Piano Stories

 Here are two very different albums from pianists yet they share the need to tell stories through music. Most if not all of the stories are personal but, then again, for some of the us, the finest music is the mlost personal.

Elan Mehler may be best-known for his groundbreaking work with Newvelle Records as the creative head and co-producer. Mehler is also a fine pianist and has recorded 10 albums as a leader or co-leader, some released on Newvelle, others on Challenge Records, and Brownswood Records.  His newest release, "Trouble in Mind" (Sunnyside Records), is a solo recording made a month before the COVID-19 panic closed down the world in March 2020.  There's quite a story behind the album's existence (which you can read on the Bandcamp page linked below) but you should be able to tell from the first three tracks that the music was created in New Orleans. The rhythms that either permeate or are suggested on "In A Sentimental Way", "Esplanade Blues" (named for the recording studio), and "Alice's Wonderland" should lead your mind back to the work of Ferdinand "Jelly Roll" Morton or recordings by Dr. John and Allen Toussaint.  Listen below to the Duke Ellington song and you can't help but hear in the pianist's left hand the sound of the Crescent City.

The 12-song program consists of four originals, three pieces by Duke Ellington, and one each from Richard Jones (the title track), Bill Frisell, Johnny Green & Edward Heyman, Richard Rodgers & Lorenz Hart, and Charles Mingus ("Alice's Wonderland", first recorded by its composer in 1959).  The album has the sound and feel of a light-night/early morning set at a piano bar; the only thing is the audience reaction and clinking of glasses.  Much of this music is based in the blues and by design it's a melancholy program. Still there are moments where the joy of music overtakes the more wistful sounds; on the title track, Mehler pushes the "trouble" out. The original "Esplanade Blues" is a sly dance while another Mehler, "There at the Heart" is suffused with love.

"Trouble in Mind" has graced my CD player for several months and I never tire of sweet rhythms, rich melodies, and fine improvisations that Elan Mehler has created 53-minute program. Sit yourself down, let the music play, and enjoy.  

Here's the album opener, "n a Sentimental Mood":

Pianist and composer Lawrence Fields may be best-known for his work with saxophonist Joe Lovano in his Quartet or with Sound Prints, the Wayne Shorter-inspired Quintet co-led by Mr. Lovano and trumpeter Dave Douglas.  The St. Louis native has also worked and recorded with trumpeter Christian Scott, drummers Terri Lyne Carrington and Jeff "Tain" Watts, and trumpeter Nicolas Payton (among many others).  One listen to Fields' debut album "To The Surface" (also the debut for the Wesseling, Germany-based Rhythm 'N' Flow Records) and you can hear why he's a great addition to any ensemble. He plays with wit, joy, power, plus he's quite melodic and quite percussive. There are a number of moments when his music brings the sound and feel of the late McCoy Tyner to mind.  Listen to the title track below, especially how the excellent rhythm section of drummer Corey Fonville (Nicolas Payton, Butcher Brown) and bassist Yasushi Nakamura (Joe Lovano, Cecile McLorin-Salvant) follow the pianist's every move and mood shift. 

It can be so much fun to hear a trio explore the ins-and-outs of material. The program opener, "Parachute" (all but one of the eight tracks are Fields' originals), take its to open up but when it does, the music has such great urgency.  The following "New Season Blues" includes a stunning unaccompanied piano solo in the middle of a rollicking performance.  I love the little nod to "When You Wish Upon a Star" in the opening and closing piano riff.  Later in the hour-long program, the trio creates a lovely ballad setting for Jules Styne/ Sammy Cahn classic "I Fall In Love Too Easily"; Nakamura's sweetly melodic bass solo opens the door to a handsome piano spot that displays Fields' generous melodicism.  

Photo: Sofia Hussein

The album closes with the hard-swinging "The Lookout"––all three musicians shine brightly throughout with creative takes on the rhythm and melody.  This is "can't sit still" creative music at its best, the powerful drums and thundering bass clearing a path for the pianist's flying fingers, the blend of muscular chords and rapid-fire single note lines shining brightly.  

"To The Surface" shines from the opening note to the closing seconds. Lawrence Fields proves with his musicianship and mature compositions that he is a fresh voice on the music scene.  With the assistance of the first-class rhythm section work of Corey Fonville and Yasushi Namamura, this recording should open many eyes and ears.  

For more information, go to www.lawrencefields.com/. To hear more and to purchase the album, go to  https://lawrencefields.bandcamp.com/album/to-the-surface.

Here's the title track:

What I'm Listening To (1)

Pianist and composer David Virelles, born and raised in Cuba, moved to Canada in the early 2000s at the behest of musician. Jane Bunnett. While attending college, he recorded with the flutist and came into contact with saxophonist Steve Coleman. On the strength of a grant from the Canada Council for the Arts. Virelles moved to New York City to study with Henry Threadgill, going on to record with the saxophonist/ composer as well as artists such as Mr. Coleman, Chris Potter, Paul Motian, Wadada Leo Smith, Mark Turner, and many others. As a leader, he's recorded for both ECM and Pi Recordings.

It's on the latter label where you'll find "Nuna", a 16-track, mostly solo (percussionist Julio Barretto appears on three of the tracks), extravaganza. Unlike his previous Pi recording (the digital-only "Transformación del Arcoiris"), Virelles plays acoustic piano throughout save for the opening "Spacetime" on which he adds the percussion instrument marimbula.  The music ranges from Cuban folk melodies to melodic excursions to rhythmic fantasies to free-form improvisations to trance-like journeys. Composed and recorded during the pandemic, the music flows like a giant stream from start to finish. And that's the best way to listen––start with "Spacetime" and don't stop until the ringing chords of "Casa" fade away.  It's quite a musical adventure, one that never overstays its welcome and is so rewarding. 

"Nuna", like all of the music David Virelles has created as a solo artist, is fascinating.  His formal training as well as his study of Black Music from playing with so many fine creators, has expanded his vision so that the pianist cannot be pigeon-holed into one genre. Nor should he be. Open your ears and mind, dear listener, and you will be rewarded.

To find out more about the pianist, go to www.davidvirelles.com.

To hear more and to purchase "Nuna", go to https://davidvirelles.bandcamp.com/album/nuna.  There's even a 4-song bonus EP available on the pianist's Bandcamp page (https://davidvirelles.bandcamp.com/album/nuna-bonus-tracks). 

Hear "Ghost Town": 

Photo: Frank Schemann

Born in Oakland, CA, in February 1955, tenor saxophonist and bass clarinetist David Murray seemed to come fully formed on the Black Music scene in the mid-1970s.  Before moving to New York City, he had played with pianist Horace Tapscott. Before being one of the four co-founders of the World Saxophone Quartet in 1977, he released three Lps in 1976 including the brilliant "Flowers for Albert" (India Navigation Records) and the equally powerful Trio recording "Low Class Conspiracy" (Adelphi Records).  He was prolific through the 1980s and 90s with a series of splendid Octet recordings on Black Saint and quartet dates on DIW plus his work with the WSQ. Murray was never tied to one genre––he could play "free", "in the pocket", in intimate duo sessions, with a big band, in different Caribbean "modes", rearranging the Grateful Dead music for big band and more.

In 2020, the saxophonist created his BRAVE NEW WORLD TRIO (pictured above) with bassist Brad Jones and drummer Hamid Drake. The results of their collaboration can now be heard on "Seriana Promethea" (Intakt Records).  The title track opens the eight-song program on a surprisingly and delightfully funky note with Jones' powerful bass lines and Drake's dancing drums underneath the happy-go-lucky bass clarinet lines. The next track, "Necktar", ups the ante with hard-edged rhythms,  swinging and solid bass lines while the leader romps on tenor sax.  "Metouka Sheli (Ballad for Adrienne)" is a soulful ballad that brings to mind the trio Air (with Henry Threadgill, Fred Hopkins, and Steve McCall) especially in Murray's fluttering tone and how the rhythm section moves through the piece.  The album's sole cover tune is "If You Want Me to Stay", a 1973 hot for Sly & The Family Stone––the trio pushes the rhythm forward harder than the original but dig how Jones captures the insistent feel of the bass lines.  Drake kicks with abandon while the tenor saxophone shouts and "testifies".  

The album closes "Am Gone Get Some", a rollicking jaunt pushed by the drums underneath the far-ranging "walking" bass and the leader's scampering tenor solo.  The liner notes reported that the trio recorded in Zurich, Switzerland, after a series of European gigs and it really shows in the group's tightness, support, and desire to push each other further.  No cliches here, no "comping" to fill out the songs, just three musicians at their height of their powers having a great time making music.  I look forward to more experiences from David Murray and his BRAVE NEW WORLD TRIO––in the meantime, "Seriana Promethea" is a true delight!

For more information and to purchase the album, go to https://intaktrec.bandcamp.com/album/seriana-promethea-2. 

Here's the title track:

Canadian Wonderlands

 

Carn Davidson 9, the brainchild of trombonist/ composer William Carn and multi-reed player/ composer Tara Davidson (they are also husband and wife), has been in existence for a decade.  Composed of nine of the busiest musicians and educators in the Toronto, Canada, area, the nonet (see personnel below) features three reeds, four brass, and bass and drums, but no chordal instruments.  The intelligent compositions and arrangements spread the warm sounds of the brass and reeds across the sound spectrum with rich melodies and harmonies that pull in the listener.  Kudos also go to the splendid rhythm section –– bassist Andrew Downing and drummer Ernesto Cervini –– for their great support, enthusiastic as well as musical playing, and sensitivity in propelling the "little big band". 

The nonet's third album, "The History of Us" (Three Pines Records), consists of two three-song suites plus one composition by Carn dedicated to the late Murphy the Cat who is positioned in the middle of the album cover.  The trombonist's "Finding Home Suite" (Pt. 1 – "A New Life") opens the recording in a ballad tempo led in by the flutes and clarinets with the brass and supportive reeds on either side of the sound spectrum.  Kevin Turcotte creates a fine trumpet solo in the middle, reminiscent of the sound and style of the late Kenny Wheeler. The opening brass and reeds fanfare of "A Mother's Song" has the richness of a Bob Brookmeyer arrangement–– as the song progresses, the trumpets open the melody then share it with the reeds and trombones.  The suite closes with "Home" with the baritone saxophone and low tines leading the way to the melody. The emotion of the melody pushes the piece forward to a bluesy and powerful baritone sax solo from Shirantha Beddage that fills the mid-section of the nearly nine-minute piece.  The reeds follow with a repetition of the melody that builds in intensity until a solo trombone line slows the piece down, producing a lovely coda.

As the album title suggests, this is a very "family-centric" program with songs by both co-leaders dedicated to parents (and, yes, the late family cat).  The music is impressionistic but nearly always with a calm center.  On ""Swept Out to Sea (For Dad)", the sweep of the brass and reeds as well as how Kelly Jefferson's tenor sax solo steps out is reminiscent of Maria Schneider's "open sounds" –– the sharp but not harsh brass sounds and the warm reeds blend fill in the musical portrait.

"The History of Us" is a powerful yet mentally soothing program from Carn Davidson 9.  Powerful because the songs and the performances are so heart-felt and soothing because in these uncertain often frightening times, we need "us" more than ever.  To find out more, go to www.threepinesrecords.ca/home/carndavidson9.  To hear, watch, and purchase the album, go to https://carndavidson9.bandcamp.com/album/the-history-of-us. 

Listen to "A Mother's Song", the second Movement from the "Finding Home Suite":

Personnel:

Tara Davidson – alto & soprano saxophones, clarinet (track 4), flute, piccolo
Kelly Jefferson – tenor & soprano saxophones, clarinet (track 1)
Shirantha Beddage – baritone saxophone & bass clarinet
Jason Logue – trumpet & flugelhorn
Kevin Turcotte - trumpet & flugelhorn
William Carn – trombone & bass trombone (track 4)
Christian Overton – bass trombone
Andrew Downing – acoustic bass
Ernesto Cervini – drums & percussion

Multi-instrumentalist, composer, arranger, and bandleader Don Macdonald lives in Nelson, British Columbia, Canada (located 410 miles to the east of Vancouver, BC and 387 miles southwest of Calgary, Alberta, Canada) where he teaches in the Contemporary Music and Technology Program of Selkirk College Contemporary Music and Technology Program. His musical life is delightfully eclectic having composed operas, choral works, movie soundtracks, played in jazz and rock bands plus has worked in World Music settings.  

His latest album, "Shifting Sands" (self-released) is a collection of nine original instrumentals with a group of musicians from or based in Canada plus mandolinist Jason Anick from Boston, MA.  Macdonald plays violin throughout (he's also a saxophonist); besides his fine musicianship and that of his colleagues, it's the musical settings he creates that catch the ear. Yes, this is "fusion" music but with a twist in that the melodies and rhythms get in your ears and stay there. Whether it's the jazzy drive of the title tune or the flamenco-inspired drive of "La Tormenta" (great solo from guitarist Mike Rud) or the flowing melody of "Atacama" or the joyous bounce of "Bayou" (a Crescent City hoedown at its best), the music wraps the listener in its creative embrace (leaving your feet free to dance!).

"Shifting Sands" is an apropos title in that every song stands out from the other yet the program never feels forced or slick.  There are moments that remind this listener of the fusion music violinist Jean-Luc Ponty created through his career (also hear Ponty in Macdonald's tone). Need a musical pick-me-up?  Play this new recording Don Macdonald and your mood is sure to turn brighter!

For more information, go to https://donmacdonaldmusic.com/.  To hear more and purchase the album, go to https://donmacdonald.bandcamp.com/album/shifting-sands. 

Put on those dancing shoes – here's a taste of "Bayou": 

Personnel:

Don Macdonald - violin/composer/producer
Dave Restivo - piano
Mike Rud - guitar
Steven Parish - drums
Rob Fahie and Jill McKenna - upright bass
Jason Anick and Dylan Ferris - mandolin

Israeli-born pianist, composer, and educator Noam Lemish has issued his second solo piano album, "Erlebnisse" (self-released) but his first with all-original music.  Lemish, who is Assistant Professor of Jazz Instruction and Pedagogy in the Music Department of York University in Toronto, came to the United States, specifically to the San Francisco Bay area, to study music with and perform with W.A. Mathieu and percussionist George Marsh. He co-leads a quartet with Israeli oud player Amos Hoffman and they play original tunes as well as songs from their native land.  Lemish is also the co-director of the Israeli-Iranian Musical Initiative, an ensemble based in Toronto that plays music from both countries with musicians that come from that area of the world.   

"Erlebnisse" can mean "deeply felt experiences" (in conversation, the pianist hinted that translation does not totally the convey the power in the word) – in that spirit, the 16 improvisations that make up the program reflect the various life experiences that Lemish has encountered. Dedicated to Mathieu, the pieces range from dramatic to quiet to nearly without form to quiet rumination and more.  There are myriad musical references but mostly, this is the pianist connecting his inner world to the piano keys. What one hears in  this music is Lemish's sense of wonder, his love of exploration, and who he was at the time of and on the day of the recording.  Shed your own expectations, step into the pianist's world, and listen. Be open. Be vulnerable.
Noam Lemish can't hope for more than that.

To find out more about the artist, go to www.noamlemish.com.  To hear more and to purchase the album, go to  https://noamlemish.bandcamp.com/album/erlebnisse.  

Here is "Erelbnis 2":

 

Composers Updated: Mary Lou Williams and Charles Mingus

Pianist and composer Mary Lou Williams (1910-1981), born in Georgia and raised in Pittsburgh, PA, came of age in the flowering time of Black Music and the development of Jazz.  The child prodigy began playing at the age of four and, by the time she was 10, Ms. Williams was playing private parties for wealthy White clientele.  In the 1930s (and beyond), her arrangements for artists such as And Kirk and the Clouds of Joy, Louis Armstrong, Jimmy Lunceford, Cab Calloway, and many others thrust her into the spotlight. She moved to New York City at the onset of World War II and began a steady gig at the Cafe Society Downtown in 1943. She mentored artists such as Thelonious Monk, Bud Powell, and Tadd Dameron. She went on to perform her own music, popular as well as sacred music, until her passing in 1981. To find out more, go to ratical.org/MaryLouWilliams/MLWbio.html. 

In 1945, Ms. Williams had a weekly radio program on WNEW-AM in New York City.  For 12 consecutive weeks, she produced a song based on one of the signs of the Zodiac.  Having read a book on astrology, her songs celebrated musicians she knew born under each of the signs. She first recorded the "Zodiac Suite" in 1945 with her trio of Al Lucas (bass) and Jack "The Bear" Parker –– she went on to arrange the piece for an 18-member big band plus arranging three sections for the New York Philharmonic and piano soloist (Ms. Williams). This is the first instance of Jazz meeting the Symphony.  Over the years, other artists such as Dave Douglas, John Hicks and Geri Allen, have recorded the "Suite" or specific pieces of it.

For his debut album, pianist and arranger Chris Pattishall has taken the 12 Williams compositions, arranged them for quintet, and with the help of producer and sound designer Rafiq Bhatia, created "Zodiac" (Self-released).  Joining the pianist is Riley Mulherkar (trumpet), Ruben Fox (tenor and soprano saxophone), Marty Jaffe (acoustic bass), and Jamison Ross (drums, percussion).  If you listen to Ms. Williams recording, you'll hear that many of these pieces are multi-sectioned, often stopping for a few seconds of silence before moving forward in a different direction, sometimes coming back to the original melody. Pattishall's arrangements use that approach plus he creates space for the trumpet and sax.  On the opening "Taurus", the pianist quietly introduces the piece with tolling piano chords before Murherkar and Fox take the melody forward ever-so-slowly.  The mood changes as the entire band plays the melody up to to the amplified trumpet solo. In the pianist's bio, one discovers Pattishall's love of Surrealism and, with the help fo Bhatia, several of the pieces use modified sounds to tell its stories.  

There is a lot of fascinating music on this album.  "Scorpio" has such an arresting Latin-esque rhythm that stops at the end of the first verse for an odd bit of electronica. When the piece returns, there's a new boppish rhythm for a fun tenor sax solo. The stops-and-starts introduce new approaches to the song and each one is delightful. A martial drumbeat introduces "Leo", the melody sounds like a fanfare while the rhythm section tries to break the piece open.  "Aquarius" has such a fun melody played by the trumpet with piano counterpoint. Fox's soprano sax adds a lighter voice to the mix plus play attention to how Ross and Jaffe play so much melody.

The album closes with "Aries" with its pleasing bebop feel but notice how Pattishall chooses to move the melody forward. Hang in until the end of the piece because it is as jarring musically as it is surprising.  

"Zodiac" is an impressive debut.  Chris Pattishall and his cohorts take this music of Mary Lou Williams, music composed and recorded over three-quarters of a century ago.  The quintet plus producer Rafiq Bhatia make the music and the ideas contained within come alive.  If this project makes listeners go back and discover Ms.Williams vast array of recordings and arrangements, that's great. The album also heralds the emergence of a fine young talent!

For more information and to purchase the album, go to chrispattishall.bandcamp.com/album/zodiac.

Here's "Aries":

As a composer, bassist, activist, and entrepreneur, Charles Mingus had few equals.  From the late 1940s through until his death in 1979, he produced music and made proclamations that challenged, provoked, and entertained a large audience.  He performed with Lionel Hampton, and/or recorded with Charlie Parker, J.J. Johnson, Langston Hughes, and with Max Roach and Duke Ellington on the acclaimed 1962 Lp "Money Jungle".  He issues over 50 albums in his lifetime on labels such as Atlantic, United Artists, Columbia Records, Savoy, his own Debut Records, and others.  His music took on social causes even as it was satirical plus many of his ballads are so well written that have been recorded by many other artists.  

"I Pledge Allegiance to the Flag––the White Flag" (Sunnyside Records) is an album of solo piano readings of 10 Charles Minus songs plus one by John Coltrane. It's the first time I have heard Stephanie Nilles, a native of Illinois who has issued six other albums since 2008, mostly on her own label. In December of 2019, Ms. Nilles traveled to Bremen, Germany, to record at the same studio where Mingus made his final recording with Eric Dolphy before the latter musician died.  The music is as much of an indictment of its time as it is of today, recorded in the months after the murders of Breonna Taylor and Quawan Charles. The album takes its title from comments Mingus made as he was evicted from a New York City loft – check it out by going to www.openculture.com/2012/08/charles_mingus_evicted_in_1966_film.html. 

The opening track of "I Pledge Allegiance...." is "Fables of Faubus", a work she had previously recorded in a duo setting with a bassist in 2011.  The 1957 piece is dedicated to the outrageous racist behavior of the then-Governor of Arkansas Orville Faubus who had sent out the National Guard to prevent the Court-ordered integration of the Little Rock schools.  In Ms. Nilles hands (and voice), the performance is a concerto, with excerpts of spirituals, a motif by  Shostakovich, "Yankee Doodle Dandy", and "Lift Every Voice and Song" interspersed with the pianist's solo extrapolations. Unless you have studied United States history, especially the Civil Rights Movement of the 1950s and 60s, the piece may not speak to you but think of the events around  election 2020 and its aftermath.  Those listeners who know should be mighty impressed by the scope of this 13-minute performance.  The music was composed at a time was also a time when the music was not separate from the Movement but a major part of it.

Through the course of the album, one hears so many creative approaches to Mingus's works. The pianist creates a meditative approach for the oft-recorded "Goodbye Pork Pie Hat", taking her time, enunciating each note of the melody. The solo section has traces of Bill Evans, Erik Satie, and Myra Melford in Ms. Nilles phrasing.  The jittery piano chords at the opening of "Free Cell Block F, 'Tis Nazi U.S.A." lead into a rollicking, circus-like, reading of the piece.  There are touches of cabaret, of tango, of Stephen Sondheim during this performance. The ethereal opening of "Peggy's Blue Skylight" leads to the most beautiful moments on the recording.  The pianist doesn't rush, caresses the melody lines, lets us hear all the notes, and still paints a picture that stands out.

Ms. Nilles sings on several of the tracks besides the opening "Fables..."  Her voice has hints of Blossom Dearie as if filtered through Bessie Smith, especially on "Devil Blues". Her piano on the track certainly goes deep, with splashes of Jelly Roll Morton, Memphis Slim, and James Booker. There's also deep blues on "Oh Lord, Don't Let Them Drop That Atomic Bomb on Me" –– dig her sparse left hand, rolling chordal accompaniment to her far-flung, adventurous right hand. Even with the sarcastic title, the music never falls into parody.

The program closes with Coltrane's "Alabama" –– the song, written in response to the September 15, 1963, bombing of a church in Birmingham that left four young girls dead, has the feel of a funeral procession but not a dirge.  The composer, a father of three boys and step-father to his second wife Alice's daughter, was horrified by the event and listened closely to the eulogy delivered by Dr. Martin Luther King. Ms. Nilles treat the piece with great respect, with quiet, tolling, chords and later with rumbling chords, also adding a verse from the Irish folk tune "Black is the Color of My True Love's Hair".  It's s stunning finish to a superb album.

"I Pledge Allegiance to the Flag––the White Flag" deserves –– no, demands –– to be listened to in one marathon "sitting".  Stephanie Nilles reminds us of the power inherent in the music of Charles Mingus, of the anger transposed into music, of the years fighting oppression, of damning critical response yet surviving with one's hope intact.  Go, find this album, and best you let it "get hit in your soul."  

To find out more about the pianist, go to www.stephanienilles.com/. 

Click on the link below to hear one of the great Mingus tunes:

https://sunnysiderecords.bandcamp.com/track/oh-lord-dont-let-them-drop-that-atomic-bomb-on-me

Catching Up to 2020 (Still Trying)

Photo: J. Rerych

 Pianist/ composer Marc Copland was a good friend of and collaborator with guitarist John Abercrombie (1944-2017) for nearly five decades.  Copland, who started his professional career as a saxophonist, first recorded with Abercrombie in 1972 (an album issued in 1973 titled "Friends" released by Oblivion Records).  Copland was born and raised in Philadelphia, PA, moved to New York City to attend Columbia University and got involved in the music scene. After the release of the album, Copland decided to switch to piano, moving to Washington, D.C. where he worked with many great musicians at the various clubs in the area. He released his first album as a leader in 1988 and has since with many great artists including Kenny Wheeler, Dave Liebman, Gary Peacock, Paul Motian, Drew Gress, and, of course, John Abercrombie –– in fact, the pianist appeared on the guitarist's final two albums for ECM, 2013's "39 Steps" and 2017's "Up and Coming".  

Copland's latest release, "John" (Illusions/ Mirage), is a solo tribute to his friend and also serves to pay tribute to what a fine composer Abercrombie was over his career.  In fact, the nine songs come from a wide swath of the composer's oeuvre. Opening with "Timeless", the title track of Abercrombie's 1975 debut on ECM Records.  It's a beautiful ballad (listen below) whose descending chord pattern has such a wistful feel. Here, Copland creates a Erik Satie-like opening with floating chords that set the listener up for the body of the tune.  The touch of dissonance during the last 90 seconds feels as if we are waving goodbye to the composer before moving into the quiet final few seconds.  The following track, "Isla", comes from Abercrombie's 1982 collaboration with Ralph Towner ("Five Years Later") –– the music has a determined feel as it pushes forward but slows down on occasion as if to take stock of the musical situation.  

Three of the tracks come from the two ECM albums that the pianist appeared on.  "Flip Side" possesses a gentle swing and a sweet melody that, on occasion, Copland adds a breezy bounce to.  "Sunday School", like the previous track, was first recorded on "Up and Coming"; the pianist works within the tune's solid structure, imbuing the melody and his solo with the feeling of floating.  "Vertigo", from 2013's "39 Steps", closes the program with the melody first moving around a continuous note in the lower register but soon takes off and you hear the poetry in the phrases and the different shades of colors in the piano solo.  

Photo: Francesco Prandoni

"Love Letter" is an Abercrombie composition that the guitarist played many times in concert but never recorded.  Copland recorded the piece with his trio (bassist Drew Gress and drummer Joey Baron) in 2017 and released on 2019's "And I Love Her."  Here, the music opens in a state of wonder the moves into the handsome melody.  Copland blends chordal phrases with single-note runs, his left hand as active as the right yet the music is not cluttered.  There's a generosity to this performance, to creating moods of wonder and adventure, of happiness and peace.   

"John" does great honor to the music of John Abercrombie and to the many memories that Marc Copland made playing alongside and traveling with the guitarist.  Wistful but neither maudlin or sad, the album celebrates music and friendship –– sit down and let the music flow through you!

For more information, go to innervoicejazz.com/artists/marc-copland/.  To listen to more and to purchase the album, go to. https://marccoplandjazz.bandcamp.com/album/john. 

Here's Mr. Abercrombie's classic "Timeless":

Photo: Jessica Carlton-Thomas

Kevin Sun, tenor saxophonist, composer, and writer, produced one of 2019's most impressive albums, "The Sustain of Memory."  The music covered a lot of territory over the course of the 2-CDs, 21-song, program.  His followup endeavor, "(Un)seaworthy" (Endectomorph Music), seems modest in comparison: five songs in just over 35 minutes.  Don't be fooled by the album's brevity as there is a lot of music packed into the program.  Featuring his "working" trio of Walter Stinson (bass) and Matt Honor (drums), Sun's material gives both the musicians and the listener much to chew.   

Recorded in Brooklyn, NY, right after the trio returned from a residency in Beijing, China, the musicians dig into the music and create an adventurous program that blends blues, mainstream jazz, delightful solos, and even more delightful interactions.  Listen to how the trio travels through the opening minutes of the first track, "Bad Lady" –– they all play the melody before the bass drops into a two-note patterns and Honor dances around the cymbals as Sun digs into his solo.  As the music moves forward, the foundation expands and Sun joins Honor is quite a dialogue.  "Seaworthy (Unseaworthy)" reminds this listener of the interactions of Henry Threadgill with Fred Hopkins and Steve McCall (in the trio Air). Hear in how Sun moves the melody line over the rhythm section then moves in sync with them. The  tenor sound has hints of Sonny Rollins and Wayne Shorter without imitation.  

Photo: Clara Periera

While it would be fun to describe every track, the avid listener is encouraged to discover the music on his/ her own.  One can really hear the musicians fully involved with the material and "conversing" with each other.  Each one of Sun's compositions is written with these musicians in his mind's ears.  The trio had time to play with these pieces before recording and it shows. There's no clutter, no wasted moments, just exciting forward motion, excellent solos, and the joy of "living" music.  There is nothing unseaworthy, unsafe, or dangerous about "(Un)seaworthy" –– this is a journey worth taking many times as there is so much to hear!

For more information, go to www.thekevinsun.com.  To hear more of the music and to purchase the album, go to https://thekevinsun.bandcamp.com/album/un-seaworthy.  

Listen below:

Stories Sans Percussion

The music of Spanish-born (raised in Argentina) pianist and composer Emilio Teubal covers a wide swath of territory. One can hear classical influences, rhythms from his native lands mixed with modern sounds, and a love for lyricism that can be found in each of his recorded projects. His American debut album, 2013's "Musica Para un Dragon Dormido" (BJU Records), remains one of my favorite listening experiences (my review is here) while his 2018 recording "Memorias de Otro Tiempo" (Not Yet Records) is a splendid trio (piano, clarinet, acoustic guitar) that is lyrical and moving, forceful yet gentle, worth returning to time and again.  He's also recorded with the Tango ensemble of bassist Pedro Giraudo as well as a member of bassist Pablo Lanouguere's Quintet.

Teubal's latest album, "Tides" (New Focus Recordings/ Naxos) is a perfect antidote to our current International unease and fear of disease.  The nine original solo piano compositions and improvisations take a little over 33 minutes to listen to yet will reverberate through your mind and soul a long while.  Yes, the lyricism and innate sense of rhythm is present but it's the emotional richness of the music that is so striking. Pieces such as the title track (listen below) and the Stephen Sondheim-like "Playing" pull the listener in; both songs conjure up visions of the ocean as well as strong winds blowing through thick, leafy, trees.  There's also the playful melody and rhythms of "Tortuga" that dance out of the speakers, an artful tango with a mesmerizing rhythm.  "Rio" has a similar feel––here, the rhythms and melody intertwine in a way that moves forward incessantly, powerfully. The yearning, searching, melody brings to mind the great 20th Century Brazilian composer Heitor Villa-Lobos. While its not very long (1:48), "Tectonic (plates)" is dramatic, theatrical, and sonically striking.

"Tides" is beautiful music with pieces and performances that have power, dignity, a sense of playfulness, an emotional pull, and a sense of exploration. Emilio Teubal has presented to the world a personal yet universal panacea, music that will excite your senses and calm your fears or, at least, serve as a respite from the troubling times.

For more information, go to emilioteubal.com.

Here's the title track:

Ahh, the trombone.  In the right hands, the instrument can be melodic (Bob Brookmeyer), introspective (Julian Priester), raucous (Roswell Rudd, Albert Mangelsdorff), and playful (Trombone Shorty).  The instrument's use in Latin Music is well documented as it can bring listeners to the dance floor and make them move. In the hands of Joe Fiedler and his brass quartet Big Sackbut, it's all the above and more. The collected work experiences of the leader and band's members––Ryan Keberle, Luis Bonilla, and Jon Sass who plays tuba)––would fill the rest of this page and more.

Joe Fiedler's Big Sackbut has just issued its third album, "Live In Graz" (Multiphonics Music/ self-released)––Keberle is the only constant member since the quartet's eponymous 2012debut album. Also a constant is the leader's joy in mixing genres, one minute you're feeling the implied "second line" rhythms on "Peekskill", digging into the funky blues on the ensemble's take on Charles Mingus's "Devil Blues" (check out the leader's "conversational" multi-phonic opening), and dancing through a playful take on Roswell Rudd's "Yankee No-How" (one of three Rudd tunes in the nine-song program). Pay attention to the deep "bottom" Sass creates on Rudd's onomatopoeic "Su Blah Blah Buh Sibi" (the chattering solos bearing a fairly close resemblance to a White House press conference).

Fiedler's "Chicken" is one of the album's slower pieces––the handsome tune features fine solos from the composer and Bonilla.  Listen to Sass underneath the soloists as his counterpoint is so melodic. "Ways" brings to mind an Otis Redding-style "soul" tune while the program's closing tune, "Tonal Proportions", also has a ballad feel with a sparkling solo from Fiedler and sweet harmonies plus support from the other members.

"Live In Graz", recorded in Tube's Cafe in Graz, Austria, is quite the album.  The "low-brass" quartet Big Sackbut sets a high bar for music that involves the listener on many levels; yes, the performances are fun but also quite rich in melodies, harmonies, counterpoint, and fine solos.  The trombone has an impressive history, with works created by Mozart (one of the first to feature the horn as a lead instrument), Haydn, and others.  One might say that the 'bone's reputation has only grown since the instrument came in contact with musicians in New Orleans, Memphis, Chicago, San Juan, Havana, and NewYork City (elsewhere, I know).  Hat's off to Joe Fiedler, Ryan Keberle, Luis Bonilla, and Jon Sass for such a delight hour's worth of sounds!

For more information, go to joefiedler.com.

Here's the Charles Mingus tune:

The Powers That Be (solo piano & legendary songwriter)

Matthew Shipp is an artist who always has gone his own way.  His frequent collaborations with artists such as saxophonist David S. Ware, bassist William Parker, saxophonist Ivo Perelman, and others plus his dozens of albums in various sized-ensembles for labels such as ESP-Disk, Thirsty Ear, Hat Hut, CJR, and others, offer adventurous listeners journeys to exotic places and powerful sounds.  He's recorded 10 solo albums through his career; Shipp does not necessarily change the way he plays but one can really hear his active and exciting left hand, the lower registers often creating the storms and incessant rhythmic fire that excites the listener.

"The Piano Equation" is the pianist's debut album for Tao Forms, the brand-new company formed by Shipp's former drummer Whit Dickey (who he has known since 1992).  The 11 pieces are exploratory in nature, that illustrate where the artist was on May 22, 2019, in a mental and physical space where melody, rhythm, harmony, abstractions, drones, and fiery solos exist, often within the same piece.  The majority of the material come in under five minutes but the listener is never cheated.  Pieces such as "Land of the Secrets" and "Tone Pocket" are piano explorations that contain rich melodic passages; the former has the feel of a song written for a movie while the latter vena in a similar fashion before Shipp builds the intensity.  The blues permeates the opening minutes of "Vortex Factor"––there's a short section when the left hand captures the power of "Fats" Waller and another where you hear a tinge of Cecil Taylor.

One cannot picture Matthew Shipp being anyone but himself.  He has long pushed against borders, labels, eschewed cliches and easy listening. Yet, as he has matured and continued to master his instrument, the pianist, composer, and conceptualists has truly become his own person. Don't bother putting a label on this music––"Vortex Equation" is Matthew Shipp in, arguably, one of the finest albums he has ever created.

For more information, go to www.akamu.net/shipp.htm.

Here's a track to whet your appetite:

Pianist John Di Martino has fashioned and long and exciting career as both a sideman and leader.  Born in Philadelphia, PA, he studied with hometown legend Jimmy Amadie and with Lennie Tristano. He has recorded and toured with artists such as Ray Barretto, Freddie Cole, Houston Person, Nicki Parrott, Bobby Sanabria, and others while issuing numerous albums for the Japanese Venus label and several others.

For his latest album, "Passion Flower" (Gemini Music/ Sunnyside), he toured to the music of Billy Strayhorn while assembling a group that includes bassist Boris Kozlov, drummer Lewis Nash, and tenor saxophonist Eric Alexander plus one notable vocal contribution from Raul Midón.

It's no surprise that Di Martino chose Strayhorn's music as both the musician and the great composer (1915-1967) share a penchant for melody.  Strayhorn, whose association with Duke Ellington and his Orchestra, is well-documented, was plucked out of Pittsburgh after Maestro Ellington heard his songs, many of which seemed as if they were made for his Orchestra without sounding truly "Duke-ish". Even though one made heard the majority of these songs many times played by many different artists, it's fun to spend an hour in the company of these musicians and songs.  Midón does a splendid job on "Lush Life" and the trio (Alexander sits this one out) elegantly frames his voice so that one cannot help but hear the pathos in the lyrics.

There is a great amount of swing to be heard here.  Right out of the gate, "Johnny Come Lately" dances its way into your ears.  The quartet dances through "Isfahan (Elf)" which includes a most melodic turn by Kozlov. It's such a treat to listen to the rhythm section throughout the album but especially here in support of the soloists.  Alexander lays into his spot, showing his blues chops and delight in dancing with the accompanists.  His tenor attack on "U.M.M.G." catches the anxiety of the song's composer as he is being treated for cancer. Yet, the song has such an exciting forward motion even when Kozlov steps out over the active brush work of Nash and the distant saxophone.  "Blood Count" follows, a dark emotional ballad––in fact, one of Strayhorn's last compositions which he finished in the hospital––that features Alexander and Di Martino only. The tenor solo is stunning, powerful, yet lyrical.  Tunes that have recorded hundreds, if not thousands of times, such as "Chelsea Bridge" and "Take The A Train" still stand tall as the musicians imbue the music with such spirit and emotion. The former retains its impressionistic feel while the latter opens with a driving duo of saxophone and drums.  When the rest of the band enters, the music goes racing down the tracks.

The final three tracks all reference flowers in their titles.  "A Flower Is a Lovesome Thing", one of Strayhorn's earlier works, is a piece for solo piano; the emotional richness of Di Martino's performance is breathtaking.  "Absinthe (Lament for An Orchid)" has such a mysterious feel with its subtle medium-tempo dance, almost a tango.  The album closes with "Lotus Blossom", another solo performance by the leader.  An older Strayhorn tune, another one that had several titles before the composer settled on its final name, was an Ellington favorite. Originally written for Johnny Hodges, the piece has a classical feel without hewing to one style. Here, it is a perfect choice to close the program as it reminds the listener once again what a melodic composer Billy Strayhorn and why his music never goes out of style.

One may pass on "Passion Flower" but do so at your own loss.  John Di Martino and his cohorts create a program that may seem familiar yet is so passionate, emotionally rich, lively, and heartfelt that Billy Strayhorn's songs come to life.  Listen and learn!

For more information, go to johndimartino.com.  To purchase the album, go to sunnysiderecords.bandcamp.com/album/passion-flower-the-music-of-billy-strayhorn.

Here's the delightful opening track:

Storytellers: Dreams, Hopes, Realities

Pianist and composer Lafayette Gilchrist has lived in the Baltimore-Washington D.C.-area all his life. He was raised listening to to rhythm 'n' blues and "go-go" music, both styles which inform his playing to this day.  He has toured and recorded with saxophonst David Murray plus has worked alongside Oliver Lake, Cassandra Wilson, bassist Michael Formanek, and many others. Several of his compositions have been used on the soundtracks of HBO's "TheWire" and "Treme", both shows created by David Simon. Currently, Gilchrist leads several ensembles including The New Volcanoes and the Sonic Trip Masters All Stars.

"Dark Matter" is his second solo piano album, the first being 2013's "The View From Here"; both released on the pianist's Creative Differences label.  The new album, recorded live in September of 2016 on the stage of Wright Theater/University of Baltimore, is a joy from the opening cut, "For The Go-Go", a rollicking celebration of this attractive dance music, to the blues-soaked refections of "Greetings", which brings the album to a close. Throughout the album, the pianist shows his sense of humor as well as the dramatic side of the stories he weaves.  "Happy Birthday Sucka" could easily have been played at a Harlem "rent party" (in the part of New York City that bears the name or the Harlem Park section of Baltimore) – the piece dances forward on the power of Gilchrist's left hand and the short melodic phrases and rolling lines flowing from the right (dig the touch of New Orleans that comes in 2/3rds of the way through).

There are moments when the music has the feel of the work of "Jelly Roll" Morton, especially the "Spanish tinge" that often colored his songs.  The earthiness of the title track cries out for lyrics (a previous recording with the New Volcanoes does have a vocal) – in fact, a number of these songs have been recorded by Gilchrist's large ensembles.  "Spontaneous Combustion" originally appeared on 2013's "Inside Out" with its insistent drive assisted by the propulsive bass lines and the "popping" conga drums.  On the newer solo version, the piece has an introspective opening with hints of the dancing bass line that once it takes over, the song goes into overdrive.

There is a poignant and urgent nature to "Blues for Our Marches to End" that is breath-taking as well as emotionally shattering.  Put into perspective, there have been numerous marches since the Black movement towards equality in the United States began long ago.  While the marches have raised consciousness around the world, they remain dangerous (most recent example is Charlottesville but, recently, the fear of violence hangs over each demonstration).  The instrumental does not preach but it certainly teaches.  Other pieces, such as "Childs Play", "Black Flight", and "Old Whale Bones", are contemplative and quite melodic though there is a solid dancing rhythm (and that hints of "Spanish tinge) to the first track listed.

Lafayette Gilchrist keeps the listener engrossed all the way through "Dark Matter", reminding one of the power of one piano, of melodies built to be sung as well as to let soak into your soul.  Hard to put down, played with a sense of joy and desire, this music will take you out of the ordinary and into a space that is quite open and hopeful.

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

Here's the fine opening track:



There is an immediacy in a live performance – even if the musician is in deep concentration, he or she is usually aware of those who are looking, coughing, applauding, and asleep.  Even if the musician never looks, there should be the awareness that someone else is in the room.  But, when it's a solo or a duo performance in a large auditorium, there can be the feeling of intimacy.

The recording studio is a different animal. The musician or musicians are there for the sound, can dive deeper inside one's self with the knowledge that there usually is a second, third, or fourth take (more, if need be). The feedback is often subtler and there can an intimacy and, hopefully, a trust that allows the musician(s) today as deeply as they choose. Unlike the applause at a live concert, the feedback comes later in the form of reviews, online critiques, letters, and more.

Photo: Jordan Kleinman

The duo of pianist/ vocalist Kevin Hays and guitarist/ vocalist Lionel Loueke went into the studios in 2016 for the vinyl-only Newvelle Records, producing "Hope", an album that surpassed even the artists in its intimacy and acoustic splendor.  Loueke, who often records with electric guitars and numerous pedals, eschewed all of his equipment save for the acoustic guitar.  Each armed with a collection of compositions, the duo chose four pieces each and the subsequent album was issued in July of 2017 as part of the label's 2017 "editions." Critical response was quite positive but, due to the cost of the vinyl subscription as well as the first-class artwork, the album did not reach many listeners.  There is a video online from the sessions that is certainly worth watching – go to www.youtube.com/watch?time_continue=3&v=bkNGtwlQHI8 to do just that.

On August 30, 2019, Edition Records is releasing "Hope" on CD and digital platforms.  Not only has the CD been remastered but there are also three additional tracks. Plus, the duo is going on a two-week European tour to celebrate the re-release.  Now we all can hear the glorious interactions, the intelligent playing, the heartfelt vocals, the intimacy of the music.  Highlights include the opening "Violeta", a piece the pianist wrote to honor Chilean singer Violeta Parra (1917-1967). The bounce in the rhythm guitar, the wordless vocal (complete with "clicking" sounds), and the wide-ranging piano melody is so attractive, so rhythmical. "Feuilles-O" is a traditional Haitian melody that the pianist sings in its original patois.  The piece has a lovely, classical, feel plus a melody line that is so evocative and emotional.

Photo: Jordan Kleinman

Loueke's "Aziza Dance" has its roots in the myths of the composer's native Benin – the music is alluring with its propulsive forward motion, catchy melody, and fine solos from both musicians.  The guitarist also composed "Twins" which opens with such a fine melody line before dropping into such an alluring rhythm. The piano ripples along above the percussive guitar, suggesting Keith Jarrett.

Of the three "added" tracks, Loueke's "Ghana Boy" not only feels like an African dance piece but also suggests the Caribbean in its percussion. Not certain who composed the final track "Sweet Caroline" but Hays handles the vocal (the lyrics do not sound like the Neil Diamond song of the same name) so it's a good bet that the pianist is the writer). There's quite a pleasant blues feel to the track and, of course, the musicianship is top-notch.

"Hope" is an appropriate title for this excellent album from Kevin Hays & Lionel Loueke.  The two musicians travel the world performing music with various ensembles, speaking to many musicians and audience members.  And, to get by in an increasingly insane world, one needs hope more than ever.  Peace often looks unattainable but there is always the hope that we will pay attention to our "better intentions", sitting down to talk, to eat, and perhaps, make music.  At least, we should take the time to listen to those voices crying for attention.  Also, take the time to listen to this music – you cannot help but smile, tap your feet, and enjoy the journey.

For more information, go to kevinhays-lionelloueke.bandcamp.com.

Here's the delightful opening track: