Greenleaf Spring & Australian Autumn

 

30-plus years into a fascinating career, one is still impressed by the music Dave Douglas composes, records, and performs.  When you think that trumpeter, educator, Greenleaf Music head, podcast host, festival coordinator, and so forth, is most comfortable in one of the various quintets he leads (or co-leads, in the case of Sound Prints), he'll record a solo trumpet album ("Hudson Solos") or work with an ensemble made up of students from Australia's Monash University ("The Dream: Monash Sessions") or record hard rock funk music for listening to during demonstrations with bassist Melvin Gibbs, guitarist Rhafiq Batia, and drummer Sim Cain ("Marching Music")––that's just in the last 24 months.

The trumpeter's new album, "Secular Psalms", is a 10-song program inspired by "The Adoration of the Mystic Lamb", painted between 1420-1432 and hung in Sgt. Bavo's Cathedral in Ghent, Belgium. Douglas initiated the project before the pandemic shut down the world, choosing a band (six members in all) from Europe and the United States; artists include Berlinde Deman (tuba, serpent, voice), Marta Warelis (piano, prepared piano, pump organ), Frederik Leroux (guitars, lute, electronics), Lander Gyselinck (drums, electronics), Tomeka Reid (cello), and the leader on trumpet and background vocals. The blend of tuba or serpent (a wooden brass instrument!) with amplified guitar, cello, trumpet, the various keyboards, and voice is fascinating.  While the music is inspired by 14th Century composers, there is a 21st Century "avant-garde" as well as 1960s-70s "prog-rock" feel (if there was a flute, this music could easily be linked to Jethro Tull (check out "Agnus Dei" and see if you agree). 

 

Photo: Gemma Vander Hayden

You understand you are in a different musical right from the opening seconds of "Arrival".  The trumpet melody is supported by electronic sounds, cello, and the guitar with Ms. Deman's serpent playing a quiet counterpoint.  The drone created by cello and serpent carries the piece as does the subtle drive of the drums.  "Mercy" jumps forward with the trumpet and cello on the melody––the lyrics blend Marvin Gaye's "Mercy Mercy", "Kyrie Eleison", and a short phrase penned by Douglas. Leroux's funky, raunchy, guitar solo offsets the solemnity of the lyrics as does Ms. Reid far-ranging cello work. If you listen closely to the vocals, you can hear Douglas shadowing Ms. Deman's voice.  

Photo: Johan Jacobs

If you listen closely, not only are Ms. Deman's vocals important to the sound but so are her tuba and serpent contributions (that's her on the left). Listen to how she and Ms. Reid join with Gyserlinck to create a rhythmic flow on "Instrumental Angels" and how her counterpoint enlivens "Hermits and Pilgrims".  Her soulful vocal on "If I'm In Church More Often Now", based on lyrics composed by Christine de Pasan (1364-1430?), makes the poet's sentiment contemporary as we now see many people looking for answers from their spiritual leaders in these often-scary times.  Douglas's original "Edge of Night" closes the album, the lyrics speaking to how music can heal, can serve to push us forward, all the while the drone created by the pump organ, the cello, and the lute takes on a chant-like feel.  Leroux switches to electric, joining the trumpet, cello, percussion, and serpent in accentuating the closing lyrics "Making this music, will help us to heal/ Even as the world continues to reel/ We laugh/ We dance/ We love/ We pray/ Even as we mourn."  

"Secular Psalms" is a stunning album, all the more so because all the parts were recorded remotely at different times, then edited and remixed by Tyler McDermid and Dave Douglas. The album stands out in the trumpeter's oeuvre not only because it's an amazing collection of music and performances but also because like 2012's "Be Still" and 2015's all-instrumental "Fabliaux", the songs, messages, and instrumental experimentation gives the listener deep insight into the trumpeter's inner life.  Listen and be moved!

For more information, go to https://greenleafmusic.com/out-now-secular-psalms/. To hear more and to purchase the album, go to https://davedouglas.bandcamp.com/album/secular-psalms. 

Listen to "We Believe":

Photo: Monika Jakubowska

Saxophonist and composer Trish Clowes (pronounced "clues") hails from Shrewsbury, Shropshire, England. At the age of 19, she moved to London to study at the Royal Academy of Music. Seven years later (in 2010), Ms. Clowes issued her debut album "Tangent" on Basho Records––an ambitious project for sextet and, on two tracks, a full orchestra with vocalist. Two years later, not only did she release her second album as a leader ("And In the Night-Time, She Is There") which featured her touring quintet with a string quintet and guests, the saxophonist was named a BBC Radio 3 New Generation Artist. The BBC commissioned Ms. Clowes to compose for their Concert Orchestra which garnered her a British Composer Award in 2015. That piece of music can be heard on her third Basho release, 2014's "Pocket Compass", her first full album with her Quintet with three tracks featuring the BBC Concert Orchestra.  Over the next few years, Ms. Clowes kept herself quite busy with many different commissions and projects including "Emulsion", a fascinating improvised music "happening" that continues to this day.

Photo: Brian Homer

In 2016, the saxophonist created MY IRIS, a quartet that features two members of her Quintet, guitarist Chris Montague and drummer James Maddren, plus pianist/ organist Ross Stanley. The bass-less ensemble's self-titled album was issued on Basho in early 2017 followed two years later by "90 Degrees Gravity" (also on Basho). The quartet was hoping to record in April of 2020 but the pandemic put that project on hold.  Ms. Clowes did self-release "MY IRIS Live!", a digital-only album through Bandcamp in 2020, a "low-fi" six-track set from an October 2019 live date.  

The group finally got into the studio at the end of August 2021 and the results of their efforts can be heard on "A View With a Room", Ms. Clowes debut for Greenleaf Music.  Still working with MY IRIS, many of the saxophonist's eight original pieces were composed during the world's lockdown. One can hear a restlessness, an urgency, in several of the songs such as the funky title track and the driving "No Idea".  The first track has such a "poppy" feel (note the bouncing piano line and dancing drums). The leader's solo is a joyful romp which leads right into pianist Stanley's spirited and playful spotlight.  Montague steps out next and he makes a more intense statement and the band picks up on that fieriness.  Ms. Clowes kicks off "No Idea" in musical conversation with drummer Maddren––notice how the piece then breaks into separate conversations (guitar with just drums before the piano reenters followed by sax, piano, drums, and quiet guitar). 

"Amber" is dedicated to Amber Bauer, CEO of Donate4Refugees, a London-based charity that Ms. Clowes works as an ambassador––if the charity's head is an energetic as this music, she'll do well.  The rhythm and main melody suggests Steely Dan (circa "Aja") and the band makes the most of the r'n'b swing of the piece. Guitarist Montague stands out on "Time", his Country-ish riffs reminiscent of Bill Frisell while there's a touch of Bruce Hornsby in Stanley's spot. The lovely ballad "Morning Song" is muted like the hour before daybreak, the handsome melody opening to a classically-inspired piano solo.  The short yet hushed tenor solo makes way for a powerful guitar statement and the set of fascinating chord changes before the close.

The program closes with "Almost". The piece opens rubato, scurrying brushes on snare, scattered piano chords, atmospheric guitar phrases, and disjointed saxophones phrase that slowly take shape into a lilting ballad. Nobody rushes but the song seems to grow more soulful as Ms. Clowes rides the guitar chords and the piano glissandos forward.  A shift in direction so that the guitarist can push the song forward and, as the intensity builds, the leader's soprano sax rises up above the rhythm section for a moment, like a colorful bird riding the thermals. Stunning, stirring, a momentary burst of pure joy.

Trish Clowes may be a new name to US audiences but do check out her music and, especially her work with MY IRIS.  "A View With a Room" feels like a musical balm, creating a sense of joy in the midst of complicated and often dangerous world––do spend time soaking in these sounds!

For more information, go to trishclowes.com/.  To hear more and to purchase the album, go to https://trishclowes-glm.bandcamp.com/album/a-view-with-a-room.

Here's the afore-mentioned "Amber":

I first became aware of Australian-born saxophonist Angela Davis back in 2013. At that time, she was studying for her Masters of Music at the University of the Arts in Philadelphia, PA.  That was also the year Ms. Davis self-released her debut album, "The Art of the Melody". Two years later, her second album, "Lady Luck", featured the saxophonist alongside pianist Dan Tepfer, bassist Linda May Han Oh (who was also on the debut album, drummer Richie Barshay, and a string quartet. Ms. Davis moved back home, to Melbourne, where she serves as a lecturer at both University of Melbourne and Monash University.  She's married to trumpeter Mat Jodrell and they have a son, Max.  Since returning home, she's released one album, "Little Did They Know", for ABC Jazz, the label of the Australian Broadcasting Corporation.

Ms. Davis's fourth album is the result of a Commission from the ABC Fresh Start Fund.  "Suite for Max" (ABC Jazz) is dedicated to her son born right before the pandemic. The five-movement, 36-minute, "Suite" features the saxophonist's "working" quartet including guitarist Stephen Magnusson, bassist Frank De Sario, and drummer Patrick Danao.  The opening "Movement" bears the influence of the Joe Lovano/ Bill Frisell/ Paul Motian trio, especially in floating rhythmic feel and Magnusson's guitar tone.  Max's father, Mat Jodrell, shows on the next track and his addition charges the album's atmosphere with Danao being more aggressive without overwhelming the music.  The leader's takes the first and most lyrical of the solos. The guitarist also creates a fine solo with his rippling phrases swooping and diving about the interactive rhythm section.

 

"Movement 4" opens like a quiet lullaby, Ms. Davis's gentle tenor leading the way. The handsome and fully-realized gives way to short solos then to the guitar and saxophone dancing around each other and landing back at the melody.  Bassist De Sario provides the counterpoint while the drummer moves from his cymbals back to a solid beat as the music draws to a close.  A tender guitar melody serves as a prologue on "Movement 5" which takes its lively feel from the engaging.  Ms. Davis's playing, at times, has a feathery feel as she was a leaf dancing on an Autumn breeze. Magnusson lets loose on his solo without jacking up his volume, making the most of the dancing rhythms of the bass and drums.   The saxophonist leads the band through a melodic coda, reminiscent of the way Keith Jarrett led his American Quartet (there's Paul Motian again) on their mid-70s albums.  

"Suite for Max" won't shake your world but that's not its purpose.  The music that Angela Davis composed for this project is the result of her watching her son begin to move, begin to claim his own space in the world, all the while wide-eyed at wonders all around.   Ms. Davis rarely plays on the fiery side; instead, she gravitates towards the melodic side of music.  Listen to this music at the break of dawn or at the close of the day; it's such pleasant company!

For more information, go to https://angeladavismusic.com/. 

Here is "Movement #2" from "Suite for Max":

Trumpet Stories Based on History (Distant Past & Recent)

Dave Douglas goes from strength to strength. The trumpeter, composer, label owner, podcast host (he's an excellent interviewer), and social activist, is a musical adventurer. He writes and records with numerous musicians, rarely releasing more than two or three albums with the same lineup. This allows him so much creativity, to have different voices and instruments interpret his music.  His "sound" is crisp, reminiscent of the "cleaner, clearer" styles of Clifford Brown and Booker Little.

His newest adventure is "Dizzy Atmosphere" (Greenleaf Music) Inspired by John Birks "Dizzy" Gillespie, Douglas went into the studio with long-time associate Joey Baron (drums) plus four younger musicians including Fabian Almazan (piano), Matt Stevens (guitar), Carmen Rothwell (bass), and Dave Adewumi (trumpet). The program, seven Douglas originals and two Gillespie-penned gems, reminds one of the trumpeter's other tribute albums including 1990's "In Our Soul" (Mary Lou Williams), 1995's "In Our Lifetime" (Booker Little), and 1997's "Stargazer" (Wayne Shorter) –– each album included several songs by the artist plus a majority of Douglas compositions.  You can find the first and third albums by going to davedouglas.bandcamp.com and the second at www.newworldrecords.org/products/dave-douglas-in-our-lifetime.

Piet Mondrian (MOMA)

The album opens with "Mondrian", named for the Dutch painter Piet Mondrian (1872-1944) who moved to New York City in 1938, spending the final six years of his life and career influenced by the sights and sounds of the city. The painting on the left, "Broadway Boogie-Woogie"captures the hustle-and-bustle of the wartime years.  Douglas's music moves in a powerful, if a bit, anxious manner building up from Almazan's left and Ms. Rothwell's foundational lines.   Gillespie was in the City at that time as well and this music captures his youthful vigor and sense of exploration. The second track offers a play on words: "Con Almazan" refers back to "Con Alma".  The Douglas variation features an excellent give-and-take for the two trumpets, a powerful guitar statement, a majestic piano solo, and adventurous work from the bassist and drummer.

 The two Gillespie pieces are right in the middle of the program.  "Manteca" (credited to Gillespie, Gil Fuller, and Chano Pozo) has an irresistible bounce, playful interactions between trumpets, guitars and piano, plus delightful solos from Douglas and Adewumi riding atop the groove.  "Pickin' The Cabbage" is purportedly Dizzys first published piece; recorded in 1940 by Cab Calloway's Orchestra , the ensemble where you could find the composer in the trumpet section at the time. It's a funky blues and, again, the two trumpeters have a great time playing off each other.  Ms. Rothwell and Baron provide quite a deep bottom plus the drummer gets a rousing solo.

Photo: Lawrence Sumulong

The three ballads on the program stand out as well. "See Me Now" finds the sextet moving slowly through the melody with the composer's muted trumpet in the lead. Note the melodicism of the piano in contrast to the quiet moaning of the guitar. The two trumpets open "Pacific" (the title may refer to how "peaceful" the music is) before Almazan moves gently, in an introspective manner, through the melody. The trumpets and guitar take over  moving contrapuntally through the next few minutes. Listening to Adewumi and Douglas playing in and around each other along with the waves of notes from the piano is a reminder that music can soften the blow of everyday life by challenging us to listen creatively.  The album closes with "We Pray", a handsome piece with a sweet trumpet melody, another fine piano solo, and excellent brush work from Baron. This piece as well as "Pacific" also appear on 2019's "Devotion", Douglas's album with Uri Caine and Andrew Cyrille.

Photo: Yousuf Karsh

"Dizzy Atmosphere" bears the subtitle "Dizzy Gillespie at Zero Gravity", an apt title as older generations of musicians probably felt that Mr. Gillespie's entry on the music scene was an alien invasion. Yet, the title also reminds us that his music turned a lot of ears, his joie-de-vivre, his mentorship, his endless curiosity, and crackling trumpet sound changed our world for the better.  Dave Douglas taps into that wellspring of creativity and curiosity, fashioning sounds that serves as a reminder that creative music has often moved forward by looking back and digging deeper.

For more information, go to greenleafmusic.com and/ or davedouglas.com. The album will be released on May 1, 2020 –– go to davedouglas.bandcamp.com/album/dizzy-atmosphere for purchase information.

Here's one of the two Dizzy tunes on the album:

Trumpeter, composer, and educator Ian Carey, born in Binghampton, NY, has lived-in the San Francisco Bay Area for the past two decades after studying in various places including in New York City (he attended the New School) where one of his teachers was Maria Schneider.  Carey is also a fine writer with occasional blog posts that are fun and educational (check an example out here).  He leads the Quintet + 1, an ensemble that has the same rhythm section since his 2006 5-piece group debut; pianist (acoustic and electric) Adam Schulman, bassist Fred Randolph, and the dynamic drummer Jon Arkin.  Saxophonist and flutist Evan Francis appears on the first three recordings with tenor saxophonist Kasey Knudsen becoming the + 1 on the third –– bass clarinetist Sheldon Brown replaced Francis for the fourth recording, 2016's "Interview Music".

The lineup remains the same for Carey's fifth release, "Fire In My Head (The Anxiety Suite)", his debut for Slow & Steady Records (the first four were released by the trumpeter's Kabocha Records). The "Suite" is comprised of five sections, each with individual themes yet connected to the whole in many ways.  Carey is a democratic leader, making sure everyone is heard, has their moments in the spotlight, but it's his way with arranging the pieces that truly stand out.  Listen below to "II: This Is Fine"; note how the brass and reeds share the melody, echoing each other, coming together then pushing apart, in and out, back and forth, while the rhythm section pushes the piece forward with abandon.  Schulman's solo is a hard-bop, single-note, romp followed by the leader's intense statement before bassist Randolph steps out.

Carey composed this music in the aftermath of the 2016 U.S. Presidential election. In the album liner notes, he admits to struggling with anxiety throughout his life and that the issue was heightened by the events leading up to Election Day and its aftermath.  While there is a nervous undercurrent to this music, there is also a creative guide to surviving these times. "III: Thought Spirals" is an intelligently constructed piece that leaves room for through-writing, tempo changes, group interplay, solos, and even a short section for a trumpet and reeds sans accompaniment.  The "glue" on this track is Schulman's hypnotic Fender Rhodes drone that permeates the piece.

On earlier recordings, one could clearly hear Carey's influences from both the classical and jazz world.  Those have been folded into the mix plus the fact that the trumpeter had multiple opportunities to work with this group of musicians performing and refining the program gives the music a freshness.  Each voice is clearly delineated yet there is also a clear group "sound." "Fire In My Head (The Anxiety Suite)" was recorded before but is being released during the current global pandemic.  There are times when the density of the sound verges on overwhelming but there is also an undercurrent of hope in the "Suite".  Perhaps, that's because the final track, "V: Resistance", speaks to our ability to rise above the foolishness and. childish behavior of certain officials and do what's right for ourselves, our children, our community, and, inevitability, our country. Sheldon Brown's powerful solo on that track stands out as an expression of freedom.

"Fire In My Head (The Anxiety Suite)" is powerful music made all the more relevant in our current situation. This music will resonate long after the blows from the Coronavirus have been absorbed and (hopefully) eliminated.  The Ian Carey Quintet + 1 has thrown down the gauntlet; listener, start healing your self through creativity, confrontation, and reflection.

For more information, go to iancareyjazz.com –– for purchase information, go to iancarey.bandcamp.com/album/fire-in-my-head-the-anxiety-suite.

Here's the second movement a.k.a . "This Is Fine":

Trumpeter and composer Ben Holmes, a native of Ithaca, NY, now lives in Brooklyn, NY.  He's studied Jewish Music, in particular Jewish music of the 20th Century with the emphasis on popular musicians such as clarinetist Dave Tarras plus trumpeters Ziggy Elman and Mannie Klein.  Holmes has co-led the Tarras Band with clarinetist Michael Winograd, co-leads a duo with accordionist Patrick Farrell and played with Vampire Weekend as well as Slavic Soul Party. As a leader, he's recorded a Trio album in 2012 and Quartet album (for Skirl Records) in 2015.

In 2019, Holmes appeared as part of a larger ensemble on Michael Winograd's "Kosher Style", one of the best klezmer albums of the past few years.  Now, he's released "Naked Lore" (Svejk Music/ Chant Records), a nine-song program of originals based on classic Jewish and Klezmer melodies. Joining the trumpeter is Brad Shepik (acoustic and electric guitars) and Shane Shanahan (percussion) –– the makeup of the band will remind close listeners of Dave Douglas's Tiny Bell Trio, an ensemble that Sheik played with as well.  But the music here has more of Middle-Eastern and Iberian Peninsula feel, with the hand percussion.  The Portuguese guitar adds a Mediterranean feel to "Swamplands Chusidl" but the funky rhythm Shanahan creates places the listener in Brooklyn. Holmes gets such a clear tone from his trumpet, a classical sound, yet the music does not feel stilted in any manner.

Pieces such as "The Sunbeast Emerges" (listener below), "Interlude on Avenue J", and "Two "Oh No!"s and an "Oh!", no "No!" have an urgency that jumps out of the speaker. Shanahan creates an insistence that pulls the trumpet and guitar, especially during Shepik's solo on the last track listed. "Interlude..." features more percussive excitement as the guitar and trumpet create a circular melody that is quite alluring.  "Invocation II/ The Dust of Unremembering" opens with a stunning solo trumpet statement that runs nearly three minutes. The second half of the six minute opens with Shepik playing a hypnotic guitar figure while Shanahan wails away on the frame drum. When Holmes reenters, he's playing muted trumpet and the music takes on an air of mystery.

YouTube

The final two tracks include the soothing then raucous "First We Were Sad; Then We Danced" and the lovely medium-tempo "All Together".  "First..." tells you all you need to know right in the title while "All..." also starts slowly then picks up on the strength of the rollicking percussion.

"Naked Lore" should be considered one as of the albums involved in the "changing of the guard" in contemporary Jewish music. Listeners who love music well-played as well as challenging can find a home here in these melodies and rhythms. Ben Holmes is an exciting trumpeter, an excellent musician whose has found his soul in this music and makes you see and hear it as well.

For more information, go to www.ben-holmes.com. To purchase the music, go to benholmes.bandcamp.com/album/naked-lore.

Here's a taste of "The Sunbeast Emerges":

Love, Life, Live!

Photo: Shervin Lainez

If you enjoy vocalists, it's easy to enjoy the work Sara Gazarek. The Seattle, WA, native has been "on the scene" since the early 2000s releasing is albums as a leader or co-leader since 2005.  She really inhabits songs, articulates the lyrics, the emotions are real (and never forced), and records songs from across a wide spectrum from "pop", folk, rock, blues, Broadway, and jazz.  Ms. Gazarek possesses a seemingly effortless voice with a wide range – she can sing really high up in that range and always make it sound good.

Album #7 is "Thirsty Ghost." The singer produced the album and it's her first to be self-released. Working with a crackerjack trio – Stu Mindeman (piano, Rhodes), Alex Boneham (bass), and Christian Euman (drums) – the 12-song program is her most emotionally varied.  Take "Never Will I Marry", the Frank Loesser song the 1960 musical "Greenwillow"; the Caribbean rhythms, the responsive reeds and brass, her joyous scat singing, and Mindeman's bubbling electric piano make the piece a declaration of independence.  And, as break-up songs go, Hoagy Carmichael's "I Get Along Without You Very Well" is one of the sadder ones.  Missing the rarely used subtitle, "Except Sometimes", Ms. Gazarek makes us believe those two words without every uttering them.  The sympathetic bass and drums (subtle brush work) and Mindeman's soul-tinged piano is excellent, a smart arrangement by the vocalist and pianist.

Photo: Andrew Southam

Then, there's Stevie Wonder's "I Believe When I Fall In Love", arguably one of the songwriter-performer's better tunes.  Ms. Gazarek's reading, replete with a horn section and backing vocals, takes its time to get to the chorus – when she does, it's such a quiet yet intense emotional release. Plus, that leads directly into an equally emotional alto sax solo from Josh Johnson.  Ms. Gazarek's wordless vocal in the final 30 seconds is breathtaking.  She follows with a smashing Geoff Keezer arrangement of Dolly Parton's "Jolene".  The rhythm section hits hard and really creates a whirlwind of tension-and-release while the vocalist pleads her hopeless case.  One has to be impressed how big the sound of the trio and voice are here without being shrill or over-blown.  Note the delightful drumming by Euman (you'll see him at play in the video below).

Photo: Shervin Lainez

Three of the twelve piece are original lyrics by Ms. Gazarek  including two with melodies by Larry Goldings (who contributes organ on the tracks) and the other by Brad Mehldau.  "Easy Love" is a soft, swinging, tune with excellent piano by Mindeman with Goldings' organ coloring. The organ has a more atmospheric role on "Gaslight District", a tune that has the feel of Steely Dan's "Aja" with an excellent horn arrangement by trombonist Alan Ferber.  There's tenderness and vulnerability in the vocal plus a wistful hope for a better day. The album closes with "Distant Storm", the Mehldau melody. Opening with Ms. Gazarek's voice supported by Ferber's horn arrangement. Listen closely for the background voices of Erin Bentage and Kurt Elling – their subtle contributions help lead us to the verse and chorus.  Elling takes a verse after a fine Johnson solo, the poetry of the alto lines nicely expanded upon by the vocalist.  Ms. Gazarek returns, reminding the listener that although the "storms" that often make our lives so scary, there is hope with each new dawn.  She takes out the song with just Mindeman's piano and the reminder to "move on".

"Thirsty Ghost" is a triumph for Sara Gazarek.  Her song selection is spot-on, her voice sounds more assured than ever before, and the musicians she partners with play with such commitment and soul.  And, it sounds so good!  You'll feel better listening after listening to this music, so much so there should be no guilt playing it over and over.

For more information, go to saragazarek.com.

Here's Ms. Parton's tune with the fine Geoff Keezer arrangement:

The Curtis Brothers, pianist Zaccai and bassist Luques, grew up in Hartford, CT, and were the beneficiaries of the school that Jackie and Dollie McLean created, The Artists Collective.  They both studied in Boston, MA, Zaccai at the New England Conservatory of Music and Luques at The Berklee College; after graduation, they formed their own band while maintaining an impressive number of sideman gigs.  Zaccai has worked with Ralph Peterson, Wallace Roney, and Donald Harrison while Luques has been in-demand since moving to New York City, working with Eddie Palmieri, Etienne Charles, Albert Rivera, and many more. They started their Truth Revolution label in 2009 and now, with the arrival of "Algorithm", have released five albums (including one recorded nine years before they had their own label).

The new label is a live date recorded in February of 2018 at The Side Door Jazz Club in Old Lyme CT.  The nine-song program is the result of a Chamber Music America grant that Zacccai won; originally composed for their own band, this recording three of their mentors, drummer Ralph Peterson, trumpeter Brian Lynch, and alto saxophonist Donald Harrison.  Thanks to the presence of Mr. Peterson, much of this music is volcanic in nature (having seen the drummer perform in the space, he is surrounded by plastic for the recording; otherwise, his sound would swamp the band).  But the drums are not the only focal point. Zaccai is an excellent composer with an ear for intelligent melodies and fine harmonies.  He fashioned these songs to tell a story about the Brothers upbringing and the various mentors they encountered.  "Chief" is Donald Harrison's vehicle and he owns the space, his rippling phrases and powerful solo over the rollicking rhythm section is a joy to hear.  Touring with the "Big Chief's" band was the Brothers first professional gig.

Photo: Ramsey De Give/WSJ

The spotlight turns on Brian Lynch for "The Professor", a finely-etched tune, well-constructed, a blues-soaked ballad that he makes his own with long phrases, breathless runs, snappy notes, at times in dialogue with Peterson while the Brothers hold the piece together.  Luques takes a short but fine solo as the music fades to a close.  Several tunes pay tribute to the sound and feel of Art Blakey's Jazz Messenger, none moreso than "Undefined." The front line blares out while Zaccai's piano sets the stage. Soon, Lynch takes over, his muscular solo riding the waves of sound from the drums. Harrison roars into his solo and throughout, he too in dialogue with the drums. The thunder recedes for the beginning of the piano solo – the piano and drums engage in cat-and-mouse game before Zaccai dances forward, his brother's bass lines dancing beneath him.  You will scream alongside Side Door owner Ken Kitchings during the drum solo.

The album closes with "Sensei" and one its to hear Ralph Peterson in the lead. Zaccai and Luques supply the rhythmical melody line and the drummer tell the story.  The shortest track on the disk (4:01), one still is impressed by the power and the determination that Peterson brings to the song (as well as the entire program).

"Algorithm", with its Latin sensibilities and its impressive execution, is worth hearing for so many different reasons including the story lines, the wonderful musicianship, and to hear how the roles of the rhythm section and the front line can be blurred to great effect. Yes, the themes are well-drawn, the solos fiery yet often melodic, and the rhythms seductive and thunderous – for those of us in central Connecticut, The Curtis Brothers have grown up before our very ears, matured into excellent  and thoughtful musicians.  This album will rock your speakers (and your world) the way the performances rocked the audience at The Side Door.

For more information, go to truthrevolutionrecords.com/artists/curtisbrothers.

Here's the album's opener:

Photo: Ulysse Lemerise

Jacques Kuba Séguin is a trumpeter and composer based in Montreal, Quebec, Canada.  He is one of the more celebrated trumpeters in Canada, winning several awards for the work he has done with two of his groups, including his Litania Projekt quartet collaboration with the Quatuor Bozzini, the Montreal-based string quartet. Besides creating his own label, Odd Sound, for his various ensembles, he's traveled to Germany, Poland, and China.  One of his bands, Odd Lot, has more of an electric edge with keyboards, synths, and pedals.

His latest album, "Migrations", has its roots in the composer's interviews with various cultural groups in Quebec Province.  Séguin, who is of Polish origins, created a musical program that addresses the hopes, dreams, fears, and joys of the people he talked with.  Playing the seven-song program is an ensemble that features highly acclaimed saxophonist Yannick Rieu, equally as acclaimed pianist Jean-Michel Pilc, vibraphonist Oliver Salazar, bassist Adrian Vedady, and drummer Kevin Warren.  One may be surprised on much this music swings. For example. "L'érivain" would not sound out of place on a mid-1960's Miles Davis album or coming from Dave Douglas.

The album opens with "Hymn" which opens with a solemn melody played by the trumpet with the tenor sax in counterpoint.  The band enters with a gospel lilt before the bass and drums drop into a loping rhythm underneath the lilting yet bluesy trumpet.  Check out the delightful piano solo followed by a fine tenor turn.  "I Remember Marie in April", a title which sounds as if should be for a lovely ballad, is quite a active post-bop tune that would not sound out of place on Wynton Marsalis's "Black Codes From The Underground."  The piece has a contagious rhythm and features exciting solos from Séguin and Pilc (dig his "Giant Steps" quote), a hopping vibes solo, and excellent counterpoint from bassist Vedady.

The powerful ballad, "Preimiére Neige (You're Not Alone)", features the leader's lyrical trumpet playing, filled with emotion, long notes, and, at times, sadness.  The album closer, "Mosaïques", has a Middle-Eastern feel in its rhythm and sinewy melody line.  The bassist has a long solo, then a short call-and-response with the entire group before stepping out once more.  The group takes the song out with the melody.  What makes this program so good is how the blend of solos and group playing are on an equal level, one not more important than the other.

"Migrations" is my introduction to the music and musicianship of Jacques Kuba Séguin.  He's organized an excellent band, Jean-Michel Pilc has rarely sounded so joyous, and the rhythm section truly supports and pushes the rest of the band.  Check it out.

Give a listen:

Creative Explorations by Groups of Equals

Rudy Royston is one those drummers who makes an impact on the musicians he works with from the first note of a song. He plays with such fire, often pushing his fellow musicians to greater heights and, to my mind, more powerful solos.  Royston, a Texas native who came of age in Denver, CO, studied music in college but really learned about his craft (not just playing but composing, arranging, and listening) while working with trumpeter Ron Miles.  He's gone on to play with a great number of musicians including Bill Frisell, Dave Douglas. J.D. Allen, Ravi Coltrane, and Rudresh Mahanthappa.  In person, he's a joy to watch, mostly because he always looks like he's having the time of his life.

"Flatbed Buggy" is Rudy Royston's third album as a leader as well as the third to released by Greenleaf Music.  For this effort, which reaches back to the drummer and composer's childhood memories, he's gathered a topnotch group of collaborators including Gary Versace (accordion), John Ellis (bass clarinet, saxophones), Hank Roberts (cello), and Joe Martin (bass).  Those of you expecting a collection of hard-blowing "jams" will be pleasantly surprised by the delicate nature of much of this material and how melodic the material.  That does not mean it's "wimpy" or "smooth jazz" - tracks such as "Hourglass", "the opening "Soul Train" (sorry, no Don Cornelius), and the effervescent "Bobblehead" dance out of the speakers.  Yet, it's the blend of accordion and cello, the way Ellis weaves his bass clarinet in and out the music or adds his soprano to the exciting performance of "Bobblehead" that stand out.  Yes, this music has power and it comes from the interactions, from the irrepressible rhythms, the solid foundation that Martin's excellent bass work provides.  On occasion, you may hear the influence of Mr. Frisell's "Americana" music or the way the late Jimmy Giuffre weave folk melodies into his music but this is Rudy Royston telling his own tales.

Each song has a storyline.  "boy...MAN" opens with a lovely cello melody and then wraps that around there accordion and cello.  Here, Royston guides the ensemble forward, opening the piece up to a strong bass solo that builds intensity to a powerful close.  Later on in the program, "girl...Woman" starts as a lovely ballad again with Roberts in the lead and Versace playing counterpoint and in unison.  The track includes a stunning accordion solo, introspective and gentle, ref;active of a day spent in the country.  Ellis, Versace, and Martin weave their individual sounds each other over the quiet colors of cello and the leader's cymbals.  But, even with all these quiet interactions, the quintet drops into a lively, "pop music" groove to take the piece out.

"Flatbed Buggy" is one of those albums to listen to all the way through.  There's so much to "hear", so many stories and histories embedded in this music that it's impossible to appreciate what Rudy Royston has so majestically created on one pass through.  At times stunning, at others times, joyful yet always melodic and rhythmically rich, this album deserves your full attention!

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

Put on your dancing shoes and listen to this:

Trumpeter and composer Jonathan Finlayson, long-time collaborator of saxophonist Steve Coleman, continues to spread his creative wings on "3 Times Around" his third album for Pi Recordings.  The new album features pianist Matt Mitchell, bassist John Hébert, and drummer Craig Weinrib, all of whom appeared on Finlayson's 2017 Pi release, "Moving Still", and replaces guitarist Miles Okazaki with tenor saxophonist/flutist Brian Settles and alto saxophonist Steve Lehman.  While the influence of Mr. Coleman is evident on the opening two tracks and the impressive 14-minute opus "The Moon Is New", this music is no cookie-cutter impression of Finlayson's mentor's music.

"Feints" and "Grass" open the program, their exciting rhythms and percussive melodies (and counterpoint) making for intense listening. The first extended solo one hears on cut one is by Mitchell - he does not disappoint as his solo hurtles ahead as he interacts with with Weinrib's powerful drumming spurring him on.  Then, the interplay of Settles, Lehman, and Finlayson soars atop the dynamic rhythm section.

The pace changes when you enter the rubato world of "A Stone, A Pond, A Thought" - here, the trumpet leads the saxes in atop rumbling piano, thrumming bass, and various "colors" from the drummer.  Hébert's impressive bow-work is featured in the middle of the nine-minute "sound sculpture" before the sextet returns to push the intensity higher but never falling into a rhythm.  That intensity carries over to the episodic "The Moon Is New" - after the powerful opening, the piece moves in several directions and puts the spotlight squarely on The leader, Lehman, Settles, and Mitchell, all the while the rhythm section scurrying around under those soloists.  The shorter yet no-less-powerful "Refined Strut" follows and the music is as advertised.  Concentrate on how the rhythm section creates the irresistible "strut" and the on how the reeds and trumpet decorate the melody.

Photo: Paul de Lucena

"3 Times Round" is dedicated to the late Muhal Richard Abrams (1930-2017) and the conceptualist/composer's sense of adventure is a large influence on how Jonathan Finlayson approaches his original music.  The sound of this ensemble is so full yet never cluttered nor cliched.  The sextet is emotionally and musically attached to this project all the way through - I really enjoy listening to and am deeply impressed by the playfulness of Craig Weinrib as he dances along with the ensemble.

For more information, go to jonathanfinlayson.com.

Here's the album's opening track:

Although you do not see it anywhere on the album cover, this is the second album from the quartet known as Dirigo Rataplan. The ensemble, organized by drummer and composer Devin Gray, features trumpeter David Ballou, tenor saxophonist Ellery Eskelin, and bassist Michael Formanek.  In 2004, Gray assemble a trio owht the trumpeter and bassist, adding the tenor sax to the mix after moving to New York City several years later.  Their 2012 debut album, originally released on SKIRL Records, sets the soundstage for the quartet's new release.  Gray's music takes its influences from myriad sources, from folk melodies, funk rhythms, and blues changes, from "free" explorations and the classic interactions of Ornette Coleman's Quartet from the Atlantic Records years (1959-61) to create its contemporary sounds.

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It's a real joy to hear how these musicians play together, how they explore the various routes that Gray's compositions offer them. When you have four such individual voices, the music can either be an exercise in technical virtuosity or a four-way street with everyone listening to each other, conversing as equals, giving the music their full attention.  That's what you get with "Dirigo Rataplan II". One supposes you could listen just for Eskelin's melodic saxophone or Ballou's articulated melodies and exploratory solos or Formanek's fascinating bass work (who has a more melodic approach to the bass than him?) or how Gray leads the band without commanding the spotlight.

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Listen to "Quantum Cryptology" to hear how the band navigates the melody line and how each gets a solo while the rhythm section creates a different yet interactive foundation/counterpoint.  Note how "Trends of Trending" opens in the pocket then moves inward, the trumpet and saxophone conversing across the bass and drums. Hear how Formanek's bass lines up high on the neck of his instrument dances over the scuttling drums on "What We Learn from Cities." The softness of the opening of "Intrepid Travelers" hints at blues for the first half then moves subtly away.

Dirigo Rataplan II" contains music that asks you to listen, does not beseech the listener, but seduces with its melodies and interplay/interactions as well as the intelligence of the music.  Is this strictly intellectual music? A kind of "highbrow jazz"?  What Devin Gray has created with Ellery Eskelin, David Ballou, and Michael Formanek is a delight from start to finish.

For more information, go to devingraymusic.com.  The quartet appears tomorrow in CT at Firehouse 12 - go to firehouse12.org for more information. They'll travel down to Baltimore, MD, on the next day and back to Philadelphia, PA, to close their short tour.  For more information, go to devingraymusic.com.

Here's the opening track:

Spirited & Spiritual New Music

If you allow it to happen, music can come at you from all directions, with many different styles and intents.  So much of it rolls through through your head and you may only notice it when the sounds are raucous or a melody catches your attention.  Then, there are those albums that grab you from the opening seconds snd do not let go.  Hours, days, weeks later, you return and are seduced again.

"Light In The Darkness" (self-released) is the first album from trumpeter, flugelhornist, composer, and educator Benje Daneman. His sextet is called SearchParty and features a quartet of Chicago-based musicians including Greg Ward (alto saxophone), Rob Clearfield (piano), Andrew Vogt (electric bass), and Jon Deitemyer (drums) plus the leader's wife Ashley (voice, vocals).  The program blends ancient texts, fiery instrumentals, mediative solo and duo improvisations, into a story that resonates with spirituality, railing against the daily forces of negativity by creating positive music.

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The album is bookended by two long tracks, the opening "The Light" and the closing "You Are The Light": both episodic compositions start quietly, the former being all instrumental while the latter has vocals, and build to powerful crescendoes thanks to the pulsating rhythm section and the forceful piano. Greg Ward's solo on the opening cut flies upwards propelled by Deitemyer's splendid drumming.  Clearfield, who has emerged as one of the finer and most melodic of pianists on the creative scene, follows, pushing the music with an energetic two-handed solo rippling with handsome phrases.  "You Are The Light" certainly has the feeling of a prayer, with Ms. Daneman's soulful vocal leading the way. As the band enters, echoing her melody line, the intensity level rises. Still, the following section has the alto sax, trumpet, and piano sharing short solo lines before the intensity once again rises and the voices begin to coalesce. The album powers it way to the finish with the drummer leading the way and the voices coming back in before the eventual fade to solo piano.

In between, there are several tracks such as "Lamps", "(Our Fear of) Exposure", and the title track that ask the listener to surrender, to listen closely, to contemplate, and to reflect. The world whirls around us, every day events transpire to tamp down our spirits, to turn us against our neighbors, to actively distrust the "other".  The Danemans and SearchParty implore us to trust again, trust in friendship that leads to collaboration, to fight for equality for all. The band does so without polemic, with music that easily glides across borders and that illustrates how words and musicians can heal.

Photo: Grant Beachy

"Light In The Darkness" has rocked my world since the album arrived a while back. Because I want to believe that we can change this world for the better and that must can do that.  Yes, it is true music can also build walls, stoke anger, separate generations but there is also music that can heal, can (if only for a few precious minutes) restore memory, and can create new memories.  Are the messages that Benje Daneman's SearchParty creates new ones?  Not truly (some of the lyrics come from Biblical Psalms), but we need to listen with fresh ears and open minds.  I needed this music at this time. Hopefully, you will find the joy in it as well.

The album will be released to the world on August 31, 2018.  For more information, go to www.benjedaneman.com.

Give a listen to the opening cut:

Pianist and composer Stu Mindeman may be best known for his current role as pianist for Kurt Elling. His father, a musician, moved his family to Santiago, Chile when Mindeman was quite young and the sounds and songs of post-Pinochet years infused him with love  for folk music of the country. They then moved to Chicago, IL. where he began a career that has seen him work with Branford Marsalis,  Antonio Sanchez, Gloria Estefan, Kendrick Scott and many more.  He has also been music director for the Second City comedy troupe.  His 2014 self-released debut album, "In Your Waking Eyes: Poems by Langston Hughes" stands out for the power of Sarah Marie Young's and the imaginative music that accompany the poems.

In 2017, Mindeman returned to Chile where he began to collaborate with vocalist Francesca Ancarola, bassist Milton Russell, and drummer Carlos Cortes Diaz.  All three appear on "Woven Threads", the pianist's new Sunnyside album. The music is a tribute to Victor Jara and Violeta Parra, both poets, singers, and activists whose lives were crushed by the Pinochet regime in the mid-1970s. When Mindeman returned to Chicago, he gathered a number of friends to help him flesh out the music.  People such as bassist Matt Ulery, drummer Juan Pastor (whose group Chinchano Mindeman works with), percussionist Yuri Hevia, violinist Victoria Moreira, drummer Makaya McCraven, saxophonists Geoff Bradfield and Greg Ward, trumpeters Marquis Hill, Victor Garcia, and Quentin Coaxum, guitarist Matt Gold, and several special guests appears throughout the program.

The music? It's quite a delight. The various percussionists create a lovely rhythmic cushion and the splendid vocals of Ms. Ancarola enliven four of the tracks.  (What's missing is the English translation of the lyrics - that's a minor complaint).  One does not miss the emotion in the opening traditional Chilean tune "Casi, Casi". The pianist does not jettison the original melody or rhythms but adds overdubbed vocals, horns, and strings as well as his expressive piano - yet, it is the powerful vocal that draws the listener in.  The vocalist digs into Jara's "El Aparecido" infusing it with love and empathy yet note the powerful string work of Ms. Moreira and Gold's equally powerful guitar. Jara's "No Puedes Volver Atrás (You Can Not Go Back)" closes the program and, even if you do not understand what she is singing, you can't help but feel the pain and sorrow.

Kurt Elling appears on two tracks inspired by songs composed by Ms. Parra.  For both, lyricist Tim Stiles and the pianist remade the originals. "What Words" is a stunning ballad that also features the expressive alto saxophone work of Miguel Zenón. The handsome melody, supported by the quiet percussion of McCraven and Pastor and the thick bass tones of Russell, allows Elling to softly work through the lyrics - his voice rising out of Zenón's solo is otherworldly.  "A Thousand Stars" blends the fine trumpet work of Coaxum, the sweet backing vocals of Sarah Marie Young, and the leader's articulate piano: still, it is Elling's vocal genius (eschewing technical displays) in caressing the lyrics, giving them power in their beauty.

Other highlights include Miguel Zenón's delightful turn on the instrumental "La Rueda".  Mindeman's powerful piano lines atop the percussion of Pastor and excellent bass work of Ulery really propels the tune forward.  When the alto saxophonist steps out in front, the music takes on a dancing quality that is irresistible. French-Chilean rapper Ana Tijoux shines on "Sin Sentido (Without Sense)", her alto voice surrounded by trumpeter Hill and the overdubbed vocal wash of Ms. Young.  McCraven and Pastor really make the music dance and Mindeman's piano solo has a touch of Herbie Hancock's funkier work.

"Woven Threads' shines from beginning to end. Stu Mindeman makes this music accessible without losing its heart and soul.  The message that Victor Jara and Violetta Parra imparted to their native Chile and, several decades later, to the young pianist, is that music has power to make the world better. Just don't be silent.

The album will be released on September 14, 2018.  For more information, go to www.stumindeman.com.

Here's the opening track: