Thanksgiving Musing + Endectomorph Music: Part 1 - Kevin Sun + Earprint

I have to admit that the current state of American politics is dizzying; accusations of "lies", "human scum", and worse pass from the lips of politicians and their followers each and every day. It seems so melodramatic and would be quite silly – in the fashion of a Three Stooges short film – if peoples lives weren't being held in the balance. Empathy is gone; hail the gods of "fake news"!  "Spin" doctors have been a way of life for time immemorial yet seem to be ubiquitous today, "he said – she said" taken to the nth degree.

Still, time to take stock.  Election season is upon us, a season that won't come to its conclusion until three weeks and two days before next Thanksgiving.  How does live through the next year? I will read my share of articles from all sides of the political spectrum – I do have my own leanings but I need to know what other people in the United States and elsewhere think about the issues that affect us the most.  An informed electorate is what we should be: not just the "educated" class but everyone. Not easy. People do not like to think; they react to the voice or face or opinions that most appeal to them and act on that. Or don't. In the 2016 Presidential election, 61.4% of the electorate voted, up from 2012's 58.7% and  below the benchmark set in 2008 of 64.6%.  Less than two out of every three possible overs ventured to the polls or cast absentee ballots.  With all the freedoms one has in the United States, the freedom "not" to vote is just as important.

My fallback has always been music. In the Sumer of 1968 as the United States was reeling from assassinations, the violence at the Democratic Convention, and the ongoing escalation of the War in Vietnam, it was the music that helped me through Through recessions, the loss of parents and close friends, the birth of children and grandchildren, music has been my constant guide and companion. My best friend, my wife, tolerates that relationship and has done so for five decades. Music is so much a part of who I am.

Thanks for reading – I hope you have a warm and enjoyable Thanksgiving plus a contemplative Holiday Season.

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There is not a lot of biographical information online about saxophonist-composer Kevin Sun's early years (other than he was born in New Jersey) but one can find out he's been involved with contemporary music as a blogger ("The Horizontal Search",  since 2012), formed a trio (since 2016) and a quintet.  He has been the editor of The Jazz Gallery's in-house blog "Jazz Speaks" and, since 2018, the Artistic Director of the Blue Note Beijing Jazz Orchestra. While at Harvard, Sun served as a teaching assistant to Vijay Iyer and also helps musicians by offering grant-writing services. He's also a founding member of the creative collectives Great on Paper, Mute, and Earprint (see review below) plus the founder of Endectomorph Music, the home for the majority of his recordings as a leader or co-leader.

His new recording, a two-cd set titled "The Sustain of Memory", is a fascinating swerve in direction.  The program is composed of three multi-sectioned original works, one each for trio, quartet, and quintet. The album opens with the six-part "The Middle of Tensions", a 36+ minute work for the quartet of Sun (tenor saxophone), Dana Saul (piano), Walter Stinson (bass), and Matt Honor (drums).  The sections illustrate the musicians versatilities,  with rhapsodic piano flourishes, strong melodic work from the saxophone, and an "open" feel from the rhythm section. Every person solos at one point or another plus the presence of the chordal instrument helps define the various structures. Stinson is a powerful soloist while Honor has great artistic sensibilities, especially with his use of cymbals as color.  Saul's piano work verges on the introspective tending more towards poetical phrases than powerful percussive runs. Sun created this music to have many possibilities, not as a solo vehicle for his saxophone.  Therefore, every member of the quartet has multiple roles throughout.

Photo: Jessica Carlton Thomas

"Circle, Line", a 12-part and 29+ minute suite, features Sun's trio of Stinson and Honor. In essence, it's a musical haiku with the shortest tracks at under two minutes, the two longest at over three, and the rest in the middle.  There are several moments that may remind listeners of the music created by Henry Threadgill, Fred Hopkins, and Steve McCall (the trio Air) – like the best trio music, the pieces are conversations, a push-pull of melody and percussive tension with Stinson serving as "foundation", counterpoint, and soloist.  Each setting the saxophonist creates, each "voice" he writes and plays, makes the music stand out again not for his solo work but for the interplay and "collective" sound. Still, both Stinson and Honor get solo sections ("IV" for bass with drums, "VIII" just for bass, and "X" plus "XI" for drums); "XII" closes the suite with just Sun and his tenor.

The third suite takes up all of CD II.  At 48+ minutes and in three distinct sections, "The Rigors of Love" covers even more musical territory than the other suites. Sun plays both tenor sax and clarinet, the second "voice" is trumpeter Adam O'Farrill (pictured above left), Dana Saul on piano, with the rhythm section of Simón Willson (bass, a member of Earprint) and Dayeon Seok (drums). There is one element that you hear on each suite; Sun writes a melody built off a stop-start melody and rhythmic structure, choosing to move away from that into short solos and then back.  Here, that technique shows up in section "II" and, because the piece is longer than any of the other instances, the soloists get to stretch out. The pianist goes first and romps through several choruses – the front line interjects in the middle and Saul plays over them before taking off on an even more power-filled tangent. Halfway through the 13-minutes, he cedes the solo space to a conversation between the tenor sax and trumpet.  Underneath, the rhythm section states the "theme" while Sun and O'Farrill continue to spar, come together, and break apart. Soon, the pace slows down, Sun returns to clarinet, O'Farrill to muted trumpet, Saul playing flourishes in the background and the rhythm section sitting out.  Soon, the rhythm section reenters to give the music foundation before a quick trumpet-clarinet rondo brings the section to a close. The final section is nearly 26 minutes in duration with  plenty of group interactions, tempo and mood changes, plus solos from every musician with kudos to the bright attack of the trumpeter and Ms. Seok's poly-rhythmic attack (and short, delightful, solo). The piece closes with unaccompanied music-box tinkling piano.

Kevin Sun displays his compositional and arranging maturity throughout "The Sustain of Memory" – his instrumental voice remains strong and true plus he makes sure to leave room for the others voices in the featured ensembles to come through loud and clear.  This recording is an excellent musical adventure that is worth exploring over and over.

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

Here's one of the tracks (the full album can be purchased through the Bandcamp website):

Photo: Jonas Tarm

Earprint, in existence since 2016, is composed of four friends who met while attending the New England Conservatory of Music in Boston, MA.  Composed of Kevin Sun (tenor saxophone, clarinet), Tree Palmedo (trumpet), Dor Herskovits (drums), and Simón Willson (bass), the quartet released its delightful self-titled debut (my review is here) mere months after the group was formed. Each member composes and they play with a joy that is hard to ignore – why would you want to ignore such timeless sounds?

Yes, the setup is like that of Ornette Coleman's classic Atlantic Records quartet.  Just as that ensemble used blues and bebop as its initial influence, one can hear the influences of blues, hip hop and composers such as Julius Hemphill, Steve Coleman, and Dave Holland in Earprint's root sounds. "Easy Listening" (Endectomorph Music) shows the band in good form, using the lessons learned from its earlier album and the subsequent live dates to create an impressive 11-song program. Each musical voice is distinctive, from the clear-toned trumpet to the angular and sometimes raucous tenor sax to the melodic bass work and delightful percussion.

Photo: Jonas Tarm

Note how composer Palmedo uses unison melody and counterpoint for the theme on the album opener "Sink Song."  Listen to the subtle change of the rhythm section under Sun's solo.  That's followed by a delightful drummer solo over bass ostinato before heading back to the main theme (with some subtle changes there as well). Willson's "Volume" follows with contributions from all including strong drummer and soloists interactions. Just from the first two tracks, you can hear that this is a band that follows no trend other than making good music to listen to.

And, music to groove to as well.  Herskovits lays down a wicked beat on Palmedo's "Hey Wanna Dance." The drummer does the same on his own piece "Big Bear" – Both the tenor sax and trumpeter push the tempo during their solos and, of course, Herskovits responds in kind during his own spot at the end of the track.  The drummer sets an on again-off again pace over the bass obstinate on Sun's "Silo", carrying on a musical conversation with Palmedo (muted trumpet) while Willson does his own dance moves beneath them.  The composer uses his clarinet for color but not to solo.

The album closes with two more fascinating tracks.  First is the title cut; composed by the bassist, the piece dances along on a funky beat  with a melody line reminiscent of the sound of the Daniel Bennett Group.  The drummer's "Tú" (my downloaded version titled the track "Trump University"!) is the final track, filled with sing-song melody line, the occasional discordant note and chords, tempo changes, and no overt reference to the now defunct educational institution that may have been the piece's original monicker.  Nevertheless, it's a fun way to close a delightful album.

"Easy Listening", as the title of this album, may lead you to expect much different music than what Earprint produces.  There is nothing "easy" about this program but there is a lot good about it.  If you enjoy music that challenges you to be less complacent, pokes you in the ribs, and makes you smile, acquiring "Easy Listening" is a must!

For more information, go to www.endectomorph.com/earprint.

Here's the opening track (from the group's Bandcamp where you can also purchase the entire album):

Cornet Power & Trumpets Resound

June is a such a busy month.  The Arts world begins to transition to outside the concert hall and into sheds or tents, onto public greens and other open spaces. For those of us who live in Connecticut, June is the month of The International Festival of Arts & Ideas, a two-week explosions of lectures, walking tours, theater, indoor and outdoor concerts, a cornucopia of events that take over the city of New Haven to give audiences an amazing view of what the human mind and body is capable of.

That writ, this post only covers one event from the Festival. Instead, the focus is on two concerts and one recording, all of which feature cornetists or trumpeters.  Here's a quick overview courtesy of www.beginband.com: "The trumpet or cornet is the smallest and highest member of the brass family. As with all brass instruments, the sound is produced by buzzing the lips into a mouthpiece. The difference between a trumpet and cornet is very minor. They both play the same notes and they sound virtually the same. In appearance, the trumpet looks a bit longer and more slender than a cornet. The real difference has to do with the way the tubing of the instrument flares. A cornet is more cone shaped or conical than a trumpet."

Several weeks ago, cornetist, composer, and all-around great person Stephen Haynes sent an email blast about a new project that has taken several years to bring to fruition.  Knuckleball features Mr. Haynes in a brass quartet plus drummer that makes its debut on Tuesday June 12 at 7:30 p.m. at Real Art Ways, 56 Arbor Street in Hartford.  The quintet (see above) includes three cornetists - Mr. Haynes, Taylor Ho Bynum, and Los Angeles-resident Dan Clucas - plus Ben Stapp (tuba) and Eric Rosenthal (drums and percussion).  Stapp is one of the finer young tuba players, ranking alongside Jose Davila (Henry Threadgill's Zooid) and Dan Peck (Anthony Braxton, Tony Malaby's Novela) as someone who has moved the instrument into the forefront of creative music. Rosenthal, a Wesleyan graduate (as is Bynum), lives in Boston and is a long-time member of the Klezmer group Shirim and its more "radical" offshoot, Naftule's Dream.  Taylor Ho Bynum should need no introduction as he has been active on the CT music scene (as well as the international stage) for the better part of two decades.  One of the founders of Firehouse 12 Records, he has worked and recorded alongside Anthony Braxton since his Wesleyan days (and nights) as well as with guitarist Mary Halvorson, drummer Tomas Fujiwara, the late conceptualist and trumpeter Bill Dixon, and has several duo recordings with drummer Rosenthal as well as Mr. Haynes.  Dan Clucas is a new name to me: one listen to his albums, especially the two solo dates, on his Bandcamp page (danclucas.bandcamp.com) and you'll hear how he should fit right into this mass of brass.  

I understand how audiences might look a bit askance at this lineup, expecting a lot of noise and not much else.  Yet, my experience with the music that these people create has taught me that, yes, it can be challenging but it is created with love, humor, honesty, and respect for each other and the creative process. And, the experience is often better in concert than on recordings (not to knock the recorded output of any creative musician) as you can the performers communicate, sweat, act, react, interact, and take the music to places even they don't expect it to go.  

For more information and reservations, go to www.realartways.org/event/knuckleball/2018-06-12/. 

Photo: Charles Eshelman

Amir ElSaffar, who was recently heard in New Haven performing at Firehouse 12 with Jamie Baum's Septet+, returns to the city on Sunday June 17 to play a live concert on the New Haven Green as part of the Arts & Ideas Fest.  This time, he's bringing 10 members of his Rivers of Sound Orchestra, adding 13 members of the New Haven Symphony Orchestra, and performing a program of nearly-all new music! Last June, New Amsterdam Records issued ElSaffar's stunning two-CD set, "Not Two", a recording that combined the composer's study of Middle Eastern maqams and the use of stringed instruments such as the oud and the santir (hammered dulcimer) as well as his study of vocal styles and various percussion.  The results (reviewed here), are entrancing, moving, and an aural delight.

This Sunday performance is free and open to the public.  Bring your lawn chairs, blankets, snacks, children, grandparents, and more to luxuriate in this fascinating music.  For more information, go to www.artidea.org/amirelsaffar.

Here's a sample of the sounds:

Trumpeter and composer Adam O'Farrill, the 23-year old son of composer/pianist Arturo O"Farrill and grandson on composer/arranger Chico O'Farrill, has been active on the contemporary music scene from an early age.  He and his older brother, drummer Zack, formed the O"Farrill Brothers Band and released two albums for the ZOHO label, the first in November of 2010 and the other in December of 2012. In 2014, he formed a new quartet with brother Zack, tenor saxophonist Chad Leftkowitz-Brown, and bassist Walter Stinson.  After touring and recording with saxophonist Rudresh Mahanthappa's Birdcall and bassist Stephan Crump's Rhombal, O'Farrill issued his group's debut disk on Sunnyside Records: "Stranger Days" emphasized powerful rhythms, great group interaction, and intelligent melodies, with a sound that captures the listener on the first note.


2018 finds the quartet, now dubbed Adam O'Farrill's Stranger Days, moving to Biophilia Records for its second album "El Maquech".  All the elements that made the group's debut s appealing are evident here and more.  The majority of the new album was recorded in April of 2017 in Montreal, Quebec, Canada, as the group was in the midst of its first tour.  The team of Stinson and Zack O'Farrill truly push the music forward, not just supporting the trumpet and saxophone, but challenging them (as the excellent compositions) to take the music in fascinating directions.  Therefore, pieces such as "Verboten Chant" and "Henry Ford Hospital" kick and strut with rhythmic variations and harmonic interactions.  Plus, such fire!  Listen to how the composer utilizes the front line before heading into solos. On "...Ford..", Leftkowitz-Brown comes blessing out of the "head" with a head of steam.  He and the trumpeter engage in a bit of call-and-response as well as unison "splats" before "O'Farrill steps out for a blazing trumpet solo.

Both "Henry Ford Hospital" and the title track (named for a beetle indigenous to the Yucatan Peninsula in Mexico) were inspired by artist Frida Kahlo (1907-1954). The latter tune is built off a traditional Mexican melody that the trumpeter found on a recording by Orquesta Jaranera Sonora Yucateca. It's fun to compare the two versions: the Orquesta makes the melody dance, especially thanks to the pounding drums and percussion while the newer version is respectful of the melody and rhythm (excellent work by Zack O). After the quartet throughly exposes the melody and harmony, the solos start to move into a "freer" territory.  Even as the bass and drums stick to the rhythm patterns, the trumpet and sax take a number of liberties (notice how the rhythm goes into a short swing section before a spirited restatement of the opening melody).

There are two tracks that also call out to be mentioned.  "Shall We" is a duet for trumpet and drums, a quick frolic that is playful, displaying the love and respect the brothers have for each other and their joy for making music. "Get Thee Behind Me Satan", a spiritual that O'Farrill first heard sung by Ella Fitzgerald in the 2012  Paul Thomas Anderson movie "The Master", is performed as a trumpet solo.  It's fascinating to hear he plays the melody, breaks down the tempo as the music moves along, going into rubato, his breathiness, the echo, and how the young man brings the piece to a close.  It's a visceral shock when, just seconds later, "Henry Ford Hospital" opens with its brash clarion-call of sax and trumpet.

"El Maquech" is not just an impressive sophomore album from Adam O'Farrill's Stranger Days, it's a powerful reminder of creative music keeps growing, taking elements from different cultures, making music that is fresh and challenging.  Enjoy the roar but also pay attention to how the musicians work together, fitting their sounds to the leader's vision.  Don't ignore this album and definitely see this band live!!

In keeping with Biophilia Record's mission statement, the music is issued as a download. If you buy it from the label, you receive in the mail the fascinating origami art work and a download code.

For more information, go to www.adam-ofarrill.com and www.biophiliarecords.com/artist/?id=880174455.

Here's the title track: