Piano; Rhythm, Melody and Message

Ahmad Jamal, a native of Pittsburgh, Pennsylvania, turns 82 in July of this year.  After settling in Chicago in the late 1940s, he recorded his first Lp in 1951 with guitarist Ray Crawford and bassist Eddie Calhoun (the group was known as The Three Strings).  In 1955, he switched to the piano-bass-drums format; Jamal signed to Argo Records (part of the Chess Records family) and, with bassist Israel Crosby plus drummer Vernel Fournier, made a slew of albums in the late 50s through the mid-60s. Since then, he's led a number of Trios, recorded with orchestras as well as vocalists, toured continuously throughout the world and inspired or influenced several generations of pianists and jazz musicians.

"Blue Moon" (Jazz Village) features his current group with its New Orleans rhythm section of Herlin Riley (drums) and Reginald Veal (bass) plus percussionist Manolo Badrena.  The music they create on this session is wonderfully seductive, rhythmically exciting, extremely melodic and, at many turns, pure fun.  The title track, composed by Rodgers & Hart in 1934, pulls the listener on the strength of Riley and Badrena's percussive interaction, Veal's bass line (a variation of the bass line in the "Acknowledgment" section of John Coltrane's "A Love Supreme") and the pianist alternating 2-handed phrases and percussive chordal work.  If you have heard the mesmerizing work of the Australian piano trio The Necks, there are moments here where the band "riffs" hypnotically yet always come back to the melody.

Bronislaw Kaper's "Invitation", a piece that's been recorded by countless jazz musicians for many decades (Jamal first put it on record in 1965), gets a similar treatment as "Blue Moon" but with even more influence of the percussion.  Riley and Badrena lock into the beat, pushing the pianist to exciting heights and dance-like figures.  Veal's solo bounces atop the beat sweetly before Jamal returns to the theme.   Dig the hip-hop influence in the drums on "This Is the Life" (from the musical "Golden Boy") and how Jamal works on the beat as well as playing around it with his fine melodic flourishes.

Right in the middle of the program are 2 fascinating ballads.  "I Remember Italy" (a Jamal original) is a lengthy excursion with minimal yet intriguing work from the band (implied rhythms, swirling percussion and a soft but supportive bass line).  The oft-recorded standard "Laura" is a showcase for Jamal's wonder-filled "stream-of-consciousness", fragments of the melody intertwined with flights of single-note lines and chordal fills, all with Veal tracing a rhythm with his solid bass work.

The CD closes with a playful reading of Dizzy Gillespie's "Woody'n You", a be-bop classic Jamal first recorded in 1958. The ensemble moves away from the original tempo yet suggests it throughout the performance, varying the tempo and the attack.

"Blue Moon" clocks in at over 75 minutes yet is so attractive I find myself not only playing the CD all the way through but playing certain tracks over again.  Herlin Riley is both supportive and creative while Manolo Badrena adds just the right spice whenever he's called on.  Because Ahmad Jamal's left hand work is so strong, one might suspect Reginald Veal's bass work to be superfluous;  instead, he 
 plays both timekeeper and counterpoint (when you pay attention to him, you'll notice his worth to the group.)  As for the leader, he's a master musician, combining melody and rhythm seamlessly, an "impressionist painter" at the keyboard. Ahmad Jamal might be 81 years old but, at the keyboard, his exuberance is ageless.  For more information, go to www.ahmadjamal.net.   

In 2009, the Vijay Iyer Trio (pianist Iyer, bassist Stephan Crump and drummer Marcus Gilmore) released "Historicity" (ACT Music) to great critical and public acclaim.  The exciting blend of contemporary rhythms, melodic adventures, creative re-imagining of standards and "pop" tunes, and Iyer's exploratory nature at the keyboard made for exhilarating listening.  On the surface, the Trio's new ACT CD, "Accelerando", looks like a similar adventure with several fascinating "cover" tunes, works by jazz legends (in this case, Herbie Nichols and Duke Ellington), a reinvention of a work by a modern master (Henry Threadgill) and strong original compositions.

However, the Trio has played numerous dates since its first CD and that time together has greatly enhanced the music.  Crump has been with Iyer for over a decade and Gilmore joined in 2005 (at the age of 18!) - this familiarity breeds trust and creativity.  Listening to the 11 tracks, one hears a cooperative and not a pianist plus rhythm section. Pieces like the Iyer original "Actions Speak" and the Trio's arrangement of Threadgill's "Little Pocket Size Demons" unfold organically, each musician's part matched to the other's. In the latter piece, listen how Crump's bowed bass weaves in and around the piano melody and how Gilmore's percussion converses with the bass.  In Iyer's liner notes, he states "music is action" going on to describe how the listener acts and reacts emotionally and physically.  The Trio takes "Human Nature" (the Michael Jackson hit composed by Steve Porcaro and John Bettis), pushing the bass and drums up front while Iyer interprets and reshapes the original melody.  In the middle, the piano vamp, built off the main theme, allows the bassist to move out front while Gilmore's polyrhythmic approach creates tension and release.

Scotty Hard's mix has the rhythm section, especially Crump's bass, at the volume level of the piano.  One hears how he both supports and plays in counterpoint to Iyer - "Lude" shows his versatility and also his deep feel for rhythm.  In the last third of the track, he locks in with Gilmore's solid beat, creating space for the piano to navigate around the funky rhythm.  The volatile "Action Speaks", at times, has all three players moving independently yet coming together - the drum solo creates a foundation that allows the piece to resolve in a peaceful manner.

Duke Ellington's "The Village of the Virgins" (from "The River Suite") closes the program on a gospel feel, Iyer's fine chordal work supported by Crump's wide-ranging bass lines and Gilmore's solid groove.  A reverential, soulful, piece that is a peaceful finish to a powerful recording.

What one encounters listening to the Vijay Iyer Trio is creative music at its finest.  "Accelerando" is music for the modern "dance" of life, searching for the soul that will allow us to communicate in these often maddening times.  For more information, go to www.vijay-iyer.com.

Radio, Jazz Radio

Jazzhaus, the label based in Berlin, Germany, is beginning a new series of releases culled from "audio and video jazz programs taken from live radio and television recordings from the archives of Südwestrundfunk Stuttgart, Baden-Baden and Mainz in south west Germany." If you go to the website - www.jazzhaus-label.com - you'll get the entire story. The exciting news for jazz fans is that there is going to an incredible amount of live music hitting the streets in the next decade and beyond.

The first releases are here and include (for this review) music from the Benny Goodman Orchestra (pictured), the Cannonball Adderley Quintet and the Gerry Mulligan Sextet.  The Goodman CD is from the label's "Big Bands Live" series and finds the great clarinetist recorded in October of 1959 with a 10-piece band plus vocalist Anita O'Day. It's quite a band featuring Red Norvo (vibraphone), Russ Freeman (piano), Jack Sheldon (trumpet), Flip Phillips (tenor sax), Bill Harris (trombone), Jerry Dodgion (flute), Jimmy Wyble (electric guitar) and the relatively unheralded yet solid rhythm section of Red Wooton (bass) and John Markham (drums). Goodman sounds quite lively, with a handsome tone, on his solos, especially on the faster tracks such as "Air Mail Special" where he, Norvo, Phillips, Harris, and Sheldon take good solos (but no guitar - odd considering the piece was co-written by Charlie Christian.)  Same soloists on the ensemble's romp through "Breakfast Feud" which also features plenty of punch from the bass and drums.

Ms. O'Day adds her smooth and sassy vocals to several tracks, including a pleasing romp through "Honeysuckle Rose" which opens with just voice and "walking" bass from Wooton.   When the band enters, the tune features nice give-and-take with the reeds and brass. A bluesy take on "Come Rain or Shine" follows - O'Day shows off her jazz chops especially on the first half of the track where it's just her and pianist Freeman.  Even better is the Earl Bostic blues "Let Me Off Uptown" where she has a sweet call-and-response with trombonist Harris and then shares the vocal with Sheldon (who's already in the "bopster" persona he was well-known for.) Her best moments come on the medley of "Not For Me", Jimmy Guiffre's "Four Brothers" (where she trades lines with Phillips) and improvises a "Blues" (in B-flat). 

Goodman displays his sweeter side on "Memories of You" and then lets Norvo and Wyble have the spotlight on "Don't Get Around Much Anymore." Harris and Phillips get in some serious "blowing" on "Ten Bone", sparked by the fine drumming of Markham.  The 6-song "Medley" that closes the program brings out the entire ensemble (save for the vocalist) for a piece that starts off swinging gently on "Stompin' At The Savoy" but 5 minutes in, switches over to a "jump" blues beat a la "Sing Sing Sing" with melodic references to "Bei Mir Bist Du Schoen" and other pieces.  Goodman's woody tones dance above Markham's pounding floor toms before ceding the spotlight to the drummer. It's a splendid finish to a joyous 76-minute program.

There are some sonic issues (solos starting off microphone, buried vocal lines) but this is a spirited set of songs.  If you like melodic swing, this one is for you.

The Cannonball Adderley Quintet "Live in Liederhalle Stuttgart March 20, 1969" is one of the last tours that pianist Joe Zawinul made with the band.  He has already recorded with Miles Davis for the "Bitches Brew" sessions and would soon hook up with saxophonist Wayne Shorter to form Weather Report.  Yet, he is having a great time pushing the fine rhythm section of Victor Gaskin (bass) and Roy McCurdy (drums) to create a funky yet free wheeling cushion for the brothers, Cannonball (alto sax) and Nat (trumpet).  The Quintet bursts onstage with the pianist's fiery "Rumpelstiltskin" and then goes right "down home" for Nat's "Sister Emma" - Zawinul's piano has a New Orleans-feel, especially in his fills behind the solos and his very funky solo.  Cannonball has the spotlight for the sweet take on Leonard Bernstein's "Somewhere" and then leads the band back to the "funk" for "Pops" Staples' variation on "Watermelon Man" titled "Why Am I Treated So Bad."  Zawinul is on electric piano, displaying the style that he would bring to the synthesizer in the coming decades.

If you've ever heard any of Cannonball's live recordings, you know that the programs his band performs are an eclectic mixture of jazz, blues, funk and humor (Nat's vocal on "Oh Babe" is a bit "over the top"). The sound quality is uneven (voices get buried) but one should be impressed by the work of the fine rhythm section.  By the time the Quintet breaks into Nat's "Work Song", you'll be hard-pressed to wipe the smile off your face. 
                                                   

At the time that Gerry Mulligan brought his Sextet to Germany where SWR recorded them live at "Liederhalle Stuttgart November 22, 1977", he had been a professional musician for over 30 years.  In the late 1940s, the baritone saxophonist with the smooth tone had worked with Gene Krupa's Band, the Claude Thornhill Orchestra, and worked with Miles Davis on "The Birth of the Cool."  Several years later, he toured and recorded with trumpeter Chet Baker (in a piano-less quartet, a rarity in those days), a relationship that ended (on a regular basis) when Mulligan got busted in 1953.  After he was released from prison, he began a working relationship with trombonist Bob Brookmeyer that would culminate in the Mulligan Concert Jazz Band.  He remained a busy sideman (he had a long and fruitful relationship with pianist Dave Brubeck) and leader the rest of his life (he passed in 1996), studying classical chamber music, recording more big-band music ("The Age of Steam", released in 1971, remains required listening) and touring with smaller ensembles.  His discography features Lps with Ben Webster, Thelonious Monk, Lee Konitz and Johnny Hodges.

For this tour and recording (issued under the rubric of "Legends Live" as is the Adderley Quintet CD), Mulligan is flanked by vibraphonist Dave Samuels (fresh off his experience with Spyro Gyra), Thomas Fay (piano), Mike Santiago (guitar) and the veteran rhythm section of George Duvivier (bass) and Bobby Rosengarden (drums). The same group recorded the Lp, "Idol Gossip", for the Chiaroscuro in 1976 and 3 of the pieces from that recording are performed here.  

Mulligan was a composer and performer who rarely, if ever, rested on his laurels.  The set opens with "For An Unfinished Woman", a piece he first recorded with Brubeck and Paul Desmond in 1971. The tune has a mesmerizing bass line and rhythm with solos from all.  "Line for Lyons" is a composition from 1952 Mulligan composed for his ensemble with Chet Baker.  A fairly straight-forward blues, Samuels sits this one out but everyone else gets a solo.  The leader's emotionally rich solo on "My Funny Valentine" is one of the highlights of the concert and recording.  Another lovely piece is Mulligan's "Song For Strayhorn";  the intricate mix of piano, vibes and baritone allows room for all to interact.  The program closes with a rousing reading of the leader's "K-4 Pacific", named for the train he rode out in California.  The music speeds up, slows down, speeds up again, throughout the musical journey. Everyone solos before all is played and done.  Kudos to the excellent rhythm section who never lose their way, giving the necessary support and the occasional push. 

Gerry Mulligan had a long, productive, career. His baritone work brings to mind the fluidity of Harry Carney (of the Ellington Orchestra) and points the way for the expressive work of Hamiett Bluiett, Gary Smulyan and others.  His ability to adapt his works to different ensembles (from quartets to big band to symphony orchestras) illustrates his creativity and forward thinking.  This live set is well worth your time.

I can't wait to hear what else Jazzhaus has in the vaults but, for now, these are 3 satisfying recordings.

Miscellaneous Reading and Listening

Jason Crane of thejazzsession.com and JazzDIY.com have just issued their 2nd "joint" interview and it's a chat with the gentleman to the left.  Composer/arranger Darcy James Argue, whose main musical outlet is the large ensemble known as the Secret Society, speaks with Crane about a number of subjects including his relationship to the late Bob Brookmeyer and Argue's new multi-media project, "Brooklyn Babylon."  Then,he sits with Crane for the video interview and speaks about his entry into the world of jazz as well as the business of running a modern band. Both discussions are fascinating (to me) and will give you further insights about the contemporary music scene.  Clink on the links above (or, for The Jazz Session interview, there's a link on the right of this post) and enjoy.

Bassist Ratzo Harris (Betty Carter, Mose Allison and Kenny Werner, to name but 3 of the people he has graced with his musical presence) also blogs for the New Music Box web magazine.  Recent posts include his comments on the NEA Jazz Masters ceremony, the GRAMMYs, Stan Kenton, a tribute to the life and work of drummer Paul Motian and the joy of playing "live music."  Always thoughtful and thought-provoking, Harris's words are worth your time.  Go to www.newmusicbox.org/articles/author/RatzoBHarris/ and check him out.

Those of you who follow professional basketball are probably already quite tired of "Lin-sanity", the media madness surrounding New York Knicks (and Harvard graduate) point guard Jeremy Lin. Jazz fans know New York Times and JazzTimes writer Nate Chinen - I heartily recommend you go to thegig.typepad.com and check out Chinen's post titled "Race Is The Place", a personal take on racism, color, nationality and minority status.  Click here to read the entry.

Just last week, I saw and heard vocalist Theo Bleckmann in concert with the John Hollenbeck Large Ensemble.  Bleckmann's new CD, "Hello Earth - The Music of Kate Bush" (Winter & Winter), is due for U.S. release on April 14.  Bleckmann, who not only sings but also plays toy piano and percussion, has been working on this project for several years with an ensemble that features Hollenbeck (drums, percussion, voice), Skúli Sverrisson (electric bass, voice), Henry Hey (piano, Fender Rhodes, electric harpsichord, voice) and Caleb Burhans (electric violin, electric guitar, voice). Ms. Bush first came to fame in her native Great Britain in 1978 and her eclectic style of songwriting, production and vocalizing soon drew comparisons to Peter Gabriel.  Like Gabriel, she is a sonic explorer and many of her songs tell stories (some of them quite strange.)  She does not tour and has only released 2 CDs since the beginning of the 21st Century.  Bleckmann's take on Ms. Bush is quite wondrous, his voice covering large swathes of aural and emotional territory ( a full review is coming).

In the meantime, Bleckmann and band appeared on WNYC-FM's "New Sounds" in April of 2010, performing 5 songs live (with snippets of the original pieces) and talking with host John Schaefer about why the vocalist took on the project.  Click on the link below to listen to the entire show, courtesy of WNYC.

Firehouse 12 Spring Series + Buttonwood Jazz

The Firehouse 12 Spring 2012 Series has been announced and, as to be expected, the concerts are an eclectic bunch covering much territory in the world of creative music. Starting March 23 and running for 13 consecutive Fridays, the performance space, located at 45 Crown Street in New Haven, will present very interesting shows. Each concert has 2 sets, 8:30 and 10 p.m., each with a separate admission fee.

Up first is saxophonist Larry Ochs and his new project, Kihnoua. Ochs, the "O" in the ROVA Saxophone Quartet, will present music influenced and informed by Korean musical traditions.  Joining Ochs will be vocalist Dohee Lee (also a fine dancer and composer) plus the rhythm section of Trevor Dunn (bass) and Scott Amendola (drums, electronics). The group has 1 CD, "Unauthorized Caprices", released in 2009 on Not Two Records - the recording does not feature Dunn. The music is, as to be expected given Ochs' career in the avant-garde, experimental, challenging, and fascinating.

Week 2 (3/30)brings the Michael Musillami Trio + 4, a septet whose new Playscape Recording, "Mettle", is arguably the best CD the guitarist has ever released.    Joined by his rhythm section of past decade (bassist Joe Fonda and drummer George Schuller), Musillami adds the unique voices of Matt Moran (vibraphone), Russ Johnson (trumpet), Ned Rothenberg (alto sax, clarinet) and the always exciting Jeff Lederer (tenor sax, clarinet). The music he has created for this ensemble is exciting with a great breadth of melodies, harmonies and rhythmic variety.

On April 6 (Good Friday and the first night of Passover...sigh), Trio M will fill the performance space with the inspired interplay of Myra Melford (piano), Mark Dresser (bass) and the irrepressible Matt Wilson (drums).  Their debut recording, 2007's "Big Picture" (Cryptogrammophone), was a delightful collection of improvisations and compositions - they're "on the road" celebrating the release of "The Guest House" (ENJA) recorded at the Firehouse.  With 3 such fine musicians, this music will be wondrous.

Friday the 13th of April brings the Steve Lehman Trio to New Haven.  Lehman, a graduate of the fine music program of Wesleyan University, is a fine alto saxophonist and adventurous composer.  His new recording, "Dialect Fluorescent" (Pi Recordings), hits the streets on March 27 and features Matt Brewer (bass) and Damion Reid (drums).  For this concert, Chris Tordini will replace Brewer, no big problem because Tordini has worked with Lehman and Reid in the past.  Lehman's music is filled with melodic twists and great rhythmic drive while his solos often go in unexpected directions.

The rest of the schedule includes the duo of Mike DiRubbo (alto sax) and Larry Willis (piano) on April 20 followed the next week by the Noah Kaplan Quartet featuring guitarist Joe Morris.  Bassist Trevor Dunn (week #1) returns to New Haven as a member of saxophonist Darius Jones' Quartet on May 4 while trumpeter Russ Johnson (week #2) returns as a member of bassist Michael Bates's Acrobat, a  quintet that celebrates the music of Russian composer Dmitri Shostakovich. Guitarist/composer Mary Halvorson (pictured above left) celebrates the release of her new Firehouse 12 CD, "Bending Bridges" on May 18 (Ches Smith, week #1, is a member of the Wesleyan grad's Quintet.) Vibraphonist Tyler Blanton makes his Elm City debut on May 25 with a quartet that features former West Hartford resident Joel Frahm (saxophones) and the rhythm section of The Wee Trio, bassist Dan Loomis and drummer Jarid Schonig. Drummer Allison Miller, whose initial of her last name qualifies her to be a member of Trio M, brings her Boom Tic Boom to the room on June 1 - the ensemble includes pianist Myra Melford (week #3).

2 weeks after appearing with Tyler Blanton, Messrs. Frahm and Loomis return to the Firehouse on June 8 with the Ernesto Cervini Quartet.  Drummer/composer Cervini's 2011 release, "There" (Anzic Records), was one of my "Best-of-2011" and you'll hear why - this group, also including the fine pianist Adrean Farrugia, has so much fun playing together; their music is full of fine melodies and splendid interplay.

The final show of the series takes place on June 15 and features Ellery Eskelin - Trio New York.  The formidable tenor saxophonist, flanked by organist Gary Versace and drummer Gerald Cleaver, has created a fanciful and funky tribute to the classic organ trios so prevalent in jazz of the 1950s and 60s. 

Tickets for the entire series or specific shows can be purchased by going to firehouse12.com (they'll also answer any questions you might have). You can also call 203-785-0468. 

 Pianist/composer Laszlo Gardony returns to The Buttonwood Tree, 605 Main Street in Middletown, on Saturday March 3 for an 8 p.m. show.  He appeared at the intimate performance space last year in a duo setting with saxophonist Stan Strickland - this time, he brings his working Trio of drummer Yoron Israel (left) and bassist John Lockwood (right).  The 3 have been together for over a decade and have recorded 4 Cds, the latest 2011's "Signature Time", issued on Sunnyside Records (my review can be read here.) Gardony, born in Hungary and now a resident of the Boston, Massachusetts, area (he teaches on the faculty of his alma mater, Berklee School of Music) is a fine pianist whose prodigious technical facility is leavened by his fine sense of melody and love of rhythms.  To reserve your seats, call 860-347-4957 or go to www.buttonwood.org.  To find out more about Laszlo Gardony, go to www.lgjazz.com. 

Another great ensemble appears at The Buttonwood on March 10 with the return of the John Funkhouser Trio, another fun and funky group from the Boston area. 

3 Piano Trios

One of the joys of listening to pianist/composer Matthew Shipp is that one really does not know what to expect.  "Elastic Aspects" (Thirsty Ear) is the 4th recording by his Trio that features the fine bassist Michael Bisio and creative percussionist Whit Dickey.  Opening with bowed bass and what sounds like percussion and electronics, the piece, titled "Alternative Aspects", sounds like the overture - however, it is followed by "Aspects", a 27 second long piano statement.  The first actual Trio piece, "Psychic Counterpoint", has the feel of a Herbie Nichols composition with its jagged melody, tempo changes, and boppish bass line.  That is followed by "Frame Focus", a piano solo that is contemplative yet exploratory.  Furiously bowed bass and fiery percussion is dubbed "Flow Chart" while the aptly-titled "Mute Voice" is a rambling piano solo over the barely-heard rhythm section. Shipp moves inside the piano and manipulates the pedals for "Stage 10" while Dickey plays a modified shuffle beat and Bisio plays a nimble "walking" bass line.

"Elastic Aspects" is a good description of Matthew Shipp's approach to creating music.  First and second time through the program, there is a continuous sense of discovery (the duo tracks, the piano solos, the dynamic variations.)  As one returns again, it's easier to hear the musicians "conversing", easier to concentrate on Shipp's fascinating melodic and rhythmic playing, and it makes one wish he was in the audience watching this creative Trio makes this music come "alive."  For more information, go to www.thirstyear.com. 

The Venezuelan-born pianist Luis Perdomo spent a good part of the first decade of the 21st Century as an integral member of the bands led by tenor saxophonist Ravi Coltrane and alto saxophonist Miguel Zenon.  His work on the latter composer's 6 CDs has been exemplary, making the music sound fresh and exciting.  Perdomo has also issued 3 CDs as a leader, his most recent being 2008's "Focus Point" released on CrissCross.  This new recording, "Universal Mind" (RKM), came about at the suggestion of label head and bandleader Coltrane.  In the liner notes, Perdomo writes "A few years ago, Ravi Coltrane mentioned the idea of me playing with Jack (DeJohnette) and I said 'Hell yeah'".  It took a while for the pianist to work up the courage to write to the great drummer and 2012 Jazz Master but once they got together, DeJohnette was happy to be part of the project.  Drew Gress is the bassist and the results, recorded in August of 2009, are quite a treat. 

The program opens with a rousing reading of Joe Henderson's "Tetragon" - for those who think Perdomo only has Latin "chops", one can hear the influence of his mentor Sir Roland Hanna in the blues-soaked hard bop approach.  The rhythm section dances below as the pianist goes on joyful romp.  "Langnau" is an medium-tempo original with a handsome melody line that features fine solos by Gress and Perdomo while DeJohnette provides fine work beneath them.

Perdomo and DeJohnette create 2 spontaneous pieces, "Unified Path I and II", separated by another Trio romp.   The duo pieces allow the musicians the opportunity to explore different sounds, taking their time to allow the music to evolve.  "..Path I" has the feel of John Coltrane's "A Love Supreme" with the pianist creating a hypnotic feel with the full piano chords and repetitive lines while "..Path II" is "freer" and faster, both musicians pushing each other.

Among the other highlights is the joyful journey through DeJohnette's "Tin Can Alley", with its various twists-and-turns.  The composer really dances on this piece, his ecstatic "drum-dance" providing propulsion and also engaging in a fanciful 3-way conversation that brings the piece to an energetic close.  "Dance of the Elephants" is a lovely ballad from the pen of bassist Miriam Sullivan (also Perdomo's wife), a song that the Trio allows to emerge slowly. Again, the interaction of the 3 musicians alows the emotion of the song to be fully realized. The program comes to a close with the exciting Perdomo original, "Doppio", which flies forward on the thunderous drums and flying fingers of Gress.

"Universal Mind" is a bit long (73:25) but filled with great playing, several strong melodies and wonderful interplay.  This is music that feels so "alive" and deserves to be heard live.  As I write, Perdomo is about to perform a "CD Release" tour with bassist Hans Glawischnig and drummer Jhonathan Blake starting at New York City's Jazz Standard (2/23) before heading to Europe for a week.  For more information, go to www.luisperdomojazz.com.

 Adam Kromelow, a graduate of the Manhattan School of Music, studies with Jason Moran and Vijay Iyer.  His debut CD, rightly titled "Youngblood" (ZOHO), features his Trio of Jason Burger (drums) and Raviv Markovitz (bass) and is produced by Arturo O'Farrill (someone who knows a thing or two about the piano.) Kromelow is a powerful pianist, with impressive facility, and he likes to push hard on the faster pieces.  The CD opens with the first of 6 originals, "Black Mamba", and it's a "burner" from the get-go, save for the 2 short classical interludes and a quick bass solo.  The rhythmic attack abates a bit on "Mojo", with its quirky, Thelonious Monk-like, intro, that opens up into an impressionistic piano foray closing on a jaunty piano figure. The funky, playful, "Mr. Pokey" shows that they can do "dynamics" in an intelligent manner and Kromelow's playful piano work sets the mood for the slip-and-slide rhythms that Markovitz and Burger create.

The prettiest track is the straight-forward take of John Lennon's "Across The Universe";  Kromelow presents the melody without much embellishment while the shuffle-like rhythm reminds me of Fleetwood Mac instrumental "Albatross" from 1969.  The Trio brings up the intensity for the final pass through the chorus but fades out quietly.

They have fun with Monk's "Brilliant Corners", with a out-of-time introduction that finally breaks into a gallop and the pianist plays fragments of the melody line. Right before the end, they drop into the familiar in a medium-blues tempo then double-time the piece out.  Another inspired cover is Peter Gabriel's "Mercy Street" - the song starts slowly and quietly but, as the Trio moves through the verses, the intensity picks up until it reaches a fever pitch.  The bass and drums drop out as the piano plays a short coda.  The approach works so well, the Trio repeats it on, at least, half the cuts. For instance, they go in and out of "intense" mode on "Bushido", really ratcheting it up for the closing 90 seconds.  They really slam their way through the last 2 minutes of the final track,  "Upgrade." Chalk it up to youthful enthusiasm.

What does stand out is the lyrical quality of Adam Kromelow on the slower pieces as well as his rhythmic left hand work on most of the pieces.  As a composer, his tendency is to change tempos several times during the songs.  With the forceful work of the rhythm section, there are several instances where one hears the influence of The Bad Plus.  The 9 tracks come in at just under 44 minutes so there's no excess in this program.  Markovitz and Burger rarely solo; instead, the rhythm section concentrates on its interplay and supporting the pianist.

As a debut, "Youngblood" is full of enthusiasm and promise. There's much to enjoy as one digs into the program.  Casual jazz listeners will like the hard-rock drive of the bass and drums while piano trio fans will enjoy Adam Kromelow's way around the keyboard. Find out more by going to www.adamkromelow.com.  

Live, Living, Music

The John Hollenbeck Large Ensemble played last night 2/18) in the Buckley Recital Hall at Amherst College - thank heavens the ceiling is so high for the energy of this group might have brought the roof down.  18 musicians (including vocalist Theo Bleckmann) plus conductor JC Sanford brought Hollenbeck's complex music and arrangements (a lovely take on Jimmy Webb's "Wichita Lineman"  was the only non-original) to life.  The front line featured 5 reed players - Chris Speed, Jeremy Viner, Ben Kono, Dan Willis and Bohdan Hilash - all of whom played multiple instruments.  Behind them, the trombones of Mike Christenson, Jacob Garchik, Rob Hudson and Alan Ferber gave the music depth while the trumpets of Dave Ballou, Tony Kadleck, Jon Owens and Laurie Frink provided power and, at times, a fascinating palette of swirling colors. Bassist Kermit Driscoll (electric and acoustic) served as timekeeper and also played melodic counterpoint - his flying finger work on "Perseverance" was mighty impressive. Patricia Franceshy played vibraphone, marimba and other percussion while pianist Red Wierenga made his debut with the JHLE (and is joining the Claudia Quintet for its upcoming tour). 

What stands out for this listener is how the compositions are so well-drawn, how the soloists work within the composer's challenging frameworks, how Bleckmann's voice (and sonic manipulations) rise above the ensemble often serving as an adjunct member of the reed section and, most of all, the conversations within the songs.  No trumpet solos last night; still, the 4 trumpets were an integral part of each piece.  Often, the "bottom" of the music belong to the trombones and Hilash's bass clarinet. The juxtaposition of Ben Kono's flute with the tenor work of Speed, clarinet of Viner, and soprano sax or English horn of Willis intrigued and pleased - there were several sections during which Bleckmann and Kono sang/played the same melody line. Wierenga's piano work was inaudible during the louder moments but, on the quieter pieces, was the important foundation and melodic voice.  As for the leader, he is more than the "pulse" of the band, often involved in the musical dialogues as another voice, sometimes as the transition between sections, never overplaying.

As wonderful as this music is on CD, the pieces take on new life in person.  Following the music as it moves through its various sections, as conductor Sanford cues the band or stands back for solos (he even crouched as Willis and Speed roared back and forth at each other, and as Bleckmann beautifully sang the words to "An Irish Blessing", the listener loses track of time and place.  Music should transport us; often, it beats us down with volume or tricks us with insincerity.  The John Hollenbeck Large Ensemble raised questions, pushed hard against any expectations, made me laugh, and touched my soul.  Considering the size of the ensemble and the availability of the musicians (incredibly, 10 of the 18 musicians on stage were on the JHLE's 2005 debut CD), the group does not do many live shows.  If you see a listing for them, do not hesitate to obtain tickets.  For more information, go to www.johnhollenbeck.com. 

Had the opportunity to meet and chat briefly with Earl MacDonald, composer, arranger, and currently Associate Professor and Director of Jazz Studies at the University of Connecticut. He's a very busy person yet finds time to write a highly informative blog.  Check him out at earlmacdonald.com and find his fine blog at everupandonward.blogspot.com/.

Professor MacDonald is one of an excellent cadre of music educators who live and work in Connecticut.  Western Connecticut State University has Jamie Begian, Southern Connecticut State University has David Chevan, Wesleyan University has Anthony Braxton and Jay Hoggard plus Noah Baerman while Yale has many fine classical and jazz people.  Hartt School of Music, Connecticut College, Trinity, most, if not all, of these schools have impressive faculty.

Quartet and Trio Music; Well-done Fun

Bassist-composer Josh Ginsburg, a native of Baltimore, Maryland, has just issued his debut CD.  "Zembla Variations" (BJU Records) features George Colligan (piano, Fender Rhodes), Eli Degibri (soprano and tenor saxophones) and Rudy Royston (drums) playing a program of tunes all composed by the leader.  The first impression of this music is how interactive the musicians are, how they "converse"throughout the program and how strong the melodies are.  The title track ("Zembla" comes from Vladimir Nabokov's book "Pale Fire" and is the fictional name of the lead character's homeland) opens with a long bass solo over tolling piano chords before Colligan takes off over Royston's highly-charged drumming.  Degibri does not enter until 2/3rds of the way through the track and bring the piece to an intense climax. The Israeli-born saxophonist (recently named co-artistic director of the 2012 Red Sea Jazz festival) plays a strong soprano sax solo on the opening track "PushBar (for Emergency Exit)" - as he does throughout the CD, Royston is a firebrand, pushing the soloists to dig in to their solos.  Colligan, who fronts a Trio that features Ginsburg, also shines brightly, whether supplying active chordal figures
behind the bowed bass and tenor sax dialogue on "Koan" or creating a shimmering solo on "Oxygen".  His unpredictable turns on the bluesy and energetic "10,000 Leagues" make for fun listening.  His Fender Rhodes work on the soulful "Gently" gives the piece a lighter quality that allows the fine melody to stand out.  Degibri's rolling tenor lines and Ginsburg's highly melodic solo stand out as well. Then, there's "Red Giant"; with Royston leading the way, the tune explodes out of the speakers, leaving the listener exhilarated.

People complain that jazz is not relevant or exciting - those folks need to sit down for a generous helping of Josh Ginsburg's "Zembla Variations."  Intelligent, melodic, exciting, mature 21st Century music that makes one smile. To find out more, go to www.joshginsburg.com. 

Here's the funky, delectable, "Jakewalk", courtesy of Mr. Ginsburg and Bandcamp:

The October Trio - Evan Arntzen (tenor and soprano saxophones, clarinet), Dan Gaucher (drums) and Josh Cole (drums) - came together as an ensemble in 2004 in Vancouver.  "New Dream" (Songlines) is their 4th CD, a project that took several years to come
to fruition yet the music is exciting and cohesive.  The Trio breathes as one on tunes such as "Do Your Thing", with Arntzen's lively soprano weaving around the thick bass lines and slippery drum work. "Imagine It" is a funky, bouncy and somewhat raucous take on a piece by The Dirty Projectors while the Trio reaches in to Bjork's song bag for the handsome ballad "You've Been Flirting Again." The interplay of clarinet, bass and drums reminds me of the work of Henry Threadgill with Fred Hopkins and Steve McCall in Trio Air (there's also an "airy" quality clarinet that may remind some of Jimmy Guiffre)  Nothing is rushed, no cliches, an emotionally rich reading of the melody with solos that overlap. You hear that as well in "The Park", its circular melody line played at different times by each member of the band.  The melody floats as the rhythm moves forward yet there is a dream-like quality to the piece.  Cole's full bass tone fills out the bottom, allowing Gaucher to play at different levels, moving from soft fills to accentuating the melody.  There's a funky feel to "Potential Bog", the overdubbed reeds playing a repetitive lines that pushes against the "heavy" drums and Cole's booming bass.

"New Dream" isn't very long; its 8 tracks clock in at 41:32.  Still, there is so much happening in this music it's easy to hit the "repeat" button and take it in again.   One can hear the joy of 3 friends making music that is meaningful and fun.  How pleasing!
Here's the title track courtesy of The October Trio and Bandcamp: