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:

Autumn Potpourri

Listen to all the musical sounds around us; there are albums that push us into action, others that take us to new worlds, and others that plain bore us. Then, there's "comfort food" music, songs that make us smile, calm us down because the artist(s) is (are) so in sync and sound like that everyone is having such a good time.  For his third album as a leader, pianist, accordionist, and composer Ben Rosenblum has expanded his trio (bassist Marty Jaffe and drummer Ben Zweig) to a sextet featuring Wayne Tucker (trumpet), Jasper Dutz (tenor saxophone, bass clarinet), and Rafael Rosa (guitar), dubbing the group the Nebula Project.

"Kites and Strings" (self-released) features seven Rosenblum originals, one traditional Bulgarian song, and one song each by Leonard Bernstein ("Somewhere") and Neil Young ("Philadelphia", the 1993 movie with Tom Hanks and Denzel Washington).  The fast-paced "Cedar Place" opens the program with the trumpet, tenor sax, and accordion leading the rhythm section through the melody. The accordion may remind some of Gary Versace's work with the Maria Schneider Orchestra.  Te title songs also features Rosenblum's accordion and adds vibraphonist Jake Chapman to the mix.  Solos by Chapman, Tucker, and the leader occur over the floating rhythm section––the music feels warm and comfortable.  "Motif from Brahms (Op. 98)" is a lovey ballad; with the accordion on the melody, trumpet and clarinet for support plus fine piano work by guest pianist Jeremy Corren, the music deftly blends classical and jazz influences. 

Photo: Francesco Moretti

There's a delightful Middle-Eastern feel to "Fight or Flight" with a rollicking guitar solo from Rosa and excellent percussion from Zweig.  The Bernstein song (also featuring Corren) is quite sweet with accordion in the lead and strong counterpoint from bassist Jaffe. Fine solos from the leader, Tucker, and Dutz (bass clarinet) plus an excellent arrangement give the song a pleasing feel.  The trombone of Sam Chess is featured on Young's "Philadelphia", sharing the melody with Dutz's tenor. Rosenblum's emotionally rich solo piano gives the music its gravity pushing the rhythm section to build the intensity under the trombone and guitar solos. Tucker's fast-paced solo enlivens the bopping "Laughing on the Inside"which also includes a swinging accordion solo a la Art Van Damme and a raucous, bluesy, solo from Rosa.  

The Bulgarian traditional "Izpoded" closes the album. With the trumpet, saxophone, and accordion sharing both the melody and counterpoint, the music moves in a stately manner. No percussion but Jaffe's long blowed bass tones gives the music a strong underpinning.  "Kites and Strings" often feels as if the music is flying high, dipping, swirling, and dancing in a strong breeze. Looking for a wide musical grin; Ben Rosenblum Nebula Project is all that and more.

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

Here's a live take of the Leonard Bernstein classic:

Photo: Antonio Porcar

Bassist, composer, and music label co-owner Dan Fortin is the very definition of a contemporary musician.  Not only does he play jazz (1/3rd of the cooperative trio Myriad3 and as a member of saxophonist Allison Au's Quartet) but also "experimental pop" with the quintet Bernice), and the fascinating Queer Songbook Orchestra.  In every musical situation, whether playing electric or acoustic bass (occasionally synth bass), Fortin is the glue of a group. He's a powerful player who plays the "foundations" of most songs so that the other group members have the freedom to move but the bassist is also quite melodic, creating solos you remember (not just there to make a song longer).  Early in 2019, Fortin joined forces with vibraphonist Michael Davidson  to create Elastic Recordings, an outlet for their creative endeavors.  The label debuted with the duo's "Clock Radio" (my review is here); the label's second release, and the bassist's second as a leader, is "The Latest Tech", a nine-song collection of pieces for acoustic bass.

Solo bass requires concentration and commitment on the part of both the creator and the listener.  Just as fellow bassist Jorge Roeder accomplished earlier this year with his smashing "El Suelo Mio", Fortin's music keeps one's attention throughout. Because he is so melodic and percussive, one can hear the musician telling stories. It's the insistent rhythm and repetitive lines propel the title track forward, the ringing chords of the  ballad "X-Ville", the impressionistic "American Desert" that opens the album, the "Purple Haze" influence thump and bump of "Welt", and the hypnotic flow of  the closing track, "Beautiful Psychic Dream"––this music pulls you in, initially keeping you guessing as to where the bassist is taking you but then inviting you back like a friend.  

"The Latest Tech" is, admittedly, not music for everyone but those who enter these musical environments created by bassist and composer Dan Fortin with an open mind and curious ears will be rewarded.  

For more information, go to www.danfortinthewebsite.com.  To hear more and to purchase the album, go to https://danfortin.bandcamp.com/album/the-latest-tech.  

Here's a taste of the title track:

Tenor saxophonist and composer Mike Casey hails from Hartford, CT.  He first studied at the Greater Hartford Academy for the Performing Arts and went on to attend the Jackie McLean Institute of Jazz at the Hartt School of Music, which is affiliated with the University of Hartford. There, he studied with Jackie's son, Rene, as well as with Steve Davis, Javon Jackson, Abraham Burton, and others. After graduation, Casey went on to play with pianists Marc Cary and Benito Gonzalez, harpist Brandee Younger, bassist Nat Reeves, and, in 2016, the saxophonist released his debut album, "The Sound of Surprise", recorded live at The Side Door Jazz Club in Old Lyme, CT.  In 2017,  he was accepted into the inaugural class of Berklee's Master's program in Contemporary Performance and Music Production at the Boston, MA-based new campus in Valencia, Spain.  

Before leaving for Spain in July 2018, Casey took his trio––bassist Matt Dwonzyk and drummer Corey Garcia––to lay down tracks for his second album, "Law of Attraction" (self-released).  The sprawling 83+ minute recording includes 16 tracks with several takes of some songs plus five songs that features the piano of pianist Gonzalez. At the time of the recording, the trio had been playing regularly for over four years and you can tell. The bassist and drummer are a solid unit, knowing how to support, prod, and excite Casey.  "Best Part (take 1)" opens the festivities; it's a medium-paced ballad led in by the chords of bassist Dwonzyk. The melody and sound of the track reminds this listener of Australian alto saxophonist Bernie McGann and, especially, his 2000 album "Bundeena."  "No Church in The Wild (intro)" is next, with Gonzalez on board, and the distinct flavors of the classic John Coltrane Quartet.  That leads into the main body of the song, a rousing, fiery, performance by all involved, especially Garcia whose thunderous percussion pulls the performance forward (the digital version fuses the "intro" to the main body placing that in the middle of the program––there's another take that appears as a bonus track for the digital). On each iteration, Casey and Gonzalez create passionate, powerful, solos that sing and soar. 

Highlights also include the fascinating "Dagobah" (influenced by the movie "Star Wars")––listen to how the bass and drums move underneath the leader, giving the music a sense of urgency.  The title track dances forward, more like Sonny Rollins in the 1970s and 80s. Dwonzyk, whose thick bass tones stand out over the course of the album, creates a delightful solo, supported by the swooshing cymbals.  "Feel The Bern" is short (2:45) but ever-so-funky, with the bass producing one dancing line after the other in support of Casey's "honking" lines.  Garcia's solo will rattle your speakers and windows but you'll want to play this track a lot (no matter your political affiliation).  The three takes of "Get You" are also funky and short (a shade above three minutes) and each one is slightly different from the other (dynamics, rhythmic drive, and how the musicians interact).  

"Law of Attraction" is an attractive album, especially if you like brawny, energetic, post-bop.  In the liner notes, Mike Casey writes that this session was recorded "Live in 100 degree heat with no air conditioning...recorded all old school, no isolation, no headphones! No tricks."  This music sounds live and very much alive, an energy boost without ingesting caffeine. One could be picky and say that the inclusion of all the alternative takes interrupts the flow of the album but, in this digital age of "shuffle tracks", it's hard to tell if anyone listens to an entire album in one sitting.  However you choose to approach this music, it's well worth your time!

For more information, go to www.mikecaseyjazz.com/home. To listen to more and purchase the album, go to https://mikecasey.bandcamp.com/album/law-of-attraction.

Here's the Trio with the afore-mentioned "Dagobah":