Masters At Play May 2021

The decade between 1963-1972 was such a fertile time for Creative Music.  Musicians like John Coltrane, Charles Mingus, Miles Davis, Muhal Richard Abrams, the Art Ensemble of Chicago, and others were stretching, even obliterating the boundaries of music and sound. The artists mentioned below, especially Wadada Leo Smith, Dave Holland, and the late Milford Graves, have never sat still waiting for the world to catch up with them; instead, they have dedicated their creative lives to continually exploring the myriad possibilities open to them and fellow musicians.

Photo: Petri Haussila

Wadada Leo Smith (12/1941, Leland. MS) began playing trumpet when he was 12 years old. After completing high school, Mr. Smith played in various soul rhythm 'n' blues, and blues bands before joining the U.S. Army, studying in the Music Program and playing in Army bands.  After leaving the service, the trumpeter settled in Chicago where he began playing with saxophonist Anthony Braxton and violinist Leroy Jenkins. Like a number of musicians associated with the AACM (the Association for the Advancement of Creative Musicians), Mr. Smith developed his musical philosophy which he called Ankhrasmation Symbol Language which he utilizes to this day.  In 1970, he moved to New Haven, CT,  working with numerous groups (including New Delta Ahkri and The Creative Improviser Orchestra) as well as studying at Wesleyan University in Middletown, CT.

Photo: Petri Haussila

In 1992, Mr. Smith moved to Southern California to teach at the California Institute of the Arts (CalArts) where he remained for two decades.  He organized new ensembles and worked alongside guitarist Henry Kaiser in Yo Miles! while still working with his AACM cadre.  Over the past two decade, Mr. Smith has recorded numerous albums with various ensembles that he has led (and still leads) plus continuing to work on solo material.  His albums have appeared on ECM Records, Tzadik, Moers Music, Cuneiform, Pi Records, Nessa, Clean Feed, his own Kabell label, and, since 2011, on the Finnish TUM Records label.

2021 will see a flurry of new releases from Wadada Leo Smith beginning with two three-CD sets from TUM. "Trumpet" is just that; a solo program recorded over 4 days in July of 2016 inside St. Mary's Church in Pohja, Finland (approximately one hour west of Helsinki).  Officially, it's his eighth "solo" album but only the second that is exclusively trumpet (the other one being "Solo: Reflections and Meditations on Monk" released by TUM in 2017 – 2001's "Red Sulfur Sky" on Tzadik is mostly trumpet and some flugelhorn).  If you are a devotee of Mr. Smith's music, you will be pleased by this 134+ minutes, 14-song program. The first two discs each contain a five-part composition while disk three contains two four-part pieces. Each disk is housed in a cardboard jacket featuring original artwork by the trumpeter.  For neophytes, it's best to just sit down, sit still, and listen.  Don't try to make sense of either the music or the fact that each work is dedicated to someone who has had a powerful influence or relationship with Mr. Smith.  Disk one opens with "Albert Ayler" and is followed by the five-part "Rashomon", named for the movie that so moved the composer.  Elsewhere there are works dedicated to violinist Jenkins, the author James Baldwin, drummer Steve McCall, pianist/ vocalist Amina Claudine Meyers, bassist Reggie Workman, and to Mr. Smith's family. 

Photo: Petri Haussila

There is no mistaking Mr. Smith's sound, his clarion call tone clear inside the church.  His ability to blend sound and silence, to make his muted trumpet cut through the air like a saber and sill be grounded in the blues, to absorb how his long notes resonate, and to sit straight up during his rapid-fire phrases, all this has only grown more powerful over his musical lifetime.  Plus, by dedicating these pieces to various people, curious listeners will discover musicians and thinkers who they may be able to learn from. To understand "Trumpet", you must surrender to the fact that you have entered the multi-cultural world of Wadada Leo Smith: his music, his rules, his ideas and ideals of freedom. 

Here's the album opener "Albert Ayler":

 

Braithwaite & Katz · Wadada Leo Smith - Albert Ayler

"Sacred Ceremonies" is the second three-CD set to released this month by TUM. Disk one (5/27/2016) is a duet with Wadada Leo Smith in musical conversation with percussionist Milford Graves, disk two a duo with Mr. Smith and bassist Bill Laswell (recorded the day before), and disk three with all three participants (recorded 12/11-12/2016).  While the bassist has worked with both the trumpeter and the percussionist in the past, this looks to be the first time Mr. Smith and Mr. Graves (who passed earlier this year) met in the studio.  The majority of the material on the duo albums is composed by the trumpeter while four of the seven trio tracks are credited to all three musicians.  Clocking in at 174 minutes, the three albums are chock-full of ideas, fascinating interplay, and the joy of three people creating musical conversations

Photo: R.I. Sutherland-Cohen

Unlike "Trumpet", "Sacred Ceremonies" is three distinct recordings yet sharing the same title.  Mr. Smith has always had a special affinity with drummers having recorded duo albums with Ed Blackwell, Jack DeJohnette, Adam Rudolph, Louis Moholo-Moholo, Gunter "Baby" Sommer, and now Milford Graves.  This session with Mr. Graves is a joy from start to finish with the drummer displaying his affinity to African drumming as well as rhythms from the Caribbean and South America.  Among the highlights is "Baby Dodds in Congo Square", a nearly 14-minute opus with drums that rumble and tumble while the trumpet sharp tone sings, shouts, and praises "freedom".  The interaction between the two throughout is a pleasure to hear.  Mr. Graves's high-hat work is fascinating on several tracks but especially on "The Poet: Play Ebody, Play Ivory"; the gentle rhythmic propulsion shimmers beneath the floating trumpet phrases.

Photo: R.I. Sutherland-Cohen

The combination of Mr. Smith and electric bassist Laswell hearkens back somewhat to both musicians love of electric Miles Davis.  The bassist appeared on Mr. Smith's "Najwa" album (TUM 2014), the recording with four guitarists. Recorded in Mr. Laswell's West Orange, NJ, studio, all of the tracks feature synths (presumably the bassist playing them) washing behind the musicians.  The program features performances dedicated to Prince, Donald Ayler, Tony Williams, and the late vocalist Minnie Ripperton.  "Prince –– A Blue Diamond Spirit" is actually quite funky with its dancing bass line, "wah-wah" bass, and overdubbed counterpoint bass while the trumpeter wails above. "Tony Williams" opens with a muted trumpet melody, circular in its intent.  The basses enter and the music bounces forward. Mr. Smith stays close to the original melody until he bursts out momentarily for 15-20 seconds before giving the music over to the synths.  

Photo: R.I. Sutherland-Cohen

The third disk brings the three musicians together for more adventures in creativity.  After Mr. Graves sets the pace on the opening track, "Social Justice –– A Fire for Reimagining the World", Mr. Smith makes a blazing statement atop the powerful rhythm section.  This album also hearkens back to the electric Miles period; you hear it in the rhythms and in the muted trumpet trumpet attack.  Throughout most of this recording, the drummer is the one who sets the pace, builds the foundation of the music while the bassist and trumpeter weave around each other.  Mr. Laswell's thick bass melody opens "Waves of Elevated Horizontal Force", soon joined by the muted trumpet on countermelody –– one hears echoes "In a Silent Way".  The pulsating and pounding drums change the mood and the music rumbles forward.  Mr. Graves leads the way into "The Healer's Direct Energy" (a reference to the work the drummer conducted on the healing properties of music); when Mr. Smith and Mr. Laswell enter, the music takes a slower route forward, one that depends upon the long trumpet tones and the bassist's responses.  

As Wadada Leo Smith moves through his 80th year in this dimension, he continues to create fascinating music in so many different contexts.  These two TUM releases, "Trumpet" and "Sacred Ceremonies", should certainly satisfy long-time listeners; if you have never spent time in his worlds, start with the Milford Graves/ Bill Laswell set as it covers so much territory.  If you love a challenge, go for the trumpet solo albums as the music will teach you and make you think.  

For more information, go to www.tumrecords.com/new-music.  To learn more about the trumpeter's amazing career, go to https://wadadaleosmith.com/home/. 

Here's the Trio and "Social Justice –– A Fire For Reimagining the World":

 

Braithwaite & Katz · Wadada Leo Smith - Social Justice - A Fire for Reimagining the World

Photo: Ralf Dombroski

Bassist and composer Dave Holland (born 1946) began his professional career at the age of 14 playing in dance bands in and around his hometown of Wolverhampton, England.  Four years later, he moved to London and soon began playing in jazz ensembles led by saxophonist Tubby Hayes, pianist Chris MacGregor, and reed master John Surman. The story goes that trumpeter Miles Davis heard young Dave Holland at Ronnie Scott's Jazz Club and invited him to join his new acoustic/ electric ensemble. Over the next few years, Holland played on "Filles de Kilimanjaro", "In a Silent Way", and "Bitches Brew", finding time to work with Chick Corea and the Thad Jones/ Mel Lewis Orchestra. After leaving Davis's employ, he joined pianist Corea, reed master Anthony Braxton, and drummer Barry Altshul to create the free jazz-minded Circle.  The bassist signed to ECM Records where, within a few years, he produced his first masterpiece in 1972, "Conference of the Birds" (with Mr. Braxton, Mr. Altschul, and Sam Rivers), and then co-created Gateway, a trio with guitarist John Abercrombie and drummer Jack DeJohnette.  Holland became an in-demand studio bassist appearing on scores of ECM dates and more.  His original music and powerful as well as melodic bass playing has kept him in the spotlight for five decades.

In 2019, Holland debuted on Edition Records in Fall 2019 in "Good Hope", a trio with saxophonist Chris Potter and tabla master Zakir Hussain.  His debut as a leader for the label is "Another Land", a trio that reunites the bassist with guitarist Kevin Eubanks and is his first recording with drummer Obed Calvaire.  The Trio has actually been together over five years but this is its debut recording.  Holland, who knows how to to create a good groove, pulls out his electric bass for the opening "Grave Walker" –– he immediately locks in with Calvaire and the album is off to a deeply funky start.  Eubanks jumps right in and plays a powerful solo that includes long phrases, choppy r'n'b chords, and a percussive drive of his own.  Later in the program, the deep tones of the electric bass begin a mysterious journey title "The Village" that features a long, languorous, opening that explodes when Eubanks enters. Calvaire's solo is a thunderous treat that inspires a fiery guitar solo. 

Holland's thick acoustic bass lines lead in "Gentle Warrior", a piece that should remind you of pieces that the bassist has written for his sextet.  There's an airy quality to the melody line but Calvaire's drumming, front and center, keeps up the heat.  "20 20" opens with quiet work from the Trio but then Holland's electric bass plays a line that would not be out of place in a "prog-rock" setting. For the bulk of the tune, he shifts between the acoustic and electric basses, the former for solos.  The title track is a handsome blues-tinged piece buoyed by a repetitive bass line, gentle acoustic guitar, and quiet cymbal work as Eubanks (on electric) plays the gentle melody. One expects the piece to explode at any time yet the gentleness continues throughout (Holland's long solo is quite impressive while Calvaire's cymbal work never rises above a whisper). 

Photo: Megan V. Agins/ NY Times

Rockers such as "Mashup" and the rip-roaring "The Village" mesh nicely alongside the lovely ballad "Passing Time" and the elegant solo guitar piece, "Quiet Fire".  The solo piece is reminiscent of John Abercrombie's "Timeless"; not as trancelike, Eubanks moves easily through the melody without trying to dazzle or impress the listener. In fact, this is one of the most impressive recordings that the guitarist has made. He's creative and he does not let his impressive technique get in the way of his soulful, exciting, contributions.

"Another Land" closes with the deep blues of "Bring It Back Home". Featuring a subtle acoustic bass solo and a splendid guitar spotlight, pay attention to how Calvaire does not overplay but takes it nice and gritty.  We listeners are so lucky that Dave Holland continues to move forward, never resting on his imposing laurels.  Turn up the volume and give a listen! 

For more information, go to https://daveholland.com/.  

Here's "Mashup" –– play it loud!

What Ben Goldberg has Been Doing During the Pandemic

Photo: John Rudoff

Like most musicians, clarinetist and composer Ben Goldberg had a busy Spring and Summer 2020 planned with concerts, tours, recordings, etc.  By the middle of March, all that had evaporated and he was sitting home shocked, wondering what to do until the world reopened.  After a few days of contemplation, Goldberg decided to record one song a day in his home studio. He has a number of instruments, acoustic and electric––Bb Clarinet, Eb Albert System Clarinet, Contra Alto Clarinet, Roland JX-03 Synthesizer, Korg MS-20 Synthesizer, Empress Tape Delay Pedal, Memory Boy Analog Delay––and so, on March 19, he posted his first piece in his Bandcamp page, dubbing the sessions the "Plague Diary". The recordings are free but donations are welcome; the address is below.

Goldberg posted one track each and every day until April 7. Since then, he's averaging five to seven pieces a week (from April 30 to June 28, he did not miss a day) and has yet to go more than two days between pieces. As of this writing (9/14/2020), the clarinetist has posted 148 separate recordings.  Some are experimental while others have delightful melodies and playful treatments.  Some tracks last no more than 90 seconds while others are multi-sectioned, episodic, and are over 17 minutes long.  All of it is fascinating.  While we do not know the thought processes behind the songs, many of the pieces are dedicated to musicians he has worked with (such as Ron Miles and Myra Melford) and others who have inspired him (Charlie Parker, family members).

If you are a Ben Goldberg fan or just curious, go to https://ben-goldberg--bag-production-records.bandcamp.com/album/plague-diary and check it out.  You can play any song on his site and, if you like what you hear, leave some money.

To find out more about Ben Goldberg, go to www.bengoldberg.net.

Here's his piece from July 15 dedicated to Joshua Redman:

Best of 2016, Part One

It's an honor being asked to participate in a Critics Poll, fun going back and listening to albums that you really enjoyed writing about, and downright nerve-wracking trying to pick 10, especially in a year where so many good recordings crossed my desk.

2016 was a very busy year in my life and a quick glance at the number of posts over the past 12 months is evidence that I did not have as much time to sit, to listen, to contemplate, and to write.  Connecticut is a small state with a decent amount of venues for live music but, due to numerous obligations, I rarely took the opportunity to just bask in the glory of watching and listening to musicians create, interact, to give of themselves, to transport listeners beyond the mundane and into worlds of endless possibilities.  The albums listed below (and in subsequent posts) are the ones that made days special, that made me think, helped me see the "real" world in a different light, and gave me great joy.

As one gets older, it's often tough to find joy when the world is in such upheaval.  Music not only gives us a haven from the daily insanity but, like poetry, theater, books, film, sports and more, also sheds light on the issues we should not, cannot, and often ignore.

Here's Part One:

Camila Meza - "Traces" (Sunnyside Records) - This recording, issued in late Winter, is utterly delightful. Not only is Ms. Meza a fine vocalist but this recording illustrates what a good guitarist, arranger, and band member she can be.  Her group - Shai Maestro (keyboards), Matt Penman (bass), Kendrick Scott (drums), Bashiri Johnson (percussion), Jody Redhage (cello) and guest vocalist Sachal Vasandani - creates sounds that make each one of these songs stand out. In February, I wrote "Chances are good you will not hear a better CD this year." That statement, for me, still stands. (Ms. Meza is also a member of trombonist Ryan Keberle's group Catharsis whose 2016 album appears in Part Two of this list).

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

Enjoy this live version of the title song:

Billy Hart & The WDR Big Band - The Broader Picture (ENJA/Yellowbird) - Arranged and conducted by Christopher Schweizer, this album is a knockout from beginning to end.  Mr. Hart, who is most often heard in quartets ands quintets, is right at home pushing and prodding a large ensemble, especially one as talented as the WDR Big Band.  This album gives us the opportunity to hear the drummer's compositions in a different light and, golly, do they ever sound good.  Great drumming, impressive compositions, sparkling arrangements, and powerful solos, all add to a splendid album.

Here's a nice long track to enjoy:

Anthony Branker & Imagine - Beauty Within (Origin Records) - Dr. Branker is a composer and arranger who has been involved with music as a musician, conductor, and educator for over three decades.  His CV is deeply impressive (read it here) and his music keeps getting stronger. It's political and topical in the manner of Charles Mingus and Max Roach and this particular quintet of musicians - Fabian Almazan (piano, Pete McCann (guitars), Ralph Bowen (tenor and soprano saxophones), Linda Oh (bass), and Rudy Royston (drums) - play with such fire and finesse that this music is alive and powerful, lovely and emotionally strong.

For more information, go to sonsofsound.com/artist/anthony-branker/.

Here's a track to chew on:

Greg Ward & 10 Tongues - Touch My Beloved's Thoughts (Greenleaf Music) - The story of how this music came to life is quite fascinating (read it here); suffice to say, it's origins lay in saxophonist and composer Ward listening to Charles Mingus's "The Black Saint and the Sinner Lady" (1963).  Ward's work for 10 musicians, created for a concert of music and dance, is filled with blues, sparkling solos, and intelligent arrangements that spark comparison to Mingus's work in its scope but does not imitate it.  Especially impressive is the piano playing of Dennis Luxion and the rhythm section of Jason Roebke (bass) and Marcus Evans.

For more information, go to www.greenleafmusic.com/about-greg-ward/.

Here's a live reading of one of the album's cuts:

Patrick Cornelius Octet - While We're Still Young (Whirlwind Recordings) - Saxophonist, flutist, composer, and arranger Cornelius created this fine recording as a musical response to the stories of A.A. Milne that he was reading to his children at bedtime.   With an impressive band -  John Ellis (tenor sax, bass clarinet), Jason Palmer (trumpet), Nick Vayenas (trombone), Miles Okazaki (guitars), Gerald Clayton (piano), Peter Slavov (bass), and Kendrick Scott (drums) - and a smart group of compositions, this album features music that is contemplative yet swings, with musicians telling "stories" that flow thanks to the fine ensemble arrangements and individual solos.  My review (read it here) includes quotes from both Cornelius and co-producer Kyle Saulnier.  

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

Here's one of the delightful tracks:

These are just five of my favorites - more to come in the next several weeks.  Enjoy!

2014 Favorites Solos, Duos and Trios

Although none of the following CDs were listed in my "official" Top 10, any one of them could have made.  You may notice the preponderance of recordings with Matthew Shipp and why not? He's one of the more original musicians on the scene, never worrying about "the fashion of the day."

Mr. Shipp goes in a number of fascinating directions on "I've Been To Many Places" (Thirsty Ear), from Gershwin to Coltrane and through his own fertile mind.  This solo recording stands out in an impressive discography as does his latest Trio CD, "Root of Things" (Relative Pitch) - the work of drummer Whit Dickey and bassist Michael Bisio is so wild and free yet always interacting with the pianist.  Perhaps my favorite release with Mr. Shipp is "Alternating Currents" where he is a part of a cooperative Trio recorded by and released by drummer Jeff Cosgrove, an ensemble that also features bassist William Parker. All good music and well worth checking out.

Pianist Manuel Valera, who is usually seen in the company of his New Cuban Express or Trio, self-released "Self Portrait" this year - listen to this all the way through and you hear a musician reaching for the stars.

Producer Todd Barkan continues to reach back to his days at San Fransisco's Keystone Corner to surprise fans of Jaki Byard with more solo piano music from his concerts in the Bay Area venue.  "The Late Show: An Evening with Jaki Byard (HighNote Records) - one can hear just how much the great man influenced pianists who are active today.

The duo of Steve Wilson (reeds) and Louis Nash (drums and more drums) has worked together over a decade but released its first CD, "Duologue" (Manchester Craftsmen's Guild) and what a delight it is. True masters at work!

Avishai Cohen (trumpet), Omer Avital (bass) and Nasheet Waits (drums) make up the trio Triveni and create such delightful sounds together. "Dark Nights" (Anzic Records) is their 3rd collaboration and continues their streak of excellent sessions.

In a year where so many piano trio CDs were released (why should this year be different from others?), "Affirmation", the 2nd CD from the Jason Yeager Trio (Inner Circle Music), was certainly a real treat.

His teacher, Fred Hersch, had yet another as performer and producer.  Palmetto Records not only released the stunning DVD of "My Coma Dreams" but also his splendid new Trio disc, "Floating" featuring bassist John Hebert and drummer Eric McPherson.

Talk about "super groups" - drummer/composer Jeff Ballard released his debut as a leader, "Time's Tales" (OKEH Records), with his good friends Lionel Loueke (guitar) and Miguel Zenon (alto saxophone).  This is "dance music" for the heart, mind and soul!

Alto saxophonist Alex LoRe released his debut Cd as well - "Dream House" (Inner Circle Music) has a "dream team" of a rhythm section in bassist Desmond White and drummer Colin Stranahan. Such fun music!

As the year moved and I returned to CDs reviewed previously, "Inward Looking Outward" (RopeaDope), the debut of pianist J J Wright kept jumping to the top of the pile.  With drummer Nate Wood and bassist Ike Sturm, Wright created a program of originals and "pop" covers that tickles the ears while making one think - that's a talent.

Tyshawn Sorey continues to go in his own mind-stretching direction. His CD "Alloy" (Pi Recordings) features bassist Chris Tordini and pianist Cory Smythe playing 4 pieces driven more by melodic fragments and textures than formidable beats. Music one can truly get lost in and be happy for the experience.

Here's the initial entry for the 2015 list - Sam Newsome's brilliant solo (with multiple overdubs) CD "The Straight Horn of Africa" (self-released) is an utter joy and a true work of art.

The final entry will feature groups sized 4-7 and probably won't be posted until next week - family is on the way.