All Treats & No Tricks!! (Piano edition)

As we head into the Holiday season for 2019, artists and record labels are releasing albums at a......well....at a record pace. Here's a bunch that feature pianists in various setting.

Kenny Barron & Mulgrew Miller - The Art of the Piano Duo: Live (Groovin' High Records/ Sunnyside Records) - Two modern masters of jazz piano as well as two great friends, Kenny Barron (born 1943) and Mulgrew Miller (1955-2013) were invited to tour Europe several times in the decade between the beginning of the 21st Century and Mr. Miller's passing.  Not surprisingly, someone thought to record the concerts.  The music on this set was recorded in Marciac, France, in 2005 and in Switzerland in May of 2011. Happily, Sunnyside has released three full concerts on this 3-CD set.  With set lists ranging from Broadway and popular standards to Duke Ellington, Joe Henderson, and Thelonious Monk, the duo has a rip-roaring time playing melody, counter-point, rhythm, and impressive solos.

Photo: Bern Jazz Fest 2010

It's impossible to pick out one or two standout tracks as there are no duds over the three hour + program.  One thing is certain – there is something for everyone to like.  These gentlemen can swing plus know how to caress a ballad so that the listener does not miss the emotion inherent in the lyrics.  It's hard to to pick who's playing which solo and that really does not matter.  Just dive in and go with the amazing flow!

For more information, go to kennybarron.com/recordings/art-piano-duo-live/.  You can also Fns out more by going to sunnysidezone.com/album/the-art-of-piano-duo-live.

Here's a piece to whet your (musical) whistle:



Here's the duo in action from Vienna, Austria (this piece is not on the album but it's certainly worth checking out):

Brenda Earle Stokes - Solo Sessions, Vol. I (AllSheNeeds Music) - One can never know what will befall them when they move away from home.  School, jobs, marriage, and children (and much more) change most people so that when they come home, they are changed.  Vocalist-educator-pianist Brenda Earle Stokes was raised in Sarnia, Ontario, Canada, where she went to school, took piano lessons (from the age of four), where she performed, and became prepared to study further in the "Big City."  She has performed on cruise ships, taught and performed in places and far-flung as Australia and New Zealand.  Since 2002, Ms. Stokes has issued four albums that feature standards and originals backed by session men and friends.  She is featured on piano on various tracks but the focus has always been on her voice.

Album #6 brings her home, right to the Sarnia Public Library into the performance room where she played as a young girl and participated in other events.  This is not the first time she's recorded singing and playing the keys but it's the first time she has felt compelled to "go it alone" on record (she had done so in concert). No need to worry as the recording is a stone joy from the opening notes to the close.  Along the way, Ms. Stokes explores songs from the Great American Songbook, from Brazil, from the years the she was growing up, and even back to a Leroy Carr blues (from the 1930s).  That track, "How Long Blues", displays her chops with a blow to Memphis Slim. Another delightful surprise is the slinky version of "The Power of Love" (the Huey Lewis & The News tune from the 1985 movie "Back to the Future") – not only is the music deeply funky but there's a bit of gospel feel in there as well.  There's a delightful version of Steve Swallow's "Ladies in Mercedes" (with lyrics by Norma Winstone)  and a lovely take of Dave Brubeck's "Strange Meadowlark." That latter track appears on the pianist's classic 1959"Time Out" Lp; here, Ms. Stokes adds Iona Brubeck's lyrics  and really digs into the piece.

There's plenty more so check out "Solo Sessions, Vol. 1" – revel in the music and the fact that there's more to come!  Brenda Earle Stokes, whose voice has alway been appealing to these ears, shows just how fine a pianist she is as both an accompanist and soloist.  Put on the music, sit back, and enjoy.

For more information, go to brendaearle.com.

Here's Ms. Stokes's version of a song by the trio of Billy Steinberg, Rick Nowels, and Marie Claire D'ubaldo first recorded by K.D. Lang:

Champian Fulton can play piano, she can sing, she can swing, she can be sassy, and can be silky smooth.  Over the past dozen years, she's had 10 albums as a leader or lead singer. Number 11 is a delightful live session recorded late February of this year in Vancouver, British Columbia, Canada, and featuring Ms. Fulton alongside tenor saxophonist Cory Weeds.  "Dream a Little..." (Cellar Live Records) finds the duo exploring nine standards and one original over the course of an hour.  It's quite a treat to hear Weeds weave his tenor lines around the piano on "Fly Me To The Moon" and carrying on a conversation with Ms. Fulton's vocal on "Darn That Dream".  One can hear traces of Sarah Vaughan and Betty Carter on the latter track plus dig the Art Taum-esque piano solo on this most delightful ballad.

Mr. Weeds leads the way into "Tangerine": soon, the duo is off and running its respective way through the changes.  Ms. Fulton is an excellent accompanist, giving her partner a lovely cushion of chords to play as well as a sprightly bass line.  The pianist takes the lead on "I'd Give a Dollar for a Dime", pleading for the coin to play a one song on the juke box.  Mr. Weeds plays an expansive blues-tinged counterpoint. The album closes with Buddy Johnson's "Save Your Love For Me".  Using the Eddie "Lockjaw" Davis arrangement, the duo dogs in and swings the heck out of the piece.  Pay attention to how the piano colors the background behind the expansive tenor solo.  Make sure to check out the great piano solo that follows.  A bit of Earl "Fatha" Hines, James P. Johnson, and Eubie Blake plus a whole bunch of Champian Fulton makes for a finger-snapping treat.

"Dream a Little..." is a lot of fine music in one dynamic duo package. Champian Fulton & Cory Weeds certainly had fun that night (check out the pianist's giddy response to the tenor solos) and you will as well once you surrender to the sweet sounds.

For more information, go to www.champian.net.

To paraphrase one of the more famous advertising phrases of early 20th Century (see here), "They smile when Laszlo Gardony sits at the piano, because they know, they're going to hear some great music before he stands back up."  His new solo piano album, "La Marseillaise" (Sunnyside Records), was recorded live in March at the Berklee College of Music Keys Fest.  While his small group has always been impressive, when he plays sans accompaniment, Gardony just seems more expressive.  Plus his programs always combine originals, fully improvised pieces, standards, and pieces that mesh blues, gospel, New Orleans, and r'n'b into magical works.   Every time I have seen Mr. Gardony play in concert, he's smiling and having the time of his life – even though this is a recording, that happiness comes through loud and clear on this album!

The opening track, "Revolution" (one of five original pieces), is based on the French Revolution-inspired song that gives the album its title.  After the classical-style reading of the theme, the pianist's left hand gets into quite a boogie-woogie groove.  Note the up-tempo rhythm the pianist gives "O Sole Mio" making the song feel more like Myra Melford than Elvis Presley "It's Now or Never").  In the middle of the program, the mood goes to introspection on Errol Garner's "Misty" – it's such a lovely reading, a bit bluesy yet always melodic.  That's followed by a powerful performance of fellow pianist (and label mate) Denny Zeitlin's classic "Quiet Now."  Also introspective in nature, Mr. Gardony plays so expressively that it seems like the piano is singing.

There are two fully improvised pieces. "Four Notes Given" is based on four notes suggested by the audience and the pianist elaborates on those tones.  The resulting music has a hypnotic sound not unlike the solo piano work of Keith Jarrett.  "On The Spot", an apt title, builds quickly from the initial melodic fragment; it's rapid pace and long flowing lines leaves the listener breathless.

"La Marseillaise" closes with another original, "Bourbon Street Blues", a piece first recorded in a small group setting. Played solo, the music has the feel of an Allen Toussiant composition right down to the dancing left hand and the rollicking melody lines. There is no way one can feel blue listening to the music. Laszlo Gardony plays with such verve, empathy, and downright ebullience tha one feels the urge to hit "repeat" each time the final applause dies down.  As I write this, we're heading into the "darker" months of the year so let "La Marseillaise" carry you through the grey days and crisp, chilly, nights!

For more information, go to LGJazz.com.

Here's the opening cut:

The Lady Sings the Blues, The Drummer Creates Many Hues, & Great Music Made by Two!

Amy Cervini is a busy and very modern women. The Canadian-native has a family with producer Oded Lev-Ari (with two young children), she owns (or co-owns) a publicity firm, and is one-third of Duchess trio (along with Melissa Stylianou and Hilary Gardner).  With Duchess, she is co-host of the group's very enjoyable podcast "Harmony and Hijinks."

For her fifth solo recording, "No One Ever Tells You" (Anzic Records), Ms. Cervini has dug deeper into the blues than in the past, producing a powerful album whose emotions run deep. Her crackerjack band - Jesse Lewis (guitars), Michael Cabe (piano), Matt Aronoff (bass), and Jared Schonig (drums) plus Gary Versace (Hammond B-3 organ on four tracks) -  helped to develop the arrangements over the past few years during the ensemble's weekly residency at NYC's 55 Bar.

Photo: Shervin Lainez

The album opens with the only original on the program.  "I Don't Know" stretches the leader's voice in ways one hasn't heard before. That fascinating blend of soul and blues continues with Lyle Lovett's "God Does", adding a touch of country to the mix.  The soul dripping work of the band frames the voice and allows for Versace's burbling organ to interact throughout (as well as solo). The title track, composed by Hub Atwood and Carroll Coates, was first recorded in 1956 by Frank Sinatra but it was Seth MacFarlane's 2016 version that Ms. Cervini first heard. She replaces the big band groove with sturdy guitar work but pay attention to Cabe's excellent piano accompaniment.

Photo: Shervin Lainez

There are surprises throughout the album starting with the dream-like reading of "The Surrey With The Fringe On Top."  Performed at the pace of a snail, the Rodgers & Hammerstein frolic is transformed into a lullaby. It works!  Ms. Cervini and the band dance dreamily through Bertha Hope's "You Know Who" - Ms. Hope was married to jazz pianist Elmo Hope and has a very impressive career, not only as a performer and composer but also as an educator (her husband passed in 1967: she the married bassist Walter Booker).  Jesse Lewis's hard blues-rock guitar licks introduce "Bye Bye Country Boy", a Blossom Dearie tune that Ms. Cervini first recorded on 2009's "Lovefool."  Here, the song has a slower pace befitting the bluesy approach the band takes. Following that is a smashing duet with Versace on the Arlen-Mercer "One More For My Baby (and One More for the Road)" - first recorded in 1943 by Fred Astaire for the movie "The Sky's The Limit", the duo here have great fun recreating the feeling of the last song of the last set, perhaps 3 p.m. in a New York City bar.

The album closes with the Percy Mayfield classic "Hit The Road Jack" - Ray Charles had a huge hit with the song in 1961 (the song lasted less than two minutes yet stuck in one's brain all day) and it's fascinating to hear the original demo - click here).  But Ms. Cervini replaces the "bounce" of the original with a sultry take that does not have the humor or anger of the original yet there is no missing the singer's intention, that being "get out and stay out". The band takes the place of The Raelettes, Mr. Lewis lays down some fine blues riffs, and the leader caresses the lyrics with just a hint of resignation.

I will tell you that "No One Ever Tells You" is a treat from the opening notes to the soft landing that closes the program. Amy Cervini is a singer, a story-teller, and has a good ear for finding songs that not only fit her voice but also entertain and entrance the listeners.  And, the band shines throughout.

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

Here's the opening track:

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Drummer, percussionist, and composer Chad Taylor has an impressive track record.  He's a founding member, along with trumpeter Rob Mazurek, of the Chicago Underground Duo (and its many offshoots), has recorded and toured with Marc Ribot. Cooper Moore, Matana Roberts, Eric Revis, the late Fred Anderson, and many others.  He's quite knowledgable about the history of his instrument and of the music.

His third album as a leader, "Myths and Morals" (earandeyesrecords), is a solo album of the first order.  One can hear the influence of the AACM, especially the work of Famadou Don Moye (Art Ensemble of Chicago) yet Taylor sounds nothing like that famed drummer.  There is something so appealing about "Gum Tree", a mbira solo that has a dancing rhythm, the "thumb piano" displaying its percussive side.  Other pieces, such as "Abtu and Ahnet" and "Simcha", have a dance feel as well. That latter track, the shortest on the album at 1:44, has an irresistible forward motion. Elliot Bergman joins Taylor, playing a somewhat distorted electric kalimba - one imagines dancing to that beat all night long.

There are many moments when one marvels at how these pieces are constructed. Taylor is not showing off any fancy technique but using his percussion instruments to tell stories. Listen to he builds "The Fall of Babel", the intensity moving from the cymbals as the beginning to the floor toms near the end.  Note the electricity, the drone created by looping, and the lovely African melody on "Island Of the Blessed", a piece where the sounds, natural and electronic, collide yet still dance.

I love the snap of the snare, the thump of the floor tom, the whooshing cymbals, the warp of the high-hat, all of it, and how Chad Taylor is as much an architect as a composer.  "Morals and Myths" is fascinating music, well worth investigating.

For more information, go to www.chadtaylordrums.net.

Listen to "Phoenix":

Photo: Ottawa Citizen

Joel Frahm (tenor and soprano saxophones) is a very talented musician equally at home in a quartet setting and a big band, as a leader or a sideman. He has worked, most notably, with pianist Brad Mehldau, drummer Matt Wilson, and is currently working with drummer Dafnis Prieto's Big Band as well as numerous groups in New York City.  Pianist Adrean Farrugia has been an integral participant in the Canadian music since the later 1990s and his brilliant play has taken him around he world with the likes of guitarist Larry Carlton, saxophonist Chris Potter, trumpeter Kenny Wheeler, and bandleader Darcy James Argue. The pianist first met the saxophonist 10 years ago when both began working with drummer Ernesto Cervini's Quartet and his sextet Turboprop.  The two musicians have similar attitudes to music. Melody is king and what we do is play in every sense of the word.  They talked for several years about playing in a duo setting and, now, listeners can finally hear the fruits of their interactions.

"Blued Dharma" (self-released) finds the duo through eight spirited performances, including two delightfully different takess of Ray Noble's venerable "Cherokee."  It's as if the the first time one hears the song (actually marked as "Cherokee II"), it's in the first set and the musicians excitedly move through the piece.  "Cherokee I" sounds like we're now in the third set: the duo's interactions are a bit more contemplative and released but no less enjoyable. Frahm's soprano shines brightly on the title track. After a poetic piano intro, the soprano introduces the handsome melody. If you have never heard Farrugia play, he may remind you of Chick Corea or Keith Jarrett. I hear Bruce Hornsby, especially in the bounce created by his left hand and his impressive facility.

Their ballad work is filled with space and emotion. "For Murray Gold" opens with Frahm's breathy tenor with Farrugia doubling the melody but also providing soft chords and rippling responses.  The pianist feeds off the rhythmic and melodic choices that Frahm makes during his solo - it feels at times as if the two were gliding together, letting the wind take them wherever it will. The short piano solo is heartfelt and exquisite.  The other slow(er) tune, Jerome Kern's sweet "Nobody Else But Me", has more pizazz - the duo is in no hurry, making you sure you hear the breezy melody before Frahm ventures out on a delightful solo.  When the pianist steps out, there was a moment I heard a hint of Dick Hyman in Farrugia's sprightly phrases and rhythmic approach.

The album closes with the pianist's "Half Moon (for Sophia)", a lovely uptempo tribute to Farrugia's wife and another musical partner Sophia Perlman (they have a duo album of their own, "Live at The Musideum", released in 2012).  The powerful groove that the pianist creates is a springboard for Frahm's splendid soprano saxophone flight.

Sit in the back porch (if you have one) or in a shady park on a lovely day and just listen to delight-filled music that makes up "Blued Dharma".  Adrean Farrugia and Joel Frahm must have had great fun making this album as the music has a professional (not business-like) yet carefree feel.  Trust, melody, and wide-open ears, the duo makes magical music certain to excite the mind and soothe the soul.

For more information, go to adreanfarrugia.com.

Here's the final track:

Three Featuring Noah P

Tenor saxophonist and composer Noah Preminger is in the midst of a very busy time. Since the beginning of 2018, the Connecticut native has released three albums. What connects them all is the probing mind, warm sound, and intelligence that the saxophonist has displayed since his debut "Dry Bridge Road" was issued almost 10 years ago.

"Genuinity" is Preminger's debut release for Criss Cross Jazz.  The recording features his "working band" mates of the past several years, trumpeter Jason Palmer and bassist Kim Cass. The newest member is drummer Dan Weiss and his presence gives the band and music ever more possibilities.  This album moves away (but not all the way) from the political commentary of 2017's "Meditations on Freedom" or the blues influenced sounds of 2015's "Pivot: Live at the 55 Bar" and 2016's "Dark Was The Night, Cold Was the Ground."

From the opening flurry of notes from the tenor sax on "Halfway To Hartford" to the jauntiness of the final track "Acknowledgement" (not the John Coltrane song from "A Love Supreme"), the nine original pieces are free from clutter and filled with ideas.  Palmer continues to be an excellent musical companion, his crisp tone, his ability to turn on the fire and then move easily back to softer counterpoint stands out on pieces such as "Nashua" and the barn-burning "Ah".  One of the standout tracks is "Mad Town" where the tenor and trumpet weave lines in and out of each other, sometimes playing together and other times in a call-and-response.  Cass is the foundation on that piece as Weiss interacts with the soloists throughout.

Photo: Jimmy Katz

It's a treat to soak in the Weiss's funky drums on "Ts and Her Spirit"; he keeps up the dancing beat all the way through, especially as Preminger and Cass trade lines back-and-forth in the second half of the song (yet pay attention to the delightful  interactions between sax and trumpet before that.  In juxtaposition to the funkiness is the only ballad on the recording, "My Blues For You." A song this slow can often be overplayed but Preminger and company never rush, basking in the deep bass notes and quiet drums-and-cymbals.  Palmer's solo cuts against that grain, his combination of long tones, bluesy smears, and fast-paced phrases standing out.  Preminger, too, mixes up the intensity, "crying" at times, throwing out quick riffs at other times, and "getting down" as well.

There's much to enjoy delving into "Genuinity" and the music sounds great flowing out of the speakers. Such a clean recording (kudos to engineer Michael Marciano): you can hear everyone making it seem as if this was a "live" recording.  Definitely alive!

Dig into the opening track:

Mr. Preminger has joined forces with drummer Rob Garcia to create the Dead Composers Club, an ensemble dedicated to paying music by the "great" composers.  Their debut recording is "Chopin Project" (Connection Works) and features the saxophonist and drummer joining forces with Preminger's bassist Kim Cass and guitarist Nate Radley on a 10-song program of "Preludes", "Nocturnes", and one "Etude" from the pen of Polish composer Frédéric Chopin (1810-1849).  While the name of the quartet might be a touch snarky, the music combines impressive melodies with powerful rhythms and intelligent improvisations.  It's true that you can hear may different influences (from progressive rock to John Coltrane and beyond), you cannot miss those Chopin themes.

No matter whether you know the original music or not, it's quite impressive to hear what the quartet does. Listen to how Cass introduces "Prelude Opus 28 No 2 in A-minor", his "bouncing bass" line underneath Preminger's reading of the lovely melody.  Garcia's cymbals and floor tom work colors the piece as do the quiet chords from Radley.  The guitarist rises out of the saxophone solo to create a fascinating that rolls atop the bass and drums.  Preminger plays through the melody on "Nocturne Opus 62, No 2 in E-major" and then Radley takes over with a handsome solo over the fine brush work and melodic bass.  The guitar sound lends the song as "Americana" feel: there's also a hint of blues in the sax solo.

Theres a playful nod towards "prog-rock" in the guitar chords and hard-hitting drums at the onset of "Prelude Opus 28 No 6 in B-major" - Preminger digs into the formal sounding melody before Radley steps out for a solo that builds off the melody. Pay attention to the great work of the rhythm section during the solos, to the counterpoint from the bass and subtly driving drums.  Listen to how Cass supports and shadows the saxophone melody on "Nocturne Opus 32 No 2 in Aflat-major", his intelligent counterpoint supported by guitar chords that echo the melody and Garcia's sweet brush work.

Instead of taking about every track, my suggestion is you sit down and really listen to "Chopin Project."  What Noah Preminger and Rob Garcia, along with Nate Radley and the sublime Kim Cass, have done is make one listen to Chopin's music with new ears. The musicians show respect to the original intent of the music but also illustrate how to make the pieces sound fresh and relevant to new audiences.

Here's one of the quartet's delightful takes:

"Whispers and Cries" (Red Piano Music) pairs Noah Preminger with pianist Frank Carlberg for a program of standards and one traditional from the American Civil War, "Aura Lee." As to be expected, the duo does not play it safe.  The impressionist opening to Billy Strayhorn's "Take The A Train" leads to a playful, stop-and-go interpretation of the melody.  It's fascinating to hear how they decide to deal with the song.  And, it's that way through all 10 songs.  Thelonious Monk's "Reflections" does have a reflective quality at the beginning yet the duo has its way while working through the solos (nice bit of stride behind the tenor as well as a piano solo that dances through the changes).  Even if you have heard "Tea For Two" more times that you can remember, here the opening tenor solo slowly steadily, brings the familiar melody to the forefront.  When Carlberg steps out alone, his playful solo does not stray far from the melody yet sets the pace for Preminger's take on the melody and changes. The same goes for the delightful chestnut, "These Foolish Things", which has a delightful bluesy solo from the pianist (a touch of James P Johnson can be detected in the playful piano stylings) along with fine lyrical work from the saxophonist

For some of us, our introduction to "Try a Little Tenderness" was Otis Redding's demonstrably over-the-top live performances in the mid-1960s.  No such histrionics here, just an impressive tenor saxophone introduction that takes up half the piece.  When the piano enters, Preminger moves into the melody as Carlberg sets an easy pace. The pianist steps out for a short but sweet solo that moves in and around the melody.

Since he first came to critical notice a decade ago, Noah Preminger has always had a knack playing ballads.  From the get-go, his work on slower pieces displayed emotional depth along with lyricism.  On "Embraceable You", he imbues the Gershwin melody with a blues sensibility, carrying all the way through. The pianist responds to the emotion of the music with a quiet solo that hews closely to the melody ands sets the tone for the return of the saxophonist and the gentle finish.

Photo: JImmy & Deanna Katz

"Whispers and Cries" may take its name from the 1972 film by Ingmar Bergman (the duo turns the name around) but this is no chilly, metaphysical, paean to the dread and death that often occupied the Swedish director. What Noah Preminger and Frank Carlberg did on the two days in July of 2017 in Boston's Jordan Hall is explore ten songs, listening to each other, reacting, prodding, pushing, interacting, giving each other space, caressing melodies, playing with rhythms, making music that touches the soul as it involves the mind.

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

Two Masters at Play, One Trio Exploring

Recorded at the 2016 Jazz & Wine Festival Bordeaux, "Masters of Bordeaux" (Sunnyside Records) finds pianist Martial Solal in a set of duo conversations with saxophonist (soprano and tenor) Dave Liebman. The two did not play together until the tour that accompanied the appearance at this Festival but they sound like old friends as they move through the program, six recognizable standards that the duo make sound fresh.  Solal, 19 days short of his 89th birthday, and Liebman, one month shy of his 70th, do what one hopes masters will do; that is, the music they create keeps the listener glued to his/her seat wondering where the pieces will go next.

photo by Jean-Baptiste Millot

Opening with "All The Things You Are", the duo, with Liebman on expressive soprano sax, dance their way through the Jerome Kern/ Oscar Hammerstein II classic. Liebman switches to tenor for their exploration of Cole Porter's "Night and Day" yet, after his excellent solo, Solal's far-ranging solo stands out for its inventive is of melody and shifting rhythms.  Back to soprano for Miles Davis's "Solar", the duo dance through the melody while the solos will make smile, even gasp at times, at the melodic and harmonic leaps both musicians take.

Honestly, there's not a weak moment on this recording. Both Martial Solal and Dave Liebman are on top of their game, taking chances because of their mutual trust and love for improvisation yet never ignoring the songs.  "Masters of Bordeaux" is an apt title for these two musicians are truly masters of music and, in the parlance of the best red wines from the region in which this concert took place , are "Premier Cru Classe."

For more information, go to www.sunnysiderecords.com/release_detail.php?releaseID=896.

Give a listen to one of the fine collaborations:

Kevin Sun may be recognizable from his work with the quartets Great on Paper (cd review here) or Earprint (reviewed here) or his byline as a transcriber of several of Ethan Iverson's interviews. The Harvard/New England Conservatory graduate (he was the first to complete the schools' combined 5-year degree program) studied composition with Miguel Zenón and John Hollenbeck and has written on his blog ("A Horizontal Search")  an understanding of both the history and forward motion in jazz. "Trio | Kevin Sun" (Endectomorph Music) is his debut recording as a leader. Like the best saxophone trio recordings (Sonny Rollins's "Way Out West" and "Freedom Suite", Joe Henderson's "The State of the Tenor Vols. 1 & 2", Bernie McGann's "Bundeena"), this music works because it is a collaboration of Sun (tenor saxophone, c-melody saxophone, clarinet) with the impressive rhythm section of bassist Walter Stinson (Adam O'Farrill Quartet) and drummer Matt Honor (Cowboys & Frenchmen, Cat Toren).

photo by Jessica Carlton-Thomas

"Trio" contains a lot of music (72 minutes), is composed of most original works (11 Sun tunes, one standard, and two group pieces), and goes in myriad directions.  Opening with "Tranaccidentation", one immediately hears how the three musicians listen closely to each other, how Sun does not force the action and has a subtle, softer,  tone on tenor sax.  In fact, it's Stinson and Honor who push the piece forward in the manner of bassist Fred Hopkins and drummer Steve McCall of Trio Air.  Sun moves to clarinet on the next track "Loading Screen", the angular melody paired with the clanging percussion and bass counterpoint.  The C-melody saxophone shows up twice, first in the mysterious group piece "One Never Knows Now" (Stinson's impressive bowing underpinning the improvisations) and then on the standard "All of Me" - Sun's softer approach on the saxophone leans more towards Lester Young yet the brisk tempo and his delightful solo has a good dollop of Sonny Rollins in it.

photo by Jessica Carlton-Thomas

Several pieces contain great power. "Announcements" is a frisky romp that drives for the entire 2:13 while "Misanthrope" has a "heavy metal" feel at the open, Nirvana-like with bleating saxophone and crushing drums.  "Air Purifier", at nearly 12 minutes, is the longest track and goes through a number of changes in tempo and dynamics, with Sun moving from clarinet to tenor after the opening section.  There's a powerful bass and drum conversation before the piece slows again; Sun goes back to clarinet, plays a somber melody, and the bassist takes the lead. The somber tone lasts through the close of the piece.

There is so much to explore on "Trio | Kevin Sun" and I know hard it can be sitting through a long program.  But this music is worth the time and effort.  The compositions are adventurous, the skill, effort, and ideas of the musicians stand out, and one wishes to be in the audience when they explore these pieces.  Go to thekevinsun.com/p/upcoming.html to find out when this Trio is playing near you - this is "alive" music and should be seen and heard.

Here's a taste of the Trio:

Best of 2016 Continued

This group of albums released in 2016 includes a historical document, recording by gentlemen who started making music in the late 1960s and early 70s with the AACM, music that pays tribute, poems set to melodies, and much more!

Thad Jones-Mel Lewis Orchestra – All My Yesterdays (Resonance Records) - I did not pay much attention to this band in its early days as I was in the thrall of The Beatles, The Rolling Stones, and The Who.  But, while those groups were stealing the hearts of American teenagers, composer and trumpeter Thad Jones was writing some amazing songs and charts and organizing a Monday night "rehearsal" band with his friend, drummer Mel Lewis, one that began its tenure at the Village Vanguard in February 1966 and still plays there (under the monicker of the Vanguard Orchestra).  This package - 2 CDs and a 92-page booklet - includes music from the first set the TJ/MLO ever played in front of a live audience and a gig from six weeks later.  If you like big band music, you'll love this album. The music is raw yet polished, exciting, emotional, and downright joyous.  Bless George Klabin and Zev Feldman of Resonance Records for bringing this music to light!

For more information, go to www.resonancerecords.org.

Alexis Cuadrado - Poètica (Sunnyside Records) - Bassist, composer, and arranger Cuadrado turns his attention to contemporary writers on his latest recording. The poetry of  Melcion Mateu (also a native of Barcelona) and Rowan Ricardo Phillips (a NYC native fluent in Catalan) is put to new music performed by the poets alongside Cuadrado, Miles Okazaki (guitars), Andy Milne (piano, keyboards) and Tyshawn Sorey (drums).  This music has a harder sound, more of an urban edge, than his previous recordings, and one is thrilled and moved by how the poets and musicians mix their various voices. Urgent, thrilling, striking music that inhabits your mind with each listen.

For more information, go to alexiscuadrado.com.

Jane Ira Bloom - Early Americans (Outline Recordings) - The sound of soprano saxophone, in the right hands, is hypnotizing, sensual, and can paint pictures like no other instrument.  Put the rhythm section of Bobby Previte (drums) and Mark Helias (bass) in the studio with Ms. Bloom and magic happens. This album is magical, personal, interactive, and uncategorizable - just let the music play and lose yourself (or, maybe even find yourself) in it.

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

Here's an uptempo piece:

Matt Wilson - One Big Happy Family (Palmetto Records) - Drummer, composer, mad scientist Wilson leads a number of different ensembles and on this album, he makes music with current and past members. Some tracks include as many as 11 musicians. They came together to make a tribute recording to Wilson's wife Felicia who passed away in 2014.  In keeping with the drummer's passionate style, the music ranges from hard-hitting "raves" to folk-inspired and bluesy ballads.  The music is also a tribute to the power of people coming together to play and how this act of creativity can stave off the darkness.

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

Here's a delightful track:

Henry Threadgill Ensemble Double-Up - Old Locks and Irregular Verbs (Pi Recordings) - It's rare that Mr. Threadgill records with pianists yet this septet has two (Vijay Iyer and David Virelles); also rare is that the composer does not play on an album of his compositions but, here, he is just the conductor.  This group features the brilliant tuba player Jose Davila and cellist Christopher Hoffman (both members of Mr. Threadgill's Zooid), the "conversational" drumming of Craig Weinrib, and the twin altos of Curtis MacDonald and Roman Filiu. The four-part suite is dedicated to the composer's contemporary Lawrence "Butch" Morris (the composer, cornetist, and conductor) who passed on in 2013.  This swirling, whirling dervish, music has numerous moments of delight and others of mystery; even now, nearly 10 months since I first encountered the album, I am surprised by the stunning "Part IV" and his the opening two-piano conversations pulls me into its elegiac spirit and prayer-like feel.

For more information, go to pirecordings.com/albums/pi64.

Wadada Leo Smith - America's National Parks (Cuneiform Records) - Mr. Smith, like Mr. Threadgill, has created his own musical language through his long career, telling stories this country needs to hear about the power of music to transform society as it explores its myriad issues and relationships.  This 2-CD collection of songs not only celebrates the natural wonders (such as The Mississippi River and Yosemite) but also people (Eileen Jackson Southern, pioneering Black musicologist) and the city of New Orleans. Mr. Smith leads his Golden Quintet - Anthony Davis (piano), John Lindberg (bass), and its newest members, drummer Pheeroan akLaff and cellist Ashley Walters - his crackling trumpet riding the powerful rhythm section, caressing his fascinating melodies, and allowing moments of beauty to linger.  Don't bother to tack labes onto the music of both Henry Threadgill and Wadada Leo Smith - there are few contemporary composers with their vision, compassion, and continuing brilliance.

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

Peter Brendler - Message in Motion (Posi-Tone Records) - Bassist and composer Brendler's second recording for the LA-based Posi-Tone Records employs the same trio of musicians as his 2014 debut - drummer Vinnie Sperrazza, saxophonist Rich Perry, and trumpeter Peter Evans - and covers as much musical territory.  Guitarist Ben Monder joins the ensemble on 4 tracks filling out the sound with his chordal magic and special solos.  This is another album that sounds better each time one listens as you can concentrate on the intelligence of the arrangements, the breadth of the compositions, and the brilliant inter actions as well as wonderful solos.

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

Dig the "swing" of "Splayed":

René Marie - Sound of Red (Motema Music) - The word "sassy" has always been associated with the great vocalist Sarah Vaughan yet is equally appropriate for this splendid performer, storyteller, and composer. With songs that touch your heart and others that make you want to dance, these "Sounds" swing, dance, strut, as well as make you aware of the fragility of the human condition.  Ms. Marie's longtime rhythm section of bassist Elias Bailey, drummer/co-producer Quentin E. Baxter plus pianist John Chin is  on the mark throughout and the various guests add their special magic.  In the long run, it's that lively and alive voice that brings you back again and again.  

For more information, go to renemarie.com. 

Here's Renè Marie and her Trio playing three songs from the album for NPR's "Tiny Desk Concert" series - you can't help notice what a delightful performer she is:

Nick Sanders & Logan Strosahl - Janus (Sunnyside Records) - Pianist Sanders and saxophonist Strosahl have been friends for a decade, ever since meeting in the rehearsal rooms at The New England Conservatory of Music in Boston, MA.  For this intimate yet open album of duets, the musicians plays music that swings, sings, soars, and soothes with tunes from the classical world (pre-Baroque and 20th Century modern), the expansive mind of Thelonious Monk, jazz standards, and even a tune inspired by a video game.  Respect intermingles with a sense of playfulness and exploration throughout the program; like so many recordings included here, this music sounds better each time I hear it.

For more information, go to nicksandersmusic.com or to www.loganstrosahl.com.

Here's a piece by Olivier Messiaen:

Young Musical Voices in Old Lyme + Music in Middletown

The Jackie McLean Institute of Jazz at the Hartt School of Music in Connecticut continues to turn out one impressive musician after another. And The Side Door Jazz Club in Old Lyme is becoming a venue known for nurturing new talent.  This Friday 7/08), the Club welcomes alto saxophonist Alden Hellmuth and her Quintet.  Ms. Hellmuth, a native of Hartford, graduated several months ago and is already working with her own band, one that includes Charlie Savage (piano), Josh Uguccioni (bass), Corey Garcia (drums), and special guest Josh Evans (trumpet). Expect a combination of originals and standards, uptempo jams and fine ballads.

Ms. Helmuth and company take the stage at 8:30 p.m.  For tickets and more information, go to thesidedoorjazz.com.

On Saturday night, the young veteran Tadataka Unno (36 years old in August) comes to The Side Door with his Trio of Essiet Okon Essiet (bass) and Hartford native Jonathan Barber (drums).  Unno, a native of Tokyo, Japan, first came to the US in 2008 and was part of the Betty Carter's Jazz at the Kennedy Center in 2010.  He has worked with drummer Jimmy Cobb, saxophonist Jimmy Heath, vibraphonist Steve Nelson, and many others.  Unno has released two CDs in the United States, a solo recording of standards in 2011 and a trio date in 2014.

To find out more about the pianist, go to www.tadatakaunno.com -  to reserve a seat or a table, call 860-434-0886.

The Center for the Arts at Wesleyan welcomes Bloomfield native, Hartt School alumnus, and Professor of Music at Western Connecticut State University Jimmy Greene and his fine Quartet Thursday July 7 at 8 p.m. in Crowell Concert Hall, Wyllys Avenue in Middletown. The saxophonist (tenor and soprano) and composer, who's worked and recorded with bassist Mario Pavone and pianist/vocalist Harry Connick, has quite the band, including pianist Aaron Goldberg (who's worked with Joshua Redman), veteran bassist Doug Weiss, and the splendid drummer Otis Brown III (who's worked with saxophonist Joe Lovano's Us Five).  Jimmy Greene is such an impressive musician, a big man whose sound can fill a room or make you lean in to hear him whisper.

For ticket information, go to wesleyan.universitytickets.com/w/default.aspx or call 860-685-3355.

Pianist, composer, and educator Laszlo Gardony seems to have made The Buttonwood Tree, 605 Main Street in Middletow, his second home.  He's played the intimate venue as a solo artist, with his Trio, and with several different duos, including one with bassist John Lockwood.  This Saturday (7/09), Mr. Gardony brings another friend "home" to play, Italian-born saxophonist Marco Pignataro.  Mr. Pignataro, who plays both tenor and soprano saxophones, is a colleague of the pianist at Berklee College in Boston; in fact, he's Managing Director of the Berklee Global Jazz Institute (BGJI), working closely with Artistic Director Danilo Perez (pianist with the Wayne Shorter Quartet) to work with young musicians to develop a fuller and further understanding of the world around them, business, creative and natural.

The duo begins to play at 8 p.m.  For more information, go to www.buttonwood.org.