Pianist and composer François Bourassa has been a mainstay on the Montreal, Quebec, CA, jazz scene for nearly four decades. A graduate of McGill University, the pianist went to study with Fred Hersch, Miroslav Vitous, and George Russell at the New England Conservatory of Music in Boston, MA, before returning to Canada where he formed his first "working" trio in the 1980s. In the early 2000s, he formed a quartet with bassist Guy Boisvert, Andre Leroux (tenor and soprano saxophones, flutes) joined in 2010, and Guilliame Pilote (drums) replaced original drummer Greg Ritchie late in the same decade.
"Swirl: Live at Piccolo" (Effendi Music), recorded live over two nights in July of 2022 at Montreal's Studio Piccolo, is the fifth album by the François Bourassa Quartet and the first since 2017's "Number 9". The music, all original material penned by the leader, is, at turns, playful, solemn, contemplative, exciting, filled with sudden twists-and-turns and intelligent interactions. You can tell they are listening to each other. Take the episodic "Pooloop" that opens the program. Sometimes it seems the wheels are coming off but the rhythm section never wavers. The title is a palindrome and there are moments the music has a circular feel. Leroux's soprano sax is out for most of the second half of the 12-minute performance. He switches to flute for the next cut, "Prologue"–he is by himself for the opening two+ minutes. At times, it seems as if he is "mumbling" in the background and in a give-and-take with his louder self. Bourassa enters and the dialogue shifts towards the more dramatic and even more so when the rhythm section enters for the piano solo. The piece moves inward for a bowed bass solo (while Bourassa plays a "dampened" bass.
If you have never heard this band, I was reminded, at different times during the tracks, of the Branford Marsalis Quartet, of Eric Dolphy's "Out to Lunch" recording, and of the work Billy Hart is doing with his Quartet. The François Bourassa Quartet does not sound like those groups but they sail in waters that those other ensembles have traversed. Listen below to "Room 58" and make up your own mind. The six-song, 60-minute "Swirl" (apt title) compels the listener to pay attention not just because the musicians play with such fire and wit "Remous", the fifth track, is such a great example of that) but also because the the leader's originals gives each musician plenty of space to "be themselves" as well as a cohesive unit. If you like Creative music, "Swirl: Live at Piccolo" will make you feel good!
Pianist and composer Theo Hill, a native of Albany NY, continues to mature with every gig and every recording. A graduate of SUNY/ Purchase, he's been on the New York City scene for the past 16 years performed with numerous ensembles large and small. He's currently the pianist in the Mingus Big Band; thanks to his association with Posi-Tone Records, he has recorded with trombonist David Gibson, saxophonist Sam Dillon, and is a member of the sextet New Faces. Hill has also recorded with trombonist Frank Lacy, trumpeter Josh Evans, and saxophonist T.K. Blue. His 2014 recording debut as a leader was "Live at Smalls" featuring a quintet of saxophonists Dayna Stephens and Myron Walden plus bassist Joe Sanders and drummer Rodney Green.
"Reality Check" is Hill's third recording for Posi-Tone. Featuring an excellent trio of young musicians including Joel Ross (vibraphone), Rashaan Carter (acoustic and electric bass), and Mark Whitfield Jr. (drums). The 10-song program contains seven originals plus one each each from David Berkman, Stevie Wonder, and Mulgrew Miller. What one notices on initial listening is the energy level of this music and how well the participants listen to each other as well as interact. Opening with Berkman's "Blue Poles" (from the pianist's 2000 album "Communication Theory"), the focus is on melody, rhythm, and getting to the heart of the performance. While the rhythm section pushes the vibes and piano forward, the music does not settle into a groove even as Ross charges forward. Before you realize, Carter locks in Ross while Hill feeds them chords and Whitfield Jr. plays with abandon. It takes a few seconds to notice how the rhythm section drops into a rapid-fire swing for Hill's delightful solo.
Besides acoustic piano, Hill plays Fender Rhodes as well as synthesizer on the album. His creamy Rhodes sound atop the bubbling rhythm section on "Swell" is a delight while the string sounds produced by the synth on "Afrofuturism" does more than fill out the sound, helping to illustrate the title of the track (be sure to note Whitfield Jr.'s excellent drumming as well as Carter's fine bass accompaniment and counterpoint). After the delightful bass intro to "Aquanaut", the band kicks in to a hearty beat, not unlike pieces by McCoy Tyner (but a touch funkier). The powerful forward motion of the piece has an urgent quality as do the solos by Hill and Ross. The quartet's take on Mr. Wonder's "Superwoman" (more Rhodes and synths) is quite handsome – again, listen how the drummer "colors" the proceedings while the electric bass swims beneath the piano.
"Reality Check" also includes Mulgrew Miller's "Pressing The Issue"; the piece is a hard-hitting, high energy, track featuring fiery solos from Ross and Hill, one more track that brings McCoy Tyner to mind. The final tune, "Song of the Wind", is an attractive blend of Rhodes, synth, and vibes that gives the piece an ethereal feel. Carter's bubbling base lines and Whitfield Jr.'s intelligent brushes leans towards a "fusion" feel yet the interactions are exciting while the solos are probing. Theo Hill and company have created a soul-satisfying song experience, music with heart and soul as well as plenty of rhythmic fire. Play it loud and often!
For the past decade+, bassist and composer Harish Raghavan has been the foundation of rhythm sections for artists such as Kurt Elling, Walter Smith III, Eric Harland, pianist Taylor Eigsti, and Ambrose Akinmusire (and others). The native of Northbrook, IL (just north of Chicago) first studied drumming and took up the bass when he was 16. He attended college at USC and studied with John Clayton and privately with Robert Hurst. Upon moving to New York City in 2007, Raghavan started to work on a regular basis and continues to do to this day.
The bassist formed his first band in 2017 and wrote numerous compositions for a quintet. He went into the studios in December of 2018 with Joel Ross (vibraphone), Micah Thomas (piano), Immanuel Wilkins (alto saxophone), and Kweku Sumbry (drums). The results can be heard on "Calls For Action", the two-Lp/ one CD set issued in December of 2019 on Whirlwind Records. While Raghavan is the leader and wrote all 15 of the pieces on the program, this is most certainly a group effort. His interactions with drummer Sumbry (from Washington D.C.) are stimulating throughout – the bassist frees up up the young percussionist who pushes at the melody lines, interacts with the solos as the leader keeps the music moving forward (check out the lovely ballad "I'll Go and Come Back" for evidence of their work).
Photo: Emra Islek
Ross and Thomas tease out the melody of "Los Angeles" as the bassist strums accompaniment as the drummer dances around his cymbals. Wilkins, a native of the fertile Philadelphia, PA. scene, gets to state that melody. The ballad moves slowly, in a stately fashion, even as Sumbry threatens to explode. The lovely piano and vibes accompaniment set the tone for Wilkins's handsome solo. The generous support from the rhythm section pushes the vibraphonist and pianist to create counterpoint while the saxophonist keeps his cool and helps to calm the rest of the band. It's a gorgeous piece.
Then there are the pieces that tear the tops off one's speakers. "Sangeet" starts quietly, alto sax and bass, stating the folk tune-like melod. As the quintet digs into the piece and Sumbry heats up, the group kicks into a higher gear and really begin a frantic dance. "4560 Round Top" comes in on a rapid-fire circular melody presented by the front line while Raghavan and Sumbry play rhythms that have a South Indian feel. Listening to Ross dance above them is one of the many album highlights. Thomas and Sumbry combine to push the intensity even higher as the piece races to the finish line. The drummer takes a long, passionate, solo at the opening of "Junior", setting the pace for a romp – the sax and vibes introduce the rhythmical melody line weaving in and around each other. The thick bass lines and the skittering drums create a swirling storm never overwhelming those playing solos or melody lines.
It's amazing to read that Harish Raghavan and company created the 15-song, 70-minute, "Calls For Action" in one marathon session on December 15, 2018 – obviously, the group was ready. Such an impressive program, one that sounds great (you can really hear the deep notes of the leader's bass, especially on the three short solo pieces at the beginning, middle, and end of the album); the music also makes one wish to hear this youthful ensemble (all but the 37 year-old bassist are in their mid-20s) in person. Kudos to engineers Joe Blaney (studio), Andy Taub (mix), and Dave Darlington (master) plus producer Walter Smith III for jobs well done. Harish Raghavan may have been quite patient in waiting to record as a leader but the wait was well worth it.
Saxophonist and composer Luke Norris, a native of Long Island, recently completed his studies at the Eastman School of Music in Rochester, NY. His first two EPs, both issued on Bandcamp, posit him as singer-songwriter playing guitar, drum machines, keyboards, and doing all the vocals. Meeting guitarist Mike Baggetta as a summer music camp pushed Norris in a new direction and he began writing pieces that combine an acoustic trio (saxophone, bass, and drums) with electric guitar. Baggetta'a use of looping and other electronic programs for guitar created a sound in the saxophonist's mind that is now realized on "Northernsong" (Ears&Eyes Records).
With the rhythm section of Tyrone Allen (bass) and Daniel Sunshine (drums) plus the guitarist's inventive playing pushes the eight-song program in often mesmerizing territories. From the opening notes of the opening track, "Sketches in C", one hears music that takes Norris's interest in folk music and makes it move in unexpected ways. The song has a long, handsome, melody played by tenor sax and guitar, while the bass and drums move freely underneath. Baggetta's shimmering guitar tones give the piece an ethereal feel, especially the quiet looped drone in the background. On the closing track, "Things Ending Begin Again", the "nervous" drone beneath the lovely melody Norris writes for soprano sax and guitar is somewhat off-putting. Yet, the interaction of the quartet creates a melodic portrait that resonates long after the guitar sounds take the piece out.
The guitarist and rhythm section give Norris a comfortable cushion to go for a fascinating soprano sax adventure on "Bruising Stones." Allen and Sunshine lock in with Baggetta and really push the piece forward. When the guitarist creates his solo, the tempo becomes understated but picks up intensity as he creates his handsome solo. "Strong Heritage" is more raucous, Baggetta going for a harder tone yet when the leader (on tenor) starts his solo, the guitarist drops out for a moment, returning to underpin the solo with fiery chording. Baggetta then roars through his solo, Sunshine sounding on the drums as Allen unites with Norris to keep the song on its foundations.
Dig the rocking opening of "Excavate", the guitar and drums connecting once more to create a wall-of-sound. The contrast with Norris's melodic tenor creates a tension that rarely lets up. The saxophonist leaps into the fray as the piece careers forward, as the rampaging drums and insistent guitar lines urge him on. Yet. Norris and Allen return to the melody to bring the piece to a place where Baggetta's unaccompanied electric guitar can wind the music down.
"Northernsong" may frustrate some listeners who want their musical experience easily put into a genre or style. The addition of guitarist Mike Baggetta gives the music a more dynamic and wider range of sounds. The more Luke Norris can perform this music and begin to comprehend its myriad possibilities, the more roads he can explore in the future. With this release, he's definitely on his way.
Tenor saxophonist and composer Melissa Aldana, born and raised in Santiago, Chile, first played the saxophone when she was six years old with her musician father as her teacher. Her musical life was accelerated upon meeting pianist Danilo Pérez who invited her to play at The Panama Jazz Festival. From there, she auditioned for was admitted to the Berklee College of Music in Boston, MA. After graduation she recorded her first albums for Greg Osby's Inner Circle Music (2010 and 2012) -in 2013, Ms. Aldana became the first South American person to win the Thelonious Monk Jazz Saxophone Competition. Her third album, released on Concord Jazz in 2014, and fourth, released in 2016 on WOMMusic, both featured her Crash Trio comprised of bassist Pablo Menares with drummers Francisco Mela (2014) and Jochen Rueckert (2016).
Her fifth album as a leader, "Visions", finds her on the Motema Music label. Menares is still with her but now the ensemble is expanded to a quartet featuring Sam Harris (piano, Rhodes) and drummer Tommy Crane with special guest Joel Ross (vibraphone) on eight of the 11 tracks. The addition of Harris obviously fills the sound out and also opens up Ms. Aldana's compositions to new possibilities. The title song, composed with Frida Kahlo in mind, features powerful piano chords (a la McCoy Tyner and Fabian Almazan) which give the music depth and, really, unlimited range. On first impressions, this music may remind you of Miguel Zenon's Quartet in the way the musicians interact, how Crane and Menares give the music such space and breathing room yet are also an integral part of the melodic development. Hear the duo shine on the ballad "Abre Tus Ojos" and then how they drive the band on the next track "Elsewhere." On the latter track, the bass line suggests "A Love Supreme" but the propulsive drive from the drums and piano moves the music in other directions.
Photo: Anna Yatskevich
The music is also quite dramatic. On "Dos Casas Un Puente" and "The Search", the group takes its tie setting up the melody and them playing its way through the head before opening up to solos. It's fun to hear both Ross and Ms. Aladana ride the percussive drive on the latter track snd how the vibraphonist sets up the former tune's attractive melody line (playing in unison with the saxophonist). The bassist's "Perdon" is a handsome ballad with fine harmonic flourishes from Harris. The other piece not composed by the leader is "Never Let Me Go" - composed by Ray Evans and Jay Livingston for the long forgotten movie "The Scarlet Hour" (1956 - Nat "King" Cole" played the song in the movie). It's a sweet ballad with a lovely unaccompanied opening from Ms. Aldana as well as a handsome piano solo.
Photo: Harrison Weinstein
"Visions" is a mature statement from Melissa Aldana who has, over the past decade, grown steadily as a musician and composer. She has moved past the influences of her father, of teachers Joe Lovano, Bill Pierce, and George Coleman into her own voice. And, the fact that she works with this band on a regular basis is a big plus. Five of these songs appear on a live recording made in late August in Santiago, Chile (available on iTunes and Amazon.com) - it's a quartet date (Joel Ross is not on the album) and it's fascinating to compare the songs (there's really not much difference only that the songs are longer on the live date and Harris's contributions stand out even more). All told, "Visions" is an album to savor, to play all the way through because the stories that Ms. Aldana and her group tell are so involving! Also, dig the great cover art from Cecile McLorin Salvant.
Alexa Tarantino, who plays alto and soprano saxophones plus flutes, is a graduate of the prestigious jazz program at Hall High School in West Hartford CT, and graduated from both the Eastman School of Music (Rochester, NY) and the Juilliard School (NYC). She's worked and recorded with drummer Sherrie Maricle's DIVA Orchestra plus with Arturo O'Farrill's Afro-Latin Jazz Orchestra, and with Cecile McLorin Salvant's OGRESSE. She leads her own Quartet and is co-leader of LSAT (with baritone saxophonist Lauren Sevian).
2018 was a very busy year of recording for Ms. Taratino resulting in three releases in the first five months of 2019. "Winds of Change" is her debut as a leader for Posi-Tone Records. With the splendid rhythm section of Christian Sands (piano), Joe Martin (bass), and Rudy Royston (plus trombonist Nick Finzer on three tracks), she glides, soars, and dances her way through 10 tracks, eight of which are originals. Listen to the band swing on "Breeze" (complete with a sweet alto sax solo) and set the speakers on fire with the infectious "Face Value." She's generous with the solos, making sure that Sands, who is a delight throughout, gets the spotlight on numerous occasions (his far-ranging statement on "Undercurrent" is a real treat).
Photo: Anna Yatskevich
Ms. Tarantino plays with authority and assurance throughout - she is certainly ready to be a leader. The alto flute is featured on Antonio Carlos Jobim's "Zingaro" - note how softly the rhythm section plays yet still moves the song forward (excellent counterpoint from bassist Martin). The ensemble roars with delight on "Ready or Not", a hard bop original played at breakneck speed. She matches Sands's incredible solo with a very statement of her own - notice how she interacts with both the pianist and Royston plus leaves plenty of room for Finzer to raise his own ruckus. On the appropriately titled "Calm", she creates a handsome melody for her alto and for the echoing trombone. It's fun to hear her weave the melodic lines together. Check out what the rhythm section is playing under both the trombone and alto solo, how they push the music a bit "out"when Ms. Tarantino reenters and raising the ante for her solo, truly disrupting the "calm." The album closes with "Without"; the song opens as a duo for alto and piano before the rhythm section tiptoes in. There's just a hint of Johnny Hodges in the alto sound, not surprising as the tune also resembles Billy Strayhorn's "Blood Count." Yet, the final minute of the song leads the listener in a much different direction.
Photo: Steven Sussman
"Winds of Change" is a powerful debut for young Alexa Tarantino (26 as of the writing). No telling where her journey will take the composer and instrumentalist but it should be fun to hear. Great choice of sidemen on this date as each brings such great strength and creativity; they make each song "sing" in its own fashion. That written, Ms. Tarantino gives them some excellent material to work with! A pleasure to sit down and spend time with, "Winds of Change" is worth your attention.
Here are the two "collective" albums Alexa Tarantino was part of for Positive-Tone Records.
Posi-Tone co-owner and producer Marc Free put Ms. Tarantino together with trombonist Finzer and drummer Royston for the June 2018 recording session that resulted in "Maximum Enjoyment." Filling out the sextet - named Something Blue - are tenor saxophonist Sam Dillon (whose Posi-Tone debut was issued in early May of this year), pianist Art Hirahira, and bassist Boris Kozlov. The ensemble plays five originals from its members plus seven other tunes from the label's stable of artists. Opening with Behn Gillece's "Slick", the music hits hard with good solos all around. Other Posi-Tone artists represented here are guitarist Amanda Monaco ("Coppertone"), saxophonist Jacam Manricks (the appropriately titled "Cluster Funk"), bassist Peter Brendler ("Stunts and Twists", a bluesy ballad, no less), and saxophonist Travis Sullivan (the hard-hitting album closer "New Directions").
Photo: Sara Pettinella
Pianist Art Hirahara contributes two excellent songs to the album including the handsome "Aoi Blue." The blend of the saxophonists with trombone suggests Art Blakey's Jazz Messengers with Curtis Fuller but note the fie percussion work from Royston (pictured left). Ms. Tarantino's "Breeze" (which she also plays on her debut) has a bluesy feel, especially in the loping rhythms and opens to feature solos from the composer, Finzer, and the pianist. The fine mid-tempo ballad "Shift" serves as a spotlight for its composer, tenor saxophonist Dillon. The excellent rhythm section work is such a pleasure to hear as is Hirahara's expansive yet short solo. "Why Aren't You Excited", from the trombonist, is actually more introspective than one might expect from the title. Fine work all around from the band and the soloists.
"Maximum Enjoyment" reveals the fine talent that Posi-Tone Records and producer Marc Free has been able to cultivate over the past decade (Rudy Royston and Boris Kozlov appear on large number of the label's releases not to forget the composers whose work is recorded here). Something Blue certainly refers to the many times Blue Note Records made Lps featuring their sterling lineup of artists in the late 1950s and throughout the 60s. Smart concept and good exposure for both the artists and the label - give it a whirl.
Here's one of the two Behn Gillece pieces:
The day after Alexa Tarantino recorded her debut, she went into Brooklyn NY's Acoustic Recording studio with a sextet created by guitarist Amanda Monaco. Lioness came together during a monthly concert series in Flushing NY that the guitarist curates. Producer Marc Free suggested she put together a group of women musicians, baritone player Lauren Sevian suggested the name, and the sextet was formed. Featuring the three instrumentalists mentioned above, tenor saxophonist Jenny Hill, organist Akiko Tsuruga, and drummer Allison Miller fill out the group. Note the absence of a bassist - Ms. Tsuruga, who has previously recorded with drummer Jeff Hamilton and worked alongside Lou Donaldson plus saxophonist Ralph LaLama and trumpeter Joe Magnarelli, is a classic Hammond B-3 player, meaning that her feet supply the solid foundation.
Photo: Enid Hill
All six members contributed songs to their debut "Pride and Joy" released in March on Posi-Tone Records. The rhythm section - guitar, organ, and drums - gives the music a different and, to these ears , quite inviting, feel. On pieces such as Carla Bley's classic "Ida Lupino", their work allows the alto of Ms. Taratino to solo freely. Really, it's Allison Miller's funky, danceable, "Mad Time" that opens the album and sets the mood. Then there's the Caribbean feel that permeates Ms. Hill's "Sunny Day Pal" - note the delightful bounce under the guitar solo and the New Orleans drumming under the three saxes as they restate the theme.
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Ms. Monaco takes centerstage as the reed players sit out on the sweet reading of the late Emily Remler's "Mocha Spice." The gentle drumming of Ms. Miller and supportive organ work makes this piece a highlight. There's a short and highly funk reading of Aretha's "Think", hearken back to the days of Booker T. & The MGs and The Bar-Kays. Ms. Tsuruga's aptly titled "Funky Girl" provides a bluesy finish to the album plus a number of delightful low notes for Ms. Sevian. She also gets the first solo and sets the stage for Ms. Tarantino and Ms. Hill to dig in. The guitarist and the composer both get the spots and make the most of it.
"Pride and Joy" is suffused with excellent musicianship and is a whole lot of fun, especially if you play the album at higher volume. Not sure if Lioness will stay together in its present form as its members are so busy as leaders and side persons. Nevertheless, this is a delightful recording.
Here's the first cut - try not to dance, I dare you!
Photo: Michelle Grace Hunder
Alto saxophonist, educator, and composer Angela Davis came to the United States from her native Australia a decade ago to study. She stayed for six years, recording and self-releasing both her debut album "The Art of the Melody" and its followup, "Lady Luck." Both albums featured her quartet (with bassist and fellow Australian Linda May Han Oh); the second one also included a string section arranged by pianist Dan Tepfer.
She moved home a few years ago and is now a Lecturer of Jazz at the James Morrison Academy of Music at Univ. of SA. And, Ms. Davis now has a new album. "Little Did They Know" (ABC Music). FeaturingpianistTony Gould and bassist Sam Anning, the eight-song program features four originals and a song each from Charlie Haden, Bill Frisell, Sammy Fain, and George Frederic Handel. The song choices lean more to ballads - even Fain's "Love is a Many Splendored Thing" (fromthe 1955 movie of the sane name) starts with Gould playing a lovelyunaccompanied reading with variations of the theme. When Ms. Davis and Anning enter, the pace picks right up and the music takes on a light-hearted feeling highly by the sweet sounds of the alto sax (one can hear a bit of Paul Desmond in the leader's tones). Ms. Davis's "Circuit for Three" is more up-tempo - the excellent melodic line is followed by strong solos from Gould and Anning.
Photo: Hayley Miro
Haden's "Our Spanish Love Song", which the late bassist composed for his duo recording with Pat Metheny, has a handsome memory inferred by the composer's love of Iberian music. The sympathetic nature of the trio's interactions really make this song move forward while pulling you into the emotional power of the melody. Later in the program, Ms. Davis's "Hymn for Haden" celebrates the person and his love for traditional music. Anning's simple yet powerful counterpoint to Gould's sparkling solo is a highlight of this track and actually occurs throughout. Ms. Davis's "The Light Between Us" also feels like a hymn with its classic melody line, the soft chords, and the sweet singing alto sax sound.
Photo: Hayley Miro
"Little Did They Know" is a melodic gem, music to start the day (if the windows are open in Spring and Summer, the songs of the birds often fit in) and to close the evening. It's fitting that the program closes with Handel's aria "Lascio Ch'io Pianga"; the quiet melody, the short saxophone solo that takes its lead from the many singers who have performed the piece, and the gentle piano accompaniment, all combine to bring hope in a new day. Angela Davis lives, breathes, and cherishes melody; the listener is the beneficiary of her love.
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