Drummer, Composer, Arranger, & Leader Pt 1 (Large Ensemble)

Photo: David Garten

The Cuban-born drummer, composer, and bandleader Dafnis Prieto came to the United States in 1999 and, almost immediately made an impact.  He performed with groups led by Henry Threadgill, Steve Coleman, Arturo O'Farrill, Eddie Palmieri, Don Byron, Andrew Hill and others and has led several groups. He was named a MacArthur Fellow in 2011 and has won numerous grants and commissions. After recording two albums for the Zoho label, Prieto started his own Dafnison Music in 2008.  He has since released four CDs with various sized ensembles, from trio to sextet.

2018 sees the release of "Back To The Sunset", the debut of the Dafnis Prieto Big Band.  The 17-member ensemble roars, rollicks, rumbas, and purrs its way through nine original piece, each one dedicated to two or three of the drummer's mentors and/or employers.  Three of those mentor/employers - Henry Threadgill, Steve Coleman, and Brian Lynch - are guests. In fact, the program opens with "Una Vez Más" dedicated to Tito Puente, the afore-mentioned Palmieri, and trumpeter Lynch, who appears as a soloist. One of the first things one notices listening to this music is the seductive rhythms created by the leader, percussionist Roberto Quintero, pianist Manuel Valera, and bassist Ricky Rodríguez. Once the melody is stated by Lynch, the various sections create fascinating backgrounds, counterpoint, and more. The pianist gets the first solo, a dancing excursion which starts and stays with only his partners "on the bottom" for support.  Then Lynch steps in with a crackling yet melodic solo.  Quintero and Prieto burn through a call-and-response with the brass and reeds before the whole band restates the opening theme (dig the brass trills in the foreground).

Photo: David Garten

There's nary a dull moment on this album. "The Sooner, The Better" (dedicated to Egberto Gismonti and Jerry González) features smashing solos from Peter Apfelbaum (tenor sax), Alex Sipiagin (flugelhorn), Romãn Filiú (alto sax), and bassist Rodríguez, yet pay attention what the ensemble plays in the background or to how the music moves subtly from a ballad to a more up-tempo setting.  Threadgill, who's been a Guggenheim Fellow as a well as having won a Pulitzer Prize in 2016, steps out in front of the band on the title track (a ballad, dedicated to him and Andrew Hill, with a powerful solo that, at different times, shows a bluesy and angular edge (there's even a feel of Johnny Hodges in some of the quieter passages). Coleman's alto sax is featured on "Song for Chico" (dedicated to Chico  O'Farrill and his son Arturo plus Mario Bauzá), a delightful, percussion fueled romp that jumps out of the speakers. Coleman soars on his solo and is matched by the excellent trumpet spot from Nathan Eklund (make sure to check out how the sections frame the solos).

Photo: David Garten

"Out of the Bone" is dedicated to Steve Coleman as well as pianist Michel Camilo and opens with an impressive unaccompanied baritone sax solo from Chris Cheek.  Make sure to listen to how the melody is built from the drums up. After an exciting drum spotlight with the reeds and brass playing percussive figures, the 'bones of Jeff Nelson (bass trombone), Alan Ferber, and Jacob Garchik step in front (the latter two trade "fours" over the frenetic rhythm section). Be sure to listen for the reed and brass voicing, especially the trumpets "laughing" during Nelson's solo.

The program closes with "The Triumphant Journey", a driving, pulsating, tune dedicated to Dizzy Gillespie and the great Cuban percussionist Chano Pozo (first brought to this country by Mario Bauzá).  The section writing and musicianship is splendid as are the solos from trumpeter Mike Rodriguez, trombonist Tim Albright, alto saxophonist Filiú, and the fiery blast before the close from tenor saxophonist Joel Frahm.

Music and, especially, rhythms from the Caribbean as well as from Central and South America has mesmerized the United States since the 19th Century. The joyful sounds created by the Dafnis Prieto Big Band may have its roots in the slave trade but here is a paean to freedom and creativity.  "Back To The Sunset" is a treasure, sounds to delight in, to play really loud so the drums shake the walls and the rhythms inhabit your body. On top of that, there are memorable melodies and splendid arrangements.  What a joy!

For more information, go to dafnisonmusic.com.

Personnel:

DAFNIS PRIETO BIG BAND

Mike Rodríguez, Trumpet, Flugelhorn
Nathan Eklund, Trumpet, Flugelhorn
Alex Sipiagin, Trumpet, Flugelhorn
Josh Deutsch, Trumpet, Flugelhorn

Román Filiú, Alto Sax, Soprano Sax, Flute, Clarinet
Michael Thomas, Alto Sax, Soprano Sax, Flute, Piccolo
Peter Apfelbaum, Tenor Sax, Soprano Sax, Melodica
Joel Frahm, Tenor Sax, Soprano Sax
Chris Cheek, Bari Sax

Tim Albright, Trombone
Alan Ferber, Trombone
Jacob Garchik, Trombone
Jeff Nelson, Bass Trombone

Manuel Valera, Piano
Ricky Rodríguez, Acoustic & Electric Bass
Roberto Quintero, Congas, Bongos, Percussion

Dafnis Prieto, Drums & Music Director

Special Guests:
Brian Lynch, Trumpet (Track 1)
Henry Threadgill, Alto Sax (Track 4)
Steve Coleman, Alto Sax (Track 6)

Counting the two albums John Hollenbeck created with the Frankfurt Radio Big Band plus one each with Jazz Big Band Graz and Orchestre National de Jazz as well as the first two under the monicker of John Hollenbeck Large Ensemble (2005's "A Blessing" on Omnitone and 2009's "Eternal Interlude" on Sunnyside), "All Can Work" (New Amsterdam Records) is the drummer and composer's seventh adventure with a big group.  Like the Dafnis Prieto album, Hollenbeck's recording is filled with tributes to musicians and mentors who have help to shape him into a unique voice in contemporary music.  The new album, featuring 17 musicians, the fascinating voice of Theo Bleckmann, and conductor JC Sanford, offers five new works by the leader plus fascinating new arrangements of pieces from Billy Strayhorn, Kenny Wheeler, and electronic music pioneers Kraftwerk.

Wheeler's "Heyoke" (from his 1976 ECM "Gnu High" album that featured Keith Jarrett, Dave Holland, and Jack DeJohnette) was arranged for big band when Hollenbeck's Ensemble backed the composer and trumpeter at the 2011 Festival of New Trumpet Music (FONT).  Wheeler, who produced a number of brilliant recordings for large ensembles, had only arranged the opening segment of the original 22-minute piece so Hollenbeck finished it for him.  This brilliant tune, featuring fine solos from Matt Holman (trumpet), Matt Mitchell (piano), and Jacob Garchik (trombone) plus powerful wordless vocal from Bleckmann, ends before the final section with just piano and voice in tribute to the passing of Wheeler and his longtime collaborator, pianist John Taylor.

The title track is dedicated to the late trumpeter, educator, and mentor Laurie Frink (1951-2013) who worked with many large ensembles in the New York City area.  Based on an exercise she wrote for her students and featuring lyrics taken from her texts with the composer, the swirling brass and reeds, the mesmerizing piano and vibraphone, and the short phrases from the various sections, all combine to take the listener on a fascinating sonic journey.

Photo: Ken Weiss (T Bleckmann edit)

There is a dream-like quality to several of the songs, moments when the brass, reeds, voice, rhythm section combine to move one away from the everyday.  "This Kiss", composed for a production of William Shakespeare's "Romeo and Juliet", rolls along on the martial drum patterns as the sections move around each other in a dance with the voice pulling everyone forward. The short rubato section in the middle of the song is a stunning change of pace before the swirling patterns return.  The opening track, "lud", enters on a marimba melody before the airy voices of reeds and brass and the piano (which shadows the marimba) begin to move the piece forward.  The piece sounds like a prayer at times but also like a prelude to a theater piece (especially with the sustained electronic chords floating around the musicians).  Hard not to be seduced by "Elf", Billy Strayhorn's original title for "Isfahan", thanks to the fascinating soprano sax work of Tony Malaby that soars atop the pulsating rhythms - during Mitchell's fine piano spot, listen to how the reeds and brass hint at the famous melody that made its debut on Duke Ellington's "Far East Suite."  Listening to the whirling sounds behind the melody suggest a Persian bazaar or a walk through an Israeli shuk (marketplace).

These words do not do justice to the brilliant writing and playing to be heard on "All Can Work".  Although John Hollenbeck does not dedicate to a song to either Bob Brookmeyer (the album is dedicated to the late composer, arranger, and valve trombonist) or Meredith Monk, the engaged listener can hear their influences at times during this delight-filled program.  When you really listen to the John Hollenbeck Large Ensemble, you will hear music of its time, music that point to continued innovation and new ways to combine the music of our world.

For more information, go to johnhollenbeck.com.  Connecticut readers, take note that the JHLE will be appearing in Danbury on April 28 as part of the Western Connecticut State University 23rd Annual Jazz Fest.  The previous evening (4/27), trumpeter Roy Hargrove joins the WCSU Jazz Orchestra, Jimmy Greene director.  For more information about those shows, go to www.wcsu.edu/newsevents/events.asp. For just the Hollenbeck concert, tickets are available at www.eventbrite.com/e/23rd-annual-jazz-fest-featuring-the-john-hollenbeck-tickets-44268366877.

Here's the Strayhorn tune:


Personnel:

Ben Kono soprano/alto/tenor sax, flute
Jeremy Viner clarinet, tenor sax
Tony Malaby tenor/soprano sax on 3, 6
Dan Willis tenor sax, clarinet
Anna Webber flute, tenor sax on 1, 2, 4, 5, 7, 8
Bohdan Hilash clar/bass clarinet, bass sax, tubax
Mark Patterson trombone
Mike Christianson trombone
Jacob Garchik trombone, euphonium on 8
Alan Ferber trombone on 2, 3, 4, 5, 6
Jeff Nelson trombone on 1, 7, 8
Tony Kadleck trumpet, flugelhorn
Jon Owens trumpet, flugelhorn
Dave Ballou trumpet, flugelhorn
Matt Holman trumpet, flugelhorn
Chris Tordini acoustic, electric bass
Matt Mitchell piano, organ, keyboard
Patricia Brennan vibes, marimba, glockenspiel
John Hollenbeck drums, composition
Theo Bleckmann voice
JC Sanford conductor

Happy Birthday Julius Hemphill

His music is poetry, sorrow, anger, deep blues, even "hard blues", joy, physical, spiritual, and filled with life. Julius Hemphill (1938-1995) played like he "meant it" - it seems every time he picked his saxophone, the music went in unexpected directions.  Like many of his contemporaries (Muhal Richard Abrams, Henry Threadgill, Oliver Lake, Hamiett Bluiett), he appreciated all streams of the great river that is Black American Music.  He could rock, squeal, shout, whisper, make you angry, make you laugh, wail, weep and pray.

To honor his birthday, here are 3 different sides of his music.  The Julius Hemphill Sextet, the group he created after leaving the World Saxophone Quartet, play "The Hard Blues." Then, there's the 13-minute plus "Hotend" from his stunning "Blue Boyé" (still available thanks to Tim Berne and Screwgun Records.) Finally, there's "One Atmosphere", the album he recorded for John Zorn and Tzadik Records.  The music is performed by pianist Ursula Oppens and the Daedalus Stirng Quartet.

The music and spirit of Julius Hemphill continues to resonate and inspire!

Kenny Wheeler

photo by L Pretaloni

There has been a whirlwind of activity online in honor of Kenny Wheeler since his passing this past Thursday (9/18) and deservedly so.  The Canadian-born Wheeler, who played trumpet and flugelhorn, had lived on London for over 6 decades and it was there where he first came to critical notice in the late 1980s.  His carer really took off after signing to ECM Records and releasing "Gnu High" in 1975, a 3-song Lp that featured Keith Jarrett (according to the record company, the last time he played as a sideman), Dave Holland (whose group he played with for several years), and Jack DeJohnette.  The album received much critical praise and Wheeler went on to record 8 more CDs as a leader (with his last session - recorded in December of 2013 - set to be issued in 2015.)

Although he recorded many albums with small ensembles, I'm partial to his large band recordings.  Pictured left is his 1990 ECM "Music for Large and Small Ensembles", a 2-CD set that has as its rhythm section the composer's Quintet that included Holland, drummer Peter Erskine, pianist John Taylor and guitarist John Abercrombie.  Wheeler's compositions (which he often called "sad songs") and arrangements are quite lovely, showing classical and jazz influences.  His writing for Norma Winstone's voice (they worked together with Taylor in the grow Azimuth) is so good, her haunting wordless vocals blending in with the reeds or soaring over the brass.

Just 2 years later, Ah Um Records (a label based in Great Britain) released another large ensemble recording "Kayak", scored for 10 musicians (as opposed to 19 for the ECM).  It's a great ensemble, all British save for Erskine and really tough to find but well worth the search.

Kenny Wheeler was also quite a soloist on both his horns, a surprising who often leapt into the higher register of his instrument as a spark was running throughout his body.  A gracious leader, he rarely hogged the spotlight, preferring to let others lead the way.  On the 1996 ECM release, "Angel Song", Wheeler does not solo on the opening track "Nicolette" until both Holland and saxophonist Lee Konitz have had their respective time in the spotlight. That particular recording also featured guitarist Bill Frisell, the perfect mate for Holland in the drummer-less session plus a great match for the "open" quality of Wheeler's compositions.

Kenny Wheeler may have passed but his music will resonate for many years. His well-constructed melodies, many with long lines, and his splendid arrangements should, like the work of Bob Brookmeyer and Gil Evans, inspire musicians to never settle for the tried-and-true but to always to attempt to venture into unknown territories.

Ottawa Citizen scribe Peter Hum has collected a number of tribute in his latest blog post - click on the link below, read it and then go listen to Kenny Wheeler's music with open ears.

ottawacitizen.com/entertainment/music/jazzblog/remembering-kenny-wheeler-plus-news-of-an-ecm-swan-song.

Senseless, senseless

Over the next few days, scores of tributes will be written to honor the lives of those slain inside (and out of) the elementary school in Newtown, CT.  Though few of the names have been published, we know that the daughter of Nelba and Jimmy Greene, Ana Grace, was one of the students who perished...who was slaughtered by some person who had no value for human life.  By all accounts, Jimmy Greene (pictured left), saxophonist/composer/educator, is one of the genuinely good people in the world.  Deeply religious, thoughtful, a caring member of every community he comes in contact with, Greene expresses his love of life through his music and in the way he teaches others to express their inner truths.

Over the next few months, editorial pages will be filled with countless words about gun control, about regulations, and about personal freedoms.  Those words will, probably, do little or nothing to comfort those who lost their loved ones in the school; or on the streets of our cities and towns or anywhere in the world where these events happen every minute of the day.  Writers will say that it's finally time to sit down and really confront this issue.  And those of of us who sit and watch them posturing, whether they be politicians or lobbyists, will realize that we live in a world that is reactive, not proactive.  Like poverty, early childhood education, like universal health care, like the unchecked greed of many of our corporations, many people can only sit and ponder why, in a country that proclaims to be caring and responsive to the needs of all of its citizens - young and old - so many of those with the loudest voices and widest reach are so sheepish, unwilling to act. Even as President Obama fought back tears in his comments on Friday, too many people certainly felt frustrated by his administration's and our government's inability to remove the weapons of mass annihilation from the hands of those who know how to shoot first and never ask questions.

Whether you know anyone whose family have been touched by this or any of the senseless killings that occur all around us or whether you are just continually sickened by what you read and hear, raise your voice in sorrow and tell those who have the power to make a difference, whether they be politicians, clergymen, educators, journalists, whoever, the time for inaction is over.  We have waited too long, come too far, seen too much, to let these young children (or anyone who is a victim of a senseless crime) be forgotten.