Vijay Iyer, bassist John Lindberg, and 2 great drummers, Pheroan ak Laff and Famadou Don Moye.The second disc, recorded at Firehouse 12 in New Haven, features a octet plus overdubbed guitar from Nels Cline, with several cuts using 4 guitars.  Describing the music is futile save to say it is challenging and rewarding - Smith's crisp trumpet lines are joyful and exploratory throughout.    Call it fusion, call it progressive, whatever you wish but there are moments that are pure bliss.

One correction and several additions to the first list : 1) - John Hebert's smashing debut CD, "Byzantine Monkey" (Firehouse 12) actually belongs on this page (the music features 6 musicians) and 2) - I forgot to mention Benjamim Taubkin's exciting and supple "Trio + 1" (Adventure Music) as well as the unique "Hum, Crackle & Pop" created by Digital Primitives (Hopscotch Records.)

If my count is correct, that's 36 CDs in all (between the 2 lists - can't make up mind, you say.)  As I stated before, 2009 has been a great year for listening. 

Happy Holidays to all!

Favorites of 2009 (Part 1: Individuals & Small Groups)

I am of the opinion that 2009 has been an excellent year for creative music, jazz, folk and more (and I'm not alone.)  To try and narrow down a "Top 10" has been fun and, in the end, an impossibility.  Therefore, I've split up the list (the larger groups follow later this week.)  The following is in no set order of preference.

Marcus Strickland released 2 CDs in the space of a month this spring and both are excellent. "Idiosyncracies" (StrictMuzik) is a trio recording with brother E.J. (drums) and Ben Williams (bass), the approach descended from the legendary Sonny Rollins Trio recordings of the 1950s.  The band is tight, the material intelligent (originals mixed with works by Stevie Wonder, Bjork, Oumou Sangare, Andre 3000 and Jaco Pastorious) and the results a delight. "Of Song" (Criss Cross) adds pianist David Byrant to the mix and is a "ballads" programs.  Recorded 18 days after the Trio CD, the repertoire is all "cover" tunes save one and the band just as focussed. Taken together, this is 2 hours of great listening.

Bassist-composer Linda Oh entered the scene with "Entry", a self-released Trio disk that is quite mature and musical.  With trumpeter Ambrose Akinmusire and drummer Obed Calvaire, the music moves in many and varied directions.  Oh plays with spirit and fire, her lines both supportive and interactive.

Another trio CD that has caught just about everyone's ears is Vijay Iyer's "Historicity" (ACT.)  Pianist Iyer, bassist Stephan Crump and drummer Marcus Gilmore create a swirling mass of melodies and rhythms that is challenging and seductive, mesmerizing and thoughtful. 

Clean Feed, a label based in Portugal, released a number of fine CDs this year.  Three that made my list include the highly satisfying "Things Have Got To Change" featuring the Marty Ehrlich Rites Quartet. Saxophonist Ehrlich, who has worked tirelessly to keep the music of his mentor Julius Hemphill (1938-1995) alive, works with a fine group including James Zollar (trumpet), Erik Friedlander (cello) and Pheroan ak Laff (drums.) 3 of the 8 tracks are by Hemphill, including 2 that have never been recorded until this CD and a smoking take of "Dogon A.D." 
Also on Clean Feed is the quiet and exploratory "Pieces of Old Sky" by trombonist Samuel Blaser's Quartet and the cool yet sparkling music of "Canada Day" created by drummer/composer Harris Eisenstadt and a empathetic quartet.

Firehouse 12, the splendid recording studio and performance space in New Haven released several strong CDs in 2009 but none more impressive than "Byzantine Monkey" from bassist John Hebert.  3 reed players (Michael Attias, Tony Malaby and Adam Kolker) work alongside drummer Nasheet Waits and percussionist Satoshi Takeishi to bring Hebert's fascinating works to life.  There's great rhythmic fire and interplay with melodies that draw on the bassist's familial home (Louisiana) and the influence of pianist Andrew Hill. But the music does not sound Cajun nor do the majority of the pieces sound like Hill - in fact, it's hard to pin down influences. So, don't.  Let the music play and bask in the creativity.

Among the other releases that caught my ears is the exciting and raucous "That's Gonna Leave a Mark" from the Matt Wilson Quartet (Palmetto), "Paris/London: Testament", a riveting solo piano release from Keith Jarrett (ECM) that is his most musical and emotional work in a long time, and "Spirit Moves", a modern brass band quintet known as Brass Ecstasy led by trumpeter/composer Dave Douglas (Greenleaf.)  The joy emanating from this group's music is palpable and very seductive.


I'm already at 11 and there are even more so here's the rest of the list:
"It's a Gadget World" - Ron Horton (ABEAT Records)
"Luna Menguante" - Lucia Pulido (Adventure Music)
"Obsession" - Tessa Souter (Motema), featuring a smashing take on "Eleanor Rigby."
"Similar in the Opposite Way" - Jeff Albert Quartet (Forasound)
"Small Spaces" - Mike Baggetta Quartet (Fresh Sounds New Talent)
"Mosaic" - Kendra Shank Quartet (Challenge)
"The American Dream - Frank Carlberg (Red Piano Records), featuring Chris Cheek (saxes), John Hebert (bass) and the expressive vocals of Christine Correa.
"Esta Plena" - Miguel Zenon (Marsalis Music), a truly exciting blend of Puerto Rican roots music and jazz.
"Perennial - Rob Garcia 4 (BJU Records), great work from pianist Dan Tepfer and saxophonist Noah Preminger (whose playing is subtle and experimental yet aways musical.)
"Today on Earth" - Joe Morris Quartet (AUM Fidelity)