Steve L 8 + Sam B 5

Saxophonist, composer, arranger, and conceptualist Steve Lehman, who studied with Jackie McLean, Anthony Braxton, George Lewis and Tristan Murail, creates music that one can not absorb all at once but must let soak into your ears and mind over a period of time (much better if you don't hurry.)  "Mise en Abime" (Pi Recordings) is the second CD to feature the Octet of Jonathan Finlayson (trumpet), Mark Shim (tenor saxophone), Tim Albright (trombone), Jose Davila (tuba), Drew Gress (bass), Tyshawn Sorey (drums) and Chris Dingman (vibraphone) plus the leader on alto saxophone and live electronics.

The title refers to the phenomenon of standing between 2 mirrors and looking at the myriad reflections.  That's an apropos title as this music "reflects" the history of creative music, with elements of jazz, hip hop, classical, West African music, noise and more; it's also about Mr. Lehman's history, the explorations he has taken within the worlds of Jackie McLean (and his main influence, Bud Powell) and within the music he heard as a young man (the only non-original is a fascinating take on the 1997 hip hop tune "Luchini" by the duo Camp Lo which comes near the end of "Chimera.")

Earshot Jazz Photography

Opening with a flurry of notes from the saxophonist (unaccompanied), the program shows its colors from the way Lehman arranges the music (the drone of the vibes, the keening saxophones and the moaning brass plus the forceful drums.) There are moments when the track reminds me of Henry Threadgill's music for his Very Very Circus. Sorey is truly the driving voice throughout the program, his dancing drums pushing the musicians (his work beneath Lehman on "13 Colors" is visceral).  He literally blasts off at the start of "Beyond All Limits" and sets a furious tempo on "Autumn Interlude." Dingman's vibraphone "rings", his notes sustaining, shimmering, creating a soundscape that is more percussive than melodic (hear how he frames Finlayson's trumpet and Alrbright's trombone solos on "Glass Enclosure Transcription" ) - the simple melody he plays at the onset of "Chimera/Luchini" is the germ of a melody line from which the piece takes its shape.  Dingman's long solo (the only one until Sorey takes over near the end) dances and twists like a murmuration of birds, always changing shape and direction.

The closing track, "Parisian Thoroughfare Transcription", features what is probably Bud Powell slowly playing a series of chords (sounding like a melody from Beethoven) and talking (although you can't really make what he is saying) while Lehman solos and creates an electronic soundscape to wash over the music.  The overall feeling is one of time travel, of dreams, of reflections, of looking back and forward at the same time.

"Mise en Abime" is an intense musical experience, best listened to from beginning to end (and then again).  Though one notices his various influences, no one but Steve Lehman could have created this music.  His biting tone, his endless quest to discover new ways to make the sounds he hears in his head come alive, and the brilliant musicians who interpret those sounds, all of the above and more makes this recording one to own.  For more information, go to www.pirecordings.com.

"Exploding Syndrome" (self-released) is the debut recording for the Sam Boshnack Quintet.  Formed in 2011 by trumpeter and composer Boshnack, the same year she formed B'Shnorkestra (a 13-member ensemble - reviewed here), the SBQ blends influences from a wide swath of musical territory.  One hears West African grooves on "Dormant" and "Juba", slinky New Orleans rhythms on "Suite For Seattle's Royal Court, Movement 3", heavy metal scat singing on the title track followed by an overdubbed trumpet choir on the title track, and classical melody on "Xi." Sharing the front line is Beth Fleenor (clarinet, bass clarinet, vocal) and Dawn Clement (piano, Wurlitzer, synths), supported by Isaac Castillo (acoustic bass) and Max Wood (drums, percussion).

The blend of bass clarinet and trumpet is particularly delightful on the opening track, "Juba."  With Ms. Clement's Wurltzer setting the foundation and Wood's driving percussion.  The solos are short yet each musician displays a vigor that helps to build excitement as the music progresses.  The 3-movement "Suite..." moves from an opening melody (perhaps inspired by Wayne Horvitz) into a rhythmic jaunt flavored by Castillo's percussive bass lines and Ms. Clement's burbling organ.  The lively trumpet solo is followed by a forceful keyboard spotlight over buoyant bass and drums. "Movement 2" opens with bowed bass and muted drums and cymbals before the handsome melody emerges.  There is a stately piano solo before Ms. Fleenor's bass clarinet suggests Eric Dolphy in the company of Herbie Hancock. The crisp attack and sound of Ms. Boshnack's trumpet stands out as the piece reaches an intense climax. That attack has more of a bluesy tinge on during her solo on "Dormant."

"Ashcloud" may have an ominous title but is a touching ballad built upon a short piano figure.  The melody is stated by trumpet and clarinet before Ms. Boshnack creates an emotionally rich solo that stays in the middle range of the instrument.  Ms. Clement also creates a lovely solo before Ms. Fleenor plays the short piano figure on her instrument in support of a handsome bowed bass solo.  The performance shows the strength of this ensemble, how they listen and support each other, and how no one instrument or instrumentalist dominates the music - no surprise, as that is how they approach this material throughout.

The Sam Boshnack Quintet is in the midst of a new adventure - "The Nellie Bly Project" (read about it here - but will soon hit the West Coast trail in support of "Exploding Syndrome."  This music has fire, passion, melody, and excellent interactions - you should listen.  For more information, go to samanthaboshnack.wordpress.com.

Listen to "Suite..Movement 2":

Live This Week in CT

Busy of week of in the Nutmeg State starting this Thursday July 10 with the Rob Garcia 4 at The Side Door Jazz Club in Old Lyme. Drummer, composer and arranger Garcia stays busy with numerous projects but the RG4 is his "baby."  He formed the ensemble in 2009 with Noah Preminger (tenor saxophone), Dan Tepfer (piano) and a rotating lineup of bassists including John Hebert, Chris Lightcap and the current favorite, Joe Martin.  That lineup has just issued its new CD, "The Passion of Color" (BJU Records) and the show at The Side Door will serve as the CT CD Release Party.  Expect that the 2 sets (the first one commences at 8:30 p.m.) will feature material from all 3 of the RG4's recordings.  For ticket information, call 860-434-0886 or go to thesidedoorjazz.com.

To find out more about Mr. Garcia and the band, go to www.robgarcia.com.

Bassist and educator David Chevan is and about this week, playing 2 gigs with his group, Bassology.  Built around the drums and vocals of Ron Braggs, this trio version of the ensemble also features saxophonist Will Cleary.  They'll be playing their infectious blend of jazz, funk, pop music and more on Thursday at 7 p.m. at The 9th Note, 56 Orange Street in New Haven (with later sets at 8:30 and 10 p.m.) as well as Saturday July 12 at 9 p.m. in the Park Central Tavern, 1640 Whitney Avenue in Hamden.   Click on the venue names for more information.

On Friday night, The UMOJA Music Series presents the 3rd of 4 free concerts, this one featuring Rene McLean & The Cosmic Brotherhood at 6 p.m. Mr. McLean (pictured left), the son of the late saxophonist/educator Jackie McLean, was born in New York City in 1946 and learned his craft at the feet of his father as well as attending both NYU and the University of Massachusetts.  He has performed in venues around the world, first as a co-leader of his father's group and, even before the elder McLean passed in 2006, a leader of his own groups.  He has also taught in schools and universities in the United States and South Africa. Rene McLean is a "Senior Artist Teacher"  on the faculty of the Jackie McLean Institute at the University of Hartford.

Joining for this concert, which takes place in The Pump House Gallery in Bushnell Park (60 Elm Street in Hartford), will be Nat Reeves (bass), Alan Palmer (keyboards), Ronnie Burrage (drums) and Neil Clarke (percussion).  Opening the show will be vocalist Shenel Johns and her Quartet.  Rain location is the Greater Hartford Academy of The Arts, 15 Vernon Street, in the Capital City.  For more information, go to umojamusic.com.

The Monday Night Jazz Series in Bushnell Park has resumed and this coming Monday (7/14) presents the Marc Cary Focus Trio.  Pianist/composer Cary was born in Washington D.C. but grew up in New York City.  Since emerging on the scene in 1988, Cary has worked with many artists, from Max Roach to Shirley Horn to drummer Arthur Taylor, and spent 12 years (1994 - 2005) working with vocalist  Abbey Lincoln.  In fact, one of the 2 CDs Cary released in 2013 was dedicated to his mentor (the lovely solo recording "For the Love of Abbey" on Motema Music).

His Trio features drummer/percussionist Sameer Gupta and bassist Rahsaan Carter.  Their music, documented on the other 2013 Motema release "Four Directions",  sparkles with creativity and splendid interactions.  At times, it's downright funky.  Opening the show at 6 p.m. will be the Peter Greenfogel Quintet. In case of rain, the event moves indoors to the Asylum Hill Congregational Church, 814 Asylum Avenue.  These concerts, arranged and sponsored by the Hartford Jazz Society, are free and open to the public. For more information, go to hartfordmondaynightjazz.com. If you don't wish to venture out of your house, the concert is carried live on WWUH-91.3FM (online at www.wwuh.org.)

Here's the Marc Cary Trio from "Focus":

Large Bands, Music of the Americas & The World

3 CDs in this review, all big bands (18 members each plus guests), each with a different take on a style of music that first came to prominence in the 1930s with ensembles led by Duke Ellington, Fletcher Henderson (who started in the 1920s) and Chick Webb.  Later in the decade and into the years of World War 2, Count Basie, Benny Goodman and Lionel Hampton expanded on the sound paving the way for Billy Eckstine, Woody Herman, Dizzy Gillespie and Gil Evans.  By the end of the 1960s, Evans, Gerry Mulligan, Bob Brookmeyer, Maynard Ferguson and, most certainly, Thad Jones, were changing the focus of big bands, inspiring people such as Maria Schneider, Ryan Truesdell, JC Sanford, John Hollenbeck and more.

Arturo O'Farrill (pictured left, piano, composer, arranger) first came to critical notice playing keyboard in Carla Bley's Big Band from 1979-83. After a decade+ working with artists such as Mr. Gillespie, Lester Bowie, Harry Belafonte and Wynton Marsalis, he assumed the directorship of the Chico O'Farrill Afro-Cuban Jazz Big Band/Orchestra in 1997, several years before his father's passing.  After a 15-year run of Sunday nights at The Birdland in New York City, that band was subsumed into the Afro Latin Jazz Orchestra, an organization that not only continued to play the music of great Latin composers (O'Farrill the father, Machito, Hermeto Pascoal, Astor Piazzolla and others) while commissioning works and/or arrangements from contemporary composers such as Gabriel Alegria, Miguel Zenon, Michele Rosewoman, Vijay Iyer, Jason Lindner, Edmar Castaneda and more. From 2002-07, the Orchestra was one of the resident ensembles at Jazz at Lincoln Center - after parting ways, Arturo O'Farrill and others created the Afro Latin Jazz Alliance to help bring the music to a wider audience and have created educational programs for young performers. The 2014 edition of the ALJO features several members of the Father's Big Band, including Jim Seeley (trumpet), Peter Brainin (tenor saxophone), and Joe Gonzalez (bongos, bell).

The ALJO's 3rd release, 2011's "40 Acres and a Burro" (Zoho Music) was a delightful recording (reviewed here), mixing danceable rhythms with more than a dollop of social commentary and sparkling solos. The new CD, "The Offense of the Drum",  is the band's first for Motema Music, continuing in the groove and direction of its predecessor.  Original pieces by Vijay Iyer, Edmar Castaneda, Jason Lindner/"Chilo" Cajigas and Arturo O'Farrill are blended with fascinating new arrangements of Erik Satie's "Gnossienne 3 (Tientos)" (arranged and conducted by Miguel Blanco) as well as rousing take of the New Orleans classic "Iko Iko" (arranged by Todd Bashore, featuring the vocals and alto saxophone of Big Chief Donald Harrison).

The "Chilo"/Lindner collaboration, "They Came", tells the story of the Puerto Rican immigration to the United States.  Poet/Spoken word artist Cajiga pulls no punches talking of the accomplishments and the struggles of his ancestors while Lindner's arrangement blends funk, hip hop, the active turntable work of DJ Logic, sweeping brass and reeds framing the words.  History in music and the music of history is energetic, invigorating for the spirit and heart.

Iyer's "The Mad Hatter" is dedicated to Arturo O'Farrill with music that fuses the myriad styles the AFLO leader brings to his music. The piece builds slowly, voices adding every 8 bars, rhythms changing and shifting throughout, all leading to a blustery, visceral, trumpet solo from Seneca Black followed by the composer's rousing spotlight.  Listen to how the brass and reeds frame the solos while the percussion dances below.

The title track, the longest piece at 11:41, is a 2-part tribute to the drum and its role in communication and community over the centuries.  Composed by O'Farrill, the music goes in many directions, often guided by the active percussion of Gonzalez, Roland Guerrero (congas), Vince Cherico (drum set) plus guests Ayanda Clarke (djembe) and Hiro Kurashima (taiko drum).  Solos from guest Chad Leftkowitz-Brown (tenor saxophone), the composer, and the rhythm-makers are celebratory and quite exciting.

There is not a weak track throughout the 74-minute plus "The Offense of the Drum"; there are memorable melodies, splendid arrangements, smart interactions, a plethora of strong solos and, yes, the drum.  Not just Caribbean and Cuban, but Brazilian and even the Colombian marching drums (on the delightful "Mercado En Domingo", composed and conducted by Pablo Mayor, leader of Folklore Urbano) make this recording a joy to listen to.  The Afro Latin Jazz Orchestra wants you to learn, to dance and to understand music does make the world a better place.  To find out more about Arturo O'Farrill and his wonderful Orchestra, go to www.afrolatinjazz.org.

Pianist, composer and arranger Alan Broadbent first came to the United States from his home in Aukland, New Zealand in 1966 to study at The Berklee College of Music in Boston, MA.  By 1969, he was the pianist/arranger for the Woody Herman Band. He decided to stay in Los Angeles, CA, join to work with vocalist Irene Kral, Nelson Riddle and David Rose.  Broadbent has worked with Natalie Cole (on her "Unforgettable" CD and subsequent tours) and was member of Charlie Haden's Quartet West.  He has arranged for vocalist Shirley Horn and Diana Krall as well as Sir Paul McCartney (for his "Kisses on the Bottom" project.)

Though he has shied away from Big Band work for the past several decades, Broadbent received a commission from the NDR Big Band (Hamburg, Germany) and proceeded to create the 9 tracks that make up "America The Beautiful", the splendid CD from Jan Matthies Records.  Over the course of 9 tracks (73:49), Broadbent revisits and rearranges compositions from throughout his career as well as adding a special touch to the title track (a tribute to the country he writes "gave me a life in music and I give thanks to it every day.") His "Sonata to Swee' Pea" is dedicated to one of Broadbent's biggest influences, Billy Strayhorn. One can hear throughout the program that influence in that Broadbent emphasizes melody and harmony over dynamic rhythmic changes.  He certainly likes to "swing" as demonstrated on "Sonny's Step" composed in honor of pianist Sonny Clarke (1931-1963) where the NDR sections gets to "strut its stuff" along with strong solos.

The handsome ballad "The Long White Cloud" pays tribute to his native land, its title derived from the Maori People's name for New Zealand (Aotearoa translates to "the land of the long white cloud").  The piece builds slowly, from the piano melody (over a rhythm section that suggests the influence of Herbie Hancock) to the sectional responses that turn into the melody lines, all leading to a forceful solo from tenor saxophonist Christof Lauer.  The track that follows, "Love In Silent Amber", was composed during his Woody Herman days and also features a strong melody line, an un-rushed rhythm and the pretty interjections of the brass and reeds.

The title track is a splendid re-contruction and re-imagining of church organist Samuel Ward's melody, originally composed in 1882 to accompany a church hymn. Here, Broadbent hints at the melody early in the arrangement, choosing to use a rhythm that suggests South America to underpin the various melodic fragments he inserts until the original melody rises out of the flutes, precipitating a martial beat that then supports a slow, respectful, recitation of the melody from the brass and reeds - the short coda that follows is the "fireworks" one hopes for on July 4th.

"America The Beautiful" celebrates the music of Alan Broadbent as much as it honors the music that brought him to the USA nearly 5 decades ago.  Blessed with the cooperation of a top-notch band, the composer/arranger creates a program that emphasizes both his strengths and the musicians working with him.   Despite the many years Broadbent has shunned writing for a large ensemble, he is in top form on this excellent new CD. And, his piano work is splendid throughout.  For more information, go to www.alanbroadbent.com or janmatthies.com/blog/en/.

Georgia native Michael Dease is a multi-instrumentalist known mostly for his work on trombone but is also proficient on trumpet and saxophone.  He has established himself as a producer and sideman, appearing on dozens of recordings and gigs ranging from Alicia Keys to Illinois Jacquet's Big Band to Neil Diamond to Maceo Parker.  There are a number of good reasons he's such a popular musician - he can play any and everything plus he knows his musical history.

"Relentless" (Posi-Tone Records) is his 6th release as a leader and first in front of a large ensemble. He has stocked the band with excellent players including saxophonists Tim Green, Todd Bashore and Diego Rivera, a trumpet section led by Seneca Black, Greg Gisbert and Etienne Charles and fellow 'bone players such as Tom Malone and Jeff Nelson.  The first-class rhythm section features Miki Hayama (piano), Linda Oh (bass) and Ulysses Owens Jr (drums).  Wycliffe Gordon makes 2 appearances on the program, joining the trombones for the slinky reading of "Autumn Leaves" (nice marimba work from Gwendolyn Burgett) and switching to slide trumpet for "Two Bass Hit."  On the latter track, Gordon, Dease and trumpeter Benny Benack III engage in some sprightly scat work while, on the former, there are a slew of short but strong solo before the leader sings a verse before the song closes out by returning to its opening "groove."

Then, there's "Webster Grooves", an uptempo Dease original (4 of the 10 tracks are penned by the leader) with the feel of a blues shuffle (a la Bill Doggett's "Honky Tonk") that morphs into a "swinging" piece with excellent section writing and more short but hardy solos.  Ms. Oh, who is rarely heard on record in a big-band setting, locks in with drummer Owens, keeping the band on an even keel.  The title track lives up to its name, pushed mightily by the fine work of Owens and the smart work of the reeds and brass. "The Takeover" takes off on the strength of Ms. Hayama's piano work but hits its stride when the sections play off each other, all of which leads to a fiery solo from Bashore plus a friendly "give-and-take" from trombonists Malone and Jerrick Matthews before Charles and Ms. Hayama take turns flying over the bass & drums.

Other highlights include a lovely reading of Jimmy Dorsey's "I'm Glad There Is You", a ballad that gives Dease the spotlight as both a soloist and arranger.  His dramatic arrangement for the bridge section is forceful.  Guitarist Andrew Swift electrifies the band on its heavy funk reading of "Roppongi", a tune Randy Brecker composed for the Brecker Brothers Band.  Ms. Oh's electric bass anchors the piece while Owens Jr's drums propels the funk forward.  Eric Alexander's "Little Lucas" is a medium-tempo ballad that opens with more fine work from Ms. Hayama before Dease gives the melody and harmonies to the sections.  Tim Green's alto solo has a bit of a rambunctious edge, setting the stage for a strong solo turn from the leader.

Michael Dease understands the power of a big band and, to his credit (and our pleasure), these songs are filled with excellent section writing.  There are certainly plenty of fine solos but what stands out on each subsequent listen are the strong arrangements and first-class work of the rhythm section. Both recording engineer John Davis (Bunker Studio in Brooklyn, NY) and mixing/mastering engineer Nick O'Toole (Woodland Studio, Lake Oswego, OR) make sure we hear all the musicians, especially the superior efforts of Ms. Oh, Ms, Hayama and Mr. Owens Jr.  "Relentless" is the proper name for this appealing CD and it's well-worth exploring.  For more information, go to www.michaeldease.com or www.posi-tone.com/relentless/relentless.html.

New Music - Please Pay Attention

Turkish-born vocalist, composer, and arranger Başak Yavuz, a graduate of the Manhattan School of Music where she studied with Peter Eldridge, Theo Bleckmann, David Liebman and others, has just issued her  debut CD titled "Things..." (Z Music/Kalan) and it's quite an effort.  Besides the vocals, Ms. Yavuz composed 9 of the 12 pieces, arranged each track and played kalimba and percussion on 3.  Joining her are 18 musicians and vocalists, ranging from the afore-mentioned Eldridge and Liebman to bassist Alex Spradling (8 tracks), Richie Barshay (drums on 4 tracks), Jay Rattman (reeds on 3 tracks), James Shipp (vibraphone, pander, percussion on 3 tracks, pianists Jeremy Siskind and Wim Leysen (3 tracks each), Matt Holman (trumpet, flugelhorn), Curtis Brink (trombone), vocalists Brianna Thomas, Natalie Galey and Nicky Schrire, Yacouba Sissoko (kora), Evan Gregor (acoustic bass), drummers Arthur Vint and Guilhem Flouzat, Sebastien Boehlen (electric guitar) plus conductor Daniel Jamieson.  

Ms. Yavuz sings the first 4 tracks in her native language, using a different background for each song.  "Bu Arular (Lately)" features strong work from bassist Spradling and Holman's atmospheric trumpet.   Holman switches to flugelhorn for "Masela (What If)", joining Rattman and Brink to create a small orchestra over the active rhythm section (fine piano solo from Siskind). It's kalimba, kora and percussion on "Sen ve Ben (You and Me)", a sweet ballad that sounds like a lullaby.  Liebman's lovely soprano saxophone over Leysen's spare piano chords leads the vocalist into "Hazarfen", a mysterious ballad that moves into "freer" territory for the solos (soprano sax, distorted guitar, Flouzat's drums and piano into a wordless vocal inspired by the muezzin's song)  

Hazy guitar chords beneath the howling Indian flute introduces "A Timeless Place", Norma Winsone's lyrics added to Jimmy Rowles' "The Peacocks."  Flouzat kicks the rhythm section to life, Liebman moves to soprano sax and Ms. Yavuz sings the impressionistic lyrics in English. The intensity waxes and wanes but always keeps one's attention.  Her playful take on Rodgers/Hart's "He Was Too Good To Me" features strong support from Eldridge (on piano), whispery bass clarinet solo from Rattman (he also partakes in a sprightly duet with Ms. Yavuz), plus excellent percussion from Barshay.  The other "standard" is Irving Berlin's "How Deep Is The Ocean", here given a smart rearrangement that features Rattman (alto sax), Shipp's vibraphone and more inventive rhythm section work (Eldridge, Barshay and Spradling).  

"Where Is Home" is a duet for Ms. Yavuz (voice, tambourine) and Eldridge (voice), a short, sweet tune with a melody and harmonies that sound as if the song came from Appalachia. "Elevator Operator" (dedicated to Ornette Coleman) is pure Memphis blue with gospel piano chords, forceful vocals from Ms. Thomas and Ms. Galey, and a forthright trombone solo from Brink. It's funny, funky and right to the point.  

The longest track (11 minutes), "My Moment", commences with a drone and South Indian-inspired vocal before dropping into a "groove" for the verse.  The band drops out and the voices of Ms. Yavuz, Ms. Schire and Ms. Galey begin a round.  After the voices drop out, Shipp steps out for a hardy vibes solo with support from Eldridge (piano), Spradling and Barshay.  The piece ends in a "Twilight Zone"-type drone for voices and percussion.  Overall, it's an odd experiment that does not quite gell but is nowhere near a failure.

Başak Yavuz has returned to Istanbul to teach on the University level but has given the world a unique vocal and musical experience that combines her "roots" and life at school in New York City.  Her debut CD is a sprawling tapestry, 71 minutes of music that goes in myriad directions, all driven by the vocalist's curiosity, love of language and experimentation,  Western Asian and Middle-Eastern rhythms, and desire to connect.  Glorious at times, magical at other times and never dull, "Things..." is quite a trip!  For more information, go to basakyavuz.com.   

Andrew Hadro, baritone saxophonist and flutist, has just released his debut CD as a leader, "For Us, The Living" (Tone Rogue Records) yet he's got quite the résumé. Toured and recorded with the late Chico Hamilton, studied and recorded with pianist Junior Mance, toured with the Duke Ellington Orchestra, Bjorkestra and Tony Malaby, Hadro is also technology and faculty member of the Litchfield Jazz Camp, a summertime offshoot of the Litchfield (CT) Jazz Festival.

The recording, which features Daniel Foose (bass), Carmen Staaf (piano) and Matt Wilson (drums, cymbals), concentrates on composition by living composers with 6 pieces by Hadro and one each from co-producer Julian Shore, Ryan Amselmi, James Davis and Maria Schneider.  This is music that sings, it rocks, flows, has intelligent arrangements and lively solos.  Wilson lights a fire under the band on Hadro's "Bright Eyes", a piece reminiscent of the Charles Lloyd Quartet, circa 1966.  Ms. Staafs powerful solo energizes the rhythm section making the music even more intense.  "Give" (Shore's contribution) opens with subtle overdubbing (2 saxophones) and moves into a soft, sweet, ballad with a bit of a Brazilian feel in the rhythms. The interaction of Hadro's lyrical baritone with Ms. Staaf's chordal counterpoint catches the ear as does the smart work of the bass and drums.  "Cotton" (composed by trumpeter James Davis) is a lovely melody, prayerful, simple yet arresting, allowing the leader to explore the higher registers of the baritone.  Wilson pushes the tempo during the solos, prodding both Hadro and Ms. Staff to excellent work.  There is a "push-pull" feel to the rhythms on the "intro" section of "Forever, All Ways" that slows to allow the flute and baritone sax to create an abstract melody (no true phrases but fragments of a tune).  

The opening track, "Allegrecia" is a fine multi-sectioned work that starts in a forceful mode for the baritone to build the melody and then into an impassioned solo.  It feels like the song is over until Ms. Staaf brings the piece back to life for her solo over the strong drum work and lively bass counterpoint.  The title of the piece makes an oblique reference to a work by Maria Schneider but it's her lovely "Sea of Tranquility" that the quartet plays later in the program.  The focus is on the baritone sax all the way through the piece; Hadro states the melody, builds his strong solo atop the intuitive interactions of his musical partners, and brings the song to a soft landing.  

Photo by James Korn

By the time you reach the final track, the hard-bopping funk of "Hurricane Sandy" (a duet for baritone and drums),  the listener should feel satisfied and ready to dive back in.  Andrew Hadro has created quite a debut, showing the world what he can accomplish as a leader, composer and band member.  He makes quite sure we hear the work of the band, we hear their interactions and contributions and we understand that's why the results are so impressive.  "For Us, The Living" is what contemporary music strives to be; relevant, respectful of the past while moving into the future and joyously creative.  For more information, go to www.andrewhadro.com.  

Here's a taste of this fine recording:

Mr. Walden & Mr. Weiss's Weekend

July 4th is a big holiday, a day for cookouts, fireworks, baseball, parties and more.  Here's a suggestion for the live music buff, especially jazz fans.  Saxophonist Myron Walden (pictured left) will be making noises of his own on 7/04 at 8:30 p.m. in lovely confines of The Side Door Jazz Club in Old Lyme.  He'll be fronting his band, Momentum, a quintet that features the fine trumpeter Darren Barrett, pianist Eden Laden, bassist Yashuri Nakamura, and drummer Mark Whitfield Jr.

Walden, who plays tenor, alto and soprano saxophones as well as bass clarinet, is a member of Brian Blades' Fellowship band and trumpeter David Weiss's Sextet (see below).  He's one of those players who can light up a room with a solo, whether the song is a lovely ballad or a hard-swinging "smoker".  His latest recording as a leader is 2013'a double-CD, "Momentum Live: Our Sounds" (Demi Recordings).

Doors open at 7:30 p.m. and the quintet hits the stage at 8:30. To find out more about Myron Walden and his career, go to www.myronwalden.com.

Saturday evening, Myron Walden returns to The Side Door as part of the David Weiss Sextet.  Trumpeter/composer Weiss first started this band in 2000, an off-shoot of his New Composer's Octet (if you go to his website - www.davidweissmusic.com - you'll discover a number of off-shoots).  They recorded 2 CDs for the Fresh Sound/New Talent and, in 2004, the trumpeter put the group on hiatus.  In 2007, Weiss created The Cookers, a wonderful sextet that features Billy Harper (saxophone), Billy Hart (drums), Dr. Eddie Henderson (trumpet), Craig Handy (alto saxophone), Cecil McBee (bass) and George Cables (piano), playing a repertoire that began as re-arrangements of early pieces by all the participants and is now expanding into new works.

In between his Endangered Species project (a large group playing the music of Wayne Shorter) and preparing for a new CD by The Cookers, Weiss began composing pieces that fit in neither of those groups but would work for his Sextet.  He managed to reconvene the original members - Myron Walden, Marcus Strickland (tenor sax), E.J. Strickland (drums), Xavier Davis (piano) and Dwayne Burno (bass).  Several of the Weiss compositions were inspired by the loss of people either close to him or close to his associates.  The resulting CD, "When Words Fail" (Motema Music),  was issued several months ago and is, arguably, his strongest recordings.  2 weeks after finishing the sessions, bassist Burno passed away, shocking everyone who knew him; Weiss dedicates the title track to his bassist, a long-time friend and associate.

Before The Cookers hit the road for a long tour in the Fall of this year, David Weiss is playing selected gigs with his Sextet.  In the decade since he last convened the group, the Strickland Brothers have both created their own groups and Davis is one of the most in-demand pianists so getting the group together is an iffy proposition.  For the Side Door show, Weiss and Walden are joining forces with bassist Nakamura from Walden's band plus David Bryant (piano), Hartford-native Jonathan Barber (drums) and the fine tenor saxophonist from the West Coast Dayna Stephens. The music will still be powerful, the performances impressive.

The music starts at 8:30 p.m.  To make reservations and for more information, go to thesidedoorjazz.com or call 860-434-0886.

Great Concert, Short Notice

Spoke with composer/arranger Idan Santhaus today for an upcoming radio program.  We talked about his involvement with the BMI Jazz Composers Workshop, working with Jim McNeely and others plus having a great  big orchestra to play his music. Then, he remembered the annual concert which takes place tomorrow, Friday June 27.  The info is below. (Please note that UCONN Professor of Music Earl MacDonald has a piece in the program. Also, check out the great musicians playing these pieces!)

The BMI Jazz Composers Workshop 26th annual Summer Showcase Concert will take place this Friday, June 27, at 7:30 at Christ-St. Stephens Church in NYC (see attached).

This year we are featuring new music for big band written by eight members of the workshop: Migiwa Miyajima, Anna Webber, Tom Erickson, Scott Ninmer, Earl MacDonald, Ann Belmont, Scott Reeves, and Miho Hazama.  In addition we will hear the premier of "...and the Tire Swing Keeps Spinning...", composed by Erica Seguine, last year's winner of the BMI/Charlie Parker Composition Award.  A panel of judges: Darcy J. Argue, John Fedchock, and Ingrid Jensen, will choose this year's winning piece.  Admission is free.

The music will be performed by the BMI/NY Jazz Orchestra.  Personnel is:

Woodwinds:
Marc Phaneuf
Ben Kono
Dan Willis
Rob Middleton
Alden Banta

Trumpets:
Dan Urness
John Eckert
Steve Smyth
Dave Smith

Trombones:
Tim Sessions
Pete McGuinness
JC Sanford
Jennifer Wharton

Rhythm:
Sebastian Noelle (Guitar)
Deanna Witkowski (Piano)
Dave Ambrosio (Bass)
Satoshi Takeishi (Drums)

Summertime and the Music is Smoking!

Week # 2 for the 2014 UMOJA Music Series in Hartford features the energetic rhythm master Ralph Peterson Jr & The Unity Project Friday 6/27 at 6 p.m. in the Pumphouse Gallery, 60 Elm Street in Hartford.  This is the first of several appearances this summer for the drummer/composer/arranger and this band will not disappoint.  Joining him will be Hartford-area native Josh Evans (trumpet), Myron Walden (tenor saxophone, also appearing twice next week at The Side Door - more about that subsequently) and Pat Bianchi (Hammond B-3 organ).  This is a group that blends the fire of hard-bop with the blues-drenched soul of jazz-funk; in other words, they "bring it and bring it good!"

Opening the show will be the Jovan Alexandre Group, led by the fine young tenor saxophonist originally from Wallingford, CT.   The concert is free and open to the public. In case of rain, the show moves indoors to Greater Hartford Academy of the Arts Recital Hall, 15 Vernon Street.  For more information, go to umojamusic.com.

The Side Door Jazz Club in Old Lyme has 2 excellent shows this weekend.  On Friday night, the Door opens to the David Kikoski Trio.  Pianist Kikoski (whose credits could take up the rest of this post but includes the Mingus Big Band plus a score of strong recordings as a leader) brings the dynamic rhythm section of Ed Howard (bass) and Adam Cruz (drums).  Kikoski displays his knowledge of the history of jazz every time he sits at the piano and is a fearless improviser.  Doors open at 7:30 for the 8:30 first set.

 On Saturday, the fine tenor saxophonist Jimmy Greene brings his Quartet to the Old Lyme venue.   The Bloomfield, CT, native, currently on the Music faculty of Western Connecticut State University, has a big, flu, sound that can rattle the doors yet has a gentle side that can caress a ballad as sweetly as any musician (on any instrument.)  Not sure who's in the group but this evening promises to be one the avid listener is sure to enjoy.

For more information, go to thesidedoorjazz.com or call 860-434-0886.  Do it now, tickets are moving quickly!

I trust you are keeping up with Jason Crane & The Jazz Session - it's so easy to do as the links for the 3 most recent shows are to the right of this (and every) post near the top. Our recent weekend away from home gave me the opportunity to catch up and I do recommend you listen.  There are few interviewers as knowledgable or curious about the music and musicians he presents on every program - Mr. Crane keeps you in touch with both established artists as well as ones you may have yet to discover.  Give The Jazz Session a whirl - you'll be glad you did! Go to thejazzsession.com.

 Take a moment and give a thought to drummer/composer Matt Wilson, whose wife Felicia passed away earlier this month.  Mr. Wilson, who has brought so much joy and music to people of all ages around the world, is one of the true gentlemen in the world, always willing to teach or give an intrusive reviewer/writer an in-depth interview.

Life is fragile, even in the best of times.  Music can be a vehicle that removes one from the strife and insanity of daily existence and/or a reminder how we need to, as a caring community, continue to work on creating a just society for all.

Our thoughts and prayers go to Matt Wilson and his children.