Record Store Day Delights (Part 1)

What does a writer do when he fractures his arm?  I can't answer for anyone but myself and tell you the writer listens to myriad of Historical Jazz albums released by Resonance Records, Cellar Live/Reel to Reel, and Jazz Detective Records.  2024's Record Store Day welcomes 12 (!) new recordings all touched by the genius that is Zev Feldman. Here's a quick look at three of those albums.

In February of 1959, tenor saxophonist Sonny Rollins went on a European tour bringing bassist Henry Grimes and drummer Pete LaRoca Sims along. "Freedom Weaver: The 1959 European Tour Recordings" (Resonance Records) is a four-

LP/3-CD package that presents music from radio concerts and live dates in Sweden, Switzerland, France, and Germany. Along the way, Sims is replaced by Joe Harris (new name to me) and, in France, by Kenny Clarke.  Some of this music has shown up on bootlegs over the decades; however, the sound quality was spotty and here it's downright stunning.  Grimes and Sims are perfect accompanists who are attuned to Mr. Rollins every move, every zig and zag. Harris, a native of Pittsburgh, PA, was a first-call drummer in New York City in the late 1940s and early 50s but moved to Sweden in 1956 and to Germany in 1961.  He fits in perfectly with the Trio on the nine tracks – interestingly, he and Sims switch seats on the Radio Zurich date and several of the club/concert dates.

If you're a fan of Sonny Rollins, buying this set is a no-brainer. For new arrivals, "live" Sonny is a good place to start. His solos are most often delightful stream-of-conscious explorations Several of the songs are repeated but, of course, each version has its charms and highlights.  The saxophonist is three-to-four months away from his self-imposed sabbatical but never sounds as if he's struggling.  The three side-long tracks with Clarke and Grimes, recorded March 11 in Aix-en-Provence, France, are notable for the long sax solos, for the veteran Clarke's interplay with Rollins, for Grimes' solid foundational work, and for the playfulness of the Trio.  

Three hours of Sonny Rollins is a gift that keeps on giving. It's great to hear his voice on the radio broadcasts, his musical "quotes" on the long interactions with Clarke and during many of the solos, The booklet that accompanies has great interviews. never before seen photos, and more.  "Freedom Weaver: The 1959 European Tour Recordings" is certainly worth your time and attention!

For more information and to purchase the CD release (on 4/26), go to either https://resonancerecords.org/product/sonny-rollins-freedom-weaver-the-1959-european-tour-recordings-cd/ or https://sonnyrollins.bandcamp.com/album/freedom-weaver-the-1959-european-tour-recordings (where you can also purchase the digital release).

Here's the title track:

When one mentions Art Tatum to a jazz aficionado, chances they'll remember his amazing facility, the speed of his lines, his ability to transform all kinds of material into party. If one really sits and listens, his creativity and wit come shining through. Resonance Records has just issued "Art Tatum: Jewels 
In The Treasure Box – The 1953 Chicago Blue Note Jazz Club Recordings", a three LP/three CD set that features the great pianist with guitarist Everett Barksdale and bassist Slam Stewart.  

This is a delightfully formulaic program.  The pianist introduces the song, the bassist enters sometimes with the guitarist, sometimes a chorus later.  What makes it so easy to take is that Messrs. Tatum, Barksdale, and Stewart are such good musicians – Tatum's virtuosity can often be overwhelming but his Trio mates are more than up to the task. Especially Stewart, whose foundational lines and swing are so strong, the pianist's left hand is free to help create dazzling solos.  Many of Stewart's solo are bowed with him "buzzing" right along and every one is pretty impressive.  The guitarist is also a strong rhythm player and he digs right into each solo – Barksdale does not worry about overshadowing the leader (as if anyone could) so he swings with glee every opportunity he gets. 

The sound quality is quite good with Stewart's bass high in the mix. Barksdale's solos come through loud and clear but pay attention to how closely the pianist listens and responds.  Just about every tune they present features "quotes" liberally sprinkled through the solos. There are several ballads in each set (the program is built from tapes made by the club's owner Frank Holzfeind over the two-week run of shows) yet even those tunes have a playful edge.

"Art Tatum: Jewels In The Treasure Box – The 1953 Chicago Blue Note Jazz Club Recordings" is most definitely a "treasure". Art Tatum's milieu was the performance space. That's not to say his studio recordings don't shine but there's something about an audience, about the smells and sounds of the nightclub that brings the best of the pianist.  The booklet features an excellent essay from Brent Hayes Edwards plus interviews with Ahmad Jamal, Spike Wilner, Sonny Rollins, and others.  Great music is timeless as are the artists who create the music. Search out and enjoy!

For more a link to purchase the CD, go to https://resonancerecords.org/product/art-tatum-jewels-in-the-treasure-box-cd/.  For the digital download, go to  https://arttatumresonance.bandcamp.com/album/jewels-in-the-treasure-box.  

Here's a taste of the Tatum Trio in flight:

If drummer Shelly Manne had so chosen, he could have made a very good living in the 1950s as a session player and in the film studios.  Instead, he did all that plus owned a nightclub ("The Manne-Hole") and led an acclaimed band ("His Men"). The son of a drummer, Manne was known to all as a consummate musician, generous with his time and praise. He also write the scores for several movies and television shows. "Live From the Pacific Northwest' (Reel-to-Reel) is a bit of a misnomer in that one of the two Lps/CDs is from the inaugural edition (1958) of the Monterey Jazz Festival based in California. The second disk does come from the band's September 1966 extended stay at The Penthouse in Seattle, Washington. No need when the music is as solid, swinging, and witty as the nine tracks in the program.

The Monterey session features Manne with his constant bassist Monty Budwig plus pianist Russ Freeman, tenor saxophonist Herb Geller, and trumpeter Stu Williamson.  The highlight of the three-song set is the 18-minute "Quartet (Suite in Four Movements)". Composed by Bill Holman, whom Manne met when both played in the Stan Kenton Orchestra in the late 1940s, the piece offers smart melodies, fine solos from all involved including a long drum solo interrupted near its close by a low flying plane.  Overall, a pleasing journey of hard bop, blues, swing, and more. Geller is a facile tenor player while Williamson leans more to the Clifford Brown school of clean, clear lines. Pianist Freeman, whose long career included stints with Chat Baker, Art Pepper, and the Manne "Men", also recorded great albums with Andre Previn. Here, he shows how, like Budwig, is a stalwart of the rhythm section plus he's a fine soloist.

Disc two was recorded live by Seattle radio station KING-FM, featuring half of the songs recorded on September 7th 1966 and the other three on September 15th.  Besides Budwig, the Men now consist of pianist Hampton Hawes, flutist and alto saxophonist Frank Strozier, trumpeter Conte Candoli - vocalist Ruth Price appears on two songs. Like the 1958 band, this group really swings and often shines. That said, they also create unique takes on several standards.  "Summertime" is introduced by a fascinating drum pattern before moving into a swinging blues. Strozier's flute is out front for the first third of the 12-minute tune followed by a sweet muted trumpet solo from Candoli (sounding a lot like Miles Davis). Hawes' "Funny" leads off the later date – it, too is a blues but has a funkier edge. Candoli dances along with the drums until Strozier jumps in alto sax here. His Memphis, TN, roots come flowing through his rapid-fire phrases. The composer creates a joyful solo that is gritty as well as smooth.  

As stated above, Ruth Price, who sang with for better part of the 1950s through the late 1960s, is featured on two songs. First, she and Hawes swing through Jerome Kern and Johnny Mercer's "Dearly Beloved".   he horns sit this one out allowing for a rippling solo from the pianist. The album closes with Ms. Price leading the rhythm section through "Surrey With The Fringe On Top" – note how Manne plays the edge of his snare in the same fashion as he opens Sonny Rollins take of "I'm An Old Cowhand" on 1957's "Way Out West".   

Overall, 'Live From the Pacific Northwest" is a treat from beginning to end. If you think that Shelly Manne & His Men played lightweight Pacific Coast jazz, just listen.  This music is alive from start to finish. Sound quality is downright pristine; it feels like you're sitting right next to the bandstand! Classy album and you should dig right in! Enjoy the interviews in the booklet with Ruth Price, Bill Holman, Joe LaBarbera, Peter Erskine and Jim Keltner

For more information and to purchase the CD and the digital version, go to https://shellymannehismen.bandcamp.com/album/jazz-from-the-pacific-northwest. 

Here's Mr. Manne & His Men swinging:

George, By Denny!

 

Dr. Dennis Zeitlin, Clinical Professor of Psychiatry at the University of California/San Francisco and practicing Psychiatrist, is also Denny Zeitlin, pianist, composer, arranger, and improvisor––the latter has been playing and recording since the early 1960s when he was a Graduate Student at Johns Hopkins in Baltimore, MD.  He continued his career and began teaching after moving to the West Coast.  The pianist recorded four LPs for Columbia from 1963-67, the first in a trio with bassist Cecil McBee and drummer Freddie Waits; other ensembles featured bassist Charlie Haden and drummer Jerry Granelli. In 1969, he met percussionist George Marsh (who, like Dr. Zeitlin, was born in Chicago) forming a trio with bassist Mel Graves. Together, they recorded two albums, one ("The Name of This Terrain") recorded in 1969 that was issued in 2022, and the other ("Expansion") issued in 1973––Dr. Zeitlin had added electronic keyboards and synthesizers to his repertoire and the musical results still sound fascinating.  In 1978, he composed the soundtrack to the first remake of "Invasion of the Body-Snatchers"; that immersive electronic experiment sent him back to the acoustic piano.

In the late-2000s, after issuing on labels such as Windham Hill, Palo Alto Jazz, Concord, and one smashing Trio session on the Japanese Venus label, Dr. Zeitlin began his association with Sunnyside Records. Since that time, he has released four Trio albums (featuring bassist Buster Williams and drummer Matt Wilson), three totally-improvised electronics-laden albums with George Marsh, and six solo piano albums (one of which, 2013's "Both/And", features electronics as well).  Album #14 for Sunnyside is "Crazy Rhythms: Exploring George Gershwin" (the Doctor's seventh solo album and third recorded at the Piedmont Piano Company in Oakland, CA).  The package includes 11 Gershwin works that range from "standards" to show tunes to one fascinating find (the lovely waltz "By Strauss").  Dr. Zeitlin chose these pieces several months before the December 2018 concert, playing through and with them. He then sat in the concert space in front of the audience and proceeded to play through the program following no set format and improvising, in his estimation, 95% of the concert.

What a treat this album is.  From the opening zither-like sound of "Summertime" to the playful "I Was Doing All Right" that closes the album, the music goes in many directions. In conversation with Dr. Zeitlin, I compared the improvisor to a person diving into the water, going deep down and coming back up to touch on the melody.  Right from the start, the music does not move the way one might expect; instead, these performances are an open door into the musician's creativity. While you sing along to "How Long Has This Been Going On?", the pianist changes the tempo now and then, creating a joyful solo. "Fascinating Rhythm" bounces forward yet there are moments when the two-handed approach sounds like a JS Bach exercise before swinging away on the power of right-hand single note runs.  Listen below to "The Man I Love"–is the opening a bow to fellow pianist McCoy Tyner's use of modal chords before the music dances away?

The three pieces from "Porgy and Bess"––"Bess You Is My Woman Now", "It Ain't Necessarily So", and "My Man's Gone Now"––could be an album on its own.  The pianistic explorations on each piece not only honor the melody but the "heart and soul" in each tune.  "Bess" is just gorgeous, emotionally rich and rewarding in numerous ways.  "It Ain't...." moves far from its melodic home for a powerful journey inside the questions at the heart of faith and beliefs, not settling for a laugh.  At nearly 13 minutes, "My Man's Gone Now" is, at times, an elegy, a celebration, and a angry fist waving at the heavens, a journey inward and out again with a renewed resilience. 

That's my take. "Crazy Rhythms: Exploring George Gershwin", if you are willing to give the music the time it deserves, is quite an album. Denny Zeitlin makes George Gershwin come alive, illuminating the universality of the composer's music as well as the joy (try and sit still listening to "S'Wonderful"). Pay attention and get lost; let this music take you away from the mundane, from the troubles, for the rewards are many!

For more information and to purchase the album, go to https://dennyzeitlin.bandcamp.com/album/crazy-rhythm-exploring-george-gershwin.  To learn more about Dr. Denny Zeitlin, go to www.dennyzeitlin.com. 

Listen to "The Man I Love":

Record Store Day Spring 2022 & Resonance Records

 Saturday April 23 2022 marks the 14th Annual Record Store Day, a day to celebrate the "brick-and-mortar" stores where one can go and browse albums from all styles of music.  With vinyl making a comeback over the past decade, many labels use the day to introduce new recordings, holding off on digital or CD releases so that the platters get to be celebrated. As one who grew up listening to 45 rpm "singles" and to full-length albums (and whose younger daughter learned to read by reading album jackets and lyric sheets while the music was playing), this day is more than a trip down Nostalgia Lane.  There is something indescribable about the smell of an unwrapped album and the joy of liner notes.

For the past decade, Resonance Records has issued some great albums on Record Store Day and 2022 is no exception.  To celebrate the 100th Birth anniversary of bassist, composer, author, and activist Charles Mingus (4/22/1922-1/05/1979), label co-President and album co-Producer Zev Feldman (trumpeter David Weiss is the other co-Producer) is issuing the three-Lp "Mingus: The Lost Album From Ronnie Scott's", a document of the mercurial artist and his sextet at the close of a very successful 1972 European tour. Mingus was enjoying a career renaissance thanks to receiving a Guggenheim Fellowship in 1971; the same year, choreographer Alvin Ailey had adapted several of the bassist's compositions for his ground-breaking dance troupe. In early 1972, Mingus's auto-biography "Beneath the Underdog" was published and Columbia Records issued his large jazz orchestra album "Let My Children Hear Music" (before dumping him and many of their jazz artists the following year). 

In usual Resonance style, there is a great booklet with numerous photos and interviews but you're going want to hear this music.  The ensemble includes Charles McPherson (alto sax), Bobby Jones (tenor sax, clarinet), 19-year old Jon Faddis (trumpet), Roy Brooks (drums, musical saw), and the relatively unknown John Foster (piano, vocals––he would stay in Europe as did Jones but the pianist died relatively young in 1976). Of the nine tracks, two are over 30 minutes and one, "Mind Readers Convention in Milano", just three seconds shy of that mark.  Two more pieces are over 18 minutes so you get the idea––each song is a concert in its own right with long solos, numerous tempo changes, and fascinating interaction.  "Fables of Faubus" stretches out to 35 minutes (!) yet is so fascinating that it's tough to tear one's self away. Definitely pay attention to the bass solo as Mingus inserts a number of lines from such American songs like "The Star-Spangled Banner", "Dixie", "Short'nin' Bread", and others.

Foster, who joined the band at the beginning of the tour, is quite a treat to listen to. His piano style is very much like the person he replaced, Jaki Byard, and on "Pops" (a.k.a "When The Saints Go Marchin' In"), he does a credible imitation of Louis Armstrong's inimitable vocalizations. Foster drops the imitation for a soulful vocal on "Noddin' Ya Head Blues" that is notable for the powerful bass work and several fine sax solos.  Faddis, who turned 19 a few weeks before the tour, is in great form––he may have been nervous working for the combative Mingus but there is no evidence of shyness in his playing.  Brooks fits right in; if anything, he's more "exciting"a player than Mingus's long-time companion Danny Richmond.  Bobby Jones, who also stayed in Europe and enjoyed a long career, wasn't as bluesy a tenor as, say, Booker Ervin, or fiery as George Adams (who played with Mingus before and after this ensemble, but he was an intelligent, intuitive, player on tenor and pretty good on clarinet. Charles McPherson, 23 at the time of this recordings, play with abandon, at times, on these tracks but, to his credit, does not try to be Eric Dolphy or Jackie McLean

The enclosed booklet includes two interviews with McPherson (one alongside Mingus, another just last year), as well as conversations with Eddie Gomez, Christian McBride, the writer Fran Lebowitz (a close friend of Susan Graham Mingus), British critic and historian Brian Priestley, and more. There are great pictures but the best part of the package (besides the music), is how good the music sounds. Mingus's bass work is impressive throughout and he truly seems to be enjoying himself and his band. Most of this music sounds contemporary as if it coul have been recorded in the last several years. Pieces such as "Pops" and Charlie Christian's "Air Mail Special" sound somewhat dated but serve to fill out the portrait of an artist who was restless and creative until his untimely passing.  "Mingus: The Lost Album From Ronnie Scott's" is the perfect gift for Charles Mingus's 100th Birth Anniversary year and well worth checking out.

For more information, go to https://resonancerecords.org/product/charles-mingus-the-lost-album-from-ronnie-scotts-cd/ or to https://charlesmingusmusic.bandcamp.com/album/the-lost-album-from-ronnie-scotts.  

Give a listen to "The Man Who Never Sleeps":

Over the past 10 years, no one has done more to fill in the gaps of pianist Bill Evans live recordings than Resonance Records.  The first release, "Live at Art D'Lugoff's Top of the Gate", came in 2012 followed by 2016's "Some Other Time: The Lost Sessions From The Black Forest", the first of two albums recorded in the Summer of 1968 when drummer Jack DeJohnette was a member before he went off to join Miles Davis. 2019 brought "Evans in England" recorded live at Ronnie Scott's London club inDecember of 1969 while 2020's "Live at Ronnie Scott's" was recorded 17 months earlier with bassist Eddie Gomez and DeJohnette.

For Record Store Day 2022, Resonance is releasing two 2-CD sets recorded in Buenos Aires, Argentina, one in 1973 (with Eddie Gomez and drummer Marty Morell who is on two of the earlier releases listed above) and another in 1979 (see below).  The earlier recording came at a particularly good, stable, time in Evans' life. Having been addicted to heroin for almost two decades, he was on Methadone, gigs were plentiful, the Trio had been together for five years, and his recordings were selling well.  From start to finish, the music on "Morning Glory": The 1973 Concert at The Teatro Gran Rex, Buenos Aires" flows easily. The album takes its name from the fact the performance took place at 10 a.m. (!!) on a very cold Sunday morning in June. Yet, the Trio sounds great buoyed by an audience excited for this artistic respite from the political tensions that rocked the country. 

The material will be familiar to aficionados of the Evans ensemble. Pieces such as "Who Can I Turn To, "Re: Person I Knew", "T.T.T. (Twelve Tone Blues)", "Emily", songs this Trio had played hundreds of time sound fresh and the interplay, especially, of Evans and Gomez, is outstanding.  The pianist also liked to incorporate the occasional "pop" tune into his repertoire; the title track (originally spelled without the "g" at the end of the first word) was composed by Bobby Gentry for her 1968 "The Delta Sweete" Lp. Listen below to "Waltz for Debby" and you'll hear music that exemplifies why Bill Evans, despite all his baggage, became the model for many piano trios that followed. The lyricism and the intimacy, the articulated phrases plus the occasional bluesy swing, all this and more make "Morning Glory" a splendid document.

For more information, go to https://resonancerecords.org/product/bill-evans-inner-spirit-2cd/ or to https://billevansjazz.bandcamp.com/album/morning-glory-the-1973-concert-at-the-teatro-gran-rex-buenos-aires.

Hear's the afore-mentioned "Waltz For Debby":

The political tensions that swirled around the 1973 Buenos Aires concert had only gotten worse six years later when Bill Evans returned. Evans had changed as well. He divorced his wife, married and had a son, finally kicked heroin but when his brother Harry committed suicide earlier in 1979, he started getting deeper into cocaine. Eddie Gomez left in 1977 and the pianist went through two bassists (Chuck Israels and Michael Moore) before 25-year old Marc Johnson joined him and drummer Joe LaBarbera (who replaced Marty Morell in 1975). By the time the band got to Argentina, they were firing on all cylinders and the fact that they continue the Trio's commitments kept Evans alive (he would eventually die 50 weeks after this concert).  

In the midst of a vicious military dictatorship came the three musicians and the audiences were more than ready.  "Inner Spirit: the 1979 Concert at The Teatro General San Martin Buenos Aires" documents two sets played on September 27.  The pianist often sequestered himself before concerts and often needed help getting to the piano; once there, his superb musicianship took over (most nights).  The first set opens with "Stella by Starlight", a surprise to the rhythm section but after the long solo piano introduction, the bass and drums fall right into place.  Johnson's bass tone is quick thick but his regular forays into the higher register and his delightful counterpoint inspire Evans to continue his adventurous playing. Melody still remains the most important of the Trio's mission; still, on the uptempo tracks, this trio really smokes.

Photo: David Redfern

I find it quite ironic that Evans chooses to play the "Theme From M*A*S*H" considering its subtitle is "Suicide is Painless" (considering his brother's recent death but the music becomes very exciting as the trio builds the intensity of the tune–listen below.  Paul Simon's "I Do It For Your Love" starts with a short solo piano reading of the theme before the eloquent bass lines and soft brushes work lay down a gentle cushion for the long piano improvisation. "Letter To Evan" closes the first disc, a lovely song dedicated to his son (who was 4 at the time), a lovely solo piano lament for time spent away from each other.

Disk #2 opens with one more piano solo, a fascinating journey through George Gershwin's "I Loves You, Porgy" that shows how percussive the pianist's playing was becoming. The concert picks up steam with two powerful tracks in a row, "Someday My Prince Will Come" and "If You Could See Me Now". The former begins to cook after the opening featuring solos from all three.  The Tadd Dameron piece that is a ballad yet listen to how the trio interacts, respecting the melody even as the de-construct the piece.  The album closes with a 17+ minute take on Miles Davis "Nardis" and what a version this is. The piano solo opens the piece lasts nearly eight minutes and it's a true joy to hear Evans deconstruct the melody and set the framework for Johnson and LaBarbera to join him.  The bass solo calms the piece down for several minutes as Johnson for four minutes so he can explore numerous melodic avenues. After a quick abstract on the main melody, the drummer picks up his mallets and dances around his kit. After an explosive climax, the pianist and bassist join the drummer to bring the track to its close.

"Inner Spirit" is an appropriate title for an album recorded in a tough political environment by an artist pursued by his vices and sorrows.  Yet Bill Evans had always been able to marshal his resources once he sat down to play.  He was in the midst of killing himself but the beauty of his music is undeniable. He does not sound theatrical playing with artifice; instead, he seems to get stronger from the first notes forward.  Mark Johnson and Joe LaBarbera are excellent partners––this is music that should be heard!

For more information, go to https://resonancerecords.org/product/bill-evans-inner-spirit-2cd/ or  https://billevansjazz.bandcamp.com/album/inner-spirit-the-1979-concert-at-the-teatro-general-san-mart-n-buenos-aires. 

Here's "Theme from M*A*S*H":

Editions for Spring 2022 (Part One)

Keyboard player, composer, and photographer Dave Stapleton originally started Edition Records in 2008 to release his albums (leader of the ensemble Slowly Rolling Camera) and recordings by friends––since 2008, the label has issued albums by Dave Holland, Chris Potter, Lionel Loueke, Gretchen Parlato and Jeff Ballard (among others) while nurturing younger artists such as Fergus McCreadie (see below), Daniel Herskedal, and Laura Jurd.  Since Stapleton is a artist, he does not demand that his roster conform to any particular style and sound; therefore, the label is filled with many different approaches to Creative Music.  

Todd Rosenberg Photography

Trumpeter and composer Marquis Hill is a native of Chicago, IL. Born on the city's South Side in 1987, he started his musical education at a young age playing drums but switched to trumpet in the sixth grade. During college and graduate school, Hill played in jam sessions along Chicago jazz greats Ernest Dawkins, Von Freeman, and Fred Anderson going on to play with the Chicago Jazz Orchestra. He won the Thelonious Monk Trumpet Competition in 2010 which led to a contract with Concord Jazz and the release of "New Gospel" in 2011.

Since then, he's released four more albums and a series of fusion albums on his Black Unlimited Music Group label.  His latest album, "New Gospel Revisited", is his debut in Edition Records and looks back on his debut album, re-recording the record's tunes with a different lineup.  Recorded in December of 2019 at Constellation, a fascinating music venue in his hometown, the 13-track program features Hill along with Walter Smith III (tenor saxophone), James Francies (piano), Joel Ross (vibraphone), Harish Raghavan (acoustic bass), and Kendrick Scott (drums).  Within the first five minutes, one can tell that this band is "on".  Although Hill is the leader and these are his compositions, he is very generous with the solo space. Four of the pieces "stretch out" to over nine minutes yet the cohesiveness of this band, the exciting solos, and the expressive work of the rhythm section keeps one glued to the speakers.

Photo: Orel Chollette

There are moments that the music will remind the listener of classic Blue Note Recordings of the 1960s. There is the feel of Herbie Hancock and Joe Henderson on the title track. Notice the interaction of piano, vibes, bass, and drums on the opening of "Law and Order" and then into the melody––when Hill launches his intense solo, one hears a tinge of Freddie Hubbard. What makes this music timeless is that each musician gives his all, digging deeply into the music, filling a song such as "Autumn" with great emotion.  Francies' piano flashes behind Hill's muted trumpet solo or how both the bassist and drummer create a bouncy rhythm without it being annoying.  Rhagavan's funky bass line leads the band in on "Thump", a delightful slice of jazz blended with soul music.  The soloists build their personal statements off that bass line, especially Ross followed by Francies who gets a bit frisky pushing the rhythm section to play with the tempo.  

Photo: Shervin Lainez

Francies (pictured left) gets the last track, "Farewell", to himself, one of five shorter tracks that spotlights each member of Hill's Blacktet (the leader does not have one). Unlike the other pieces, the wide-ranging piano solo does not lead into another but feels like a summing-up of an album that looks back and looks forward at the same time.  It's a piano take on "Goodbye Fred" from the original album; Francies plays with the melody and his responses result in a rush of notes, double-time, and a playful if a bit unfinished finish.

"New Gospel Revisited" is a sweet recording. Much of the music is clear and articulate, the musicians play with excitement making the music jump out at the listener. This is good music, a second starting point from which Marquis Hill move forward with creativity.

For more information, go to www.marquishill.com.  To hear more and to purchase the album, go to https://marquishill.bandcamp.com/album/new-gospel-revisited. 

Hear "The Thump:

 

Photo: Dave Stapleton

The Glasgow, Scotland-based pianist and composer Fergus McCreadie is 24 years old and has been a force on the the United Kingdom jazz scene since he was in his mid-teens.  He played in the Tommy Smith Jazz Orchestra, the National Youth Jazz Orchestra, has toured and/or recorded with drummer Graham Costello's Strata, singer-songwriter Luca Manning, saxophonist Matt Carmichael's Quartet, and the 11-member Corto.Alto. While studying at the Royal Conservatoire of Scotland, the pianist formed a trio in 2016 with bassist David Bowden and drummer Stephen Henderson: they recorded and self-released their first album, "Turas", in 2018. The album received much critical acclaim and a number of awards in Scotland. Besides introducing the rest of the world to an amazing pianist and composer, the Trio was soon signed to Edition Records.   

The Trio's Edition debut, "Cairn", was issued in late January 2021. Perhaps it was because of the ongoing pandemic or that the "vibe"of the music was so positive, the recording garnered scores of positive reviews and, like its predecessor, earned its share of awards.  The influence of the band members' native home, in particular, the woods, mountains, and valleys seeped into the music.  14 months after its release comes "Forest Floor": the trio is intact, the Scottish folk melodies shine through nearly every song, and the emotional content is even deeper and more impressive. That written, the opening "Law Hill" bursts out of the gate like a race horse.  McCreadie's fingers fly over the piano and, as the music moves forward, Henderson is right there with him while Bowden keeps the center throbbing and the foundation solid.  There are moments that are reminiscent of Keith Jarrett's "The Windup"––one hear it the stop-and-start rhythm patterns as well as the powerful forward motion. "Landslide" roils forward on the rollicking left-hand piano figure and the locomotive rhythm created by the drummer. Considering how quickly McCreadie plays, you can hear every note even in the midst of the rhythmic storm.  It's not unlike the clarity that Bruce Hornsby creates on many of his uptempo works.  

What truly stands out are the ballads. Songs such as the title track, the whisper-soft "Morning Moon", or the heartwarming "Glade", are all different yet the music and the performances points to a deep understanding of how three musicians move together as well as in and around each other.  Also, one can feel the love they have for their country's natural beauty, for the waterfalls, the lakes, the mountains, and what it does to a human being who dwells there.  

"Forest Floor" is a delight from start to finish. Fergus McCreadie continues to grow as a composer and the interplay he has created with Stephen Henderson and David Bowden equals that of Jason Moran with Tarus Mateen and Nashheet Waits (the Bandwagon trio). Don;'t believe that the thje Scottish three have appeared in the United States yet but when they do, go check them––they make "living music".  

For more information, go to www.fergusmccreadie.co.uk/.  "Forest Floor" will issued on April 8, 2022. To pre-order the album, go to https://fergusmccreadie.bandcamp.com/album/forest-floor.  While you're there, check out the Trio's first two discs.  

Watch and hear "Law Hill":

Prince of a Guy

Had the opportunity on Thursday (1/31) to chat with cornetist, composer, educator, arranger, and bicyclist Taylor Ho Bynum about his gig this Saturday (2/01) at Real Art Ways, 56 Arbor Street in Hartford.  Dubbed the "Prince Project", Mr. Bynum and his ensemble will tackle 5 or 6 pieces from Mr. Roger Nelson, otherwise known as Prince.  Included in the ensemble is Kyoko Kitamura (vocals, piano), Jim Hobbs (alto saxophone), Nick Lloyd (yes, he of Firehouse 12, here on keyboards), Evan Patrick (guitar, vocals), Abraham Gomez-Delgado (voice, percussion), Stomu Takeishi (bass) and Pheroan akLaff (drums).  All the music comes from the period between 1982-1990) and will include an arrangement of "Crystal Ball" (an unreleased track.)

The music starts at 7:30 p.m. and will take place in the big lobby of RAW.  For more information, go to www.realartways.org or call 860-232-1006. To find out more about the creative Taylor Ho Bynum, go to his website at www.taylorhobynum.com.  To hear a section of our chat, go to www.wliswmrd.net, click on the "On-Demand" button and search for "RBK Taylor Ho."

LCJO followup + Branford Comes to CT

As reported a few days ago, I had the wonderful opportunity to see and hear the Lincoln Center Jazz Orchestra, Wynton Marsalis, music director, in concert at The Bushnell in Hartford on Saturday January 26.  The 15-member LCJO were in fine form as they are in the midst of a long tour.  Regulars Marcus Printup (trumpet) and baritone saxophone Joe Temperley both did not make the gig but their replacements (whose names I could not hear over the applause) were up to the task. 2012-2013 being the Orchestra's 25th anniversary, impresario Marsalis decided the repertoire for this tour would consist on the band's influences.  No surprise that the first half was dedicated to the music of Duke Ellington, opening with "The Mooche" and moving on to "Mood Indigo" before culminating in the "Red Suite."  (There were several other pieces as well.)  Part 2 featured the music of Gerry Mulligan, a former resident of Connecticut, a fine composer and great baritone saxophonist.  The "groove" was a bit different, a touch more modern (the newest piece was from 1971's "The Age of Steam", a sweet waltz titled "Golden Notebooks") and gave more space to pianist Dan Nimmer (whose accompaniment behind Walter Blanding's tenor on "Lonesome Boulevard" was wonderfully impressionistic.)

I would have happily sat through another 60 minutes of music (the evening consisted of 2 50-minute sets) but that (and the fact there was no program with the names of musicians) was the only blemish. Wynton was a gracious emcee and his solos showed his wonderful range and sense of humor.  A conservative program? Perhaps, but one filled with spirit and swing (bassist Carlos Henriques and drummer Ali Jackson deserve much praise for their playing.)  My thanks to Bill King for the invite and the pleasant company.

Wynton's older brother (by a year) Branford is coming to Connecticut on February 7 to play at UCONN's Jorgenson Auditorium. The saxophonist (tenor and soprano) is bringing his top-notch Quartet, an ensemble that features Joey Calderazzo (piano), Eric Revis (bass) and Justin Faulkner (drums).  This group also plays with great spirit but the music goes in directions that the LCJO usually eschews yet the band's ballad work is quite beautiful. The BMQ's 2012 CD, "4 MFs Playin' Tunes" (Marsalis Music), placed in numerous "Best-Of" lists and is the blueprint of the ensemble's live shows.  For ticket information, go to jorgenson.uconn.edu or call 860-486-4226.

Live and More Alive

Thanks to a good friend, I am going to The Bushnell in Hartford this Saturday (1/26) to see and hear the Lincoln Center Jazz Orchestra, the ensemble led by the inimitable and often controversial trumpeter/composer Wynton Marsalis. Now in its 25th year(!), the LCJO has performed in venues around the world as well as taken the time to teach young people the joy of American jazz.

Having heard the band on CD and watched them on DVD, I look forward to hear the likes of saxophonists Ted Nash, Victor Goines, Sherman Irby and Joe Temperley (the Baron of the baritone saxophone), trumpeters Kenny Rampton, Marcus Printup and Ryan Kisor, trombonists Elliot Mason and Chris Crenshaw, bassist Carlos Henriquez, pianist Dan Nimmer and drummer Ali Jackson (there are others but one can never be sure of the complete lineup due to prior commitments.)  And, of course, Mr. Marsalis is there (I believe he is the 4th chair in the trumpet section) to introduce the program and smooth the audience's way into the music.  Not sure just what the program will be but I am sure of this - the music will swing and swing hard!

For ticket information, go to bushnell.org.

Hold onto your hats, tie down your speakers, and secure the exits, the new CD from Mostly Other People Do The Killing, "Slippery Rock" (Hot Cup Records), has been released.  MOPDTK has been in existence since 2003 and this is the quartet's 5 CD.  Organized by bassist and composer Moppa Elliott, the band features Peter Evans (trumpets), Jon Irabagon (saxophones, flute) and Kevin Shea (drums, percussion).

A glance at the liner notes, penned by the venerable Leonard Featherweight, and one is led to believe that "Slippery Rock" is dedicated to reliving the days of "smooth jazz" and its comfortable rhythms. The opening seconds of the opening cut, "Hearts Content", makes mincemeat of the liner notes.  While there are some quiet moments and straight-ahead beats, this music goes directly for the jugular.  Drummer Shea is the jazz version of Keith Moon, always pushing, moving forward, goosing the soloists while Elliot holds the bottom.  As long-time listeners know, the band has a wicked sense of humor - during the solo section on the first track, Irabagon and Evans play the opening strains of "Dueling Banjos (best known from its inclusion in the 1972 movie "Deliverance") before branching off into other places.  The soulful opening chorus of "Can't Tell Shipp From Shinola" is quite musical before Shea pushes it into more "outre" territory.  There's a touch of "dub music" in the beginning of "Dexter, Wayne, and Mobley" - Evans "smears", "buzzes" and moans while Irabagon plays the handsome melody line.  Meanwhile "Yo, Ye, Yough" drives with an intensity that shakes the room.  The trumpeter shows the influences of Lester Bowie and Freddie Hubbard as he blazes through his solo (great counterpoint from bassist Elliot) while the saxophonist blows hard and long over the rampaging Shea.  Irabagon moves to sopranino sax and Evans to piccolo trumpet for "President Polk", a slower track but not what one might consider a traditional ballad.  This has the feeling, at times, of the Charles Mingus Quartet with Eric Dolphy and Ted Curson, just a bit farther "out." The group's interactions on the closing track, "Is Granny Spry?" is mighty impressive - while Evans' solo runs wild, the rhythm section rocks and rolls beneath him.  Then, as Irabagon "swings" and "wails" through his spot, the bassist and drummer kick it up even higher and harder.

"Slippery Rock" is more fascinating music from a most interesting band.  As a unit (as well as on their individual projects), they are fearless, fun, a bit maddening but never dull.  Not for the typical Kenny G. fan, MOPDTK makes music that is alive and, well, thanks to the tireless Kevin Shea, absolutely kicking.  For more information, go to www.hotcuprecords.com.