Masters At Play & Eight Makes Great (Music)

Perfect listening for a snowy March day in central Connecticut,
"Live at U of T" (UofT Jazz) is the second CD led by the saxophone duo of Dave Liebman (soprano, tenor, flute) and Mike Murley (tenor, soprano). The former has been on the faculty at the University of Toronto as a visiting artist/adjunct Professor since 2013 while the latter has been teaching there since 2011.  Joining them is bassist Jim Vivian (who has worked with both leaders in the past, especially with Murley for over three decades) and the veteran drummer Terry Clarke (John Handy, the Fifth Dimension, Rob McConnell Boss Brass).  The quartet sounds loose and limber, each musician playing with great fire and joy.

The program includes four compositions by Liebman, two by Murley, one by Vivian, Joe Lovano's "Blackwell's Message", and a smashing cover of Ziggy Elman's "And the Angels Sing" (which was first recorded by its composer as a Klezmer-style tune in the mid-1930s before he adapted it for the Benny Goodman Big Band and Johnny Mercer added lyrics).  The quartet swings the heck of the Elman, with the two tenors trading leads and and then "trading 4's".  The rhythm section really pushes the proceedings, something they do throughout the album.

Among the highlights is "Small One", a ballad/waltz composed by Liebman where both he and Murley play soprano sax.  Both create excellent solos over the easy-going rhythm section. Listen to how they intertwine the melody and harmony of the theme section.  The two sopranos play sans rhythm section on Liebman's "Missing Persons", a piece that has the feel of a modern classical composition (yet the timbre of the sopranos and direction of the music reminds this listener of the song "Fertility" from the "Buster Bee" album on Sackville by Julius Hemphill and Oliver Lake.)  There's a sense of the mysterious in Murley's "Open Spaces", starting with the flute sounds of Liebman.  When the tenor saxophones enter, one hears the influence of John Coltrane.

"Blackwell's Message", a piece that Joe Lovano wrote in tribute to drummer Ed Blackwell, opens with a delightful drum solo by Clarke. He then falls into a New Orleans "strut" over which the soprano and tenor saxes play the plaintive melody.  Dig how Vivian creates a drone then plays in and round the pedal point.  Both Liebman and Murley create powerful solos with the drummer pushing them forward with such glee.

"Live at U of T" is a treat for those listeners who like to listen "deeply" to music.  The Liebman/Murley Quartet plays with fire, grace, intelligence, a sense of the past and present of music, and with great joy.   You should listen.

For more information, go to mikemurley.com/2017/11/new-liebmanmurley-recording-now-available-on-itunes/.

Here's the Elman/Mercer tune:

Mike Murley and Terry Clarke show up again as members of the Dave Young/Terry Promane Octet, the ensemble that has just issued "Octet: Vol. 2" on Modica Music.  Bassist Young is a veteran of the Toronto music scene, having worked in the early 1960s with guitarist Lenny Breau plus a 35 year association with pianist Oscar Peterson.  Trombonist Promane has played and taught in the Toronto scene as well (not as long as his partner), playing in pit bands for touring Broadway shows as well as with artists such as the late Kenny Wheeler, Rob McConnell, Mike Murley's Septet, and so many others. He's been on the faculty of the University of Toronto where he leads the Jazz 12Tet.  For this album, he's joined in the brass section with Kevin Turcotte (trumpet and flugelhorn) while tenor saxophonist Murley is surrounded by Vern Dorge (alto sax) and Perry White (baritone sax). Young and Clarke are the foundation of the Octet along with pianist Dave Restive.

Like "Vol. 1" (which was issued in late 2012), the new album features music from Charles Mingus ("Duke Ellington's Sound of Love") and Dizzy Gillespie ("Bebop") but there is only one original and that's Murley's "Can't You See" (the earlier album contained three tunes from Promane). This time around, the band plays music from Rodgers & Hammerstein II (the opening "O What a Beautiful Morning"), Cedar Walton (the closer "Hindsight"), Duke Pearson ("Jeannine"), Alec Wilder & Morty Palitz ("Moon and Sand"),  Jimmy McHugh & Dorothy Fields ("I Can't Give You Anything But Love"), Michel Legrand ("You Must Believe In Spring"), and Jimmy Frigo, Herb Ellis, and Lou Carter ("Detour Ahead").

With the leaders contributing four arrangements apiece, the music shows vitality, wit, and intelligence throughout. Those listeners who like swing will enjoy the rollicking "Bebop" (with a super solo from Turcotte) and the driving "Can't You See" (with its melodic bass solo and mellow trombone spotlight). Turcotte also romps through "Jeannine" as does White.

For this listener, it's the ballads that shine.  Young's arrangement of fellow bassist Mingus's "Duke Ellington's Sounds..." celebrates the song's handsome melody while featuring a heartfelt alto sax solo from Dorge.  Murley's tenor leads the way into and throughout most of "Detour Ahead" with the only other solo courtesy of the bassist.  Restivo dances through "You Must Believe In Spring" (a more uptempo take than usual) and "Hindsight", two medium tempo delights.

"Octet: Vol. 2" is good listening music.  The Dave Young/ Terry Promane Octet moves easily through this music, never taking anything for granted. This could easily be background music but the fine arrangements and strong solos holds one's attention throughout.

For more information, go to thejazzbox.ca/dave-young-terry-promane-octet/.

The Sounds of America's Past, Present, & Future

Owen Broder, saxophonist, clarinetist, flutist, and composer, has just released his first album as a solo artist.  "Heritage: The American Roots Project" (artistShare) is a fascinating and rewarding combination of different tunes from traditional American forms such as bluegrass, spirituals, early blues, and more with improvised music. Broder has assembled quite the octet of musicians; besides his woodwinds, there's the expressive violin of Sara Caswell, the formidable brass of Scott Wendholt (trumpet, flugelhorn) and Nick Finzer (trombone) as well as the rhythm section of James Shipp (vibraphone, percussion), pianist Frank Kimbrough, bassist Jay Anderson, and drummer Matt Wilson. Several tracks features the voices of Kate McGarry, Wendy Gilles, and Vuyo Sotashe. Composers include the leader, Miho Hazama, Ryan Truesdell (also the producer), and Aphonso Horne. Each composer supplied arrangements for their works while Ms. Hazama and Truesdell each arranged a traditional piece as did Jim McNeely and Bill Holman.

photo by Sasha Israel

The program is a treat from beginning to end.  Opening with Broder's "Goin' Up Home" with it's haunting melody that suggests a blend of bluegrass and an Appalachian folk song, the piece begins with, of all things, vibraphone before the violin and trombone introduce the melody.  The band enters and the melody is repeated yet listen to the hypnotic background created by the piano and vibes.  Shipp steps out for the first solo over a fiery hard-bop rhythm while the other instruments add harmonies and short counter-melodies.  Finzer solos over the droning violin with the vibes snd piano now adding counterpoint.  Holman's "Jambalaya" is a delight-filled deconstruction and reconstruction of the song that was a big hit for Hank Williams (who took credit for the song that was co-written with pianist Moon Mullican - the pianist had based his song on another piece which contained melodic elements of a 1937 song titled "Alons Kooche Kooche" composed by Julius "Papa Cairo" Lamperez. Click on this link to find out more). This rendition swings with a "cool" feel, featuring fine solos from Ms. Caswell and Wendholt.

Ms. McGarry and Ms. Gilles share the lead vocals on "Wayfaring Stranger" (arranged by Truesdell.  The opening is quite dramatic, the piano and bass leading the songs in while the bass clarinet moans quietly below.  The vocal harmonies  are lovely, with Ms. Gilles moving in and around the lead, at times singing in unison or either above and below Ms. McGarry's melody line.  The song also features a long, melodic, bass solo from Anderson.  Vuyo Sotashe takes the lead on Horne's "The People Could Fly": the melody is based on a line the composer heard from a storyteller, the rhythms delightfully South African, and the story an African American folktale. It's a rollicking good time.  The assembled voices (wordless) support the opening melody on the final track "A Wiser Man Than Me."  Broder's expressive baritone sax leads the way through this New Orleans-inspired gospel tune, a sweet coda to a fine program.  And don't those unaccompanied voices sound sweet closing out the piece.

"Heritage" the American Roots Project" comes at a time when young people's belief in the "American Experiment" is at its lowest ebb in years. This music serves as a reminder that we are truly a nation of immigrants, that artists and musicians are inspired by the various cultures encountered in their daily and working life, and that imagination and improvisation can help open eyes to new possibilities.

To learn more, go to www.americanrootsproject.com.

Here's the opening track:

Owen Broder is also a member of the quintet Cowboys And Frenchmen whose second album, "Bluer Than You Think" (Outside In Music) was issued in October 2017.  Broder plays alto and baritone saxophones and is joined in the front line by fellow alto saxophonist Ethan Helm (who doubles on soprano sax). They each contribute three of the seven tunes with one from friend, trombonist, and conceptual artist Chris Misch-Bloxdorf (whose work you can find under the nom-de-plume Artie do Good). The rhythm section includes pianist Chris Ziemba, bassist Ethan O'Reilly, and drummer Matt Honor. The band came together in 2014, taking its name from a short film by David Lynch ("Twin Peaks"), with the intent to blend "traditional American folk and pop music with elements of contemporary R&B and modern jazz"  (www.cowboysandfrenchmen.com). 

The music does defy expectations.  There's the tension-filled "Beasts" (with a Steve Reich-like rhythm and the feel of a piece by the Claudia Quintet), the funky, swaggering, "Companion Plan" (listen to how the bass, piano, and drums create an atmosphere that may remind some of Steely Dan, and "Wayfarer", the quintet take on "Wayfaring Stranger" (the baritone sax taking the lead here before it joins the alto sax for a hypnotic melody).  Ziemba's piano solo on the last track has elements of Jewish liturgical music as his lines sway and slither over the over the bass and drums.

"Clear Head", the song written by Misch-Bloxdorf, opens with the soprano and alto saxes playing a pleasing melody with support from drummer Honor. Then it drops into a rapid-fire beat, falling back to half-time and then rubato. There are several tempo variations as the soprano sax delivers a rousing solo.  Helm's ballad "Lilies Beneath a Bridge" has a handsome melody played by the alto saxes that are just slightly off-kilter creating a doppler effect.  Ziemba's sweet yet bittersweet piano solo is a highlight but so pay attention to the rhythm section supports and prods him forward.  

"Bluer Than You Think" is one of the more playful, diverse, surprising, and pleasing albums of the past year.  Tradition takes a back seat to invention and experimentation while most of the pieces have intelligent and lovely melodies.  Several of the tracks show the influence of The Bad Plus (especially the powerful "C&F Jam", though the piano solo has a lot of Keith Jarrett as well). All told, Cowboys And Frenchmen deserve your attention with its challenging and rewarding music. Here's a track to whet your appetite:

Two Masters at Play, One Trio Exploring

Recorded at the 2016 Jazz & Wine Festival Bordeaux, "Masters of Bordeaux" (Sunnyside Records) finds pianist Martial Solal in a set of duo conversations with saxophonist (soprano and tenor) Dave Liebman. The two did not play together until the tour that accompanied the appearance at this Festival but they sound like old friends as they move through the program, six recognizable standards that the duo make sound fresh.  Solal, 19 days short of his 89th birthday, and Liebman, one month shy of his 70th, do what one hopes masters will do; that is, the music they create keeps the listener glued to his/her seat wondering where the pieces will go next.

photo by Jean-Baptiste Millot

Opening with "All The Things You Are", the duo, with Liebman on expressive soprano sax, dance their way through the Jerome Kern/ Oscar Hammerstein II classic. Liebman switches to tenor for their exploration of Cole Porter's "Night and Day" yet, after his excellent solo, Solal's far-ranging solo stands out for its inventive is of melody and shifting rhythms.  Back to soprano for Miles Davis's "Solar", the duo dance through the melody while the solos will make smile, even gasp at times, at the melodic and harmonic leaps both musicians take.

Honestly, there's not a weak moment on this recording. Both Martial Solal and Dave Liebman are on top of their game, taking chances because of their mutual trust and love for improvisation yet never ignoring the songs.  "Masters of Bordeaux" is an apt title for these two musicians are truly masters of music and, in the parlance of the best red wines from the region in which this concert took place , are "Premier Cru Classe."

For more information, go to www.sunnysiderecords.com/release_detail.php?releaseID=896.

Give a listen to one of the fine collaborations:

Kevin Sun may be recognizable from his work with the quartets Great on Paper (cd review here) or Earprint (reviewed here) or his byline as a transcriber of several of Ethan Iverson's interviews. The Harvard/New England Conservatory graduate (he was the first to complete the schools' combined 5-year degree program) studied composition with Miguel Zenón and John Hollenbeck and has written on his blog ("A Horizontal Search")  an understanding of both the history and forward motion in jazz. "Trio | Kevin Sun" (Endectomorph Music) is his debut recording as a leader. Like the best saxophone trio recordings (Sonny Rollins's "Way Out West" and "Freedom Suite", Joe Henderson's "The State of the Tenor Vols. 1 & 2", Bernie McGann's "Bundeena"), this music works because it is a collaboration of Sun (tenor saxophone, c-melody saxophone, clarinet) with the impressive rhythm section of bassist Walter Stinson (Adam O'Farrill Quartet) and drummer Matt Honor (Cowboys & Frenchmen, Cat Toren).

photo by Jessica Carlton-Thomas

"Trio" contains a lot of music (72 minutes), is composed of most original works (11 Sun tunes, one standard, and two group pieces), and goes in myriad directions.  Opening with "Tranaccidentation", one immediately hears how the three musicians listen closely to each other, how Sun does not force the action and has a subtle, softer,  tone on tenor sax.  In fact, it's Stinson and Honor who push the piece forward in the manner of bassist Fred Hopkins and drummer Steve McCall of Trio Air.  Sun moves to clarinet on the next track "Loading Screen", the angular melody paired with the clanging percussion and bass counterpoint.  The C-melody saxophone shows up twice, first in the mysterious group piece "One Never Knows Now" (Stinson's impressive bowing underpinning the improvisations) and then on the standard "All of Me" - Sun's softer approach on the saxophone leans more towards Lester Young yet the brisk tempo and his delightful solo has a good dollop of Sonny Rollins in it.

photo by Jessica Carlton-Thomas

Several pieces contain great power. "Announcements" is a frisky romp that drives for the entire 2:13 while "Misanthrope" has a "heavy metal" feel at the open, Nirvana-like with bleating saxophone and crushing drums.  "Air Purifier", at nearly 12 minutes, is the longest track and goes through a number of changes in tempo and dynamics, with Sun moving from clarinet to tenor after the opening section.  There's a powerful bass and drum conversation before the piece slows again; Sun goes back to clarinet, plays a somber melody, and the bassist takes the lead. The somber tone lasts through the close of the piece.

There is so much to explore on "Trio | Kevin Sun" and I know hard it can be sitting through a long program.  But this music is worth the time and effort.  The compositions are adventurous, the skill, effort, and ideas of the musicians stand out, and one wishes to be in the audience when they explore these pieces.  Go to thekevinsun.com/p/upcoming.html to find out when this Trio is playing near you - this is "alive" music and should be seen and heard.

Here's a taste of the Trio:

Shakers n' Bakers & Albert Ayler's Revival Meeting

It's Valentine's Day 2018 and it seems obvious we could all use a "whole lotta love" (no Led Zep today though, thank you) and a revival of our spirits. To that end, tenor and soprano saxophonist Jeff Lederer has come to our rescue.  His Shakers n' Bakers crew has a new album.  "Heart Love: Shakers n' Bakers Play the Songs of Albert Ayler and Mary Maria Parks (little (i) music) revisits and updates three tracks from Ayler's controversial 1968 "New Grass" (critics thought the funky sounds beneath Ayler's talent) and three from 1969's "Music Is the Healing Force of the Universe". Lederer has been one of the late Ayler (he died just a year after the "...Healing Force...." Lp was released) and has recorded several albums based on material from throughout the saxophonist's career.

The ensemble includes Jamie Saft (piano, organ, Baldwin electric harpsichord), Chris Lightcap (bass), Allison Miller (drums), Mary LaRose and Miles Griffith (vocals) plus Steven Bernstein (trumpet, slide trumpet), Kirk Knuffke (cornet), Joe Fielder (trombone) and Lisa Parrott (baritone saxophone). Special guest Matt Wilson plays drums on two tracks a quintet of background vocalists known as the "Heart Love Singers" are featured on a number of tracks. They include Amy Cervini, Melissa Stylianou, Toni Seawright, Chelsea McLauren, and Ms. LaRose.

The album hits the streets on February 28 but the digital version can be purchased starting today by going to shakersnbakers.bandcamp.com/releases.

Listen to the track below and you'll get a good idea just how funky and far afield Shakers n' Bakers can go.  The band plays with great fire, the vocalists are perfectly matched (sweet and sassy, smooth and gruff), and Jeff Lederer plays with the fire that his fans and audiences have come to expect.

A review will post in a week or so but, for now, if this music fascinates you, give it a listen. Make sure to play it loud: it will do your heart good!

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

Wes Flies!

In his lifetime (1923-68), Wes Montgomery only made one trip to Europe as a professional musician (and none as a tourist). That makes great sense - he hated to fly! In 1965, he crossed the ocean via plane but crossed the European continent by train.  The year before, he had moved to Verve Records and started to get popular acclaim. In 1967, he made the move to A&M/CTI Records and began a short but profitable career working with producer Creed Taylor and arranger Don Sebesky (with whom he had worked at Verve).

Resonance Records has just released "Wes Montgomery In Paris: The Definitive ORTF Recording", a 2-CD set from his March 27, 1965 concert that has been one of the most popular jazz bootlegs of all time.  Reissue producer Zev Feldman was able to secure the master recording from the National Audiovisual Institute of France, the overseer of the Office of French Radio and Television (ORTF): working with Resonance label owner and sound wizard George Klabin and master technician Fran Gala, the album is finally official.

For the tour, Montgomery assembled a rhythm section that features pianist Harold Mabern, bassist Arthur Harper, and drummer Jimmy Lovelace.  Of the 10 tracks, only one is less than seven minutes and several stretch beyond 12.  Montgomery is in top form throughout the album.  If there is one track that defines the album, it's the highly rousing rendition of John Coltrane's "Impressions."  The guitar solo ranges from rippling single-note runs to his amazing "octaves" riffs and the jazzy block chords., all played as the rhythm section keeps up a torrid pace. Later on Disc one, the quartet plays Montgomery's "Jingles", another longer piece with great power and a stunning guitar solo.  Mabern, 29 at the time, is inspired by the guitarist and delivers a powerful solo that swings with glee. The slower tracks on the first disk include a Latin-tinged reading of "Here's That Rainy Day" but the keeper is the truly lovely reading of "The Girl Next Door" (composed by Hugh Martin and Ralph Blane as "The Boy Next Door").

Jean-Pierre Lelour

Disk two opens with "To Wane", a Mabern composition that matches the power and energy of "Impressions."  Special guest tenor saxophonist Johnny Griffin joins the band for the next three selections.  Now a quintet, they start with a famous Montgomery piece "Full House", a tune and album the guitarist and saxophonist recorded in 1962.  Griffin's bluesy style fits well in this music. The ex-patriate saxophonist, who had moved to France in 1963, and Montgomery have great fun playing over the active rhythm section. A short piano solo opens "'Round Midnight" (very hip audience in attendance - they applaud the melody) before Montgomery leads in the theme and takes the first solo.  When Griffin enters he plays one line then sings a short reply and gets a big laugh from the band.  The solo that follows is actually quite serious and ranges far afield. Griffin has a great time on Dizzy Gillespie's "Blues and Boogie" - he enters quietly after Montgomery's romping solo but soon digs in and creates a rollicking statement, complete with quotes from several children's songs and more.  The rhythm section has a great time as well. When they drop out, Griffin goes it alone for over two minutes, riffing on a theme with great power and joy.

"Wes Montgomery In Paris", a bootleg no more, is 105 minutes of impressive musicianship, bluesy twists and turns, and melodic adventures.  The rhythm section gives the leader great support throughout and the addition of Johnny Griffin is a real treat.  The sound is quite good save for a bit of a drop off when Harold Mabern moves into the higher registers of the piano (his "comping" is quite audible).  The sound of the bass and drums is excellent throughout while the guitar  dominates without being harsh or annoying.  All in all, a treat for guitar fans and, especially, for people who like the jazzy side of Mr. Montgomery.

For more information, go to www.resonancerecords.org/release.php?cat=HLP-9032.

Positively Posi-Tone (February 2018)

Producer Marc Free, who sets the pace at Posi-Tone Records, always signs his emails "Keep on swingin'" - that would certainly be the motto for this group the producer put together.  The sextet and its debut album is called "New Faces": the ensemble includes vibraphonist Behn Gillece, tenor saxophonist Roxy Coss, trumpeter Josh Lawrence, pianist Theo Hill and the "veteran" rhythm section of bassist Peter Brendler and drummer Vinnie Sperrazza.  Every member has, at least, one album on the Posi-Tone label or has been featured one of the label's many recordings.  The program is split between songs from deep in the label's catalogue, new pieces from the vibraphonist and the pianist plus Herbie Hancock's "King Cobra" (from his 1963 Blue Note Lp, "My Point of View").

With its airy feel and open chords, the Hancock composition posits the album in the era of "progressive hard bop" - listen to how the rhythm section plays with the tempos under the soloists.  The piece simmers and it's that feel that permeates much of the album.  Opening with pianist Jon Davis's "Happy Juice", the music has a delightful swing, the melody glides forward, and the soloists (Lawrence. Ms Coss, and Gillece, each create swinging solos.  The second track, "Delilah Was a Libra", comes from one of the earliest albums in the label's catalog "Trapdoor" by the guitarist known as Edwing (issued in 1995). The piece has a modal feel and the rhythm section really push this forward - Lawrence, Hill, and Ms. Coss each create fine solos.

Of the three tracks composed by vibraphonist Gillece, "Down the Pike" leaps out of the speakers thanks to the drive supplied by Sperrazza, Brendler, and Hill.  The ethereal opening of his tune "Vortex" (with the chimes of his vibes) may remind some of the late Bobby Hutchinson's work on "Maiden Voyage" as will the handsome melody (Lawrence has a such a fine tone).  Ms. Coss does not rush through her tenor solo, enjoying the great support as she moves easily through the changes.   Gillece's final contribution, "Follow Suit", starts slowly but then the sextet takes off on a joyous romp with rapid-fire solos from the composer, Lawrence (one hears Lee Morgan in his playing), Ms. Coss (whose power matches that of the rhythm section, and closes with short statements from Hill and Sperrazza.

The hard-bop swing of Lawrence's "Hush Puppy" is a giddy trip through a sweet melody and strong solos.  However, he adds a delicious Latin concoction to the mix with his piece "Frederico."  Leading with his muted trumpet playing the melody with the tenor sax, the piece conjures up a smoky nightclub with the band having a great time. Pay attention to the excellent work of Hill whose background chords and fills are a lesson in how to create a fine foundation for the soloists. Of course, Brendler and Sperrazza keep everyone on their toes with their tasty accompaniment.

"New Faces" is a tasty concoction, an album that is sneaky good. On the surface, most of the music sounds "straight-ahead jazz" and it is. But, listen closely to the excellent rhythm section, to the intelligent choice of tunes, and to how the "front line" responds to all the different types of tunes. Best of all, it's fun to listen to.

For more information, go to www.posi-tone.com/newfaces/newfaces.html.

Here's the delightful "Frederico":

Trombonist and educator Michael Dease puts together a fine ensemble for his new Posi-Tone release (his fifth for the label).  "Reaching Out" blends his young rhythm section of pianist Luther Allison (who played drums on Deases's 2016 "Father Figure" CD) and drummer Zach Adleman (a student of the trombonist at Michigan State University as is Allison) with veterans Peter Brendler (bass), Ralph Bowen (tenor saxophone), Walt Weiskopf (alto and tenor saxophones), and Behn Gillece (vibraphone on three tracks). The program is an intelligent blend of standards, newer "pop" tunes, and several originals.  The reed players appear together on  eight of the 11 tracks. Bowen also has a smashing interaction with the leader and the rhythm section on the rapid-fire reading of Steve Turre's "Blackfoot" while Weiskopf joins Gillece on Dease's Herbie Hancock-like "The Chameleon Eye."

Dease reminds me a lot of fellow trombonist Steve Davis. He's possesses a buttery tone, can play in many different styles, is a top-notch educator and mentor. Plus, both men can swing with abandon. There are several tracks that "burn" from the opening notes.  The opening track, "Something In Common" (composed by Cedar Walton), simmers and features powerful solos from the leader, Bowen, Weiskopf (alto), and Gillece.   Deanne's "Tipping Point" may have the most fire on the album, with exciting solos from both the alto and tenor saxophonists, the leader, and a rollicking "trading 8's" with Adleman.

There are three fascinating covers on the album that speak to Dease's upbringing, the "pop" music of his youth,  "More Than Words", a big hit in 1990 for the metal band Extreme, is a sweet mid-tempo ballad with the reeds and brass playing sweet harmonies and counterpoint. Babyface's "Water Runs Dry" was a hit in 1994 for Boyz II Men and is given a similar arrangement to the Extreme tune. The sextet (all but Gillece) treat the melody with respect while Dease's solo has, at times, a fine vocal feel. Perhaps the biggest surprise is the inclusion of Paul McCartney's "Live and Let Die" - the original, because if its connection to the James Bond movie franchise, is, at times, bombastic. But Dease and company not only swing the heck out of the song but also give a strong blues feel.  There's a powerful "trading 4's" section with the brass and reeds and the vibes add a powerful touch in the final minute of the piece.

"Reaching Out" is melodic, exciting, and quite accessible. Michael Dease shares the spotlight throughout the album and both Ralph Bowen and WaltWeiskopf take full advantage of the solo space  (they trade phrases with abandon on "Morning Shade") as well as serve as smart counterpoint on a majority of the tracks. Pay attention to the contributions of the "kids", Luther Allison and Zach Adleman: they play well now and will only get better and smarter.  Posi-Tone "keeps on swinging" and we are the beneficiaries!

For more information, go to www.posi-tone.com/reachingout/reachingout.html and to www.michaeldease.com.

Here's a tip of Mr. Dease's musical chapeau to writer/blogger Malcolm Gladwell:

Trio Music, House Concert, Intimate Music

Pianist-composer Jeremy Siskind created the Housewarming Project after the 2012 release of his BJU recording "Finger-Songwriter." That splendid album (reviewed here) featured the attractive voice of Nancy Harms and the excellent reed work of Lucas Pino (clarinets, saxophones): early 2015 saw the release of  "Housewarming" (BJU) with the same lineup plus guest vocalists  Kendra Shank, Peter Eldridge, and Kurt Elling.  The two albums not only shone the light of the excellent interactions of voice and instruments. The first album featured 11 original compositions dedicated to poets and authors plus a delightful cover of Billy Joel's "All You Wanna Do Is Dance" (from 1976's "Turnstiles" album). The second album included nine originals, three standards, and an inspired rendition of Adem's "Everything You Need" from 2004.

The trio has spent considerable time performing "house concerts" (makes sense, giving their intimate sound) not only because the songs seem so personal but also it's easier to connect with the performers and see how they work, how they play, interact, and enjoy what they do.

2018 brings "The Housewarming Project", a multi-media venture that continues and builds upon what Siskind and his bandmates have been doing for the past six years.  The group started releasing videos on its YouTube channel in January and plan to continue into March.  Titled "at_Home/at_Play", the series features performances from the Blue Whale in Los Angeles and from videos made "at home" in San Diego, CA  The trio performs new pieces as well as revisiting songs from their albums.  Along with the videos, one can download a five-song EP (free or "name your price") from housewarmingproject.bandcamp.com/releases. And Siskind is blogging about all the songs which you can find by going to mfasiskind.wordpress.com.

photo by Danielle Guerra

One could just set the YouTube channel to continuous play and have your own house concert in your living room. There's a delightful blend of music. There's the uptempo and hilarious "If You Can Read (You Can Cook)" that features guest Dan Ogrodnik on pandiero, the quiet and wistful "Melancholy Times", the dramatic "Vanished Music, Twilit Water" (for Seamus Heaney), the sweet, jazzy, ballad "Whispering Grass", and rapid-fire "Sometimes I Wander." One could easily concentrate on Ms. Harms and the versatility of her voice, the emotional richness but you could - and should - pay close attention to the splendid keyboard work of Siskind, not just his technical prowess but the rich melodies he creates. Pino doesa delightful job of wrapping his clarinet sound around the vocal, sometimes shadowing the melody or playing counterpoint to the piano. The dark tones of his bass clarinet, the bluesy swagger of his tenor saxophone (check out his husky tones on the Gershwin-esque "The Inevitable Letdown" as well as the delightful "rent party" piano solo), all point to how important the reeds are to the overall tone of this Project.

Intelligent words and excellent music, real emotions and myriad colors, "The Housewarming Project" is such attractive and adult music.  The intimacy of the performances, the sumptuous melodies, and the wonderful musicianship makes "The Housewarming Project" worth paying attention to.

The YouTube channel is found at www.youtube.com/channel/UCo23Y7J1cwrH5BWW6TPG6sQ - dig around, have fun, buy the EP, and check out this trio's fine recordings.

For even more information, go to www.jeremysiskind.com.