(By way of apology, read on.) Christopher Zuar, composer and arranger, released his second album as a leader, "Exuberance" (Tonal Conversations) in May of this year. At the time, I had been listening to the music for a month while recuperating from the first of two fractures. With everything piling up (including student Final Papers), the album kept getting shunted aside. Yet, I kept returning to the music, especially in the quiet morning hours where the only other sounds one hears is the songs of various birds. Now is my chance to tell you this album is one of the best of this year!
First off, who is Christopher Zuar? A native of Long Island, NY, Zuar has been composing since his youth, winning numerous awards. He did his undergraduate work at the New England Conservatory and earned his Masters of Music degree at the Manhattan school of Music. Along the way, he has studied with Jim McNeely, Maria Schneider, and Mike Holober and had his works performed by the WDR Big Band, the Danish Radio Big Band, and the Brussels Jazz Orchestra. He has arranged for artists such as Miho Hazama (a great arranger in her own right), Joel Ross, Theo Bleckmann, and more. His debut recording, "Musings", was issued in 2016 by Sunnyside Records to great critical acclaim. In his music, one can hear traces of the influences of his mentors but also of the 20th Century classical composers he listened to as well as more "popular music" artists.
The initial sessions for "Exuberance" took place in August of 2018 but due to numerous complications and the pandemic, did re-commence until three years later (August '21). The project is a partnership with animation filmmaker Annie Beal (they were married in 2022) when both had fellowships to the MacDowell Colony in New Hampshire (go to https://vimeo.com/260899301 to see them at work). By then, they had created Tonal Conversations, an outlet for their creativity. The album is filled with brilliant musical conversations throughout played by an incredible 18-member band (see "personnel" below), many of them who have worked with each other on large ensemble projects. Guests include violinist Sara Caswell who has also shown up on numerous jazz and classical albums over the past few years. Conductor Mike Holober, who had produced Zuar's 2016 album, led the band for the recording sessions.
Photo: Maria Baranova
This music is quite melodic. The horn and brass sections often push the melodies forward –– they also often set the tone and mood of the music. The opening track, "In Winter Bloom", opens with with a static piano figure before the sections set the piece in motion. Their choruses set the the stage for solos from bassist Drew Gress and tenor saxophonist Jason Rigby. Listen below to "Communion", how the flutes and piccolos riuse aboe the horns to set the stage for Ms. Caswell's playing of the theme. Pianist Glenn Zaleski plays a second theme before the brass and flutes carry it forward, again opening the path for the piano solo. The violin solo that follows kicks the piece into the stratosphere as Gress and drummer Mark Ferber create a powerful thunderstorm.
Photo: Maria Baranova
One of the best aspects of this seven-song, 59-minute, program is that each song stands out on its own and as part of the overarching theme. "Simple Machines" blends the sound of Appalachian bluegrass with big band swing with Ben Kono creating a powerful tenor sax solo over a funky beat followed several minutes by a short fiddle hoedown (shades of Aaron Copland). That leads into a delightful mandolin spot from guest Joe Brent followed by a rollicking solo from Ms. Caswell. The episodic "Before Dawn" opens with a thunderstorm but, as the "day" breaks, the music becomes more tranquil. Guitarist Pete McCann creates a long, flowing, solo over the rhythm section until the horns and brass enter which then kicks his sound and attack into overdrive with drummer Ferber with him all the way through. One hears the storm fading as ther song closes.
Vocalist Emma Frank joins the Orchestra for the final track, the song that gives the album its title. The delightful love songs, lyrics by Ms. Beal, talks about how we all need to be nice, even as storms swirl around us as well as inside us. Ms. Frank flows along with the melody with the brass in unison behind her. The ensemble kicks into a higher gear for a hard-hitting alto sax solo courtesy of Dave Pietro followed by a fascinating trumpet spot from Scott Wendholt that actually starts on the powerful side, stays there for several minutes then slows down to reintroduce Ms. Frank to sing "Will you dance with me?/ Will you guide through the crowded floor?/ I will dance with you". The piece rides out on a wordless vocal over the whispering ensemble, a gentle finish to a splendid piece of music and entire album.
Exuberance is defined as "thequality of being full of energy, excitement, and cheerfulness". "Exuberance", the album from the Christopher Zuar Orchestra, is all that and much more, downright joyous. Christopher Zuar is becoming one of the finest composers and arrangers of this time and the future bodes ever-so-well!
How does one use music to teach? Can a song or song cycle change someone's mind? Can art persuade a society to move forward? One imagines this to be a project in futility. Still, many artists over the past six decades have written songs that point to the issues surrounding climate change and here's one new recording that stands out for its creativity, intelligence, and musicality.
Photo: Luke Marantz
Composer, arranger, pianist, and educator Mike Holober has had a fascinating musical career. Classically trained, he's worked almost extensively with Big Bands. He's led the Westchester (NY) Jazz Orchestra as well as having worked overseas with the hr-Big Band (Frankfurt, Germany) and the WDR Big Band (Cologne, Germany). Holober teaches at the City College of New York and the Manhattan School of Music. On top of all that work, he's an active outdoorsman whether it be leading canoe trips or climbing mountains. He is the leader of a Quintet, of the octet Balancing Act, and co-leads a group with trumpeter Marvin Stamm. Holober also leads The Gotham Jazz Orchestra, a large ensemble he assembled two decades ago to perform large-scale works and whose influences are many and varied. It's that group that takes center stage on the composer's latest adventure, one that blends his love of sonic and stylistic possibilities with his love and concern for the outdoors to new heights (pun somewhat intended). It's also a way for him to add his voice to the growing of people in the US and abroad who are concerned with climate change.
"This Rock We're On: Imaginary Letters" (Palmetto Records) is an often dazzling, mesmerizing, and highly inventive two-CD collection of songs influenced by the lifework of six people who have shown us the beauty of the natural world as well have warned us of the damage that human beings can create through overuse, through destruction, and neglect. Not only has Mike Holober composed and arranged the music, he has also composed letters in the mindsets of Rachel Carson, Wendell Berry, Sigurd Olson, as well as Castleton Tower in Utah to Terry Tempest Williams, from a tree to Robin Wall Kimmerer, and from a child to the world. Holober also sets to music a poem from Ansel Adams to his wife Virginia Best Adams – the tenor solo on "Dear Virginia" is played by Virginia Mayhew, the Adams' granddaughter!
Photo: Luke Marantz
Seven of the 17 tracks feature vocals, the vast majority by Brazilian born Jamile Staevie Ayres who first recorded with Holober on his 2021 Sunnyside album "Don't Let Go" featuring his Balancing Act octet. The blend of her husky tones with the cello of Jody Redhage-Ferber on "Refuge" is quite lovely. Throughout the album, the words pull the listener into the musical multiverse the composer creates. On "Another Summer", Ms. Ayres sings in the voice of Rachel Carson to her closest friend Dorothy Freeman. Two tracks later is "Another Summer Epilogue" which is the imaginary response of Ms. Freeman. Both pieces are truly love letters to each other and the support Ms. Carson felt from her closest friend. The music Holober creates for these pieces have a classical feel strengthened by the counterpoint and responses of the cello.
There are plenty of powerful musical moments throughout the album. Chris Potter opens the album with an adventurous tenor sax solo on "Lay of the Land". I mentioned above Ms. Mayhew's work on "Dear Virginia" – the piece features her in an intimate conversation with trumpeter Marvin Stamm and pianist Holober. The splendid arrangement on the high-powered "Domes" (for Ansel Adams) suggests the influence of Bob Brookmeyer and features the powerful drumming of Jared Schonig, the smart vibes backing of James Shipp, snaky guitar lines from Nir Felder, and great solos from Ben Kono (alto sax) and Scott Wendholdt (trumpet). "Skywoman Falling" (for Robin Wall Kimmerer) opens with Ms. Redhage-Ferber's richly sonorous cello solo before opening into a medium tempo (inspired by Ms. Kimmerer's Native American heritage). As the piece moves forward, there are lovely moments of section playing plus fine solos from Stamm (flugelhorn) and Charles Pillow (alto flute). Note also the background wordless vocals from Ms. Ayres and James Shipp.
The album with the title song. The lyrics are first sung by Ronan Rigby, tenor saxophonist Jason Rigby's eight year-old son and then is passed on to James Shipp. After a short solo by Carl Maraghi (baritone sax), Ms. Ayres takes over the vocal with guitarist Felder responding beneath her. The tempo slows, young Mr. Rigby returns to sing the song title only and then his father's tenor sax flutters atop the Orchestra and the story comes to a close.
While the message in the lyrics is loud and clear, take your time to absorb the music that Mike Holober has created for the Gotham Jazz Orchestra. Also take the time to read Terry Tempest Williams' "real" letter in the album booklet. Swirl the words and music around in your senses, let the rhythms pull you along and the solos take you away. Do listen and perhaps you'll understand what needs to done for the survival of what the crew of the Apollo 17 spacecraft called the "Blue Marble".
Here's "Tower Pulse" with solos by Chris Potter (tenor sax) and Nir Felder (guitar):
PERSONNEL Mike Holober - composer, lyricist, piano, Fender Rhodes Jamile Staevie Ayres - voice Jody Redhage Ferber – cello Ronan Rigby – child voice on This Rock We’re On
Saxophones/Woodwinds Charles Pillow - alto, soprano, flute, alto flute, bass flute, clarinet Ben Kono - alto, soprano, flute, alto flute, clarinet (flute on Three Words for Snow) Jason Rigby - tenor, soprano, flute, clarinet Adam Kolker - tenor, soprano, flute, clarinet Chris Potter - tenor, clarinet (Lay of the Land, Tower Pulse) Virginia Mayhew - tenor (Dear Virginia, Dirt Lover’s Almanac) Carl Maraghi - baritone, bass clarinet
Trumpet/Flugelhorn Tony Kadleck Liesl Whitaker Marvin Stamm Scott Wendholt Stuart Mack (Skywoman Falling, Tower Pulse)
Trombones Matt McDonald Mark Patterson Alan Ferber (Erosion, Domes, Boundary Waters) Jason Jackson (Tides, Dirt Lover’s Almanac, Skywoman Falling) Sara Jacovino (Lay of the Land, Tower Pulse, This Rock We’re On) Jeff Nelson - bass trombone
Rhythm Section Nir Felder - guitar John Patitucci - bass, electric bass Jared Schonig - drums James Shipp - vibraphone, percussion, synth, voice
Three more large ensemble recordings, each with its own outstanding qualities.
Several years ago, I interviewed trombonist and composer Marshall Gilkes upon the release of his 2022 album, "Cyclic Matters". In the midst of the discussion, he mentioned he had back in Germany to record a new album with the WDR Big Band, the 17-piece ensemble in Cologne Germany. He had spent four years (2010-13) in the trombone section –– the month after his stint was up, the Band invited him back for a "farewell concert" which resulted in the 2015 album, "Köln", a 10-song program that soared from the opening moment. The album won a GRAMMY nomination and led to the 2018 follow-up, "Always Forward". Gilkes told me that he writes to the strength of each member of the band and that they love how his arrangements make them sound. Upon receiving the invitation to create a third program for the WDR, Gilkes thought about all that had happened in the world since his 2017 trip that produced the second album. The Pandemic, wars, democracies under siege, yet music and the arts still manages to thrive, to grow, to bring people together, to bend into new shapes for people to explore.
The results of Gilkes' thinking and writing can be heard on "LifeSongs" (WDR/ Alternate Side Records). To these ears, it's the high point of the composer/ arranger's work with the Big Band. The music is rich with melody and possibilities, the section arrangements often sing brightly, and the soloists are on the top of their game. This music has soul, has heart, and imagination at its center. The opening "Fresh Start" is just that! A rollicking, Gospel-like melody and arrangement, with the leader's trombone in front but the real joy can be found in the interaction of soloists and the various sections. "Back in the Groove" follows, a healthy portion of latge 60s-early 70s soul music in the melody and response over a thunderous rhythm section. Alto saxophonist Jonas Hörlen builds his solo off the main melody, riding the powerful piano of Billy Test, the solid bass of John Goldsby, and the slamming drums of Hans Dekker. The proceedings cool down for the piano solo but Test moves quickly into overdrive with a joyous romp with the brass and reeds "testifying" right alongside him.
Listen to "Cora's Tune" below. Pay attention to how Gilkes structures the melody, creates his fine solo, and how he utilizes the WDR sections to add excitement, and then creates a lovely trombone chorale in the midst of the piece. Yet the music does not sit still, it changes, evolves, swings, and soars to its conclusion. Several tracks later, vocalist Sabeth Pérez joins the Band for a sweet take on the traditional lullaby "All The Pretty Horses". One can hear the influence of Maria Schneider (Gilkes is a long-time member of the MSO) in the arrangement.
Delights abound in this program. "Middle Ground" follows, opening with a Brass chorale b efore picking up steam. The influences of Blues and Gospel can be hear in the melody lines as well as the section writing. In the middle of the piece, the trombones take off into an exciting Latin rhythm, the sound splayting across the spectrum. The band kicks in and the 'bones trade 4s until the entire ensemble dances back into the melody, fading intoi the background for a return to Brass chorale. Then, it's into "San Filtro", a multi-sectioned piece that, at times, reminds this listener of Chick Corea's "My Spanish Heart". The leader's trombone is front-and-center throughout whether playing the main melody, soloing, or leading yet another splendid brass chorale. You'll want to shout "hurrah" at the bravura closing section.
And there's more. I would be remiss not to mention the lovely version of Rodgers & Hammerstein's "This Nearly Was Mine" (from "South Pacific"). The song serves as a vehicle for an exquisite flugelhorn solo from Andy Haderer. Those of you who buy the digital version (link below) get two more tracks, an extra 14 minutes of music (including the stomping "Taconic Turns"). No matter which version you purchase, "LifeSongs" is a soul satisfying, emotionally rich, and musically delightful program. Marshall Gilkes truly shines in this setting as do his friends in the WDR Big Band –– if you dig Big Band, jump on this!
Ben Fitzpatrick • tenor saxophone, clarinet, Paul Heller • tenor saxophone, clarinet Jens Neufang • baritone saxophone, bass clarinet Andy Haderer • trumpet, piccolo trumpet, flugelhorn, Wim Both • trumpet, flugelhorn Rob Bruynen • trumpet, flugelhorn, Ruud Breuls • trumpet, flugelhorn Ludwig Nuss • trombone, Raphael Klemm • trombone, Peter Hedrich • trombone Andy Hunter • trombone (one track) Mattis Cederberg • bass trombone, tuba John Goldsby • bass
Billy Test • piano
Hans Dekker • drums Sabeth Pérez • vocals on "All the Pretty Horses"
Give a listen to "Cora's Tune":
As a special treat, here's the video for "Sugar Rush", the final track on the CD:
On his first two Big Band recordings (2019's "Assembly of Shadows" and 2021's "Architecture of Storms"), saxophonist, composer, and arranger Remy Le Boeuf showed a pleasing knack for well-defined melodies, smart arrangements, and for creating space for soloists to interact with the music and the musicians. There were moments, especially on the second release, that the music had a "pop music" sensibility, with melodies that cried out for lyrics (one song did have a guest vocalist) –– nothing seemed "dumbed down" for mass consumption but the songs sounded like they could have fit easily into contemporary radio airplay.
On his third Big Band effort (the ensemble has taken on the name of its first album: Assembly of Shadows), "Heartland Radio" (SoundSpore Records), the title track opens the album with a decided backbeat and a hummable melody (ah, but the glorious section harmonies!). Listen below to "Stop & Go" –– the rhythm section plays beats reminiscent of the work by the British band New Order but the main melody and chorus would not sound out of place on a Gamble & Huff production of the 1970s. The music also sounds great pouring out of car speakers when one is driving down the road (this writer's prerogative), especially guest guitarist Max Light's solo. "New Beginnings" bears traces of the work of Burt Bacharach; one can his influence on the handsome melody and arrangements, in the tempo changes, and in the great trumpet solo (uncredited).
Vocalist Julia Easterlin joins the group for "Barbara" (lyrics by poet Sara Pirkle). The Bacharach influence can be felt a bit here as well but Le Boeuf's arrangement is all his own (his section writing is splendid). The leader also created an arrangement for "Little Song"; composed by trumpeter Nadje Noordhuis for her Newvelle Records album "Full Circle", the melody is a rich blend of sadness and longing that is emphasized here by the sweeping brass lines and gueat Danielle Wertz's wordless vocal. The leader's alto saxophine is out in front through the middle of the track, his solo soaring like a bird freed in the wild.
"Heartland Radio" (so named for the leader's journey across the United States to Denver, Colorado, where he is now on the music faculty of the University of Denver) comes to a close with "Walking on Water". There's a gospel feel to the both the melody and arrangements as well as a powerful saxophone solo with the gentle alto sax coda bringing the listener to the final long chord. Remy LeBoeuf said that the music on the album was inspired by the sounds he heard driving to his destination. These excellent sounds attest to the fact that the composer/ arranger had a fertile and thriving imagination.
Vocals Julia Easterlin (vocal on one track) Danielle Wertz (vocal on one track)
Remy Le Boeuf / Alto Sax, Flute, Alto Flute Alejandro Aviles / Flute, Alto Sax Lucas Pino / Tenor Sax, Clarinet John Lowery / Tenor Sax, Clarinet Carl Maraghi / Bari Sax, Bass Clarinet
Trumpets Tony Kadleck, Tony Glausi, Philip Dizack, Mike Rodriguez
Trombones Mike Fahie, Alan Ferber, Javier Nero Jennifer Wharton (bass trombone)
Guitar Alex Goodman Max Light (one track)
Piano Martha Kato
Bass Dan Montgomery
Drums Peter Kronreif
Keyboards Pascal Le Boeuf (first two tracks)
Get into the groove with "Stop & Go":
Pianist, composer, arranger, and now conductor Frank Carlberg has spent the better part of his life engrossed in and studying the music and recordings of Thelonious Monk. Many of his recordings are inspired by and feature music of the composer –– in 2019, Carlberg put together his Large Ensemble to record and issue "Monk Dreams, Hallucinations and Nightmares" on his Red Piano Records label. I loved that album and love it even more now. Carlberg has the knack of making Monk's music sound fresh and contemporary while still shoeing respect for the composer.
Now we have "Elegy for Thelonious" (Sunnyside Records). I have an image of Carlberg in his room slicing up pieces of Monk tunes, pinning particular phrases to the wall, and creating original arrangements around. In the recording studio, he places the fragments, his arrangements, and some sections he composed in front of the musicians and says "Let's play!" And they do. That's not to say that recording is unfocused or cacophonous. Not at all. What it is is fun, creative adventures taking on the guise of fun. What a band Carlberg has in front of him. Besides the impressive arrangements and re-arrangements, the secret weapon in this music is drummer Michael Sarin. Throughout the seven-song program, he's the linchpin as well as the glue that keeps the Ensemble from descending into chaos. Listen below to "Spooky Rift We Pat", an engaging mashup of "Tea For Two" and Monk's "Skippy". Christine Correa leads off with a deconstruction of a verse from the standard; then the ensemble enters and we're off to the races. After a playful solo from tenor saxophonist Adam Kolker and a lively diversion with trumpeter David Adewumi, the whole ensemble returns and different voices rise out of the din. All the while, Sarin is driving the bus, making sure no one loses their way.
The fun continues on "Out of Steam", a funky tune replete with synth washes from Leo Genovese and vocals from the leader's daughter Priya Carlberg. The different figures the leader has the reeds and brass play behind the powerful alto sax solo from Nathan Reising stand out because they are often brash and bratty.
The centerpiece of the recording is the title track. The music is not so solemn as there's muted trumpet squawks and clarinet trills behind Ms. Correa's recitation of poet Yusef Komunyakaa's "Elegy for Thelonious". A few moments later, the two vocalists sing the chorus from the hymn "Abide with Me" (a piece – composed by 19th Century English church organist William H. Monk, no relation, which the American Mr. Monk recorded on 1957's "Monk's Music"). Along the way, there are fine solos from trombonist Brian Drye, cornettist Kirk Knuffke, and Jeremy Udden on lyricon. The music gets cluttered by the end of the vocals but the brass exclamations and solid drumming keeps the music on keel.
Every one of the seven tracks on "Elegy for Thelonious" is worth writing about – for instance, Hery Paz's solo on "Brake Tune" is stunning as is trumpeter John Carlson's smoking take on "Wrinkle on Trinkle". The Frank Carlberg Ensemble is filled with great musicians, great soloists, and Carlberg gives them plenty of room to shine while his section writing is exemplary throughout. I mentioned drummer Michael Sarin earlier but his rhythm section partner, bassist Kim Cass, deserves similar kudos. What a treat!!
Frank Carlberg - conductor, composer Sam Hoyt, John Carlson, David Adewumi - trumpet
Kirk Knuffke – cornet Brian Drye, Chris Washburne, Tyler Bonilla, Max Seigel - trombone Nathan Reising, Jeremy Udden, Adam Tolker, Hery Paz, Andrew Hadro - woodwinds Leo Genovese - piano, keyboards Kim Cass - bass Michael Sarin - drums Christine Correa, Priya Carlberg - voice
There are a slew of new Big Band albums coming in the next few months, a prospect that thrills me greatly –– here are two of the bests.
Saxophonist, composer, and arranger Jeremy Rose, a native of Sydney, Australia, is creating quite a sound down under. He leads or co-leads numerous groups but first came to critical notice as a member of The Vampires, a quartet he started in 2005 and that has released seven albums to date. Rose also leads a Quartet, a cooperative trio, Vazesh, that plays Persian-influenced music, another cooperative, Visions of Nar, that has Indian influences, Project Infinity, a fusion-music quartet, The Compass Quartet (four saxophones), has been a member of The Strides, a Reggae band, plus has composed for string quartets and chamber ensembles. Many of the recordings are released on the saxophonist's Earshift Music label.
In 2016, Rose formed the 17-member Earshift Orchestra. Its debut release, 2020's "Iron in the Blood", was based on Robert Hughes' "The Fatal Shore", a book that explored Australia's colonial history. The Orchestra was pared down to eight members for 2022's "Disruption! The Voice of Drums", a splendid project that posited drums as a force for change and healing. Now, the composer turns his attention to "misinformation", "alternate facts", and the proliferation of "discordant truths", a sad fact about the world in the 21st Century. "Discordia" finds the EO back to 17-members plus the leader (soprano sax, bass clarinet) working nine Rose originals. Pushing and prodding the ensemble is the fine young Korean-Australian drummer Chloe Kim. In fact, the first sounds one hears in the program's opening minute is Ms. Kim's powerful rhythm setting the pace for "Vera Discordia (Part 1)"–– Watch and listen below to the thundering drums blending with the languid brass and reeds as they all combine to raise the temperature.
As one settles in to the album, the composer's intentions become clearer. Even as certain moments promise tranquility (listen to the piano solo on "Vera Discordia Pt. 2)"), the reeds and brass bark back or during the trumpet solo that follows, guitarist Hilary Geddes is chattering underneath. The interactions are clear throughout even on the "freer" moments of "Floating Just Beyond Reach" or on the "pop music" sounds of "Bring Back The Nineties". The slow ballad "Unverified Persona" features a powerful bass clarinet solo from Rose and his soprano spotlight on "Just For Laughs" displays the influence of Wayne Shorter. The program closes with the very funky "Echo Chamber", a piece that shines the spotlight on the rhythm section with a delightful turn from guitarist Geddes, the electric piano work of Novak Manojlovic, the thumping electric bass of Jacques Emery, and Ms. Kim's "dancing" drums. There's also a fine give-and-take from tenor saxophone and trombone plus a stunning buildup that leads to the final fade.
It's a shame that the liner notes don't credit the reed and brass soloists but other than that, "Discordia" is a commanding work. This is music that feels "alive", even in the studio, with an original approach to the "traditional" Big Band sound. Listen closely; you might hear tinges of the Thad Jones-Mel Lewis Orchestra and the work of Bob Brookmeyer and Jim McNeely. No fake news here –– Jeremy Rose & the Earshift Orchestra is a force to be reckoned with.
TESSIE OVERMEYER, alto sax, HINANO FUJISAKI, alto sax, MICHAEL AVGENICOS, tenor sax, LACHLAN HAMILTON, tenor sax, NICK BOWD, baritone sax
JAMES POWERS, THOMAS AVGENICOS, SIMON FERENCI, ELLEN KIRKWOOD, trumpets
JAMES MACAULAY, JACOB PARKS, CAILEY MEI SOON, NICK BARNARD, trombones
HILARY GEDDES, guitar,
NOVAK MANOJLOVIC, keyboard,
JACQUES EMERY, bass,
CHLOE KIM, drums
JEREMY ROSE, conductor, soprano saxophone (track 6) and bass clarinet (track 3 and 8)
Watch the Band on "Vera Discordia (Pt 1)":
I first heard pianist, composer, arranger, and bandleader Neal Kirkwood in the 1990s on a series of releases (2 quartet, one octet) for the now-defunct Timescraper Records. Since moving to New York City from California in the early 1990s, he's worked with drummer Bobby Previte, bassist Lindsay Horner, the late saxophonist Pony Poindexter (1926-1988), and also accompanying vocalists Chris Connor, Abbey Lincoln, and Bobby McFerrin. Besides his multiple teaching gigs, Mr. Kirkwood also leads a number of various sized ensembles but currently his focus is on his 17-member Big Band.
The NKBB's debut recording is dubbed "Night City" (Brooklyn Jazz Underground Records) –– if you look at the personnel list below, you should recognize many of the names. While the 12-song program does not have an over-arching theme, the music may remind some of walking through the "club district" of a big city and hearing all types of music spilling out into the street. There's the playful nod to Fletcher Henderson and early Duke Ellington on "Paddy Harmon's Dreamland Ballroom", the handsome danceable melody dropping into a ballad for evocative solos from David Smith (trumpet) and Dan Block (clarinet). Bassist Jennifer Vincent's walking bass line leads the band into "Jim Knew"; listen below to all the textures the arranger supplies to the ensemble, from Diana Herold's vibraphone fills to the delightful drum work from Rob Garcia (a stalwart throughout) to the deep trombone lines to the frolicking solos from Andy Gravish (trumpet) and Bruce Williamson (alto saxophone).
The title of the album comes from the handsome cover painting, the work of California-based artist Maurice Lapp (1925-2014). The title track features trombonists Ed Neumeister and James Rogers (bass 'bone) as they travel through the urban night. In some ways, the music is reminiscent of the "Circe" chapter of James Joyce's "Ulysses" as the characters Stephen Daedalus and Leopold Bloom wander through "Nighttown". The music is certainly not as thick as Joyce's language and the characters here are friends but the piece is quite evocative. Trombonist Art Baron is the featured soloist on the following track, "Alaskan Serenade", a work that the leader composed for Duke Ellington Orchestra trombonist Britt Woodman. The sounds are redolent of Mr. Ellington's music from the 1930s and 40s. Ms. Herold overdubs marimba and vibraphone to introduce "Monolithic Attitude", the slowly unwinding melody giving way to a fast-paced interaction between the brass and reeds with the rhythm section. Several melodies are introduced along the way before soprano saxophonist Matt Hong is off to the races with a delightful solo. The different background voices adds into the background are great fun as well. Soon, various players to weave their solo lines around each other before the leader steps out for a raucous solo.
The program closes with "The Light of Birds", perhaps a tribute to the many species that sing through the year in Central Park (the song title is the last line of the poem "Birds, at Random" by Jacques Prévert –– read it here). The flute playing of Matt Hong and Adam Kolker stands out as does the "bird-song" arrangement of the song's opening and closing moments plus there is a fine piano solo from Mr. Kirkwood.
There is an abundance for those listeners who choose to dive into the sounds of "Night City". Composer and arranger Neal Kirkwood has been working on these songs and arrangements for many years but the recorded results sound fresh and alive. The seductive arrangements, the intelligent melodies, the excellent solo work, all add up to a wonder-filled listening experience. Dig in!
Plenty of Big Band/Large Ensemble have come my way this Summer––here's three of the best!
Arranger, conductor, composer, and educator Chuck Owen, with over four decades on the music scene, finally got to live a dream in late 2019 when he flew over to Germany to record with the WDR Big Band. He was hoping to record new pieces with the ensemble but the sessions were moved up. Instead, he "reimagined" three of his original works, arranged three pieces by members of the WDRBB, and brought over arrangements of the Frank Sinatra/Tommy Dorsey classic "This Love of Mine" (1941) and Chick Corea's "Arabian Nights" (from 2007's "The Ultimate Adventure"). Over the course of the eight song, 73-minute, program, the music not surprisingly displays the talents of one of Europe's most accomplished ensembles but also the intelligent, witty, arrangements of Mr. Owen.
The sessions were recorded before and during the Pandemic. Ms. Caswell made the initial journey and is guest soloist on two of the tracks including the achingly lovely "Of Mystery and Beauty" composed by WDR alto saxophonist Karolina Strassmeyer. Watch below and listen how Owen's arrangement moves the brass and reeds around the solos. Bassist John Goldsby's evocative "Fall Calls" has a lovely melody line shared by alto and trombone (Ms. Strassmeyer and Andy Hunter)––nothing is rushed and you can almost hear the autumn leaves pirouetting down from the tree. The Big Band kicks good and hard on Mr. Owen's "...And Your Point Is?"–thanks to the presence of organist Billy Test, the tunes sounds somewhat like Jimmy Smith and his large ensemble recordings on Verve.
While it turned out that the sessions that created "Renderings" were a hardship for those involved, the music triumphs. If you are an aficionado of Big Bands, you already know how good the WDR Big Band can be––thanks to the top-notch material and excellent arrangements from Chuck Owen, the large ensemble is at the top of its game––go listen.
Here's "Of Mystery and Beauty" with guest Sara Caswell:
Boston, MA-based pianist and composer Mehmet Ali Sanlikol has never been one to shy away from his Turkish roots (born in Istanbul, Turkey, in 1974)–over the course of five albums released on DUNYA Records in the past nine years, he has shown an affinity to large ensembles (with one exception, his 2021 trio date "An Elegant Ritual"). His main vehicle is Whatsnext?, a sprawling 20-person group that includes a three-person percussion section made up of the finest musicians in the Boston area. "Turkish Hipster: Tales From Swing to Psychedelic" (the title tells the listener what to expect) is quite the trip. With guest artists such as Anat Cohen (clarinet), Miguel Zenón (alto saxophone), and Antonio Sanchez (drums), the music expands to take in the styles and influences of those musicians, with the composer and arranger finding ways to tell all the stories contained in the compositions.
Photo: Eric Antoniou
The program opens with "A Capoeira Turca (Baia Havasi)" which blends Turkish and Brazilian rhythms plus the expressive and joyful clarinet of Ms. Cohen. Listen below and see if you can keep still––it's downright funky. The most ambitious piece on the album follows; "Times of the Turtledove" takes its form from classic Turkish music yet drummer Bertram Lehmann and bassist Fernando Huergo give the piece a more modern sound in the first part of the episodic work. A lovely melody played by the leader on ney flute supported by a simple percussive pattern gives away to the brass section's strong melodic interpretation of the theme. Mr. Zenón plays as part of the ensemble early in the piece and does not move out for a solo until nearly 10 minutes has passed. The rhythm section dances beneath him before the horns and brass swell up leading to a powerful finish to his musical story. All three of the guests plus the leader are celebrated by rapper Raydar Ellis on "The Boston Beat", a funky hiphop tune that pulsates out of the speakers.
"Turkish Hipster: Tales From Swing to Psychedelic" closes with the three-part 21-minute "'Abraham' Suite". Featuring Mr. Sanchez, the story is based on the patriarch Abraham's story seen through the lens of Islam; the piece was commissioned for the Jaazar Festival in Switzerland and also recorded with an international lineup of musicians including drummer Billy Cobham. The composer expanded the arrangement for this more orchestral lineup. It's a powerful piece with excellent musicianship and an impassioned vocal for Mr. Sanlikol.
This splendid recording illuminates the many and varied talents of Mehmet Ali Sanlikol, especially in how he marshals his musical troops to create a work of beauty, power, and a bit of sassiness, one that will resonate for years to come. For more information, go to www.sanlikol.com/whatsnext/.
Here's the delightful opening track (featuring Anat Cohen):
Dr. Javier Nero, trombonist, composer, and arranger, has an impressive CV, one that encompasses his education at the Juilliard School and the Frost School of Music at the University of Miami. He has played and recorded with numerous large ensembles, played in Broadway pit bands, and worked with artists such as Veronica Swift, trumpeter Brian Lynch, and pianist Shelly Berg (among many others). He is currently the lead trombone for the U.S. Army Blues, an 18-member Big Band that plays concerts throughout Washington D.C. In 2020, Outside In Music released his debut Septet album––"Freedom" featured all original material, band members included bassist Dion Kerr (Nicholas Payton, Marcus Strickland), saxophonist Melvin Butler (Brian Blade), and pianist Tal Cohen (Terence Blanchard) as well as numerous guests including the afore-mentioned Messrs. Lynch and Berg plus vocalist Lauren Desberg.
For his second Outside In Music album, "Kemet (The Black Land)", the ensemble is now billed as the Javier Nero Jazz Orchestra, 18 musicians (plus guests) strong. Most of the musicians are members of the U.S. Army Blues with a number of guest artists including Randy Brecker (trumpet), Warren Wolf (vibraphone), Sean Jones (trumpet), and others. The nine-song, 74 minute, program covers a wide swath of musical territory from blues to swing to lovely R'nB ballads to World Music. The playing is uniformly (no military pun intended) excellent and the occasional use of vocals add a fuller feel to tunes such "One Day", the lovely Brazilian/African-flavored "Reflections on the Dark, Tranquil Water", and the title track. "Reflections..." stands out for many reasons including the well-crafted melody, the handsome piano solo (Josh Richman), and the leader's silky-smooth melodic solo. The folky African feeling "One Day" rides in on the acoustic guitar of Michael Kramer that leads to Dr. Nero's aspirational lyrics. After a soaring flute solo (Daniel Dickinson), there is a fine Chris Burbank trumpet solo with the assembled voices swirling around him. Perhaps the prettiest tune on the album is the impressionistic ballad "Just Let Go", a soulful ballad with a handsome trombone solo from the leader and impressive arrangement for the horns and reeds (clarinets add quite a lovely touch
Listen below to "Nostalgic Haiku", a soulful song with powerful brass and great solos from Messrs. Brecker and Wolf. The rhythm section, especially electric bassist Regan Brough and drummer Kyle Swan, create a strong pulse while the arrangement opens to smart section behind the soloists second chorus.
The digital edition of "Kemet (The Black Land)" features two bonus tracks (pushing the total time of the album to 87 minutes!). Cole Porter's "It's Alright With Me" features the sweet voice of Christie Dashiell, a rollicking piano solo from Richman, and the excellent trumpet spot for Sean Jones (he spars with the vocalist). The album closes with McCoy Tyner's "Contemplation" (off of the pianist's 1967 Blue Note Lp "The Real McCoy"). The leader creates a sturdy solo before Sean Jones digs into his wide-ranging solo. Richman (who's quite active on the Philadelphia scene) again delivers a fine solo which leads to the song's end and the program's finish.
Take your time to savor the music on "Kemet (The Black Land)", listen to the arrangements, to the excellent section work, to the fine solos, and to the music. Javier Nero has certainly put his heart and soul into this recording, gathering his musician friends to help tell all these stories. There's a lot to here to contemplate as well as pieces that just ask to tap your feet or clap your hands. Dr. Nero's music has expanded exponentially since his 2020 debut and one expects/hope he continues to mature as a composer, arranger, and musician.
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