Trombonist and composer John Yao is a busy musician and teacher. He leads several different ensembles including a hard-hitting 17-member big band, he has played in and continues to play in numerous ensembles including Terraza 7 Big Band, the Vanguard Jazz Orchestra, and Manuel Valera's New Cuban Express Big Band. Yao has issued five albums as a leader or co-leader including two with his Quintet, one with the Big Band, and one with the piano-less quintet known as Triceratops. That group has a unique front line––besides the trombonist/composer stands Jon Irabagon (tenor and soprillo saxophones) and Billy Drewes (alto and soprano saxophones). Their 2019 debut album, "How We Do" (See Tao Records) featured the rhythm section of Peter Brendler (bass) and Mark Ferber (drums); my review stated "the eight-song program is a delight from start to finish" and upon listening again recently, I stand by that review (read here).
Triceratops second album, "Off-Kilter" (See Tao), finds the original lineup intact save for Robert Sabin who is now the bassist. The sound of the band has not changed with the blend of the reeds with the trombone creating fascinating interplay. What stands out for this listener is that Yao's compositions (he composed eight of the nine pieces on this album with Billy Drewes contributing the other). His melodies are so strong, well-developed, and not just quick themes for blowing over. Take "Crosstalk" with its interweaving lines for the front line, bopping beat, and the solid walking bass line. Listen below to "Labyrinth" and how the playful intro gives way to a delightful blues with a few side-trips (into tempo changes, speed-ups, slow-downs). The quintet keeps one on the edge of your seat to see where the music is going next. A piece such as "The Morphing Line" has the feel of Dave Holland's Prime Directive especially in the flexibility of the rhythm section (Ferber is fantastic throughout the program). It's not imitative, just uses Holland's sound as a springboard.
The title track closes the album. The music moves at a high speed and the solo peels off from the melody. Drewes' alto spot leaps above the rumbling bass line and the rapid-fire drumming. The solo concludes with a return to the opening theme and––no surprise––the tempo downshifts for a moment so that the front line can play a short chorale with Ferber adding to the melody. Then, a rapid ascending bass line leads the band back to the original tempo and the opening melody with cut-outs for a call-and-response with Ferber.
"Off-Kilter" is right on target, modern music for adventurous minds. John Yao's Triceratops is quite alive, playing with fire, with joy, spirited interactions that jump out of the speakers. Throughout the program, the blend that Billy Drewes and Jon Irabgon get with the leader is fun to listen to and, at times, quite exciting. Give this music a good, close, listen and the rewards will be plentiful!
It's nearly impossible not to like Joe Fiedler the person. The Pittsburgh, PA, native has a quick sense of humor, is curious about lots of different things, and is a hard worker. Joe Fiedler the trombonist is a top-notch player who has shared stages with musicians and groups that range from Eddie Palmieri to Maria Schneider, Anthony Braxton to The Four Tops, and beyond. The trombonist also played in numerous Broadway pit bands including the entire run of Lin-Manuel Miranda's "In the Heights" as well as the soundtrack for the recent movie production of the play. Since 2009, Joe Fielder has been the music director for "Sesame Street", arranging, orchestrating, and conducting the eight-piece orchestra. On top of all that, he leads an eponymous trio, the all-brass quartet known as Big Sackbut, and the quintet Open Sesame.
In February of 2019, Fiedler's Multiphonics Music label issued the album "Open Sesame", a 17-song collection 15 of which were from the children's show along with two group improvisations. And, what a group –– joining the trombonist was Jeff Lederer (soprano and tenor saxes), Sean Conly (electric bass), and Michael Sarin (drums) plus special guest Steven Bernstein (trumpet, slide trumpet). The same group, now with Mr. Bernstein as a full-time member, and Conly on mostly acoustic bass), is back for "Fuzzy and Blue" (Multiphonics). Also in the mix for two songs is vocalist Miles Griffith. 13 songs including one three-song suite and two-song medley make up the program with over half the songs credited to Joe Raposo who was the first music director on the "...Street".
Photo: Peter Gannushkin
Chances are good you'll recognize a number of these melodies whether you sat with your children or grandchildren watching the show or you grew up parked in front of PBS in the morning. The proceedings open where they should with Raposo's "ABC-DEF-GHI" with Conly's bouncy bass line leading the quintet in with a funky Caribbean beat. Lederer leads the way on soprano while the horns play rhythmic fills and harmonies. The trombone stands in for Kermit the Frog for the initial run-through of "Bein' Green" then shares the verse with the soprano sax and trumpet. The solos are quite enjoyable especially the leader's. Later in the program, one can hear the Palmieri influence on the conga-line inspired "One of These Things." Note how Conly's electric bass is the counterpoint on both the trombone and trumpet solos.
Miles Griffith shows up on Fiedler's "I Am Somebody" which features original lyrics by ReverendWilliam H. Borders –– In 1972, Reverend Jesse Jackson led a group of young people on the show in a call-and-response. Here, the leader provides a funky tune for the vocalist to scat and dance upon while the quartet rocks. Griffith returns on the delightful combination of "I Love Trash" with "C is for Cookie"; Griffith's vocals are such fun, playful, constricting his voice to sound like Oscar the Grouch (he who lives in a trash can) and Cookie Monster (whose name tells of his reason for living). There's a fun interaction for Griffith and the trombonist before the songs comes to a close.
You do not need to know the music of "Sesame Street" to enjoy the musical shenanigans of "Fuzzy and Blue". The sound is full and bright, the beats are irresistible (Michael Sarin's drumming stands out throughout the album), the solos playful yet sincere, and the arrangements full of wit and just the right touch of wise-guy! Joe Fiedler and Open Sesame are just the right antidote to seasonal doldrums –– if this music does not make you smile, tap your feet, or laugh out loud, best to rediscover the "kid" in you.
Zacc Harris is a MInneapolis, MN-based guitarist and composer who is active as a leader, co-leader (Atlantic Quartet), sideman, and educator. His sextet, the Zacc Harris Group, has just issued its second album, "Small Wonders" for Shifting Paradigm Records. The ZHG consists of the leader (electric guitar, compositions), Brandon Wozniak (tenor sax), Bryan Nichols (piano), Chris Bates (bass), JT Bates (drums), and the newest member John Raymond (trumpet, flugelhorn) who joined some years after the debut album. On initial listenings, one can hear the influences of Pat Metheny and Lyle Mays; when one digs deeper, you can hear the "openness" of the late Kenny Wheeler's sound as well. Pieces such as "Sundials"(listen below) and "Civil Dawn" bear witness to those influences (splendid trumpet work on the latter plus a stunning unaccompanied piano solo) while "A Beautiful Life" with its tender melody, point to new directions. Nichols's piano work is integral to keeping the music flowing throughout the album. Raymond's flugelhorn stands out on "Glass Houses" as does Wozniak's tenor sax stroll through the gardens created by the rhythm section. Meanwhile, the rhythm section burns red-hot on the hard-bop romp "The Void" plus create a New Orleans-groove on "Apple Jacks". The latter tune opens up so the tenor and trumpet can have a sweet exchange and the guitarist have a series of playful interactions with the rhythm section.
The nine-song program closes with the lovely ballad "Maya's Song". Dedicated to Harris's daughter, the music feels as if it was composed while the guitarist was watching his daughter sleeping, imagining her dreams, and hoping for a peaceful future. The piano accompaniment is a perfect counterpoint to the leader's lines. Nichols's solo also has a dream-like quality accentuated by the quiet brushwork and simple yet effective bass lines.
"Small Wonders" is big on melody, intelligent arrangements, and powerful as well as thoughtful solos. Check out the Zacc Harris Group ––much to enjoy!
There is not a lot of information on the webpage of guitarist and composer Chris Olson, who along with bassist Chris Bates and drummer Jay Epstein make up the trio know as Framework. Their new album, "Cognitive Dissonances", is the trio's first for Shifting Paradigm and its first recording in over a decade. Featuring 11 Olson originals, the music covers a wide swath of musical territory. Opening and closing with two takes of "New Anthem", the attentive listener can hear how the trio develops material. Version one refers a bit to Jimi Hendrix in the opening seconds and then falls into the melody Americans sing at the ballparks, stadiums, hockey rinks, and elsewhere. Bowed bass and splashing percussion support the melody, played mostly using chords by the guitar. The "alternate take" that closes the program is fairly similar, not as noisy but still played somewhat like a dirge.
In between those two tracks is a fascinating collections that spotlight the excellent group communication, Olson's fine melodies, and his spirited guitar playing. Bates and Epstein are right in there with the guitarist, pushing and prodding him needs be or strictly building the foundation to frame his melodies and improvisations. "Hitchens" rolls forward with guitars coming out of both sides of the speakers while the melody is in the middle of the sound spectrum. "Dawkins" gives bassist Bates a chance to step out and he leads the group forward on the strength of his thick tone and melodic prowess. There's a wistful quality to the guitar work on the ballad "Changes We Can Believe In" but a bit of grunginess makes its way into Olson's guitar tone before the bass solo returns to the opening feel.
Framework can swing ("Bluetrois"), can deliver a delightfully melodic waltz ("Pre-Conceived Notion"), and they can create aural waterfalls ("Tortured Thoughts") –– some of the song titles don't necessarily easily fit the songs but the trio's musicality will win you over. "Cognitive Dissonance" does not describe how good and ultimately satisfying this music is (well, it does go a long way to describe the mood of "New Anthem"). Titles aside, this is quite an enjoyable album!
Many musicians used the pandemic to create new work, to hone new skills, and to find new ways to express themselves in a most uncomfortable. It's possible Scott Reeves (valve trombone, alto flugelhorn, electronics) did all those things but he also went through his archives. When he did, Reeves listened with fresh ears to a 2005 live gig he recorded at City of College of New York with Russ Spiegel (guitar), Mike Holober (piano, electric piano), Howard Britz (bass), and Andy Watson (drums). Now, pleased by the overall quality of the musicianship and sound, the musician/ composer passed
the tapes on to his label, Origin Records, and they released the album as "The Alchemist". The music does not at all sound dated –– in fact, the music feels fresh and often exciting. One can hear a link from several pieces to the music Miles Davis created for "Nefertiti" and "Filles de Kilimanjaro".
The Davis influence is evident on the opener, "New Bamboo". The ringing tones of the Fender Rhodes mixed with the electronically altered trombone also hearkens back to Herbie Hancock's later Blue Note recordings. Reeves switches to alto flugelhorn, Holober to acoustic piano, for "Shapeshifter", a medium tempo flowing piece that includes a potent drum solo. "Without a Trace" is a lovely ballad with a soft melody played by guitar and trombone. The leader's solo is wistful, as if you can hear him ruminating about a person who has gone. Spiegel produces a handsome solo but pay attention to howe Holober, on acoustic piano, responds. Britz, who is also an accomplished pianist, plays a short yet melodic solo. "Remembrances" is another fine ballad with fine solos from Reeves (flugelhorn), Spiegel, and Holober. "The title track grooves atop the percolating electric piano and the raucous drums. Trombone and guitar play the head that opens to Holober's playful solo and a hard-edged trombone spot.
That playfulness is also evident on the funky take of the standard "All or Nothing at All". The feel modulates from funk to straight-ahead and back to funk. It's a delight hearing the Quintet playing around. That's true throughout "The Alchemist" –– Scott Reeves and company sound like they having such a great time and the audience shows its appreciation for every solo and song!
Time to write about music thats been filling our house with good sounds this Spring:
Photo: Alan Nihigian
Drummer, trumpeter, composer, historian, educator, and mentor Ralph Peterson Jr. passed away on March 1 of this year after a long battle with cancer. He arrived on the jazz scene in the late 1980s as a member of the Blue Note "Young Lions" group Out of the Blue but soon was making albums as a leader. He had apprenticed at the side of drummer/mentor Art Blakey and was able to channel the explosive qualities of the older musician to create his own sound. Over the decades, Peterson proved to one of the finest "ballad" players –– when I saw him in person, most audience members were impressed by his ability to drive a band with great power but I loved to hear him play soft as a whisper. Over the past decade, Peterson moved between his own groups as well as leading the Messengers Legacy Band which featured members of Blakey's Jazz Messengers. He also taught up-and-coming musicians at Berklee College.
"Raise Up Off Me" (ONYX) is being billed as Ralph Peterson's final album as a leader. Recorded in December 2020 (less than three months before his passing), the program finds him in the company of the Curtis Brothers –– Zaccai (piano, keyboards) and Luques (bass) –– plus guests Eguie Castrillo (conga, timbale, cymbal, and cowbell on one track) and Jazzmeia Horn (vocals on three tracks). The title track opens the album, a group improv featuring the leader on various percussion instruments plus Zaccai on both acoustic and electric pianos. The music is reminiscent of Herbie Hancock's more exploratory of the late 1960s. "Right to Live" (composition by Peterson) features his fiery percussion pushed to the max by the powerful piano and foundational bass work. It's no surprise that the Curtis Brothers became the basis for "Triangular III" and "IV"; you remember the initial "Triangular" with pianist Geri Allen and bassist Essiet Essiet. Both Ms. Allen and Zaccai Curtis knew how to play Peterson's opfetn-complicated music.
The 12-song CD (13 if you buy the "download") is loaded with delightful music. The trio's take on Bud Powell's "Bouncin' With Bud" is playful with excellent interplay among the trio; note the angular "bounce" of the theme and the conversation between the piano and drums during Zaccai's solo. "Blue Hughes", a piece that the drummer composed for Out of the Blue, adds Mr. Castrillo to the mix. The percussion stew that sizzles up from the rhythm section sounds like an orchestra unto itself, really kicking the piano solo forward.
Photo: Emmanuel Afolabi
Ms. Horn first shows up on Peterson's lovely ballad "Tears I Cannot Hide". Her voice, often at the top of her natural range, is soulful and honest while the trio supports with a musical cushion. Pay attention to the drummer and how he uses space, his subtle cymbal work as well. The musicians dance delightfully beneath Ms. Horn's voice on John Hick's "Naima's Love Song" –– Peterson rocks the rhythm, especially under the smashing piano solo. The drummer also contributes a splendid trumpet solo and accompaniment. The vocalist's third contribution (the "bonus track" for the download) is a rollicking take of Betty Carter's "Please Do Something". The three musicians each solo with the drummer "trading 8's" with the vocalist's splendid scat singing. She drops out and Peterson takes over for a rhythmic treat!
If "Raise Up Off Me" is to be Ralph Peterson Jr's final album, he certainly goes out on a high note (a major bunch of them in fact). If you are listening to hear if the drummer is weak or has slowed down, you won't hear anything like that. Neither does one hear sadness, pity, or anger. Joy is the sound emanating from the speakers. Ralph Peterson Jr dealt with numerous issues during too-short lifetime but his music was his strength, his refuge, his contribution to making the world a better place! What a man, what a man!
Jennifer Wharton, a native of Pittsburg, CA, is called a "low brass specialist'. Best known for her work with Darcy James Argue's Secret Society and many other large ensemble, her bass trombone playing is noted for its power and her fine ensemble work. Ms. Wharton also has worked in the pit bands in Broadway productions of "Beautiful: The Carole King Musical", "Porgy & Bess", "9 to 5", and others. Several years, the trombonist decided to give her instrument top billing and formed Bonegasm, a septet with four trombones – yes, a whole section – and a rhythm section. The 'bone players include Ms. Wharton, her husband John Fedchock, Nate Mayland, and Mark Ferber; aiding and abetting them are Michael Eckroth (piano, Fender Rhodes), Evan Gregor (bass), and Don Peretz (drums). The group's self-titled debut appeared on Sunnyside Records in February 2019. The album's liner notes by Jim McNeely played up the name as well as the originality of an artist creating new music for jazz trombone as well as putting the instrument front and center
While the debut is good fun, album # 2 "Not a Novelty" (Sunnyside) is, in many ways, even stronger. That could be because by the time the septet entered the studios, it was September 2020, right in the midst of the pandemic. No one in the band was working regularly, venues had closed down, the theaters on Broadway and beyond silenced; save for teaching students on ZOOM, there were no gigs. Opening with Eckroth's "BonGasmo", the band (with Samuel Torres irrepressible percussion joining) plays with abandon including soloist Mayland. There are only two other originals by band members in the program. Instead there is an eclectic collection of pieces from composers such as Remy LaBouef, Tori Amos, Chris Cheek, Ayn Inserto, Carmen Staaf, Manuel Valera, and Chris Cornell (the former leader of Soundgarden now deceased).
Photo: John Abbott
The Cornell tune, "The Day I Tried to Live", features a "grunge metal" arrangement by Darcy James Argue and a Tom Waits-influenced vocal by
Kurt Elling. He and Ms. Wharton solo together with the vocalist imitating a 'bone player with a cup mute. Ms. Amos's "Twinkle", arranged by Fedchock, is a lovely ballad; spreading the brass around the sound spectrum and giving them sweet harmonies to play while he solos, the music moves forward gently gaining in intensity. Torres shows up once more for the rollicking take of Valera's "La Otra Mano" even getting a solo after both Ferber and Eckroth shake the rafters. "Blue Salt", by Ayn Inserto, features a rocking bass line (doubled on piano) plus a splendid solo from Ms. Wharton and her husband over several different rhythms.
Mark Ferber's "Blue Salts" is definitely a blues, down and somewhat dirty (especially the swagger from the 'bones). Ms. Wharton takes her solo low down while bassist Gregor solos with the band responding in kind. There's even a Frank Zappa feel to the "march" that closes the piece.
No truer words than "Not a Novelty" as the trombonists take center stage and acquit themselves magnificently. The basic difference between the first and second Bonegasm album is that while the material is just as good it's the arrangements that feel stronger. Jennifer Wharton should be proud of this album and this group –– she gets to work and play with her husband and with her friends. Hopefully, the band will get to play in front of live audiences.
Ernesto Cervini does many things and does them all with panache and dedication. He's an excellent drummer, a fine composer/ arranger, band leader and co-leader, runs a publicity agency that promotes numerous Canadian-based artists as well as ensembles from the University of Toronto's splendid Music Program, and is an active parent. Cervini leads a Quartet, a sextet (Turboprop) plus plays in the cooperative trio Myriad3 as well as two other trios, MEM 3 and Tunetown. Plus, he is his sister Amy's go-to drummer when she performs in Canada (he was the original drummer in her Quartet) – he even plays with a Radiohead "cover" band known as Ideoteque. Put succinctly, Ernesto Cervini is always moving forward.
Another trio that the drummer is part of, Tetrahedron, is a marked turn towards fusion and funk. Featuring the thick six-string bass sounds of Rich Brown and the round tones of alto saxophonist Luis Deniz, the ensemble creates a powerful sound. Before recording its debut album, Cervini invited another good friend, guitarist Nir Felder, to join the trio. The group's self-titled debut album is now available from Anzic Records and its powerful grooves and ability to also play with great gentleness will lift you from your seat. Opening with the standard "Softly, As In a Morning Sunrise", with its solo bass, flamenco-influenced introduction, the foursome soon moves into a free-flowing jam where the guitar and alto sax weave in and around each other while the rhythm section creates a raucous background. The album's other non-original, "Angelicus", comes from the pen of Vince Mendoza – the piece begins with a lovely solo electric guitar introduction before moving into a gentle ballad. Deniz's solo stands out for its sweet tone and emotional content.
The other tracks run the gamut from deep grooves of "Stro" (composed by Cervini in honor of then-Toronto Blue Jays pitcher Marcus Strohman) to the barn-burning "Summit Song" (from alto sax great Bunky Green), a piece that alternates from speaker rattling grooves to a fiery guitar solo to a bluesy and swinging alto sax solo. The aptly-titled "Forward Motion" (composed by the bassist) charges in on a guitar-drums duo – when Brown's running "walking" bass line enters, the song skips along from its fine melody line into strong solos from Deniz and Cervini. The prettiest track, "Wandering", shows just how nicely the quartet can present a lovely melody and fill it with emotional strength, longing, and intelligent interaction. Deniz is, again, the main soloist; pay attention to how he raises the intensity and then listen for his interaction with Felder.
"Tetrahedron", the album, closes with the high-powered "The Sneaky Two" – the power generated by the bass and drums may remind some of the work Billy Cobham created in the late 1970s. Yet, for all the electric excitement, there's also subtlety and great dynamic variation. Ernesto Cervini continues to make great strides on the contemporary music scene, getting and holding one's attention with his myriad creative projects. His music searches, probes, explores even as it swings, sways, rocks, and dances through your mind. Kudos as well go to bassist Rich Brown whose underpinning and inventive solos make this album even more enjoyable.
Just like Ernesto Cervini, trombonist Nick Finzer has his hands in many pies. He's not only a first-class musician but also a composer, arranger, educator on the music faculty of the University of North Texas, produces an educational online course for aspiring musicians, has written a book for budding trombonists, heads his own label (Outside In Music), co-hosts a podcast, and performs with the Anat Cohen Tentet and Postmodern Jukebox. For the past seven years or so, he's performed and recorded with a core group of musicians that include Lucas Pino (tenor saxophone, bass clarinet), Alex Wintz (guitar), Dave Baron (bass), Jimmy Macbride (drums), and Glenn Zaleski (piano). That ensemble has been featured on three albums with one release on Origin Records and Posi-Tone Records plus two newer albums on Outside In.
"Cast of Characters" is the group's third album for Finzer's label and continues in the path set by 2017's "Hear and Now". That recording simultaneously looked at the past in jazz (pieces by Duke Ellington, Herbie Hancock) while commenting on the present ("Race To The Bottom", "We The People", and "Dance of Persistence"). The new recording looks at societal archetypes from the past and present (Sorcerer, Brutus, Weatherman, Duke, Venus, and The Guru) and makes musical comments about each. This focus allows the music to move away from certain expectations and, to these ears, frees it up. Opening with "A Sorcerer (is a Myth)", the music thunders in on powerful piano intro into a quiet melody shared by trombone and tenor sax; the rhythm section kicks in and the piece moves forward on a funky yet insisted groove into a smartly-etched theme shared by the horns and guitar before jumping into the leaders solo. Macbride, who seems to be ubiquitous these days, really kicks the music along while Baron keeps the foundation steady. Pino's tenor is a good foil to the smooth sounds of the trombone and he creates an adventurous solo.
YouTube
The two pieces that follow, "Intro to..." and "Evolution of Perspective", set up an counter conversation. There are three "Intro to..." so they serve as prologue for the longer tracks that follow. "...Perspective" is a high-powered post-bop piece that whisks the listener away into a fast-moving vehicle. Wintz's solo jumps out of the speakers leading into Zaleaski's romp across the keyboard. The rhythm section act like the Acela on an open track, zipping forward.
"Patience, Patience", which follows "Brutus (The Contemporary)" and precedes "A Duke", is an handsome ballad that opens with Pino, on bass clarinet, stating the theme and Finzer playing harmony and counterpoint. Baron's bass solo is quite melodic with quiet guitar, piano, and brushes as accompaniment. Later in the program, "You'll Never Know (The Alternative)" has a similar feel with melody shared by trombone, guitar, piano, and bass clarinet – more up-tempo, the music dances atop a cushion provided by lively bass and drums. "The Guru", the penultimate track on the album, also has an excellent melody shared by the front line yet do not overlook the excellent drum work (right from the opening hand drumming) of Macbride. The album closes with the short anthem "We're More Than The Sum of Our Influences"; Finzer gets directly to the point in the 73-second epilog while reminding us of all the different personalities we meet and we can be during our lifetime.
You can make up your own mind as to the narrative Nick Finzer creates on "Cast Of Characters" but there's no argument that the music sings, roars, romps, sighs, and is emotionally rich. The sextet has played together numerous times live and in the studio; that comfort allows the leader to challenge them with his compositions and they respond with creativity!
Nick and the band celebrates the album's release with live gigs throughout March including The Nash in Phoenix, AZ (3/7), Blue Whale in Los Angeles, CA (3/8), Jazzville in Palm Springs, CA (3/11), Dazzle Jazz in Denver, CO (3/12), University of Nevada/Reno in Reno, NV (3/13), a House Concert in Reno, NV (3/14), Birdland in New York City, NY (3/26), Rudy's Jazz Room in Nashville, TN (3/37), and The Side Door Jazz Club in Old Lyme CT (3/28) – check the website for ticket links.
Trombonists Altin Sencalar (left) and Chris Glassman (right) first met in 2017 as Graduate Assistants at Michigan State University. They both studied with trombonist Michael Dease and bassist Rodney Whitaker; two years into their studies, they went into the studio with Dease as producer (and sometimes, participator) plus Whitaker in the rhythm section along with Addison Frei (piano), Zach Adelman (drums), and, on six of the 11 tracks, Nathan Borton (guitar). The results can be heard on the duo's self-released debut album "Realization" which features a program of songs composed by influences such as J.J. Johnson, John Coltrane, and Herbie Hancock plus originals from the co-leaders and one "standard", "Nobody Else But Me", the Jerome Kern-Oscar Hammerstein II tune from "Show Boat".
Dease appears on the opening track, Glassman's "D is for Dastardly", and shares solo duties with the co-leaders. The composer's bass trombone solo sets the pace (not to mention a delightful low note!) into a swinging, blues-influenced, tune. A Brazilian feel permeates Sencalar's "In Your Own Head", a track enlivened by Adelman's delightful drumming plus strong solos from pianist Frei, guitarist Borton, and from the composer. The next cut is a rousing take on John Coltrane's "Impressions"; Frei's arrangement adds harmonies to the statement of the main theme and solos from both co-leaders, Borton, and his own happy romp. That's just the first three cuts and already you can tell these musicians love what they do.
Johnson's "Short Cake" rolls along on the expressive piano and the fine interaction of the trombonists. Whitaker also steps out of the rhythm section for a delightful solo of his own. Borton adds Freddie Green-Inspired guitar to "Nobody Else...", strumming pleasantly under the co-leaders reading of the melody then stepping out for a sweet solo. Fellow trombonist Steve Davis and his arrangement of Hancock's "The Maze" pushes both Sencalar and Glassman into a propulsive take on the tune. Their call-and-response is a highlight leading into a strong piano solo pushed forward by Adelman's active drumming.
"Realization" is a fine showcase for two young trombonists Altin Sencalar and Chris Glassman; their musical collaboration is also a spotlight for Addison Frei, Nathan Borton, and Zach Adelman, all of whom are beginning to open eyes and ears of listeners around the US (and beyond). The Sencalar-Glassman Quintet has created a debut album that feels like springtime: clean, fresh, and promising – give a listen!
Trumpeter and educator John Bailey has been impressing audiences since his high school years in the mid-1980s. He went on to play with such greats as Ray Charles, the Buddy Rich Orchestra, Woody Herman, Ray Barretto, and, most recently, with Arturo O'Farrill's Afro-Latin Jazz Orchestra and the Ed Palermo Big Band. Before moving to New York City, Bailey taught at the First School School of Music/ University of Miami and Florida International University. He now teaches private lessons.
Baileys second album as a leader, "Can You Imagine?", is also the inaugural release on his Freedom Road Records. The trumpeter's ensemble includes Stacy Dillard (tenor and soprano saxophones), Stafford Hunter (trombone), Edsel Gomez (piano), Mike Karn (bass), and Victor Lewis (drums, percussion) plus Janet Axelrod (flutes) and Earl McIntyre (bass trombone, tuba). The program features three original pieces from the leader, two from drummer Lewis, and one each from Chico O'Farrill, Chico Buarque & Francis Hime, saxophonist Dillard, and the venerable "People" (composed by Bob Merrill and Jules Styne).
The album is built around the 12+ minute "President Gillespie Suite", a three-part Bailey composition inspired by trumpeter Dizzy Gillespie's 1964 run for the Presidency. What began as a fundraiser in 1963 for CORE (the Congress of Racial Equality) and other Civil Rights organization grew into a semi-serious attempt to raise people's awareness of the struggle for equal rights, not escalating the Vietnam War, and more. Gillespie reworked his classic "Salt Peanuts" to replace the title phrase with "Vote Dizzy!" Bailey's piece celebrates the peaceful, improvisatory, nature of Gillesie's music, featuring excellent solos from McIntrye (trombone) and himself. Pay attention to the splendid work of the rhythm section and how each musician interacts and responds. Right after the trombonist 's fine solo, the front line breaks into a four-way conversation. The third movement, "President Gillespie's Birthday Song", is based on the changes of the classic "I Can Dream, Can't I" takes off into a rapid-fire bebop rhythm with a sly wink from pianist Gomez to the "Salt Peanuts" riff and delightful solos from Dillard (tenor sax) and Bailey as well as "trading 8s" section with drummer Lewis. Don't miss the fine trumpet coda at the close.
The suite is not the only reason to dig into the album. Lewis's "The Touch of Her Vibe" is a splendid Latin influenced ballad which opens with hand drumming leading into a fine melody line. Note how Bailey (flugelhorn), Dillard (tenor), and trombonist Hunter share the melody plus how Lewis ups the ante throughout the song by changing and mixing tempos, overdubbing tabla drums, and creating a sensuous flow. O'Farrill's "Ballad From Pro, Incienso Y Mirra" is a stunning work – originally composed for a Christmas Eve concert that features Dizzy Gillespie and Machito, the lovely piece rises on the fine melody and solos from the leader (trumpet), Gomez (right in the melody, the rhythm section doubles the tempo), and more great drumming. Ms. Axelrod's excellent bass and alto flute shines on Chico Buarque's "Valsa Rancho" with a shout out as well to Gomez's sympathetic piano accompaniment and Lewis's fine brush work.
"Can You Imagine?" covers a lot of musical territory; the music is lively, heartfelt, sweet, sensual, swinging, with excellent contributions from every involved. Not sure if John Bailey is hitting the campaign trail in this, arguably, most fractious of election year but his music and message deserves your attention.
Trombonist Audrey Ochoa is a multi-talented musicians and songwriter who is comfortable in a multitude of settings including jazz, rock, punk, ska, Latin – you can tell by listening to her broad tone and selection of material that she has no fear. She also has quite the sense of humor – her 2014 debut album, "Trombone and Other Delights", not only features songs such as "Zombie Apocalypse" and "Painting Rice in the Finland Woods" but also the cover is a tribute to Herb Alpert's "Whipped Cream & Other Delights" - see it here! Her 2017 followup, "Afterthought", is a trio date which also features contributions from electronica dj Battery Poacher.
Album #3 is "Frankenhorn" (Chronograph Records) and it's certainly moving in new directions. While bassist Mike Lent, who appeared on Ms. Ochoa's first two CDs, is here as is pianist/keyboards player Chris Andrew (album #1) and drummer Sandro Dominelli (album #2) plus the return of Battery Poacher, the album also features contributions from a three-piece string section, two percussionists, and electric bassist Rubim de Toledo. A gander at the album cover plus the album title give us the hint that this music is the result of many different ingredients and Ms. Ochoa's expansive imagination. The melodic string arrangement on the opening track, "Swamp Castles", gives the music a lift over the lively rhythm section. The trombone sound is creamy as it is on the following track, the handsome ballad "Bench Warning". Here, the music bounces along atop percussionist Luis Tovar's congas and Andrews's melody yet percussive piano work. The leader's solo is highly melodic and, again, the strings serve to frame her playing in a lighter mood.
Battery Poacher creates a "chill" mood for Ms. Ochoa and Andrews's synths on two tracks. "Huggy Dance" not only utilizes drum machines but also the trombone is overdubbed to create a harmonic choir. Poacher's other contributions can be heard on "Groundhog Day" – the blend of acoustic instruments (trombone, piano, and conga) with the droning synths create a handsome soundtrack. Again, the overdubbed trombones play harmony but also serve as a choir.
Two other tracks stand out. The hard-edged "Silver Linings", a trio cut with Lent and Dominelli, is quite powerful with a trombone solo that "rocks" pretty hard. The closing track, "My Reward", also has a harder edge this time with a deep bluesy feel. Just bass and trombone, the "conversational" quality of Ms. Ochoa's attack and the deep sound tha Lent produces, is a treat – listen below.
"Frankenhorn" is fun music; Audrey Ochoa is a serious musician who does not take herself too seriously. Yet, the album does not descend into mere frivolities. At 40 minutes, one can sit down and listen to the entire program. And you should – there's lots to absorb!
The Westerlies is a brass quartet (two trumpets, two trombones) that came together in 2011 in Seattle, WA. All four members are from the Pacific Northwest including new trumpeter Chloe Raymond (who replaced co-founder Zubin Hensler in 2018) while trumpeter Riley Mulherkar, trombonists Andy Clausen, and Willem de Koch fill out the ensemble. The group's repertoire covers a wide swath of musical territory and it's mission is education and community engagement plus reaching out to as many young musicians as possible. Their first album, "Wish The Children Would Come On Home", was dedicated to the music of pianist Wayne Horvitz and was issued in 2014. They followed that two years later with a self-titled recording that featured pieces by each member plus composers Sam Amidon, Charles Ives, and Duke Ellington.
"Wherein Lies The Good" (The Westerlies Music) reunites the band with producer Jesse Lewis (he produced the 2016 recording and their 2018 video recordings) – each member contributed, at least, one original composition, plus there are pieces by Robin Holcomb (the title track), folk singer Judee Sill, the 19th Century harpist John G. McCurry, experimental cellist Arthur Russell, a playful piece from Charles Ives as well as a traditional American tune adapted by that composer, and a medley of Gospel pieces from the repertoire of the Golden Gate Quartet. With the exception of Ms. Holcomb's 14+ minute piece and the three-part, 10+ minute "Entropy" (by Mulkerhar), the songs are fairly short.
One's initial impression of this album is that the Quartet is deeply invested in "Americana" music. You hear that on the earlier albums but the inclusion of the often-rousing five selections associated with the Golden Gate Quartet plus Ives's delightful "Memories" illuminates the ensemble's funkier and more fun side. The Gospel tunes have quite a groove with shouts and prayers mixed together, truly the bedrock of the blues. Here there is a connection to the Deep South of the United States, to the hopes and dreams of African Americans. Sam Amidon's arrangement of McCurry's "Weeping Mary" (listen below) is an evocative hymn based on the composer's Shape Note style while Charles Ives's adaption of the traditional spiritual "Give Me Jesus" (retitled "In The Mornin'") is sweet and gentle.
Ms. Rowland's contribution is the lovely ballad "Laurie" dedicated to her teacher Laurie Frink who died in 2013. Before her passing, her reputation as one of the finest teachers and practioners of the trumpet was legend. Her presence graced numerous large ensembles including the Maria Schneider Orchestra. De Koch's "From The Very First Time" was written with the experience of the ensemble's residency in Kenner, LA. It's a subtle work, with emotional melody lines amid a handsome background.
Photo: Peter Gannushkin
Ms. Holcomb's piece is an episodic work that features several of her short, often melancholic, melodies tied together by intelligent harmonies, changes in tempo, and ringing long tones. The sound of the recording reverberates at the end of each short section, giving the musicians and the listeners a short rest before moving on.
"Wherein Lies The Good" closes with Murkerhar's "Entropy", a piece that tells the story of a person dealing with the myriad changes to his/her world through his/her lifetime. The opening fanfare is uplifting but, as the piece progresses, the changes (to the world) become too much, the music and the sound becomes harsher and the person succumbs. The closing section, therefore, is an elegy, a remembrance, a prayer.
The Westerlies create a number of scenarios on "Wherein Lies The Good" and there are times that the program is dizzying in its scope. Take your time, enjoy the more accessible tunes but remember to return for the pieces that need deeper listening. If you have the opportunity, see the band in person; that written, sit quietly and listen for your soul will be moved!
John Yao (pictured left) is one busy person. Besides leading both a big band and a quintet, the Illinois native has worked and continues to work in several large ensembles including the Vanguard Jazz Orchestra and the Afro-Latin Jazz Orchestra. Yao has arranged for numerous groups and college ensembles plus now teaches in the greater New York City area. He also gives workshops and currently has a monthly residence at Terraza 7 in Jackson Heights, New York.
Yao's quintet, now dubbed "Triceratops" (you'll understand why in a moment) has a new recording. "How We Do" (See Tao Records). The long-extinct beast that gives the band its name is known for its three big horns; the "front line" includes Yao with Billy Drewes (alto saxophone, soprano saxophone) and long-time associate Jon Irabagon (tenor saxophone - he's appeared on each one of the trombonist's four albums). The solid and exciting "back line" features bassist Peter Brendler and drummer Mark Ferber.
The eight-song program is a delight from beginning to end. Yao composed seven of the tracks, Irabagon contributes the the swinging "Tea for T" that closes the album, and, throughout, one can hear how much fun this group has playing together. The opener, "Three Parts As One", features a melody and harmonies that the three horns share. Once the rhythm section lays down the pulsating rhythms, Drewes (on alto) solos first, supported by Irabagon and Yao before getting a chorus by himself over the bass and drums. Irabagon is up next, maneuvering around the slinky beats. Drewes and Yao reenter to lead him back to the theme before the trombonist rises out of the mix. The music has the feel of Dave Holland's Quintet with Chris Potter and Robin Eubanks, an ensemble which at its best could bring a crowd to its feet with their great interactions.
Photo: Peter Koloff
After that track, the band digs into "Triceratops Blues", a tune whose title tells a lot of what you need to know. The leader's smooth-as-butter tone gives his solo a delightful sound; that leads into a fine spotlight for Ferber support only by Brendler's melodic and foundational bass lines. The title track is a episodic and playful set of interactions in which the rhythm section leads the way through melodic changes and tempo shifts.
For my money, there's not a weak moment to be heard in the 49-minute program. The music swings, saunters then struts (dig "Doin' The Thing"), soothes (the lovely "Circular Path", a track that features an emotional soprano sax solo with counterpoint from trombone), and closes with sly pizazz of the afore-mentioned "Tea for T." John Yao's Triceratops makes the kind of music that will never go extinct – it's fun, interactive, and crackles with creativity!
Over the past five+ years, trombonist, composer, and educator Michael Dease has built up a fine discography at Posi-Tone Records. His seventh album for the label, "Never More Here", takes its title from the fact the jazz Dease and his fine cohorts make is always "in the moment"; even if the majority of the program comes from people whose physical lives may have come to a close, their music lives on. Nine of the 10 tracks feature the core group of Renee Rosnes (piano) and Lewis Nash (drums) with bassist Gerald Cannon (replaced on three of the nine cuts by Rufus Reid), adding the talents of Steve Wilson (alto sax, soprano sax, or flute on five cuts), Jocelyn Gould (guitar on three tracks), and trumpeter Randy Brecker on one song. The Dr. Billy Taylor classic "I Wish I Knew (How It Would Feel To Be Free)" finds the trombonist in the company of pianist Luther Allison, alto saxophonist Markus Howell, bassist Endea Owens, tenor saxophonist Diego Rivera, drummer Jason Tiemann, and arranger David Gibson.
The program includes pieces by Dr. Taylor, Jackie McLean, Jimmy Heath, John Lewis, Eddie Daniels, Eric Alexander (the barn-burning "Frenzy"), two by Dease's inspiration JJ Johnson, plus an original each from Ms. Rosnes and the leader. The pianist's "Mirror Image" leads off the album, a classy work where the front line works as one then independently. Dease takes the first solo supported delightfully by the rhythm section, especially Mr. Nash's splendid dancing cymbals. The composer follows with a fine spot followed by Wilson, on alto sax, who swings with great delight. Mr. Heath's "Harmonic Future" (a tune that he debuted in the 1990s) swings with a passion as does Wilson on soprano and Dease on tenor sax!
Photo: Sara Pettinella
There's lot to dig into here. The sweet medium-tempo ballad, "For Hofsa", composed by Mr. Mclean has a lilting feel while Mr. Daniels's "Slow Dance" moves with grace of a slow Bossa-nova. Here, the gentle rhythm guitar blends well with the Ms. Rosnes's light touch. Look for the fine alto flute work of Wilson and more smooth trombone from the leader. Dease leads the way of Mr. Johnson's bluesy "Shortcake" – without Wilson, guest artist Rufus Reid contributes a delightfully melodic solo. The trombonist gets a long spotlight in the middle of the tune before Ms. Rosnes dances in front. The other JJ Johnson tune, the classic "Lament", is a lovely ballad with Dease leading the way playing with such emotion and love for this music.
John Lewis's bebop masterwork "Milestones", composed for Miles Davis's All-Stars with Charlie Parker, brings the program to a close on a springy set of steps. The composer played on the 1947 version; the original is not played at that frantic pace that other bebop tunes of the day were. It certainly fits Miles style of playing and there is no solo from Bird. On the Dease album, the pace is similar but the beat is a bit looser, more buoyant. Delightful solos all around from Ms Rosnes, the trombonist, Wilson (alto sax), Brendler, and Ferber. It's certainly a sweet take on a classic.
"Never More Here" is a fine edition to the discography of Michael Dease. It feels just right on a cold Autumn evening – check it out!
JC Sanford is a trombonist, composer, arranger, conductor, and a native of Minnesota. Not only does he lead several different-sized ensembles, he conducts a number of large ensembles for people such as Andrew Rathbun, John Hollenbeck, Alan Ferber, and others. Sanford studied with the legendary Bob Brookmeyer and is currently on the faculty of Gustavus Aldophus College in Saint Peter, Minnesota.
In April 2019, Shifting Paradigm Records released the trombonist's "Triocracy", a 2014 session with reed players Andy Laster and Chris Bacas. Now, the label presents the JC Sanford Quartet and its debut recording, recording in February of this year. Perhaps the first album named for a disorder of the eye, "Keratoconus" features the leader on trombone and seven of the eight compositions as well as Zacc Harris (guitar), Chris Bates (electric and acoustic bass), and JT Bates (drums, percussion). The title track opens the CD in a heavy-metal fashion, a thundering 93 seconds of distortion and all pedals-to-the-metal. Sanford, who loves a good transition/ joke as much as any person, follows that with "Umm, Yeah", a lovely reduction for a large ensemble piece. The handsome melody is introduced by Chris Bates (on arco bass) supported by gentle guitar lines and soft drumming. Sanford also plays the melody through before Harris steps out for a handsome solo. The music is always moving, fairly gently, pushed forward by the rhythm section (listen to JT Bates pushing the leader forward on his solo ratcheting up the energy before the sounds calm down to a handsome bass solo.
The Quartet plays in and with many different styles throughout the album. The funky opening of "Bates Brothers Boy Band" leads into a romp that is part Bossa Nova and part Motown. Notice how the tune and the time dissolves on several occasions, leading to fine solos from the leader, bassist, and drummer. "JT-Rex" is a showcase for the drummer with Sanford adding melodic fragments. The bass and guitar join in on those snippets but this is JT Bates time to shine – dig the crazy and stomping last 10 seconds coda. "Zaccfarben" is the guitarist's piece; the title blends his first name with the German word for "colors." The performance lives up to its name with numerous shifts in melody, going in and out of rhythm, various dialogues between the musicians usually with Harris leading the way.
"Selfish Shellfish" takes the program out in a quirky and quite thumping fashion. The Bates Brothers rhythm section set the pace, one that leads to a rapid-fire bass solo and a John Bonham-style drum solo. The song ends with the Quartet vocally riffing on the title and a bit more.
Keratonus, the progressive eye disease, is not contagious but "Keratonus", the JC Sanford Quartet album, is often quite infectious. Much of the music is filled with humor plus the feeling that these four musicians are having a great time making music. Even the one "standard", "All The Things You Are", moves in a jaunty manner. Life is short, why not have fun? Umm, Yeah!
Posts
