Guitarist and composer Miles Okazaki has proven to be quite an adept person in the Contemporary Music scene. His 2018 recording of "Work (the Complete Compositions of Thelonious Monk"), which is a solo guitar exploration of the man's oeuvre, was fascinating and still reveals new layers each time one returns to it. Now, he's back with his Trickster quartet – Matt Mitchell (piano, Fender Rhodes, Prophet-6), Anthony Tidd (electric bass), and Sean Rickman (drums) – his "electric" adventure into and out of inner worlds and myths (if you want to understand the music's back story, go to www.milesokazaki.com/albums/the-sky-below-2019/ and read the "liner notes.")
Listening to this group's second recording "The Sky Below" (Pi Recordings), even without the notes, is a fascinating experience. There are links to the "jazz-fusion" of the 1970s, e.g. Chick Corea's electric Return To Forever as well as to the sounds saxophonist-conceptualist Steve Coleman has been making with the M-Base Collective for the past three+ decades. The Coleman connection also includes his current rhythm section of Tidd and Rickman, chosen for its ability to lay down the foundations plus be part of the melodic explorations. Listen to the three-way dialogue on the opening cut "Rise and Shine" between Okazaki, Mitchell (who replaces Craig Taborn from the first album), and Tidd, how each musicians has a complimentary melody to what the other is playing. When Rickman's expressive drums are added, the piece takes off in a different direction. Notice how Tidd sets the pace on "Dog Star", how the melody is built off his bass line, and how the different keyboards of Mitchell move in and around Okazaki.
The blend of acoustic guitar and drums at the onset of "Seven Sisters", with the leader handling the melody (and the bassist the foundation) while Rickman s the "lead" voice is impressive. The piece picks up intensity when the drums fall into the beat and Mitchell engages in a dialogue with Okazaki's electric guitar (note the acoustic piano is locked in with the bass while it's the Prophet-6 interacting with the leader). The subtlety in the arrangements, even as the music moves from a roar to a whisper, stands out.
There is so much to take in as you listen to "The Sky Below"; note the use of layering keys and guitars and how the activities of the rhythm section add so much to how the music stands out. Miles Okazaki, who has been touring Europe with his "Works" music as well as being part of Mary Halvorson's Quartet playing the music of John Zorn, produces music with Trickster that will not only challenge the listener but make them move their feet!
Pianist and composer Marta Sánchez, born and raised in Madrid, Spain nonliving in New York City, is, like many of her contemporaries, a very busy musician. She first came to the US and to New York in 2011 on a Fulbright Scholarship – she studied at New York University and soon formed her Quintet. Ms. Sánchez had led a trio and quartet while living in Spain, recording several albums as well as working as a sideman for numerous projects. Her US group included the rhythm section of bassist Sam Anning and drummer Jason Burger plus saxophonists Roman Filiu (alto) and Jerome Sabbagh (tenor). They released their first album in early 2015 on Fresh Sound New Talent. By 2017 when the second album was issued (also on FSNT), the rhythm section now included bassist Rick Rosato and drummer Daniel Dor.
The Quintet, now with tenor saxophonist Chris Cheek instead on Sabbagh, now has its third album. "El Rayo de Luz" (FSNT). On the second album, "Danza Impossible", Ms. Sanchez created much of the program to have the feel of dancing, swaying, and that trend is continued on the new recording. Thete is also a touch of mystery to the stories the band tells on these eight songs. The mix of Filiu's alto and Cheek's tenor also gives the music, especially on the opening "Cascadas", a sense of urgency. Pay attention to how easily the rhythm section moves as well as to how Ms. Sánchez "colors" in the background. Her solo starts quietly and, while it does pick up in intensity, it's also a pleasure to hear how she expands the melody and her thoughts throughout the improvisation. The next track, "Parmesano", continues in that same vein but now Dor is responding to the soloists and pushing them forward.
Photo: Tayla Nebesky
"Nenufar" is a handsome ballad that on which Ms. Sánchez creates a lovely long solo. Cheek continues along a similar road that the pianist created until Filiu reenters and the song moves to its close. The combination of the saxes on the circular phrase that opens the title track is so seductive that the pianist and bassist pay a version of it. As the piece expands, the saxes move in and around each other, coming to together for unison and harmony lines. As the dogs moves into the solo section, note the work of Rosato and Dor, the simple bass patterns (simple in that there are few notes) and the dancing cymbal work over the insistent piano creating a rhythm cushion for Fillies exploratory solo. The bassist gets a short spotlight that is so melodic that it adda to the music rather than slows it down.
By the time the band and the listener reach the final track, one realizes how special this music is. Though the cut is titled "Unchanged", one cannot help but be changed by the music Marta Sánchez and the Quintet play here. There's traces of Wayne Shorter and Guillermo Klein in the rhythms and melodies but neither the composer nor the musicians imitate anyone. The Quintet are familiar with the material that Ms. Sánchez created for them; one can tell they truly listen to each other and are comfortable taking chances. Try and see this ensemble live!
Since first coming to critical notice in 1990, Avram Fefer (alto, tenor, soprano, and baritone saxophones, clarinet, bass clarinet, flute, alto flute) has created music that can melt your speakers as well as pieces the can melt your heart. Fefer studied at Harvard, Berklee College, and the New England Conservatory of Music. In his 20s, he moved to Paris, France, playing with numerous US ex-patriates such as Archie Shepp and Sunny Murray as well as groups from Senegal and the Arab world. He has worked with David Murray's Big Band, Go: Organic Orchestra, Greg Tate's Burnt Sugar, and bassist Michael Bisio. His debut as a leader was issued by Cadence Jazz Recordings and featured bassist Eric Revis who has graced a number of his bands and recordings.
His new recording, "Testament" (Clean Feed Records), is his 15 or 16th album was a leader. It's credited to the Avram Fefer Quartet and features Revis, drummer Chad Taylor (who's been a member of Fefer's trio for over a decade), and guitarist Marc Ribot. The eight tracks from the swinging "Dean St. Hustle" that opens to the album to drummer Taylor's prayer-like tribute to the late African bassist "Song For Dyani" (the only track on the album not composed by Fefer). A West African feel permeates "Wishful Thinking", a piece that features splendid drumming by Taylor and foundational bass work from Revis. The Quartet takes its time to get through the melody but then Fefer take off on a lengthy and playful solo, pushed forward and higher by the rhythm section. Ribot takes over and digs right into a loud solo that rides over the powerful beats. Fefer reenters for a wild moment dropping back to the bass and drums and the opening theme.
The title track roars forward on the interaction of the sax and guitar while Taylor thunders under them and Revis gets in on the melody. The music never gets into a rhythmic flow which allows everyone to "attack" the piece. After the tenor sax solo, Ribot tears the speakers to shreds while Revis and Taylor go on a sonic rampage (the drummer must be in great shape as he never lets down through the entire song and that includes his interactions with the bassist that leads to the final moments of the song). The final piece, "Essaouria", is named for the Moroccan coastal city on the Atlantic Ocean. Taylor and Ribot set the sensual mood with Revis's insistent bass line moving the piece forward. Fefer's handsome melody sings out, not forced with the guitar chords ringing alongside. The intensity picks up during the sax solo yet the rhythm section takes its time. Ribot's solo is quite rhythmical, having fun interacting with Taylor and Ribot. The music flows, often floats, and keeps its cool throughout.
"Testament" is an excellent collaboration between the four masters who make up the Avram Fefer Quartet. Fefer, Marc Ribot, Eric Revis, and Chad Taylor play with fire, conviction, and plenty of joy. This, too, is a band worth seeing live but the album truly captures the essence of this powerful music. Play it loud!!
You'll note that all three of the music samples above come from Bandcamp.com. You can buy the music and be assured that the artist gets a higher share of the profit than from other streaming services (especially if you use Spotify).
The best person to describe the music of Steve Coleman is the man himself. The alto saxophonist, composer, conceptualist, and community educator/activist, he has spent over three decades creating his own musical language. The M-Base Collective, an organization that Coleman founded around 1984, takes its cues from the AACM from Chicago, the composer's hometown. If you click on the link above, you can see how musicians have collaborated together as members of the various bands that Coleman leads or have worked with him in other ways.
Over the decades, Coleman has led and continues to lead numerous ensembles but, most consistently, has worked with The Five Elements. The current quintet, featuring Jonathan Finlayson (trumpet), Miles Okazaki (electric guitar), Anthony Tidd (electric bass), and Sean Rickman (drums), has been together for over five years. That lineup's debut was the powerful 2013 "Functional Arrhythmias" (Pi Recordings). Both Rickman and Tidd had worked with Coleman in earlier versions of the group while Finlayson has been part of the the ensemble since 2000. Okazaki joined in 2009 while building his own solo career. Over the past four years, the group has been involved in a series of weeks-long residencies in cities such as Chicago, Los Angeles, Detroit and others, that go beyond just concerts and into outreach to underserved communities and more.
The ensemble's latest musical adventure is "Steve Coleman and The Five Elements: Live at The Village Vanguard, Vol. 1 (The Embedded Sets)" (Pi Recordings). The two-disc, 150 minute, program was recorded during the Quintet's residency in May 2017 (Volume 2 was recorded at this year's residency). Coleman fans do not need a review; they know to expect an amazing blend of rhythms, spontaneous melodies, intelligent interactions, and one tremendous rhythm section. Coleman has stated that his musical style was greatly influenced by Charlie Parker - one can hear that in his tart tone, the rapid-fire riffs that often serve as melodies, and his energetic approach to solos. What bassist Tidd and drummer Rickman do is make this music dance. There are numerous examples throughout the two sets of rhythmic abandon. Think of Clyde Stubblefield (drummer for James Brown in his most popular era, 1965-1974) and bassists Bernard Odums and Bootsy Collins (both who worked for Brown in that era) jamming backstage with Sun Ra or Albert Ayler. Tidd and Rickman don't just drive this band, they help the music take alternate routes.
The music is, at turns, exhilarating, demanding, forceful, hurtling forward on the power of group interactions - whether the band is playing older material or working through brand-new compositions, the spirit of spontaneous improvisation can be felt from note one. Even Coleman favorites, like his reading of fellow alto saxophonist Bunky Greene's "Little Girl I'll Miss You" has a spontaneous arrangement - you can hear it twice on Disk 1 and it's fascinating to hear the difference between the two. The unaccompanied alto intro remains (though Coleman changes his approach on each rendition) but how the band comes in is different and, of course, so are the solos.
Just pay attention. If you do, you can bask in how Finlayson and the leader interact throughout, hear how Okizaki adds his distinctive voice to the songs, and, of course, the splendid rhythm section. Tidd's electric bass work is delightfully articulate while Rickman's polyrhythmic funk-swing-groove conjures up Sam Woodyard with the Duke Ellington Orchestra (check out "rmt/Figit Time" that opens the second set), Max Roach, Billy Cobham, and Dafnis Prieto without sounding like anyone in particular.
So, dig into "Live at The Village Vanguard, Vol. 1 (The Embedded Sets)", listen closely, and then go see Steve Coleman and Five Elements in person for yourself. Try and stay in your seat.
The past month has included the usual "stuff of life", from convalescing partners to losing a favorite animal to sad deaths in the community to the long East Coast heat wave. While I still have been listening to the piles of CDs and mp3s that clutter my desk/desktop, writing time has diminished sharply. As for the listing part, there was a week where Miles Davis's "In a Silent Way" and music from the John Coltrane Quartet (concentrating on his Atlantic releases and the new Impulse "Lost Tapes.") That concentrated listening took place in mid-June but, since then, my ears have enjoyed a number of new albums including the two recordings below.
For his seventh album as a leader or co-leader, saxophonist and composer Geof Bradfield moves on to the Delmark Records label from successful stops at Cellar Live and Origin Records. "Yes, and...Music for Nine Improvisers" is a "concept" program with four pieces for nonet and four for four different trios. Utilizing his high-energy rhythm section of bassist Clark Sommers and drummer Dana Hall, Bradfield creates a number of different scenarios for the ensemble. "In Flux" shines the spotlight on guitarist Scott Hesse even as it builds color options for the brass work of trumpeters Marquis Hill and Russ Johnson plus trombonist Joel Adams as well as his fellow reed players, Anna Webber (flute, bass flute, tenor saxophone) and Greg Ward (alto saxophone. Note how the arranger weaves his bass clarinet into the ensemble lines as well as Ms. Webber's expressive flute.
What the composer/arranger accomplishes on the nonet pieces allows the music to breathe even as the ensemble move in and out of written material into improvisations. The long opening theme section to "Impossible Charms" gives Bradfield the opportunity to utilize all the voices, setting up a series of solos from himself, Adams, and Hill (especially on fire here) that are occasionally punctuated by the reeds and brass to play pieces of the opening theme. "Anamneses" (defined as recollections - the word is plural - from a supposed previous existence) opens with statements from Webber's bass flute, Adams's expressive trombone and the handsome section writing (led by Johnson's clear trumpet tones). Webber's flute solo over the expressive percussion and rippling guitar chords opens the piece even further. Johnson's solo is a fascinating tour-de-force, expressive, exploratory, thoughtful, and powerful. Listening to the final track without looking at the title of the piece, I immediately thought "Brazil." "Forro Hermeto" (inspired by and dedicated to Brazilian genius Hermeto Pascoal is imbued with a lightness of spirit - one hears it in the delightful rhythm section work, the fun give-and-take between guitar and trumpet that culminates with both soloing at the same time. Webber and Bradfield step out from the short full-band interjection to present their own call-and-response. The piece has a lightness yet still retains the adventurous spirit of the other nonet works.
The four shorter pieces for trio combinations include the opening "Prelude" that is a hard-driving sax-bass-drums romp that lights the fire for the proceedings. "Chorale" combines the two trumpets with the trombone for a darkly beautiful classically inspired piece. "Ostinato" is a work for guitar with bass and drums with all three overdubbed to great effect. "Chaconne" is the last of the trio pieces. Composed for soprano sax (Bradfield), Ward's alto, and tenor (Ms. Webber), it's also classically oriented and attractive.
"Yes, and..." is inspired by the improvisational techniques created by Chicago's Compass Players in the mid-1950s whose comedy skits inspired the work of Second City and other experimental troupes. Geof Bradfield also cites his studies of French composer Olivier Messiaen's variety of ideas about rhythm, melody, and harmony on his preparation of this material. Over the course of the saxophonist's career, he's paid tribute to Melba Liston, to Leadbelly, to bebop and mainstream jazz, and the inspiration of African rhythms. One can see that this new album is a continuation of all of his studies, his maturity as a composer and arranger, and his desire to continue searching. We who listen closely reap the rewards of his adventurous musical mind.
Here's a different edition of the nonet playing Herbie Hancock's "The Prisoner" (from late March 2017 - it will give you a good idea of the ensemble's sound and Bradfield's arranging talent):
For his fifth release on Posi-Tone Records, "Wheelhouse", tenor saxophonist and composer Tom Tallitsch has gathered a strong assortment of musicians - Jon Davis (piano), Josh Lawrence (trumpet), Peter Brendler (bass), and Vinnie Sperrazza (drums), all leaders in their various groups - and let them loose on a nine-pack of originals that tempt the listener's ears and mind with fine melodies and excellent improvisation. It helps that the rhythm section is quite strong, from Davis's sparkling accompaniment and fine solos to Brendler's "foundational" bass work (not to forget what a melodic player he is), and Sperrazza's adventurous work at the drum set. The leader enjoys sparring with his rhythm section: those interactions on such songs as "Schlep City" and "Red Eye" makes the listener feel as if he or she are in the middle of the band watching as the musicians push, prod, and dance with each other.
Photo: Bryan Murray
One cannot miss the sound of the blues that permeates certain tracks. "Paulus Hook" (named for the waterfront area of Jersey City, New Jersey across the Hudson River from Manhattan) has a sweet, slowly swinging, feel with a handsome melody (note pianist Davis's lovely elaboration around the tenor and trumpet at the close of the tune). The one real ballad on the album, "One for Jonny", opens with a long, lovely, piano solo before Tallitsch enters with the sweet, wistful, melody. Lawrence shines on his part, so lyrical and clean, his articulated notes creating a fine musical portrait. The piece, written with Davis in mind, opens up for allow him to dance atop the gentle brush work and spare bass lines.
There are really no weak tracks on "Wheelhouse." The program closes with the aptly-titled "The Crusher" and "Gas Station Hot Dog" (the two tracks that surround "One for Jonny"). On the former, the quintet explodes from note one on a journey that roils and rollicks thanks to the propulsive drum work and the exciting bass figures. Davis absolutely rocks (he always plays as if he is having the "best time ever"), Lawrence's trumpet dances with glee (goosed on by the rhythm section), and Tallitsch flat-out swings! On the album's final tune, one hears a funky beat and melody reminiscent of Herbie Hancock's "Watermelon Man" - the listener may not be able to contain a laugh or two as the quintet hits the groove, as the soloists ride the "boogaloo", and the cares of the day wash away.
Need a sonic break from the endless waves of negativity that seem to batter one from all sides. Dig in to "Wheelhouse", enjoy what Tom Tallitsch and his creative companions have created, and have a good time.
Jon Irabagon is a very busy creative musician. He was an original member of bassist Moppa Elliott's Mostly Other People Do The Killing, has worked/recorded with guitarist Mary Halvorson and trumpeter Dave Douglas, plays in the Maria Schneider Orchestra as well as with drummer Barry Altschul and bassist Joe Fonda in the 3Dom Factor. His ever-expanding discography now has entries with pianist Matt Mitchell and drummer Andrew Bain. Several years ago, Irabagon started his own label, Irabbagast Records, which not only issues his recordings but also has released CDs by trumpeter Brandon Lee and the Uptown Jazz Tentet. Just in the past six months, Irabagon has toured/performed with the John Yao Quintet, the Uri Caine Gershwin Project, the Mike Pride Trio, and the Donald Vega Quintet (and a many others).
Several years ago, the saxophonist (he plays tenor, soprano, and sopranino ) formed a quartet with Luis Perdomo (piano), Yasushi Nakamura (bass), and Rudy Royston (drums). Their 2015 Irabbagast recording, "Behind The Sky", featured Tom Harrell (trumpet, flugelhorn) with much of the material composed while Irabagon was mourning the loss of several family members. In the Fall of 2016, the group reassembled to tour South America with trumpeter Tim Hagans in tow. They played in Buenos Aires, Argentina, and then entered Estudio Doctor F and recorded the group's second album, "Dr. Quixotic's Traveling Exotics", a six-song program of Irabagon originals that finds the ensemble often in high gear and always in high spirits. One can certainly hear how much fun the quintet is having as five of the pieces last more than 10 minutes. Yet, there is no fat in this music: what you get are well-drawn compositions, powerful solos, great interactions, and a splendid rhythm section.
The opening track, the devilishly-titled "The Demon Barber of Fleet Street" (not from the Stephen Sondheim musical "Sweeney Todd"), opens with a circular melody played solo by Irabagon (he plats exclusively tenor sax on this album) - when the band comes in (Hagans sits this one out), the melody leads up to a muscular bass solo and then into a drum solo during which the music speeds up. We are then treated to rabble-rousing piano solo before the leader calms down the band for a moment with the original melody. Royston lays down a powerful hard-rock beat underneath the tenor sax solo while Perdomo and Nakamura keep the foundation. Hagans joins the band on the second track, "Emotional Physics/The Things". The elemental melody, played by tenor sax, keeps the pace while the trumpeter flies above the band. The most amazing part takes place around 80 seconds ito the piece when the quintet breaks into a fascinating rhythm for a short while before breaking for a short bass solo. Then into a section where the bluesy, introspective, tenor sax leads the group in a different direction. Royston creates a storm underneath as Perdomo creates musical waterfalls. A quick tenor sax transition and the band swings back into high gear that leads to a delightful piano solo. The forward motion in the last several minutes is, at times, dizzying: even when the group "calms" down, there is such power in this music.
"Pretty Like North Dakota" is the ballad on the album. Moving forward atop on the strength of Perdomo's piano lines, the blend of muted trumpet and tenor sax along with the sensitive cymbal work and the bass counterpoint gets its emotional depth from the melody and its suspended rhythm (rubato). The rhythm section drops into a slow tempo for the powerful trumpet solo. When the band stops, Perdomo reintroduces the original piano figures and Irabagon steps out for his smartly built solo.
The closing track, "Taipei Personality", opens with a very funky drumbeat, a rhythm Royston keeps up mostly all the way through (his bass drum "hits shake the speakers). On most of the songs (on this tune as well), there are sections where Hagans and Irabagon engage in conversations or play short melodic figures while one member of the rhythm section solos.
More like Monty Python's Flying Circus than Sgt. Pepper's Lonely Hearts Club Band, "Dr. Quixotic's Traveling Exotics" has musical twists-and-turns that take the eager listener out of the ordinary into a variety of special places. Yes, there is power in this music, the power of being an ensemble, with traveling together, with working onstage and in the studio, the power of music to bring joy to its creators as much as it does to the audience. Jon Irabagon hits new personal heights with this music, creatively and artistically.
In June of 2016, guitarist, composer, and owner of Playscape Recordings Michael Musillami suffered a brain hemorrhage. As the doctors did tests, a brain tumor was discovered. The subsequent surgery was successful and the musician was sent home to begin his recovery. He used the rehabilitation time to compose the music that makes up "Life Anthem", the new album from the Michael Musillami Trio + 2. The Trio - Joe Fonda (bass) and George Schuller (drums) - started its life in 2002. For this recording, the band's ninth and sixth with guests, Musillami added the musical voices of Kirk Knuffke (cornet) and Jason Robinson (tenor and soprano saxophones, alto flute).
The album is a musical diary of the composer's physical trials, opening and closing with two versions of the title track. The first is played by Knuffke: with his crystal clear tone, the music sounds like a call to prayer, a plea for attention. That leads into "I Hear Sirens In the Distance", a tension-filled quintet piece filled with long tones, moaning brass and reeds, and Musillami's slippery, short, even fragmented guitar lines that equate to the mysterious trouble he was going through waiting for the ambulance.
Along the way, there is more musical tension on "MRI Countdown" and the troubling "Slow Bleed." The composer's attitude begins to turn on "Dr. Mohammed Khaled, Neurosurgeon", a driving piece highlighted by the pounding drums, a powerful interaction between Knuffke and Fonda, and a long guitar statement - now, the leader's guitar work is more assured, not frenetic, but bending towards hope. Fonda's solo bass spotlight, "I'm Beginning To Feel Life's Pulse Again", is a 2:00 delight that leads to the medium-tempo quintet meditation "June Recovery." The road is not always smooth as one hears in "ICU Blues" and one imagines that "Visions" is the composer's response to having little to do but be still and recuperate. The latter tune, the longest on the 15-song album at 12:48, may have inspired by Musillami's dreams about being back on the bandstand. His playing now has increased fire and the guitarist is enjoying the push he feels from the rampaging rhythm section. But, the pace slows for Knuffke's solo over the bass and drums followed by Robinson's blowsy tenor sax spotlight. During the saxophonist's solo, the beat returns to an exciting level, going for an explosive climax.
Photo: Yixiao Guo
The album features a trio short improvisations ( "I Hear Sirens..." is, mostly, improvised but contains composed cues), the afore-mentioned "Slow Bleed", the hesitant "Night Walker", and the handsome "Family" (which is guitar, alto flute, and, late in the piece, bowed bass).
The final two tracks are short but ever so positive. "Think Of Something Beautiful" is an up-tempo romp one expects to break into a series of solos but, instead, leads into the group rendition on the title track. Here. the music has restored power amidst the feeling of thankfulness and joy for the leader's return to playing and being with his musical friends.
Michael Musillami's story has a happy (and healthy) ending. "Life Anthem" takes the listener on quite a journey with compositions that are, arguably, the finest of the guitarist's (nearly) three-decade career. With his long-time rhythm section as well as two new companions, Trio +2 is a formidable ensemble worthy of your attention.
One reads so much about the influence of John Coltrane on the sounds of jazz over the past five decades (since his passing) but many believe that his contemporary and still-quite-alive fellow saxophonist Wayne Shorter (who will turn 85 in late August of this year) has had and still has just an important of an influence.
Saxophonist Joe Lovano and trumpeter Dave Douglas created a quintet, Sound Prints, to explore Shorter's influence and music. The band's second recording is called "Scandal" (Greenleaf Music) and features the same rhythm section - pianist Lawrence Fields, bassist Linda May Han Oh, and drummer Joey Baron - as its 2015 self-titled debut live recording for Blue Note.
Photo: Merrick Winter
Because both leaders are so oft-recorded, one should know what to expect when they get down to making music. Both play with fire, both with abandon (check out the trumpet solo on "Full Sun" as well as the tenor sax solo on Shorter's "Fee Fi Fo Fum") yet the music would not be so impressive without the excellent rhythm section. Baron, who first recorded with Douglas when both were members of John Zorn's Masada in the early 1990's, is the perfect drummer for this outfit. He captures the excitement that Tony Williams brought to the Miles Davis Quintet of the mid-1960s yet also plays with such a high touch (listen to his brush and cymbal work on Douglas's "Ups and Downs" as well as the Latin-tinged fire of Lovano's "The Corner Tavern"). Ms. Oh, who has worked alongside Douglas for the past seven years, is solid and inventive plus her solos are delightfully melodic. Pianist Fields has worked and recorded with Lovano, drummer Jeff "Tain" Watts, trumpeter Christian Scott Atunde Ajuah, and drummer Terri Lyne Carrington. On the title track, his background work beneath the solos is quite inventive and engaging. When he steps, as he does on Shorter's "Juju" and Douglas's slyly funky "Mission Creep", Fields not only swings but shows great power and thought. Listen to his intelligent backing on Lovano's "Full Moon"; it's impressionistic and not cliched as well as the lovely opening minutes of the final track, Douglas's "Libra."
"Scandal" is easy to recommend to fans of Joe Lovano and DaveDouglas. The music blends their myriad influences whether it be Clifford Brown, Booker Little, Miles Davis, Sonny Rollins or the afore-mentioned John Coltrane and the group's inspiration Wayne Shorter. Sound Prints will appeal to fans who have followed creative music for many years and to younger listeners who want to understand how creative musicians push through the borders created by genres. Try to see/hear this band in person so that you can see creativity, interaction, and intelligence in action.
Over the past decade, guitarist, composer, and conceptualist Mary Halvorson has played in numerous settings, from several of Anthony Braxton's groups to alongside drummer Weasel Walter to Marc Ribot's Young Philadelphians to duets with fellow guitarist Noel Akchoté and pianist Sylvie Courvoisier to a trio with pianist Jason Moran and cornettist Ron Miles (BANGS) to her fellow Wesleyan grad (and Braxton student) Taylor Ho Bynum. She has co-led groups with bassist Stephan Crump (Secret Keeper) and violist Jessica Pavone plus led her own trio, quintet, septet, and octet. One of her other ensembles is Thumbscrew, a trio that features drummer Tomas Fujiwara and bassist Michael Formanek. Ms. Halvorson has developed a unique voice, one that allows to fit in many different settings as well as being a stand-out soloist.
Her new album for Firehouse 12 Records features a quintet composed of Messrs. Formanek and Fujiwara plus trumpeter Ambrose Akinmusire and the fascinating voice of Amirtha Kidambi. The group and its 2-CD set bear the name Code Girl: it's the guitarist's first album on which she writes both songs and lyrics. It's a riveting combination of sounds, the powerful work of Akinmusire combined with Ms. Halvorson percussive yet melodic style and the fascinating work of Ms. Kidambi who has worked with saxophonist Darius Jones and leads the contemporary experimental band Elder One. The rhythm section keeps the music flowing, swinging at times, and, in the case of Formanek, quite melodic in his support and counterpoint.
If you are familiar with Ms. Halvorson's music, you know that she has no fear so one will hear swatches of "free jazz", "hard bop", and "prog rock" without falling totally into categories. "Possibility of Lightning" has so much going on, from its nearly impenetrable lyrics (excellently articulated) to the fuzz guitar solo to the playful interaction of trumpet and guitar. Ms. Kidambi can be added instrument as she shows with her march-like attack throughout the song. There's a calm beauty to "Storm Cloud", just voice and guitar on the opening verse. Formanek's bowed bass comes in for the next verse and here one hears a sound reminiscent of the late bassist Jack Bruce's more experimental work. Even when the trumpet and drums enter, the music remains calm and focussed.
There are compelling moments throughout the 90+ minute program. In the opening minutes of "The Unexpected Natural Phenomenon", one can hear the influence of Gil Evans-Miles Davis's "Sketches of Spain" in the how the music moves and the airiness of the background. After Ms. Kidambi sings through the verses, she breaks into a wordless vocal that suggests the work of Jeanne Lee. That inventive direction leads to fiery solos from both Ms. Halvorson and Akinmusire plus listen to the powerful drums beneath the trumpet solo that leads to the Fujiwara's thunderous solo. Dig the bass drum, low bass notes, and Ms. Halvorson's quiet chords at the opening of "Drop The Needle", a tune with a double-tracked vocal and more of the Jack Bruce feel. The verse in the middle of the song, the one that goes "one might drop the needle/ an entire song transcends/ repeat a twirling hypnotic/ melody in descending order", may be the best description of the album. "Code Girl" makes more sense the more you listen. Music is a "code", it speaks to all of us in different ways and we respond to various sounds, solos, lyrics, and emotions. Mary Halvorson is a sound master (bless those "bent" notes) and has created a new, fruitful, fertile, direction for her music. One can really tell that she, Tomas Fujiwara, Michael Formanek, Ambrose Akinmusire, and Amirtha Kidambiare are each so emotionally involved in this music. It may initially sound different but, once you invest yourself in this program, there are numerous musical rewards. For more information, go to www.maryhalvorson.com.
Here's the opening track:
Here's a modern take on the brass band concept. Trumpet, trombone, and tuba plus piano, electric guitar, and drums is the makeup of Rebecca Hennessy's FOG Brass Band. "Two Calls" (self-released) is the Canadian ensemble second release and first full-length album. Based in Toronto, Ms. Hennessy (trumpet, peck horn, baritone horn) is very busy musician leading several groups and playing in several others. FBB plays music that may remind you, at times, of Charles Ives, the Henry Threadgill Sextett, and Guillermo Klein's Los Gauchos but, really, has quickly developed a sound of its own. This is not a "marching band" but a group that utilized all of its parts to the utmost. Kudos to drummer Nico Dann and tuba player Jay Burr as they are the "engineers" that stoke the figures this music creates. Pianist Tania Gill also help keep the music flowing as does guitarist Don Scott. Rounding out the front line is trombonist Tom Richards.
There are touches of New Orleans brass band music that show up on pieces such as the bluesy "Lagoon" and "Snag", a peppy dance tune that sound inspired by The Meters. But there are also pieces such as the opener "Red Herring" that has such a drive and is the piece most like Mr. Threadgill's music. That's followed by the prayer-like "Horn Lake", an impressionistic work that might have been inspired by walking along the shore in the early morning looking out at the still waters. Listen to the pictures the band creates with just the trumpet, quiet guitar, tape loops and triangle. 3/4s of the way in, the music suddenly falls into a samba-like rhythm and the piece literally dances out.
photo by Michael Fisher
Highlights abound. Guitarist Scott gets to romp his way through the first half of "Kings County Sheriff", soloing over the dancing drums and tuba. There's a touch of Klezmer in the horn melody and at the beginning of Ms. Hennessy's far-ranging solo. Bird songs introduce the title track (and continue for a little bit under the musical introduction); it's a funky, jazzy, dance piece that features strong solos from Richards and Ms. Gill. There's a playful feel to "Birds For Free", a piece that starts in a Latin style before changing tempo. Listen to how Dann drives this piece, especially under the trumpet and trombone solos.
"Two Calls" closes with the lovely "Why Are You So Sad Booker Little". Not only is that a great title but the piece is a handsome ballad in which all the members of the sextet make fine contributions. The music is quiet, somber, not a celebration of the great trumpeter (1938-1961) as much as an elegy for him, for the promise as well as the maturity one could hear in his recordings.
The contemporary music scene, while not financially breaking new ground, certainly has produced a number for fine young bands and composers. Rebecca Hennessy's FOG Brass Band covers a wide swath of musical territory over the 48 minutes of "Two Calls" and the journey is very rewarding. This album is not only "fun" to listen to, as brass band music often, but also melodically rewarding and adventurous.
If you find yourself in Toronto on June 29, FOG is playing the Toronto Jazz Festival - to find out more, go to torontojazz.com. To find out more about Ms. Hennessy and her myriad projects (including the delightful Way North), go to rebeccahennessy.com.
Take a look and a listen to "Lagoon":
I've been reading about trumpeter and composer Jaimie Branch for the past few years and was excited to see her debut album hit the streets last month. "Fly or Die" (International Anthem) lives up to its name as Ms. Branch takes many chance on the 10-song program that features three other transplanted Chicagoans (cellist Tomeka Reid, drummer Chad Taylor, and bassist Jason Ajemian - like the trumpeter, all now live in the New York City area). Ms. Branch has worked in ensembles led by bassist William Parker and saxophonist Matana Roberts as well as with TV On The Radio. Her work exemplifies the AACM tradition, meaning nothing is sacred save for experimentation as well as cliches are forbidden.
photo by Mark Pallman
The program opens with the aptly titled "Jump Off", 16 second of squalling trumpet that leads into Taylor's countdown into "theme 001." One can hear traces of Wadada Leo Smith in Ms. Branch's clarion call and tone. The drummer lays down as irresistible rhythm as Ms. Reid and Ajemian play off each other, plucking, bowing, and creating a storm underneath. Matt Schneider's acoustic guitar shows up at the end, leading into the trancelike "...meanwhile." He plucks, the bassist and cellist play arco, the drummer offers light percussion, and the leader is nowhere to be heard. She returns on "theme 002", playing muted trumpet over the infectious, dancing drums of Taylor. The West Indian feel continues as the mute is removed and the trumpeter rises above the rhythmic excitement.
That's just the first four tracks. "Leaves of Glass" features fellow brass players Josh Berman (cornet) and Ben Lamar Gay (cornet) and they create a sonic blueprint that opens up to the arco cello and bass, a flurry of percussion, fiery trumpet, and scary overdubbed denoting "the storm."
Prepare to be surprised by the breadth and vitality of the music on "Fly or Die." Although the album is barely 36 minutes long, there is so much going on, so many possibilities. One can only imagine how this music roars and whispers in live settings. Jaimie Branch took her time to deliver her debut album and it is well worth the wait.
Trumpeter and composer Farnell Newton (born 1997, Miami, FL) s a graduate of Oberlin Conservatory of Music who moved to Portland, OR, and is now a full-time member of that community's music scene. He has worked with singer-songwriter Jill Sobule, funk bassist Bootsy Collins, Darrell Grant, Gladys Knight and many others. "Back To Earth" is his sixth album as a leader and his debut on Posi-Tone Records. While his 2015 recording "Ready To Roll" was more of a contemporary soul album, his new effort is straight-ahead displaying his formidable "chops". Joining him are Greg Goebel (piano), Dylan Sundstrom (bass), Christopher Brown (drums), and, on most of the tracks, trombonist Kyle Molitor, all members of the Portland scene.
Eight of the 11 tracks are Newton originals with one tune each by drummer Brown, Freddie Hubbard, and Wayne Shorter. Brown's piece, "Back To Earth" is a funky ballad introduced by a sweet piano melody plus Goebel gets the first solo, an expansive melodic adventure. The leader doesn't come in until halfway through the 6-minute piece but he rides the groove with an easy solo that even has a bit of fire to it. "Fire" is what hears on the Hubbard tune, "Arietas", a piece off the trumpeter's 1961 "Ready For Freddie" Lp (where the title was spelled "Arietis"). The "burning" piece features splendid work from the rhythm section and fine solos from Geobel and Newton. Shorter's "El Gaucho" (off his "Adam's Apple" recording) changes tempos, has an attractive feel, and, here, a pleasing Latin rhythm.
The original pieces have their charms as well. "Road To The South" swings atop an insistent rhythmic drive, giving the leader the impetus to rise above the fray. There's also a sweet solo from Molitor and a powerful turn from Goebel (who is quite impressive throughout.) The pianist works around the melody created by the brass on "Redefining The Norm", not so much a counterpoint but a creating a lovely frame around tune. And, again, his solo stands. His introduction to "Crossing The Tracks" leads the listeners to a soulful tune with several smart twists-and-turns.
Throughout "Back To Earth", Farnell Newton and his compatriots create an enjoyable sound that's not challenging as much as it is soothing, soulful, and melodic. This music sounds good as you sit on the back porch or in the park in the late afternoon as the sun paints the world golden.
Leo Sidran has a great, informative podcast called "The Third Story"; he recently ran a delightful interview with trombonist, composer, and bandleader Ryan Keberle. Among the many points made in the discussion was that (and I am paraphrasing Keberle here) the trombone is enjoying new-found popularity, especially with trombonists (such as him) leading their own groups and not just big bands. Below are reviews of three new recordings that prove his point.
When trombonist and composer Nick Finzer entered the studio to record his third album as a leader, the United States was embroiled in a contentious Presidential election, a time when the country was facing serious choices about its mission and future. The album, "Hear & Now" (Outside In Music), is a musical reaction to those events and the malaise that the composer saw spreading over the country. Pieces such as "We The People", "The Silent One", "Race To The Botton", and "Dance of Persistence" display Finzer's concerns as does the urgency of the musical performances. The power in the music comes as much from those song titles, much the way Charles Mingus provoked his audiences, forcing us to think of the conditions all around.
The sextet for the session includes Lucas Pino (tenor saxophone, bass clarinet), Alex Wintz (guitar), and Glenn Zaleski (piano) plus the powerful rhythm section of Dave Baron (bass) and Jimmy Macbride (drums). The blend of trombone and reeds makes for an excellent contrast on pieces such as "Again and Again" where the bass clarinet plays the harmony behind the melody while the rhythm section simmers underneath, the piano serving as a go-between. Wintz's guitar rises up for the first solo, slowly the intensity rises, reminiscent of Herbie Hancock's music on his Blue Note recordings "Speak Like a Child" and "The Prisoner." Then Finzer and Pino solo together, pushing the piece forward before stepping aside for Macbride's short, powerful solo. Subtle overdubbing creates a reed and brass choir at the onset of Duke Ellington's "Single Petal of a Rose" (the only non-original piece in the program); it's quite beautiful and leads into the emotional piano solo over the whisper-soft bass and drums. Zaleski's solo opening on the final track, "Love Wins", introduces the poetic ballad. Pino's swirling bass clarinet and Wintz's impressionist chords frame Finzer's handsome melody as Baron's spare bass notes serves as the foundation while Macbride dances over his cymbals and drum kit.
The blend of power and gentleness, of reeds, strings, and piano atop an exemplary rhythm section makes "Hear & Now" stand out. One can not ignore the agenda Nick Finzer has on this album, showing how music can reflect the times, how jazz has always been and remains protest music, how the stance of the musicians can call the audience to action, and how much we need to be pro-active in these days of "reaction without reflection." The musicians are not revolutionary in the way that the late Fred Ho and the late Charlie Haden were but this music fights against complacency and blanket acceptance, calling for "presence, vision, passion, inspiration, reflection, dialogue, evolution, action, and change", the words printed on the inner sleeve of the album. Pay attention!
Glenn Zaleski also shows up on the new release from trombonist, trumpeter, and composer Nick Vayenas. "Flow Motion" (self-released) is Vayenas's fourth album as a leader (since 2008) - he's such a busy sideman, working with Michael Bublé, Josh Groban, Lady Antebellum, Patrick Cornelius, and Kendrick Scott (on whose label he released his debut CD, "Synesthesia." Besides Zaleski, the sextet on the recording includes Dayna Stephens (tenor saxophone), Peter Slavov (bass), Colin Stranahan (drums), and the afore-mentioned Cornelius (alto saxophone).
photo by Angela Sowon Vayenas
Although there is a track titled "Anarchy", the majority of the material seems to have no political agenda. That particular track swings with a vengeance, featuring strong solos from the alto saxophonist, the leader, and Stranahan. Zaleski's work in the background is notable for its strength and subtlety, which is true throughout the entire program. In fact, it's his short but rich chordal work that leads off the title track that leads off the album. The song swings with a gentle yet firm rhythm - Vayenas plays in a buttery style, quite melodic, setting the tone for Stephen's handsome solo and the pianist's earthy explorations. The rhythm section moves the music forward in a playful manner, especially the drummer whose accents are a delight.
Vayenas switches to trumpet for "Premonition", sharing the melody with the tenor sax. The piano chords, at times, suggest McCoy Tyner but, like the opening track, there is a gentleness to the proceedings. The leader's tone on trumpet is clear, his notes crisp, and his attack adds intensity to the track. The influence of Herbie Hancock is evident on "The Final Frontier"; again, the trumpet takes the lead and Vayenas's bluesy solo spurs the rhythm section to react with stops-and-starts as well as keeping the flow moving.
Another highlight is "Velvet Mystery", a handsome ballad whose melody is carried by the mellow trombone and breathy tenor sax. Zaleski creates an impressionistic opening solo that opens up to Vayenas's heart-felt improvisation - he's "writing a story", inviting the listener to get lost along the way to come out on a reiteration of the main melody that's now has a quiet intensity, not so much as a mystery. The final track, "Change", is also a ballad with only trombone and piano. The opening features Vayenas on melody and Zaleski on counterpoint with the pianist taking the first solo. Various melodic fragments show up before the trombone reenters. His "singing" lines over the chordal accompaniment intimate a "classic" ballad and serves as a lovely closing to the album.
"Flow Motion" is an album to get lost in. The program never forces its way into your brain yet invites you to relax, settle down - even the funky "Red Stripe" has a good natured gentility. The music Nick Vayenas and crew creates on the album is truly for early morning reveries and late-night meditations.
"Tight Rope", a funky, hard-edged, tune opens "Presence" (See Tao Recordings), the fourth recording from trombonist and composer John Yao. The Chicago native has worked in numerous ensembles including the Afro-Latin Jazz Orchestra, the Vanguard Jazz Orchestra, the Brooklyn Big Band, and the Jeff Fairbanks Orchestra. His previous album, ""Flip-Flop", was created for his 17-piece Instrument but the new recording is with his Quintet, a return to the smaller-group ensemble of his 2012 Innova recording.
This group includes Jon Irabagon (soprano and sopranino saxes), Randy Ingram (piano, Fender Rhodes), Peter Brendler (bass), and Shawn Baltazor (drums); the music Yao gives to them play to their strengths. Irabagon, whose noted for his tenor work, is limited to the higher range reeds here yet it's a smart juxtaposition to the trombone. Plus, he has developed into such a fine player. Listen to the elegiac "M. Howard" (the album is dedicated to the memory of one of the leader's best friends and how the soprano melody lifts up as it sings. The lovely, melodic bass solo (Brendler is one of the most sensitive players on the scene) leads into an intense piano solo that also rises, this time over the rhythm section and the horns. Yao then steps out, the intensity picks up even more, and one hears his sorrow transformed into (musical) action.
I like the audacity of "Fuzzy Logic", the opening moments featuring trombone, bass, and sopranino on melody while the drummer and piano create a raucous scene. As the piece moves into its fiery stop-start pace, Yao and Ibragon wail away, Ingram provides counterpoint to their intense soloing and the rhythm section gives chase. There's also an intensity to "Nightfall" but with a melodic flair. Ingram's forceful solo inspires the rhythm section as well as Yao to really get deeper into the music. The title track is calmer, even more melodic, a work for quartet sans saxophone, becoming a spotlight for trombone and piano. The bass and drums stay active, producing dancing rhythms for the soloists. The closing track, "Bouncy's Bounce", does have a jaunty feel. Pay attention to Brendler as he moves from the melody to his solid walking bass line. Notice also how Irabagon takes the title to heart, his playful solo dancing - yes, even bouncing - above the rhythm section. Yao starts out quieter but soon gets into the playful spirit, goosed by Baltazor's active bass drum and interjections.
Such good music, such strong compositions, such a good ensemble, "Presence" has all the ingredients to please and challenge an active listener. John Yao created this life-affirming music in the aftermath of a sudden loss. Many of us turn to art, to music, in times of stress. This album by The John Yao Quintet gives one hope in the face of tragedy, inspiring us to continue to move forward.
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