The Nels Cline 4: Currents, Constellations

Lou Reed’s 1978 musical theorem that “You can’t beat guitars, bass, drum” is proved by The Nels Cline 4 on their debut outing for Blue Note, Currents, Constellations. Cline and fellow guitar-slinger Julian Lage recorded the well-received duo CD Room in late 2013, and toured in that format. The widely-experienced Cline was particularly enthusiastic about playing with Lage, leading to this band with Scott Colley on bass, who played with Lage in The New Gary Burton Quartet, and drummer Tom Rainey, who collaborated with Cline in a trio with Andrea Parkins. That gives the group a combustible blend of new associations combined with musical familiarity. Tom Rainey kicks off Furtive, the first of seven Cline originals, and we’re off. It’s a four-way conversation with bits of rock and funk music, a touch of surf music, and a jazzy rhythmic flow that conjures the right atmosphere for these joyously dueling guitars. The bittersweet Swing Ghost ‘59 features a potent Scott Colley solo, with Cline and Lage trading licks throughout over the energized drumming of Rainey. From the swaggering big beat of Imperfect 10 to the atmospheric haze of As Close As That, the radical stop-and-start structure of Amenette, and the broad sweep of the optimistic-sounding River Mouth, Cline’s songs give the quartet plenty of varied material to excite their imaginations and guide the beautifully meshed improvisations. The sole cover is Temporarily, a very early Carla Bley composition that was played by the 1961 edition of the Jimmy Giuffre trio. The quartet’s version is sparsely arranged, with plenty of space for each bass note or touch of a cymbal to stand out. Closing out the disc is the brief and disarmingly tender For Each, A Flower, the perfect ending for this very fine outing by Cline, Lage and friends. Cheerfully recommended.
Blue Note B002811702; Nels Cline, Julian Lage (g) Scott Colley (b) Tom Rainey (d); Brooklyn, May & October 2017; Furtive/ Swing Ghost '59/ Imperfect 10/ As Close As That/ Amenette/ Temporarily/ River Mouth (Parts 1 & 2)/ For Each, A Flower; 44:19. www.bluenote.com

Joachim Kühn New Trio: Love & Peace

Pianist Joachim Kühn has been a recording artist since he first appeared on an album by trumpeter Werner Pfuller back in January 1963. That was before the Sixties period of Love & Peace, the title of the latest release by the Joachim Kühn New Trio. Bassist Chris Jennings and drummer Eric Schaefer are about 30 years younger, so that period of culture is before their time. In a sense, The Crystal Ship, a 1967 song by the Doors, is just as much a part of musical history as Mussogorsky’s 1884 suite Pictures At an Exhibition, from which Le Vieux Chateau is excerpted. For Kühn, this disc is about “strong melodies that you can give a shape to.” The contours that the trio sculpts are by and large on the relaxed side, like the gentle flow of the brief title track which opens the disc. I rather like the way that Kühn has altered the Doors tune to fit his purposes for this trio, finding hitherto unexplored emotional depths in the melody. The ravishing piano opening of Mustang leads us to a middle-tempo number with the bluesy flavor of a folk song. With a minimalist Jennings on bass and a basic beat from Schaefer, Kühn has plenty of room to strut his stuff. For Schaefer and Jennings, that sort of subordinate support is what they do best, at any tempo. But Strokes of Folk builds up quite a head of steam, and Casbah Radio, too, swings harder than most of the other tracks, with an unfettered Kühn delighting in the bluesy groove that composer Schaefer lays down. Ornette Coleman’s Night Plans was first heard on Colors, the saxophonist’s 1996 duet session with Kühn. Here the trio dissects it at a stately pace with the focus on the melody. Schaefer’s thumpy and repetitive drum part for Kühn’s own New Pharoah distracts mightily from the ceremonial sounding melody, making it the disc’s low point. The album concludes with another Kühn original, the smoking Phrasen whose melody has a distinctly Ornette Coleman flavor. After a spiky arco bass solo at the start, this six and a half minute romp features strong interplay and exciting solos all around. Except for that one lapse, Love & Peace is a pleasing set of piano jazz, with many exciting passages thanks to the fleet hands of Joachim Kühn.
ACT 9861; Joachim Kühn (p) Chris Jennings (b) Eric Schaefer (d); Pernes-les-Fontaines, France, May 15-16, 2017 ; Love and Peace/ Le Vieux Chateau/ The Crystal Ship/ Mustang/ Barcelona - Wien/ But Strokes of Folk/ Lied ohne Worte No. 2/ Casbah Radio/ Night Plans/ New Pharoah/ Phrasen; 46:38. www.actmusic.com

Kenny Barron Quintet: Kenny Barron Quintet

There are musicians who bring a lively spirit to everything they play, and their enthusiasm and musicianship serves to raise the level of whoever they choose to play with. Pianist Kenny Barron is surely one of those very special people, and Concentric Circles by the Kenny Barron Quintet is a good illustration of the phenomenon. With bassist Kiyoshi Kitagawa and drummer Johnathan Blake, who played on his 2015 trio album, Book Of Intuition, plus trumpeter Mike Rodriquez and saxophonist Dayna Stephens, the 75-years young Barron has surrounded himself with a group of accomplished younger musicians rising to the occasion of playing alongside a master jazzman. The program features Barron’s original compositions, joined by Caetano Veloso and Cezar Medes’ Aquele frevo axe, Lenny White’s L’s Bop, and Thelonious Monk’s Reflections, which ends the set in a probing solo piano rendition. The elegantly swinging Barron is in top-notch form throughout, whether he’s driving the brisk Von Hangman or snaking his way through the slow-moving In the Dark. A pensive Rodriguez, playing a muted horn, is especially effective on the latter piece. The happy sound of Baile, with its Latin feel, makes it one of my favorites on the disc. On tenor, Stephens is fervent and dramatic, alternating passages with the bouncy sound of Rodriguez’ trumpet before they make way for Barron’s frisky piano solo. To tell the truth, there isn’t a single uninteresting moment on this 66 minute CD, and plenty of supremely attractive passages. Concentric Circles is yet another milestone in the storied career of Kenny Barron, and it is eagerly recommended.
Blue Note B002832502; Mike Rodriquez (tp, flgh) Dayna Stephens (ss, ts) Kenny Barron (p) Kiyoshi Kitagawa (b) Johnathan Blake (d); Brooklyn, NY, March 19-20, 2017; DPW/ Concentric Circles/ Blue Waters/ A Short Journey/ Aquele frevo axe/ Von Hangman/ In the Dark/ Baile/ L's Bop/ I'm Just Sayin'/ Reflections; 66:18. www.bluenote.com

Kjetil Mulelid Trio: Not Nearly Enough To Buy A House

It’s always a distinct pleasure to have some relaxing music to turn to, and given the muddled state of the world and its political acrimony, the need is greater than ever. The piano trio is a classic lineup and in a crowded niche of ensembles, the Kjetil Mulelid Trio is impressive for its calmly meditative approach to music-making. Except for the brief group improvisation titled C & R, all the songs on Not Nearly Enough To Buy A House were composed by pianist Mulelid. The instantly attractive lyricism of his compositions and the warmly sympathetic playing by bassist Bjørn Marius Hegge and drummer Andreas Skår Winther contribute equally to the success of their music. Mulelid has a firm touch at the piano, crisp and definitive even when he occasionally lets loose with a barrage of notes. The pretty Fly Fly is a good example. Clearly, he has technique to burn, but he never lets it overshadow the music. The trio’s deft interplay comes to the fore on Children’s Song, another thoughtful melody and performance with especially fine playing by drummer Winther. The hesitant You Stood There in Silence, Having No Words is a standout, revealing depths of feeling in simple melody and the poised and modestly swinging arrangement. If there’s one problem with Not Nearly Enough To Buy A House, it’s the predominance of moderate tempos. The spirited Leaving Home, with a theme that seems part Keith Jarrett and part Abdullah Ibrahim, is a welcome change of pace, and a bit more vitality might have made this very enjoyable release even better. Recommended.
Rune Grammofon RCD 2196; Kjetil Mulelid (p) Bjørn Marius Hegge (b) Andreas Skår Winther (d); Trondheim, Norway, January 11 & 13, 2017; Entrance/ Fly Fly/ Children’s Song/ You Stood There in Silence, Having No Words/ C & R/ From Someone Else’s Point of View/ Time/Breath/ Leaving Home/ Three Last Words; 41:10. www.runegrammofon.com

George McMullen Trio: Boomerang

         I’ve had a soft spot for a trombone, bass and drums trio ever since I first heard Albert Mangelsdorff with Elvin Jones and Palle Danielsson on 1975's The Wide Point. That feeling was reinforced by the long-running BassDrumBone trio. The trombonist/leader of the George McMullen Trio has been gigging around California since the early Nineties, notably in a succession of large ensembles led by Vinny Golia. Boomerang with bassist Nick Rosen and percussionist Alex Cline is his first release as a leader. They jump right out for the jaunty title track, the first of seven McMullen compositions that share the space with four group improvisations. It’s abundantly clear from the first bar that these three gents are deeply attuned to one another, with an enticing, finger-snapping bounce that grabbed me right away. Solos by each player introduce their individual sounds, in a time-honored strategy for opening tracks. McMullen has the smooth, clear sound of a modern trombonist, with little hint of the gritty and growling approach so common in the early days of jazz. Bassist Rosen’s solo is lyrically and rhythmically astute, keeping the flow going with quiet commentary from Cline, a distinguished percussionist who’s built a solid and varied discography since his earliest recordings back in 1977. Rosen is a new name to me, but on the basis of his work here, I hope to be hearing a lot more from him. Cline takes a succinct solo before bringing the trio back to the theme. Follow the Bouncing Ball is an impressive display of group cohesion as the tempo keeps shifting. The piece starts out with a quickly limned theme, then slows way down for the start of McMullen’s beautifully articulate solo before speeding up again. Once again, Rosen takes an effectively emotional solo. The first of the improvs follows, Earth Mystery. The short track is an exercise in slowly moving long tones, with McMullen’s carefully held notes, Rosen wielding his bow and Cline concentrating on his cymbals. I Loved Her Laugh is a bittersweet ballad that features McMullen’s thoughtful trombone, steeped in regret and loss, with Rosen’s brief solo maintaining the mood. From the title, I was expecting The Open Gate to have a lot of energy, but instead it’s rather laid-back, opening with a Cline drum solo before meandering along without much resolution. The three-way call-and-response structure of Improv II; Air Currents leads them to another brief exploration of the sonic possibilities of this lineup. It also serves as a lead-in to Geonomic Preview, with an upbeat theme that has Rosen and Cline in a tight lock while McMullen glides and soars on top. Rosen’s solo is a beaut, at once sensitive and robust. The lachrymose Waiting is another tender ballad, with McMullen’s expressively subdued trombone leading the way. A rapturous bass solo by Rosen opens Dirty Stinking Lowdown Cryin’ Shame, a sort of altered blues featuring Cline’s off-kilter drumming and McMullen’s modern gloss on old-school trombone playing. The last of the group improvisations, Fire, Dancing, offers some exciting free-wheeling interactions, bringing this largely enjoyable set to a satisfying conclusion. Recommended.
pfMENTUM PFMCD120; George McMullen (tb) Nick Rosen (b) Alex Cline (d, perc); West Los Angeles, CA, August 16, 2015; Boomerang/ Follow the Bouncing Ball/ Improv I; Earth Mystery/ I Loved Her Laugh/ The Open Gate/ Improv II: Air Currents/ Geonomic Preview/ Waiting/ Improv III; Prairie Wind/ Dirty Stinking Lowdown Cryin’ Shame/ Improv IV; Fire, Dancing; 53:29. pfmentum.com

Denny Zeitlin: Wishing On The Moon

      Pianist Denny Zeitlin made his recording debut way back in 1963 on a Jeremy Steig album. The following year found him helming a trio with Cecil McBee and Freddie Waits for his first Columbia date. Wishing On The Moon is his latest trio project, documenting a 2009 gig in New York with long-time associates Buster Williams on bass and Matt Wilson on drums. Zeitlin notes that he’s recorded all these tunes before, but jazz fans know that in the hands of master improvisers, a song will never sound the same way twice. The disc kicks off with an extended investigation of Cole Porter’s All of You. It’s one of Zeitlin’s all-time favorite standards, and this performance features a solo by Williams and a section of trading off between Zeitlin and drummer Wilson. The title track is up next in a warm-hearted performance that gracefully lopes along. In his simpatico accompaniment and brief solo, Williams shows why he’s considered one of the masters of the bass. Jule Styne’s As Long As There’s Music is especially fine, featuring an animated Matt Wilson and some energetic piano by Zeitlin. The Slickrock suite was first heard on the 2003 MaxJazz release of the same name with this trio. Zeitlin’s four linked compositions successfully “evoke the feeling of an adventurous day” spent mountain biking in Moab, Utah. Dawn; Gathering is out-of-tempo, a preparatory gathering of forces. Part two is On the Trail, an exhilarating and a quickly moving romp that comes to an unexpected stop, as if some rocks got in the way and forced a quick halt. That leads right into the restful Recovery, before the pace picks up again with On the Trail Again, once again featuring a fired-up Matt Wilson. The delicately tender approach to the traditional Put Your Little Foot Right Out shows the trio at its best. The perfect tempo, the dynamic interplay of the slowly shifting instrumental roles, Williams’ caressing solo supported by Zeitlin’s gentle chording, and the overall shape of the performance make this one of the gems of this set. The forthright melody of Zeitlin’s There and Back shifts back and forth, in the composer’s words, from “walking jazz time to funk,” which makes for a vigorous performance of unexpected twists and turns. Williams takes another provocative solo to lead into Signs & Wonders, a burning uptempo piece composed by bassist David Friesen. It certainly revs up the trio as they bring the set to an exciting conclusion. The audience at Dizzy’s Club Coca Cola surely went home wanting more, and we’re fortunate indeed to have this recording and the ability to hear it over and over. Warmly recommended.
Sunnyside SSC 1514; Denny Zeitlin (p) Buster Williams (b) Matt Wilson (d); NYC, March 10, 2009; All of You/ Wishing on the Moon/ As Long as There’s Music/ Slickrock (Dawn; Gathering/ On the Trail/ Recovery/ On the Trail Again)/ Put Your Little Foot Right Out/ There and Back/ Bass Prelude to Signs and Wonders/Signs and Wonders; 65:22. www.sunnysiderecords.com

Wes Montgomery In Paris: The Definitive ORTF Recording

Famed guitarist Wes Montgomery didn’t like to fly, so his European fans only had one chance to catch him live in performance. Now Resonance has released about 100 minutes of his March 27, 1965, appearance as In Paris: The Definitive ORTF Recording. His only concert in France, this has been bootlegged on a variety of labels, but this is the first complete and official release. Playing with the deeply compatible rhythm section of pianist Harold Mabern, bassist Arthur Harper, and drummer Jimmy Lovelace, plus a guest appearance by tenor saxophonist and European resident Johnny Griffin, Montgomery is his usual dazzling and hard-swinging self. The program includes such familiar fare as Wes’ originals Four on Six, Jingles, Full House and West Coast Blues, Monk’s ‘Round Midnight, and John Coltrane’s Impressions. Mabern’s high-stepping To Wane is the only piece that Montgomery hadn’t previously recorded. He tears through it like he’d been playing it for years. Resonance has done their usual superb job of presenting the music in context, with period photos, an interview with the still-active Harold Mabern, an interview with guitarist Russell Malone, and essays about Montgomery and the band’s appearance in France. Recorded by the Office de Radio-diffusion-Télévision Française (ORTF), the sound quality is excellent, with a real “you are there” feeling. Montgomery, the studio perfectionist, was much more at home on stage, playing for an audience, and he doesn’t disappoint here. The French crowd loved the show, as revealed by its enthusiastic applause, and you’ll love it too. Absolutely recommended.
Resonance HCD-2032; Wes Montgomery (g) Harold Mabern (p) Arthur Harper (b) Jimmy Lovelace (d) Johnny Griffin (ts on *); Paris, France, March 27, 1965; Disc 1 (44:29): Four on Six/ Impressions/ The Girl Next Door/ Here’s That Rainy Day/ Jingles. Disc 2 (55:23): To Wane/ Full House*/ ‘Round Midnight*/ Medley: Blue ‘n Boogie, West Coast Blues*/ Twisted Blues. www.resonancerecords.org

Fred Hersch Trio: Live In Europe

There’s a special sort of magic that manifests itself whenever the Fred Hersch Trio settles in to play a set. Their latest apparition, Live In Europe, documents the penultimate performance of their fall 2017 tour, in Brussels, where according to Hersch, “the acoustics were perfect, the piano was outstanding” and everything came together just right. The band didn’t know that a recording was being made, eliminating that source of possible nervous tension. Bassist John Hébert and drummer Eric McPherson have been working with Hersch since 2009 and the trio’s established rapport makes listening to them a deeply satisfying experience. This is the unit’s sixth CD, and the third to present the group in a live setting. The program is an array of Hersch originals, old and new, plus two tunes apiece from Wayne Shorter (Miyako and Black Nile) and Thelonious Monk (the opening We See and the solo piano encore dissection of Blue Monk). Favorites include Newklypso, a dedication to the inimitable Sonny Rollins, and the occasion for a masterfully constructed drum solo by McPherson; The Big Easy, dedicated to author Tom Piazza, a down-tempo New Orleans-styled blues featuring an artfully architectural piano solo; and the sheer energy of their version of Black Nile, first heard on Shorter’s Night Dreamer Lp for Blue Note. Hersch, a pianist of myriad influences, sounds a little like McCoy Tyner as he burns through this piece. Sure enough, Tyner was on the original 1964 recording. While listening to the trio’s live discs, it’s always seemed to me that what we’re hearing was actually performed in the same sequence. Illusion or not, it reveals, in a carefully paced program, the range of feelings, tempos and instrumental routines that makes it such a delight to spend an hour or more with Hersch and friends. Heartily recommended.
Palmetto PM-2192; Fred Hersch (p) John Hébert (b) Eric McPherson (d); Brussels, Belgium, November 24, 2017; We See/ Snape Maltings/ Scuttlers/ Skipping/ Bristol Fog/ Newklypso/ The Big Easy/ Miyako/ Black Nile/ Blue Monk; 64:01. www.palmetto-records.com

Anteloper: Kudu

   Anteloper is the mad duo of trumpeter Jaimie Branch and drummer Jason Nazary, who also wield synthesizers on their new CD, Kudu, recorded live in the studio. An electronic haze is ever-present, giving the music both density and grit. On the opening track, oryx, melodies flit from trumpet to synth, with Nazary’s mildly processed drums keeping up a rocking tempo. Branch tears off a raging trumpet solo near the end of the nine minute piece. Their grooves can be irresistible, like the drippy pace of fossil record, as synths and drums combine rhythms with some scrabbly trumpet on top. The draggy stop-start beats of lethal curve give Branch plenty to work with, and she has some fun with it, laying out a six-note riff that forms the raw material for her solo. The pair stretches out for ohoneotree suite (part 1), beginning with a sturdy drum solo and accompanying gurgly synth noise. Branch enters around 3 minutes in with a deep, dark sound. The two proceed to duel and jab at one another in an increasingly chaotic rave-up. The mood eventually settles into a relaxed groove which brings out a slight Miles Davis influence from Branch’s atmospheric trumpet. Synthesizer bloops and bleeps plus washes of electronic noise take over the finale, seclusion self. Branch is at her mellowest while Nazary concentrates on his cymbals, and everyone goes home happy and satisfied after a fine day’s work in the studio. Kudu is definitely worth hearing.
International Anthem IARC018; Jaimie Branch (tp, synths) Jason Nazary (d, perc, synth); Brooklyn, NY, June 20, 2017; oryx/ fossil record/ lethal curve/ ohoneotree suite (part 1)/ seclusion self; 50:03. www.intlanthem.com

Roberta Piket: West Coast Trio

    The piano trio format never seems to go out of style, and it certainly won’t as long as there are such swinging units as Roberta Piket and her West Coast Trio with veterans Darek Oleszkiewicz on bass and Joe La Barbera on drums. For added instrumental color, the trio is joined by guitarist Larry Koonse for two tunes, Piket’s original A Bridge to Nowhere and George Shearing’s Conception, and by percussionist Billy Mintz for Flor de Lis, a tune by the Brazilian singer-songwriter Djavan. Those are just three of the songs chosen to promote creative interplay in a repertoire that leans towards music composed by pianists. Chick Corea’s Humpty Dumpty, from his The Mad Hatter album in 1978, is a particular favorite, with its irrepressible energy and dynamism. Not too many musicians have covered Yemenja, a waltz by John Hicks dating from the mid-seventies, and it’s great to hear it played with the calm groove that Piket establishes from the start. Bassist Oleszkiewicz contributes a lovely solo with the tune’s melody firmly in mind. Piket’s solo is inventive and thoughtful, a fine example of her lyrical approach to the piano. Piket’s own Mentor, with its daunting twists and turns, is dedicated to yet another pianist, Richie Beirach. The oldest tune here is Walter Donaldson’s My Buddy, published in 1922, and popular among jazz musicians since Benny Carter recorded it in 1937. The Piket trio gives the song plenty of respect, maybe too much in this languid performance. Happily, that’s the shortest track on the disc and they jump right back with the Shearing tune. The tune features some slick guitaristics from Los Angeles mainstay Koonse and exceptionally exuberant work by the superb Joe La Barbara. With such stellar results, let’s hope that Piket makes it out west more often. Definitely recommended.
13th Note TNR011; Roberta Piket (p) Darek Oleszkiewicz (b) Joe La Barbera (d) Larry Koonse (g on *) Billy Mintz (perc on #); Glendale, CA, April 13-14, 2017; Mentor/ Falling In Love With Love/ A Bridge to Nowhere*/ Humpty Dumpty/ Flor de Lis#/ Yemenja/ My Buddy/ Conception*/ Windmills of Your Mind; 54:39. robertajazz.com

JD Allen: Love Stone

Dexter Gordon, one of the giants of the tenor saxophone, had a habit of reciting lyrics before he’d play a standard. It was his way of telling the audience that the words mattered, and that the story he was about to tell you with his horn was more than just a reaction to the melody and chord changes. Love Stone, the delicious new CD from tenorman JD Allen, operates on the same principle. As Allen informs us in a revealing liner note, he “was kind of mad at [himself] for wanting to do an all-ballad album, “but soon realized that a ballad represents in every human story.” With seriously subdued accompaniment from bassist Gregg August and drummer Rudy Royston, plus the crisply understated harmonic support of guitarist Liberty Ellman, this is pretty much Allen’s show all the way. The song selection is carefully considered and sequenced, with such classics as Until the Real Thing Comes Along and Put on a Happy Face. Allen has thoughtfully included selected lyrics in the printed booklet, and he implores us to “[t]hink of it as a dog star to what I was trying to hold on to in each song.” From the sumptuous opening exploration of Stranger in Paradise right through to the smooth swing of Gone With the Wind, Allen’s warmth and compassion are evident in every note. An absolute winner, highly recommended.
Savant SCD 2169; JD Allen (ts) Liberty Ellman (g) Gregg August (b) Rudy Royston (d); Brooklyn, NY, January 9, 2018; Stranger in Paradise/ Until the Real Thing Comes Along/ Why Was I Born/ You’re My Thrill/ Come All Ye Fair and Tender Ladies/ Put on a Happy Face/ Prisoner of Love/ Someday (You’ll Want Me to Want You/ Gone With the Wind; 44:51. www.jazzdepot.com