Jason Palmer: The Concert: Musings For Isabella

  Trumpeter and composer Jason Palmer drew on a most unusual inspiration for his latest Giant Step Arts project, The Concert: Musings For Isabella. The Isabella Stewart Gardner Museum in Boston was the victim of theft in 1990, with 13 valuable pieces of art stolen. To this day, it remains the largest unsolved art heist in history. When Palmer moved to the city in 1997 to study at the New England Conservatory, he became fascinated by the mystery surrounding the theft and the whereabouts of the art. This suite of a dozen compositions offers one piece for each of the stolen items, except for Program for an Artistic Soirée (Degas), a selection that represents a pair of related sketches. A glance at the song titles and artists represented will reveal a wide range of artistic expression that includes works by Vermeer, Rembrandt and several Impressionists, as well as a 10-inch tall bronze finial of a French Imperial eagle and a gu, a bronze beaker from the Shang dynasty. The intricate tunes that Palmer constructed are the basis for a dozen intricate and spirited performances by his quintet, with tenor saxophonist Mark Turner, vibraphonist Joel Ross, bassist Edward Perez, and drummer Kendrick Scott. The up and coming Ross is new to Palmer’s orbit, but the other musicians have recorded together before, on a pair of Palmer’s SteepleChase releases, 2010's Here Today and 2013's Places. Recorded live over two nights in New York City, the quintet stretches out at length. With three outstanding and intrepid soloists in Palmer, Turner, and Ross, plus the dependable bass of Perez and the hard-swinging drums of Scott, the results are deeply satisfying. One highlight among many is Christ in the Storm on the Lake of Galilee (Rembrandt). The track features Ross soloing at length, with energetic drumming by Scott and deftly arranged horn parts that both support and amplify Ross’ lines, sending him skittering off into new directions. Chez Tortoni (Manet) is another favorite, with Palmer, Turner, and Ross trading solos over Scott’s cheerfully aggressive drumming. The beautifully entwined horns at the start of Program for an Artistic Soirée (Degas) lead into an especially lovely performance that includes a sensitive and well-constructed trumpet solo. Ross delivers an exquisite vibes solo, hushed at first with only Perez in accompaniment and growing more heated as Scott reenters. There’s plenty more to savor, in two and a quarter hours of well-wrought and passionate modern jazz. One of the best releases of the year, and strongly recommended. 

Giant Step Arts GSA 004; Jason Palmer (tpt) Mark Turner (ts) Joel Ross (vib) Edward Perez (b) Kendrick Scott (d); NYC, May 23-24, 2019; Disc 1 (69:03): A Lady and Gentleman in Black (Rembrandt)/ Cortège aux Environs do Florence (Degas)/ La Sortie de Pesage (Degas)/ Christ in the Storm on the Lake of Galilee (Rembrandt)/ A French Imperial Eagle Finial/ Chez Tortoni (Manet). Disc 2 (65:56): Program for an Artistic Soirée (Degas)/ An Ancient Chinese Gu/ The Concert (Vermeer)/ Landscape with an Obelisk (Flinck)/ Self Portrait (Rembrandt)/ Three Mounted Jockeys (Degas). www.giantsteparts.org

Susan Alcorn Quintet: Pedernal

  Pedal steel guitar is generally associated with country music, but the instrument’s characteristically malleable sound is well-suited to improvisation. Susan Alcorn has provided the evidence for a while now, beginning with Uma, a 1999 trio date and continuing with collaborations that include luminaries of progressive music, including Joe McPhee, Ken Vandermark, and Nate Wooley. (I recommend reading her musical journey here). Her latest project is the Susan Alcorn Quintet with frequent collaborators Mary Halvorson on guitar, Michael Formanek on bass, and Ryan Sawyer on drums, plus violinist Michael Feldman. The band’s enthusiasm on Pedernal, a program of five original compositions by Alcorn, is infectious. Starting out with the mellow (at first) title track, it’s obvious that this is a string band with a difference. There’s plenty of mutual history among the players, and their level of comfort is integral to the music’s success. No matter where the improvisations take them, the common bonds ensure that the music will never fly off the rails. I’m captivated by the blended sonorities of violin, pedal steel guitar, electric guitar, and bass. Alcorn’s music is quieter than you might expect from a quintet, forcing close listening from musicians and audience alike. That kind of concentrated attention pays off in unexpected nuances and surprising juxtapositions. Violinist Feldman, with an amazing list of past associations in improvised music circles, is prominently featured here. His rich tone and thoroughly lyrical approach are perfect for Alcorn’s sturdy melodies. There are times when I feel like the music would benefit from a little more rhythmic vitality, in the vein of the closing Northeast Rising Sun. This perky number features a curiously muted guitar solo by Halvorson, some hip fiddling by Feldman, and a masterful bass solo by Formanek. It might be my favorite piece on the disc, but there is plenty of exquisitely honed music to come back to again and again. Recommended. 

Relative Pitch RPR 1111; Michael Feldman (vln) Susan Alcorn (pedal steel g) Mary Halvorson (g) Michael Formanek (b) Ryan Sawyer (d); Brooklyn, NY, November 12, 2019; Pedernal/ Circular Ruins/ R.U.R./ Night in Gdansk/ Northeast Rising Sun; 42:00. relativepitchrecords.com

JD Allen: Toys/Die Dreaming

  Bassist Ian Kenselaar and drummer Nic Cacioppo draw you in immediately on You’re My Thrill, the opener on the latest album from tenor saxophonist JD Allen, the immensely satisfying Toys/Die Dreaming. When Allen enters the fray, with his powerful sound and boundless energy, the effect is riveting. Sax, bass, and drums is a challenging format, but Allen and his latest trio more than rise to the occasion on their second outing, after 2019's Barracoon. I’ve been listening to a lot of late-Fifties Coltrane recently, and I hear echoes of Trane both in Allen’s soulful sound and in the way he constructs his solo statements. The team of Jay Gorney (music) and Sidney Clare (lyrics) wrote You’re My Thrill in 1933, and over the decades, it’s been a favorite blowing vehicle for plenty of saxophonists, including Ben Webster, Zoot Sims, Archie Shepp, Benny Golson, and Charles McPherson. Allen and his trio take a fresh attitude towards this standard, and somehow make it sound like it was composed just last week. There’s one more standard in the set, a rapturous crawl through I Should Care, an extraordinarily popular tune from 1944 with music by Paul Weston and Axel Stordahl, and lyrics by Sammy Cahn. The balance of the disc is given over to Allen’s robust, blues-oriented originals, plus Red Label, a composition by trombonist Peter Lin. Allen first recorded this song on Lin’s New Age Old Ways, in a late 2018 session self-produced by Lin that included Kenselaar and Cacioppo as the rhythm section. It’s a straight-forward swinger with a late-night bluesy feel, played here with the kind of down-home groove that sounds like they could play until dawn without losing the intensity. Kenselaar and Cacioppo are beautifully matched, with an uncanny relationship that has them utterly in sync with one another and with Allen at the same time. On an Allen original like Die Dreaming, they shift instinctively from a stop-time feel to open swinging and back again, provoking rich declamatory playing from Allen. Toys, a slowly paced and bittersweet ballad, is just one of the standout tracks, with a wistful Allen supported by Cacioppo’s vaguely martial drumming and Kenselaar’s tender bass parts. Another highlight is the closing Elegua (The Trickster). The track opens with a forceful drum solo by Cacioppo, then Allen states the melody with his signature broad tone before Kenselaar joins in to give the piece a firm foundation. Toys/Die Dreaming, a genuine highlight of a horribly dismal year, is heartily recommended. 

Savant SCD 2184; JD Allen (ts) Ian Kenselaar (b) Nic Cacioppo (d); Astoria, NY, January 2, 2020; You’re My Thrill/ The G Thing/ Die Dreaming/ Red Label/ Toys/ I Should Care/ Elegua (The Trickster); 45:05. www.jazzdepot.com

Matt Moran Trio: Return Trip

The Matt Moran Trio offers a relatively rare instrumental lineup of Moran’s vibes, Gary Versace on Hammond organ, and Tom Rainey at the drums. Return Trip is their second outing, after 2018's Play Ball, which both introduced the band and inaugurated Diskonife, a label that Moran started with saxophonist Peter Hess. When drummer Rainey was first contacted for the band, he told Moran that he “always wondered why that instrumentation didn’t get explored more,” noting that one of his very early gigs as a teenager was in such a group. Clocking in at just shy of 36 minutes, this compact compact disc is heavy on atmosphere and dynamic interaction. The Hammond organ is a versatile beast, and Versace clearly knows his way around it with a sound that veers from the light-hearted swells he employs on Ripples to the funky lines and subterranean bass of Effish. Moran, who wrote all the pieces, favors a dark sound on vibes, and he tends to keep to the middle of the tonal range of the instrument. Rainey has proved his mettle in a broad range of situations since his recording debut in 1980 with keyboardist Mike Nock, and his robust yet understated style is just right for this trio. Moran also leads the nine piece Slavic Soul Party!, so the introspective attitude expressed by the trio is, as he notes, “a much-needed complement to that energy.” At times, on trifles like Sometimes That’s OK or Peace and Integration, the mood is a little too relaxed and dreamy. But late at night, with the lights turned low, Return Trip is just the thing to help you unwind. 

Diskonife 006; Matt Moran (vib) Gary Versace (Hammond B3 org) Tom Rainey (d); Brooklyn, NY, June 10, 2019; Ripples/ Spring/ Chord Conversation/ Lush/ Sometimes That’s OK/ Effish/ Peace and Integration; 35:45. diskonife.com

Dave Askren & Jeff Benedict: Paraphernalia: Music of Wayne Shorter

Dave Askren & Jeff Benedict co-lead a quartet on Paraphernalia: Music of Wayne Shorter. Guitarist Askren and saxophonist Benedict are joined by bassist Jonathan Pintoff and ace percussionist Chris Garcia for a satisfying program of Shorter’s material largely drawn from his Sixties compositions for the Miles Davis group and his own Blue Note albums. To be successful, a tribute album like this one needs to engage the listener on two levels. First is the obvious one of enjoying the music. Second, and a bit trickier, is evoking the original versions without suffering in comparison. The Askren-Benedict group is a winner on both scores. Maybe that’s due to the presence of a guitar, which Davis didn’t use in this period and Shorter rarely used on any of his Blue Note albums. Or maybe it’s Benedict’s fluent saxophone work, seldom sounding anything like Shorter. All I can say for sure is that the quartet plays very well as a unit, and they do justice to this well-selected sample of compositions by one of the most important jazz composers of the era. Benedict and Askren have been playing together for decades, and their duet performances of Miyako and Infant Eyes are especially lovely. Recommended. 

Tapestry 76029; Jeff Benedict (saxes) Dave Askren (g) Jonathan Pintoff (b) Chris Garcia (perc); Pasadena, CA, March 30-31, 2019; E.S.P./ Yes and/or No/ Iris/ Mahjong/ Fall/ Paraphernalia/ Miyako/ Harlequin/ Tom Thumb/ Infant Eyes; 53:09. www.caprirecords.com

Alan Broadbent Trio: Trio In Motion

  The Alan Broadbent Trio proudly swings into Wonder Why as Trio In Motion begins. Pianist Broadbent, widely experienced as an arranger and composer who has worked with an array of artists from Charlie Haden to Natalie Cole, is joined by a pair of veteran improvisers in Harvie S on bass and Billy Mintz on drums. The program is a well-chosen set of ten relatively uncommon songs, one Broadbent original, and Moonstones, a group improvisation which ends the set. Fittingly, in Charlie Parker’s centennial year, the CD includes two of his classics, Relaxin’ at Camarillo and The Hymn. Part of the success of this outing is the juxtaposition of songs from different eras of jazz and the way the disc has been so expertly sequenced. It’s a distinct pleasure to hear, in succession, Lennie Tristano’s Lennie’s Pennies, Lil Hardin Armstrong’s Struttin’ With Some Barbecue (to a samba beat!), and Paul Desmond’s Late Lament. Another highlight is the trio’s rapturous version of John Coltrane’s Like Sonny. This listener’s delight in the trio’s instrumental interplay and their lively musical conversation within each song is enriched by the flow of the disc as a whole. Trio In Motion is happily recommended. 

Savant SCD 2188; Alan Broadbent (p) Harvie S (b) Billy Mintz (d); NYC, no dates specified; Wonder Why/ I Hear You/ Lennie’s Pennies/ Struttin’ With Some Barbecue/ Late Lament/ Relaxin’ at Camarillo/ One Morning in May/ I Love You/ Lady Bird/ Like Sonny/ The Hymn/ Moonstones; 56:01. www.jazzdepot.com

Fred Hersch: Songs From Home

  Safe and temporarily alone in August of this hideous pandemic year, pianist Fred Hersch played and recorded whatever songs seemed right. Eleven have been selected for Songs From Home, a radiantly beautiful recital that tugs at the heart with its casual elegance and lyricism. The repertoire is quite broad. First up is a stunning rendition of  Wouldn’t It Be Loverly, the Lerner and Loewe song from My Fair Lady. That’s followed by an exploration of Jimmy Webb’s Wichita Lineman. Joni Mitchell’s All I Want takes a few surprising rhythmic twists and turns over seven minutes. There are songs by Kenny Wheeler (a pensive look at Consolation (A Folk Song)), Duke Ellington (a magnificent version of the ever-lovely Solitude), and Cole Porter (a jaunty Get Out of Town), and more, including new looks at two Hersch originals before the concluding playful stride piano adaptation of the Beatle’s classic When I’m Sixty-Four. That’s a song with special significance to Hersch, who attained that age in October 2019. There’s something to said in favor of solo piano performances that are recorded at home, on a preferred instrument and in a familiar listening environment. Earl Hines recorded At Home in the fall of 1969 for Delmark Records is the first one that comes to mind. Keith Jarrett’s The Melody at Night, with You (ECM), made in his home studio in 1998, is another. That puts Hersch in some fine company indeed, where this modern master surely belongs. Highest recommendation. 

Palmetto PM2197; Fred Hersch (p); somewhere in Pennsylvania, August 2020; Wouldn’t It Be Loverly/ Wichita Lineman/ After You’ve Gone/ All I Want/ Get Out of Town/ Medley: West Virginia Rose, The Water is Wide/ Sarabande/ Consolation (A Folk Song)/ Solitude/ When I’m Sixty-four; 57:18. www.palmetto-records.com

Michael Sarian’s New Aurora

  In my imaginary hunt for the widest range of material on an album of improvised music, we have a new contender in the beautiful music of Michael Sarian’s New Aurora. The disc opens with the calm and deeply soulful medley of Dle Yaman and Portrait of a Postman. The first theme was composed by Komitas, an Armenian priest (1869-1935) was also a pioneering ethnomusicologist. The second is Sarian’s own wispy melody. At the end of the album is a sly duet by Sarian and pianist Santiago Leibson as they dig into Ask Me Now, composed by Thelonious Monk, frequently described as the High Priest of Bebop. (Hmm, maybe it’s not that much of a stretch after all.) In between are 7 more originals by Sarian plus Chinar Es, another composition by Komitas. Sarian is ably abetted by Leibson at the piano, Marty Kenney on bass (replaced on two tracks by Matt Pavolka), and Dayeon Seok behind the drums. Particularly fine are Aurora, the gentle ballad that gives the band its name, Primo, the uptempo wailer that follows, and the complex Scottie (33), which the quartet negotiates with understated authority. Sarian, with his crystal-clear tone and impressive technique, is an adept and thoughtful improviser. The fine audio engineering is by co-producer (with Sarian) Luis Bacque, who also recorded the recent Diego Urcola CD. The result is that the clarity of the arrangements and tight interactions of the musicians are fully revealed on this thoroughly enjoyable CD. Recommended. 

Ear & Eyes ee:20-16; Michael Sarian (flgh, tpt on 1) Santiago Leibson (p) Matt Pavolka* or Marty Kenney (b) Dayeon Seok (d); Roselle, NJ, late 2018* or December 2019; 1. Dle Yaman / Portrait of a Postman/ 2. This Is Only The Beginning*/ 3. Aurora/ 4. Primo/ 5. Colorado Yeta/ 6. Scottie (33)*/ 7. The Morning After/ 8. Chinar Es/ 9. Mountains/ 10. Ask Me Now; 58:08. www.earsandeyesrecords.com

Ray Mantilla: Rebirth

  The late percussionist Ray Mantilla’s final effort as bandleader includes a Latin dance version of Ray Charles’ 1962 hit record Hit the Road, Jack, written by Percy Mayfield. Mike Freeman carries the melody on vibes, and the band blazes along. That track alone is reason to make some time for Rebirth. A note from the label explains the title. The music was recorded in early December, 2019, when Mantilla’s cancer was in remission. But Mantilla, as it turned out, only had a short time left. Before his death on March 21, 2020, he was able to approve all of the mixes and final masters. But here’s the great thing: with the sympathetic assistance of a crack ensemble with many of his favorite musicians and sturdy arrangements by keyboardist Edy Martinez, Rebirth is a gas, without a hint of anything limiting the performances. A choice range of tunes and variations in instrumentation from track to track make this CD a pleasure to listen to from start to finish, nearly an hour later. Highlights include Martinez’s Cumbia Jazz Fusion Experimental, which sets to explore the twin forces that meet as equals in Mantilla’s conception of Latin-flavored jazz. The piece moves from a sort of suspended cumbia beat into straight-ahead jazz time and then back again, with Martinez’s electric piano guiding the way. The jazz section features a gritty tenor solo by Ivan Renta. Trumpeter Guido Gonzalez shines on a version of Yuyo, an obscure Bobby Hutcherson tune from his 1975 Montara album, invigorated here in pure salsa style. Another standout is the finale, the percussion-driven Rebirth Bata Rumba Experimental, with Mantilla’s congas supplemented by three bata drummers. The versatile Diego Lopez, who plays a trap set on most of the disc, switches to bata and is joined by Ogudaro Diaz and Rafael Monteagudo for this Mantilla composition. Pianist Martinez plays a fascinating solo weaving in and out of the drummers until the fade-out. Rebirth is a fitting capstome to a genuinely illustrious career. 

Savant SCD 2181; Guido Gonzalez (tpt; flgh on 4) Ivan Renta (ss, ts) Jorge Castro (bari s on 1-3; fl on 1,3,4,6,7) Mike Freeman (vib on 3-5,7) Edy Martinez (p; Rhodes el p on 5-7,9) Reuben Rodriguez (b) Diego Lopez (d; bata on 10) Ray Mantilla (perc) Ogudaro Diaz, Rafael Monteagudo (bata on 10); Astoria, NY, December 2, 2019; 1.Moondance/ 2.Dat Dere/ 3.Hit the Road Jack/ 4.Mia/ 5.Philly Mambo/ 6.Cumbia Jazz Fusion Experimental/ 7.Yuyo/ 8.Preciosa/ 9.Martinez/10.Rebirth Bata Rumba Experimental; 56:51. www.jazzdepot.com

Rava/ Herbert/ Guidi: For Mario (Live) & Diego Urcola: El Duelo

  So much for the old saw that you can’t teach an old dog new tricks. Trumpeters Enrico Rava and Diego Urcola are both out with new projects that are each, in their own ways, quite different from their typical musical surroundings.

Veteran Italian trumpeter Enrico Rava joins forces with pianist Giovanni Guidi and electronic musician Matthew Herbert as Rava/ Herbert/ Guidi, in excerpts from a series of concert dates in Italy collected on For Mario (Live). Mario Guidi was Giovanni’s father and Rava’s close friend and manager for more than three decades. The senior Guidi was present at all the shows that make up this disc, but passed away before the CD was assembled. Matthew Herbert’s energetic manipulations are the main focus of this surprising and distinctly weird music. Every so often, you can hear the trumpet (flugelhorn?) or the piano without much distortion, but more often than not, the listener is presented with an maze of bold and unpredictable sound events. Herbert notes that “it was intimidating at first to bring the often inflexible world of electronics ... to play with such free and flexible musicians.” To overcome his initial hesitations, hundreds of samples of flugelhorn and piano were recorded for him to mess around with. “What you’re hearing,” he continues, “is a kind of quartet, with the two acoustic players improvising around recordings of previous versions of themselves.” Adding Hugh Jones’ live sampling to the mix in “certain movements” provides yet another layer of electronic obfuscation. Given that the resulting music exhibits a certain brutality with elements of pure noise in the electronic treatments, I wouldn’t call this a fun disc to listen to, but it does possess a unique charm and fascination. Definitely worth a listen. 

Accidental Music AC139; Enrico Rava (tpt, flgh) Giovanni Guidi (p) Matthew Herbert (sampler, live elec) Hugh Jones (live sampling); Italy, various locations and dates; Part 1-5; 42:17. accidentalrecords.com

Trumpeter Diego Urcola’s foray into unfamiliar territory has him leading a quartet without a chordal instrument. For El Duelo, he invited his friend Paquito D’Rivera as co-conspirator on alto saxophone and clarinet with the rhythm team of Hamish Smith on bass and Eric Doob on drums. A quartet of wise and swinging companions plus an eclectic assortment of well-chosen tunes make this session a delight. The seed for this project was an invitation to the Punta Del Este jazz festival in Uruguay that asked Urcola for a musical tribute to Gerry Mulligan’s piano-less quartet of the Fifties. During the set, the trumpeter brought his long-time partner D’Rivera to the stage. The audience response to the music encouraged Urcola to pursue this session, bringing Doob and Smith on board. The sensitive and dynamic Doob has been playing with D’Rivera for some time, but Smith is making his recording debut. On the basis of his solid work here, I expect we’ll be hearing a lot more from this New Zealander. The happy feeling begins with Guillermo Klein’s title track. Energetic solos by Urcola and D’Rivera on alto are egged on by the explosive drums and cymbals of Doob while the steady Smith keeps it all well-grounded. Tango Azul is the first of three Urcola originals. First performed by an Urcola sextet for his Viva CD (2005), it’s repurposed here as a feature for well-shaped boppish solos by Urcola on flugelhorn and D’Rivera on clarinet. The Natural is Urcola’s dedication to the great Freddie Hubbard, an unavoidable influence on modern trumpeters. This one really jets along, with strong solos by a loose and soulful D’Rivera and a pumped-up Urcola. His third piece is Buenos Aires, a tango that inspires a sweet clarinet solo by D’Rivera and a mellow flugelhorn excursion by the composer. Ethan Iverson’s chart for a medley of Osvaldo Pugliese’s La Yumba and Juan Tizol’s Caravan is one of the disc’s many highlights. The quartet pays homage to its antecedents with tunes by Mulligan (the seldom-played gently swinging I Know, Don’t Know How), Ornette Coleman (a fantastic romp through Una Muy Bonita), and most surprising of all, Kenny Wheeler (Foxy Trot). This 1983 composition, partly a showcase for Smith’s enveloping swing and earthy bass sound, is also a grand display of the chemistry between Urcola and D’Rivera. Astor Piazzolla’s Libertango is another highlight, cannily rearranged for quartet and the occasion for some soulful clarinet and a punchy drum solo. The quartet’s versions of two well-known jazz compositions, Dizzy Gillespie’s Con Alma and Benny Golson’s Stablemates, offer fresh interpretations of these frequently recorded tunes. The lengthy CD ends with Urcola’s recasting of Jerry Gonzalez’s chart for Monk’s Bye-Ya, in homage to the late Gonzalez and his vision of Latin influenced jazz. Producer Luis Bacques recorded the sessions at his home studio, and once again, the benefits of trust and friendship contribute to stellar results. Happily recommended. 

Paquito/ Sunnyside SSC 4560; Diego Urcola (tpt, flgh) Paquito D’Rivera (as, cl) Hamish Smith (b) Eric Doob (d); somewhere in New Jersey, December 10-11, 2019; El Duelo/ Tango Azul/ Una Muy Bonita/ Medley: La Yumba, Caravan/ Pekin/ The Natural/ Buenos Aires/ Foxy Trot/ I Know, Don’t Know How/ Libertango/ Sacajawea (theme)/ Leyenda/ Con Alma/ Stablemates/ Bye-Ya; 76:33. sunnysiderecords.com

Gato Libre: Koneko

    The current incarnation of Gato Libre is a trio with trumpeter/composer Natsuki Tamura, accordionist Satoko Fujii, and trombonist Yasuko Kaneko. Koneko, recorded last December, begins with Kaineko. Tamura’s plaintive trumpet and Kaneko’s mournful trombone trade lines to begin, with Fujii’s touchingly fragile accordion joining in. The nearly seven minutes of the tune take them through a maze of musical locales. There are passages of frenzy and others of peaceful co-existence as the trio creates a wholly original soundworld based on Tamura’s seemingly simple concoctions. The eight pieces on the disc unfold as a sort of suite, a long round of solos, duos, and trios. Tamura has said that he wants the “improvisations of the band to carry the atmosphere of the compositions, which is serene and calm.” In its own relatively quiet and slowly paced way, the music on Koneko can be surprisingly intense. With carefully recorded sound that’s fully revealing of the nuances of each instrument, and the often startling beauty of the music, Koneko is an exceptional listening experience. Highly recommended. 

Libra 103-060; Natsuki Tamura (tpt) Yasuko Kaneko (tbn) Satoko Fujii (acc); Tokyo, Japan, December 5, 2019; Kaineko/ Noraneko/ Yamaneko/ Koneko/ Ieneko/ Bakeneko/ Doraneko/ Kanbanneko; 51:18. www.librarecords.com

 

Adam Nussbaum: Lead Belly Reimagined

  We all have our musical heroes. The great blues and folk singer Huddie Ledbetter, better known as Lead Belly, was an early inspiration for veteran drummer Adam Nussbaum, who has powered bands led by John Scofield, Dave Liebman, Gil Evans, Art Farmer, and many, many others. While his first sideman credit dates from a 1977 album by pianist Albert Dailey, it wasn’t until Sunnyside released The Lead Belly Project in 2018 that he first recorded as a leader. Now the same terrific quartet of Ohad Talmor on tenor saxophone and Steve Cardenas and Nate Radley on electric guitars is back with Lead Belly Reimagined. After touring with the music for a while, the group is enviably tight. The music is steeped in blues feeling from the first beat of Nussbaum’s drum introduction to Relax Your Mind and the group’s evident simpatico never flags. Rock Island Line, a Lead Belly song that became an improbable British hit by Lonnie Donegan in the early Sixties, is probably the best known song here. The quartet’s recasting of the familiar melody epitomizes their approach, combining an abiding respect for the material with contemporary styles. Using two guitars and no bass gives the music an unusual open ambiance. Each of the musicians has written a short paragraph about the experience of delving into Lead Belly’s music for the CD booklet. Saxophonist Talmor writes “I hope you get to enjoy listening to it as much as I enjoyed playing it.” Thank you, Ohad, from one listener who is enthusiastic about the disc, and happy to let everyone know how good this music really is. Happily recommended. 

Sunnyside SSC1578; Ohad Talmor (ts) Steve Cardenas, Nate Radley (g) Adam Nussbaum (d) Brooklyn, NY, July 16, 2019; Relax Your Mind/ Laura/ Princess Elizabeth/ Rock Island Line/ When I Was a Cowboy/ Shorty George/ If It Wasn’t For Dicky/ Governor Pat Neff; 43:30. sunnysiderecords.com

Rez Abbasi: Django-Shift

  It’s dizzying to contemplate the fabric of cross-cultural threads on Django-shift, with the music of Django Reinhardt adapted by guitarist Rez Abbasi and his trio. Start with everything that Django himself heard, from his native Roma music to European classical music and American jazz and show music. Then account for the explosion of music and guitar styles over the intervening decades, advances in electronic sound production, and the paths and talents of the musicians, and your head will start to spin. The music of Django Reinhardt has been a sensation since he and violinist Stéphane Grappelli first formed the Quintette du Hot Club de France in 1934. There have been plenty of tributes and collections of Reinhardt’s songs, as well as festivals devoted to his music, all generally adhering more or less closely to the original contours of the arrangements. At a suggestion from California’s Peter Williams, who inquired about an Abbasi project for his next Django Festival, the guitarist took him up on his offer. Now Abbasi and his co-conspirators are here to blow the cobwebs off of the music and bring it all to modern, clamorous life. Abbasi sticks to an acoustic instrument throughout the date. Joining him is Neil Alexander on organ, synthesizers, and live electronic manipulations. On drums is Michael Sarin, whose playing I’ve enjoyed in ensembles led by Dave Douglas, Myra Melford, and Erik Friedlander, among others. His work here is stellar, from his brushwork on their lovely version of Django’s Castle to the boldly eccentric drum solo that brings the trio’s uptempo romp through Hungaria to an end. The overall theme here is reinvention, with Abbasi largely keeping Django’s melodies intact while, in his words, “recontextualizing” them with fresh “harmonic content, rhythmical cadences, meter changes, textural development” and a healthy amount of improvisation. Abbasi and company’s deep dive into Django’s music results in a successful effort that combines deep respect for the source material with a host of unexpected twists and turns. In addition to Django’s original compositions, the trio also takes on two songs from his repertoire. Anniversary Song, based on a popular Romanian waltz composed by Ion Ivanovici in 1880, has been performed by artists as varied as Al Jolson, Pat Boone, and a quintet co-led by Art Pepper and Lee Konitz (!). This smoothly grooving version gives the lead at first to Alexander’s pinched organ sound, with vigorous accompaniment by Sarin’s drums and Abbasi’s determined strumming. The middle section has a seriously smoking guitar solo, as the tune revs up to a big finish. Kurt Weill’s September Song concludes the program in a imaginative recasting that has Abbasi sneaking up to the well-known melody over Alexander’s swirling organ lines. I love Django’s music, and I’m happily surprised at what Abbasi and friends have done with it. Definitely recommended, especially to Django fans. 

Whirlwind Recordings WR4762; Rez Abbasi (fretted & fretless acoustic g) Neil Alexander (org, elec, synths) Michael Sarin (d); Astoria, NY, February 6-7, 2019; Diminishing/ Swing 42/ Heavy Artillery/ Django’s Castle/ Anniversary Song/ Cavalerie/ Douce Ambiance/ Hungaria/ September Song; 48:32. www.whirlwindrecordings.com

Jeff Cosgrove: History Gets Ahead Of The Story

  Jazz history is filled with musicians whose tunes are seldom played by anyone outside of their own ensembles, which leaves a vast literature of unfairly neglected compositions. Drummer Jeff Cosgrove played in a trio with bassist William Parker and pianist Matthew Shipp for a few years, which started him thinking about recording some of Parker’s original tunes. Cosgrove describes Parker as “an inspiring composer” who writes “beautiful and very tuneful pieces that leave a lot of room for improvisational excitement.” The result is History Gets Ahead Of The Story, with Cosgrove leading a trio with saxophonist Jeff Lederer and organist John Medeski in renditions of seven of Parker’s compositions. There’s also one piece by Cosgrove and two by Lederer. Parker’s tunes are rooted in blues and traditional forms, but are liable to take flight in any direction. That makes Lederer, who stays “inside” with the same intensity that he displays when he goes “outside,” perfect for his role here. The saxophonist traveled down to Cosgrove’s home base in Maryland for some gigs. After Cosgrove suggested this project, an enthusiastic Lederer was the key to making it come together, enlisting Medeski for the band and contributing arrangements. O’Neal’s Porch, the title track for a Parker quartet release in 2000, kicks things off in style, with Lederer, on tenor, soaring into the stratosphere on his solo while Medeski’s organ lines remain calm and Cosgrove pushes the music forward. After a pithy organ solo, there’s a potent sax and organ duel with drums in the middle. Another Parker original, Corn Meal Dance, is next, performed in a slow, ruminative style that emphasizes the trio’s interactivity. Gospel Flowers is by Lederer, a mid-tempo swinger that provokes a especially fine organ solo from Medeski and a passionate tenor solo by the composer. The energy flags a bit for Little Bird, with Lederer moving to flute. Cosgrove’s Ghost is suitably mysterious and other-worldly, but otherwise there isn’t much to it. The trio shakes off the doldrums with the light swing of Moon. Lederer switches to soprano sax and contributes a snaky and poised solo. After a grooving organ solo, Medeski and Lederer play a sort of stop-time duet with commentary by Cosgrove. Lederer gets the last word, returning the melody to take the song out. As you might expect from the title, Things Fall Apart is the most fragmented and disjointed piece of the date, which unfolds as three simultaneous solos that continually meet and diverge. I’m quite taken with their version of Wood Flute Song, a Parker song that the bassist has recorded several times with varying instrumentations. Here it becomes a hard-driving concoction with Cosgrove’s splashy drums underneath a tasty solo by Lederer (on clarinet?) and a hip and convoluted organ solo by Medeski. Purcell’s Lament, written by Lederer, is gentle and appropriately sad, with a powerful solo by the composer amid Medeski’s atmospheric organ washes and Cosgrove’s spare use of mallets. Ending the set is the finger-snapping groove of Harlem, a blues that elicits R’n’B-flavored solos from Lederer, on tenor, and Medeski. Anyone that’s been paying attention knows that William Parker is one of the pre-eminent bassists in creative music. Here’s hoping that this largely successful encounter gets more people to think about Parker as a strong composer as well. Recommended. 

Grizzley Music; Jeff Lederer (saxes, fl) John Medeski (org) Jeff Cosgrove (d); Saugerties, NY, late 2018; O’Neal’s Porch/ Corn Meal Dance/ Gospel Flowers/ Little Bird/ Ghost Moon/ Things Fall Apart/ Wood Flute Song/ Purcell’s Lament/ Harlem; 59:13. www.jeffcosgrovemusic.com

Jorge Roeder: El Suelo Mío

Solo bass albums are not all that common, and for good reason. It takes an extraordinarily skilled, ambitious, and deeply compassionate player for the format to thrive. Add the stunning El Suelo Mío by Jorge Roeder to the short list of bass recitals worth revisiting again and again. I was hooked from the first notes of the title track, played with such exuberant passion that I couldn’t help but be moved. And he does it again and again, with his formidable technique and inventive soloing. Roeder’s original compositions are joined by an eclectic selection of pieces by Spanish composer Manuel Alejandro (the charming Chabuca Limeña), the famous Peruvian composer of the early 20th century Felipe Pinglo Alva (El Plebeyo, his best-known tune), Gene DePaul (I’ll Remember April), Ornette Coleman (an intense arco version of Lonely Woman) and the Brazilian songwriter and guitarist Noel Rosa (Silencio de um Minuto). Clearly, the Peruvian-born Roeder feels completely at home making music from such disparate sources. In the interests of variety and contrast, he’s programmed the CD wisely to keep things flowing. What can you say about a baker’s dozen of sublime performances except to congratulate the performer and urge everyone to find themselves a copy? Strongly recommended. 

T-Town; Jorge Roeder (b); Brooklyn, NY, January 21-22, 2020; El Suelo Mío/ Chabuca Limeña/ Solo Juntos/ El Plebeyo/ Bounce/ I’ll Remember April/ Thing-Thing/ Patrona/ Santa Rosita/ Rambler/ Lonely Woman/ Silencio de um Minuto/ Les Lapin; 48:02. www.jorgeroeder.com 

Frank Paul Schubert, Dieter Manderscheid & Martin Blume: Spindrift

  It takes just half a minute of listening to Spindrift to know if you’re going to follow the trio of Frank Paul Schubert, Dieter Manderscheid & Martin Blume on their musical journey into the unknown. Saxophonist Schubert, bassist Manderscheid, and percussionist Blume let you know right away that there are no rules as they embark on Gale, the first of two long collective improvisations recorded live at the famed LOFT club in Cologne, Germany. From the start, the buzzy muscularity of Schubert’s alto, the slow throb of Manderscheid’s bass, and the drum and cymbal commentary from Blume blend together beautifully, and, as Sherlock Holmes once said, the game is afoot. The swirling, complex lines of Schubert’s alto are complemented by Manderscheid’s deeply rooted bass lines and Blume’s carefully modulated drums, revealing the keen sensitivity of their instincts in the service of instant composition. Building slowly and then falling back, the music evinces a natural flow. From intensity to calm and back again, the feeling keeps changing but the profound connection manifested by the players means that the listener’s interest never wavers. While free improvs frequently have passages where the musicians seem to be treading water while waiting for the next inspiration to strike, that’s largely avoided with this unit. While I’m sorry that I wasn’t in the room when this music was created, I’m glad to have this opportunity to hear the results. Recommended. 

Leo CD LR 883; Frank Paul Schubert (as, ss) Dieter Manderscheid (b) Martin Blume (d, perc); Cologne, Germany, April 12, 2019; Gale/ Leucothea; 64:54. www.leorecords.com

Thumbscrew: The Anthony Braxton Project

  Thumbscrew is the trio of guitarist Mary Halvorson, bassist Michael Formanek, and drummer and vibraphonist Tomas Fujiwara. Each is each a leader of their own ensembles and mutual participants in other bands, and they adopt a cooperative ethos when gathering for this group. On their fifth Cuneiform release, the trio elected to focus on the extremely influential music of Anthony Braxton, who turned 75 in June 2020. The Anthony Braxton Project offers succinct explorations of nine of his compositions, ranging from the early Composition No. 14 (heard here three times in solo renditions by each player) to Composition No. 274. While Braxton’s music and philosophy have been critically important to many musicians, his pieces are not often played outside of his own groups. Each of the players in the band has a particular association with Braxton. Halvorson probably has the strongest connection, having studied with him at Wesleyan. She’s been a member of many different Braxton groups. Fujiwara met Braxton through trumpeter Taylor Ho Bynum, and has performed with the composer on several occasions. Formanek first encountered Braxton’s music back in the mid-Seventies, then followed Braxton’s output over the years until he finally worked with him in New York in the late Nineties. The trio had the unique opportunity to spend a long afternoon looking through Braxton’s archived scores. Halvorson notes that the “idea was for us to choose compositions of Anthony’s, mostly early compositions, which hadn’t been previously recorded.” They ended up with “pieces that captured our imagination and that we thought would work well for the instrumentation ... Our choices included graphic scores, complex notated pieces, and everything in between.” With the luxury of a four-week residence at Pittsburgh’s City Of Asylum, Thumbscrew could take the time to hone their interpretations of this famously difficult material. The most recent piece the trio tackled is Composition No. 274, a completely notated work from Braxton’s Ghost Trance Music series. Formanek notes that it’s “about how you deal with music that’s almost impossible to play and what happens when you do them with someone else, opening up possibilities you couldn’t plan.” Music that’s “almost impossible to play” presents the ultimate challenge to creative musicians, a challenge that is more than met by Thumbscrew on this endlessly fascinating release. Definitely recommended. 

Cuneiform Rune 475; Mary Halvorson (g) Michael Formanek (b) Tomas Fujiwara (d, vib); Pittsburgh, PA, September 8-11, 2019; Composition No. 52/ Composition No. 157/ Composition No. 14 (Guitar)/ Composition No. 68/Composition No. 274/ Composition No. 14 (Drums)/ Composition No. 61/ Composition No. 35/ Composition No. 14 (Bass)/ Composition No. 150/ Composition No. 79; 46:50. www.cuneiformrecords.com

Bill Frisell: Valentine

  Building on his unusually tight rapport with bassist Thomas Morgan, best displayed on a pair of duet ECM releases (Small Town and Epistrophy), guitarist Bill Frisell unveils a new trio with Morgan and the versatile drummer Rudy Royston. Frisell and Royston first played together on a 1996 Ron Miles session, and Royston has joined the guitarist on a number of projects over the years, sometimes with Morgan also on board. After a couple of years on the road, Valentine is their first release as a trio, and it’s a winner. The lead off track, Boubacar Traore’s Baba Drame, is a longtime favorite of Frisell’s. The tune first appeared on his 2003 album The Intercontinentals, was on McCoy Tyner’s Guitars set with Frisell as guest, and was revisited on Frisell’s 2007 live album History, Mystery. Here it’s an occasion for intricate interplay. That’s pretty much the vibe all the way through this set. Frisell composed most of the music for this outing, relying on simple structures, and using the ingenuity of his bandmates to bring them to life. Particularly fine is the title track with its vaguely boppish melody and a jazzy arrangement that includes leaves space for a beautifully contoured bass solo and a series of solos traded by Frisell and Royston. Another deep pleasure is the somber and atmospheric Levees, originally composed for a film soundtrack and lovingly repurposed by the trio. Then there’s their reinvention of Billy Strayhorn’s timelessly beautiful A Flower is a Lovesome Thing, taken at just the right tempo to revel in the song’s melodic and harmonic contours. Morgan’s lovely solo is shadowed by gentle chords from Frisell and tender brush work by Royston. You wouldn’t think that the title song of the 1934 Western Wagon Wheels, co-written by Billy Hill and Peter DeRose would make a decent vehicle for improvisation, but it was a favorite of the Tommy Dorsey big band in the Forties, then famously recorded by Sonny Rollins for his 1957 Way Out West album. The version here is led off by Morgan with a straight-forward reading of the melody. Shimmering guitar by Frisell and a happy loping tempo by an understated Royston complete the picture. Frisell’s Aunt Mary is curious, with two minutes of gentle melody followed by a minute of unclassifiable electronic sound. Frisell has been playing What the World Needs Now is Love for years in concert settings, but this is the first time he’s recorded it. The Burt Bacharach and Hal David song was a massive hit for Jackie DeShannon in 1965. It’s clear from the trio’s approach to the song that David’s lyrics and message are as important as Bacharach’s typically inventive music. Following What the World Needs Now are Where Do We Go?, with Frisell’s one turn here on acoustic guitar on a mellow blues, and the gospel song We Shall Overcome performed with a simple and peaceful feeling. Together, they form a social justice trilogy to end the set. In discussing this band with David Hajdu for the liner notes, Frisell likens the experience to a dream where “you're on the edge of a cliff, and you know on a certain level that it's a dream, so you can just jump off ... All three of us could take big chances, and we'd always be rescued. It's about the trust that makes risks possible.” Is he talking about music, or life itself? Both, I’d say. Absolutely recommended. 

Blue Note; Bill Frisell (el g; ac g on *) Thomas Morgan (b) Rudy Royston (d); Portland, OR, no dates specified; Baba Drame/ Hour Glass/ Valentine/ Levees/ Winter Always Turns to Spring/ Keep Your Eyes Open/ A Flower is a Lovesome Thing/ Electricity/ Wagon Wheels/ Aunt Mary/ What the World Needs Now is Love/ Where Do We Go?*/ We Shall Overcome; 65:33. www.bluenote.com

Jim Snidero: Project-K

  Alto saxophonist Jim Snidero’s latest release is Project-K, recorded with a sextet incorporating the gayageum, a Korean zither-like instrument played here by Do Yeon Kim. Jazz has a long history of adapting fresh instruments and rhythms, constantly expanding the field of musical possibilities. Snidero, whose has been married to a Korean woman for more than two decades, writes that his intention with this disc “was to blend traditional Korean texture with my music.” He’s assembled a genuine all-star band to help, with trumpeter Dave Douglas, pianist Orrin Evans, bassist Linda May Han Oh, and drummer Rudy Royston. The veteran Snidero sounds great, with his powerful sound and inventive spirit. He composed most of the tunes for the date. The nicely varied program also includes versions of Jenga, a K-Pop song from 2018 that showcases a sturdy and rhythmically astute solo by pianist Evans, and the Korean folk song Han O Bak Nyun. Snidero can’t resist the pun of Seoulful, but his tune fits the bill, as the rolling rhythms of Royston propel solos by the horns. Mother, with its sinuous melody, features a lively duet for trumpet and gayageum and an alto solo that finds Snidero plumbing the lower registers of his alto. The gayageum, boldly played by Do Yeon Kim, fits in perfectly everywhere. Sometimes it sounds like a guitar, sometimes it shadows the bass parts, and at still other times, Kim emphasizes the percussive possibilities of the instrument. Snidero’s arrangements here typically begin with gayageum, which sets the tone for the rest of the band. Kim proceeds to weave in and out of the ensemble. More often than not over the course of a full disc, one particular musician will stand out from the rest. Not here though. Project-K is of those relatively rare releases where that doesn’t happen. Everyone gets a chance to stand out, and on a piece like the hard-charging DMZ, with the whole band wailing, it’s impossible (and pointless) to single anyone out. The impeccable and ultra-dynamic rhythm team of Evans, Oh, and Royston is a joy throughout, and let’s not forget the incisive trumpet work of Dave Douglas. Snidero was pretty happy with the results, telling Ted Panken that he hopes “to do another record with this configuration.” I’ll be looking forward to that one, but for now, there’s Project-K to enjoy, again and again. 

Savant SCD 2185; Dave Douglas (tpt) Jim Snidero (as) Orrin Evans (p) Linda May Han Oh (b) Rudy Royston (d) Do Yeon Kim (gayageum; exc. on *); Astoria, NY, August 11, 2019; Han/ DMZ/ Jeju/ Mother/ Jenga*/ Seoulful/ Goofy/ Han O Bak Nyun; 53:26. www.jazzdepot.com

Joe Fiedler’s Big Sackbut: Live In Graz

You don’t have to be a big fan of the sound of massed trombones, or even know what a sackbut is, to lose yourself in the wonderful sounds of Joe Fiedler’s Big Sackbut. Trombonist Fiedler is joined by fellow ‘bonemen’ Ryan Keberle and Luis Bonilla in this quartet. They’re usually joined by tuba player Marcus Rojas, but he couldn’t make the European tour, so on Live In Graz, we’re treated to the deep sounds and impeccable drive of Jon Sass in his stead. Fiedler got Jacob Garchik, another trombone player, to write the liner notes, and he’s contributed a learned essay about, among other topics, the history of multiple trombone ensembles in jazz, a guide to the player’s individual sounds and an appreciation of the late, great Roswell Rudd. In homage to Rudd, Big Sackbut performs three of his compositions. The multi-part Bethesda Fountain comes from the rare Japanese album Blown-bone (1979), Yankee No-how first appeared on Rudd’s Everywhere (Impulse!, 1966), and the delightfully weird Suh Blah Blah Buh Sibi comes from Flexible Flyer, a 1974 release on Arista’s Freedom imprint. No one plays these songs, except for the composer and now Fiedler, and that’s the best tribute of all. The closing Tonal Proportions is a Fiedler composition in honor of Rudd, featuring a an extended Fiedler solo over slithering trombones and Sass’ steady bass part. Beautifully recorded over two nights at a club in Graz, Austria, the band is at a peak of unity and mutual support. The format really gives the listener a chance to focus on Sass and the phenomenal job he does in the role. Who needs a drummer, anyway? I’ve been fan of the trombone in modern jazz who bought Rudd’s Impulse! album a long time ago, so I’m especially attuned to and primed for this killer ensemble. In a sense, a group like this one offers clear insight into the core conundrum of jazz: how to play together, as a section, and at the same time, maintain one’s own individual voice. That this quartet makes it sound so easy is a testament to their considerable skills and their shared sensibilities. Happily recommended. 

Multiphonics Music MM005; Joe Fiedler, Ryan Keberle, Luis Bonilla (tbn) Jon Sass (tba); Graz, Austria, December 12-13, 2019; Peekskill/ Devil Woman/ I’m In/ Bethesda Fountain/ Ways/ Yankee No-How/ Chicken/ Suh Blah Blah Buh Sibi/ Tonal Proportions; 60:15. joefiedler.com

 

The Karuna Trio: Imaginary Archipelago

  The Karuna Trio unites percussionists Adam Rudolph and Hamid Drake with Ralph M. Jones on various wind instruments. On Imaginary Archipelago, the band offers a techno-tribal blend of every genre that Rudolph and Drake have worked in over the course of decades. These spontaneous improvisations combine sounds from “primitive” sources like drums and rattles with instruments of the industrial age like saxophone and clarinet, overlaid by Rudolph’s nuanced application of electronic effects. The conceit for the session has the three musicians embarking on a journey through an island chain that exists only in their minds. In the words of the artist’s statement that appears in the booklet, a “three person Research and Development team discovered an imaginary archipelago ... The music documented on this recording is a sounding of these island people’s lived philosophy.” There’s also a note to the effect that although some of the instruments heard may sound familiar, “this is only coincidental.” Each track is named after one of these islands of thought, representing the varied ways of imagined life. Rudolph and Drake go way back, meeting in a drum shop as teenagers in 1969. Rudolph met Jones in 1974 at a music festival where they played with pianist Kenny Cox. With trumpeter Charles Moore, Jones and Rudolph went on to form Eternal Wind, a group that made a couple of albums for the small Flying Fish label in the mid-Eighties. Those connections establish a high degree of trust and instant interplay that characterize their thoroughly absorbing and wildly inventive music. As listeners, we can only be glad that Rudolph, Drake, and Jones made the trip and came home safely to tell all these stories. Recommended. 

Meta 024; Ralph M. Jones (aerophones, voice) Adam Rudolph (membranophones [fingers & hands], idiophones, chordophones, overtone singing, electronic processing) Hamid Drake (membranophones [sticks & hands], idiophones, voice); New Haven, CT, September 21, 2018; Okomibo/ Alima/ Ibak/ Dimahala/ Apekweh/ Madazuba/ Pitek/ Chandirasa/ Suwakaba/ Vajna/ Sorokaba; 66:24. metarecords.com

Ran Blake & Frank Carlberg: Gray Moon

  I’ve never been fond of two piano situations, but the gorgeous Gray Moon, by the duo of Ran Blake & Frank Carlberg reminds me that it’s really not the instruments that matter, it’s the creative minds that manipulate them. Beautifully recorded in the thousand-seat Jordan Hall at the New England Conservatory (where Blake was the founding chair of their Contemporary Improvisation department from 1972 through 2005, and continues to teach full-time), this hour-plus recital issued on Carlberg’s Red Piano Records covers plenty of ground. The pair takes on music by composers as varied as Thelonious Monk (the slowest version of ‘Round Midnight you’re likely to encounter), Billy Strayhorn (a playful Take the ‘A’ Train), Mikis Theodorakis (the opening Vradiazi, a Blake favorite), George Russell (a relaxed Stratusphunk), and Vincent Youmans (a delightful Tea For Two). There are also explorations of several Blake originals, including Gunther’s Magic Row, delicately shaped by the two pianists, and Short Life of Barbara Monk, a musical meditation that first appeared as the title track of Blake’s 1986 Soul Note album, and has been revisited by him periodically over the years in several different contexts. Remarkably, Blake and Carlberg almost never get in one another’s way, and the entire session has the feeling of two very close friends in a distinctively focused conversation. The pair writes of their “attempt to bring disparate sources together forming a unified whole, guided by a shared aesthetic ...” They’ve succeeded most admirably with this thoroughly enjoyable program. Highly recommended. 

Red Piano RPR 14599-4440; Ran Blake, Frank Carlberg (p); Boston, MA, July 5, 2016; Vradiazi/ Bebopper/ El Cant Dels Ocells/ Take the “A” Train/ Pinky/ Dr. Mabuse/ ‘Round Midnight/ Gunther’s Magic Row/ Stratusphunk/ Wish I Could Talk to You Baby/ Vanguard/ Memphis/ No More/ Tea For Two/ Short Life of Barbara Monk/ Mood Indigo; 62:49. www.redpianorecords.com 

Sonar with David Torn: Tranceportation, Volume 2

American guitar wizard David Torn joined the Swiss quartet Sonar for a week’s worth of sessions in the spring of 2019. Now what’s billed as Sonar with David Torn is back with Tranceportation, Volume 2. When I wrote enthusiastically about Volume 1, I described the sound as “neo-psychedelic trance music with a beat.” This second helping is, not at all surprisingly, more of the same. The grooves are relentless and the electronic textures are raw over the course of 4 long tracks. Sequels like this one that live up to their predecessors are easy to write about: if you were transported by Volume 1, you’ll be more than happy to get lost in Volume 2. Great on headphones, by the way, especially on the dub-wise Tranceportation. 

RareNoise RNR0114 (CD)/ RNR114LP (vinyl); David Torn (el g, live looping) Stephen Thelen, Bernhard Wagner (tritone g) Christian Kuntner (tritone b) Manuel Pasquinelli (d, perc); Bellmund, Switzerland, April 29-May 3, 2019; Triskaidekaphilia/ Tranceportation/ Slowburn/ Cloud Chamber; 42:10. www.rarenoiserecords.com

 

Piano Trios: Jerry Granelli, Denny Zeitlin, Micah Thomas

Pianist Vince Guaraldi had a huge hit single in 1962 on Fantasy Records with Cast Your Fate to the Wind and went on to compose some much-loved music in a collaboration with the Peanuts comic strip franchise. Mose Allison, pianist and songwriter, had his “hit” when The Who blasted his Young Man Blues on their Live At Leeds album. One other thing they have in common is having led trios with Jerry Granelli on drums. Granelli, who played with Earl Hines (!) in 1961, was with Guaraldi on most of his Fantasy recordings, and played with Allison starting in the mid-Seventies. Other recorded associations along the way include Denny Zeitlin in the Sixties, Ralph Towner, Gary Peacock, and Jay Clayton in the Eighties, and Jane Ira Bloom and Charlie Mariano in the Nineties. Starting in 1988, he’s also recorded frequently as a leader. Pianist Jamie Saft was a member of his Badlands ensemble that made a couple of CD’s for the Songlines label in the late Nineties, and he joins him in the Jerry Granelli Trio for the admirable new release, Plays Vince Guaraldi & Mose Allison. On bass is Bradley Christopher Jones, a stalwart of the New York scene. Together, the trio tackles a batch of some of the better-known tunes by Guaraldi and Allison and has a ball with them. Kicking off the proceedings is a fairly straight-forward reading of Cast Your Fate to the Wind, and it’s apparent from the start that this is a formidable trio that’s having a grand time with this material. Allison’s Parchman Farm rolls right along, featuring an extended break by Saft. At 8:04, it’s the longest piece of the date. A pair of bass and drum improvisations (Mind Preludes 1 & 2), fit nicely into this program of songs from the Guaraldi and Allison songbooks. Guaraldi’s Star Song is the most obscure number, taken from an album the pianist made with guitarist Bola Sete in 1963. Tunes like Allison’s Everybody’s Cryin’ Mercy or Guaraldi’s Christmas Time is Here are so pretty that they hardly need any embellishment, and Granelli’s crew is happy to play them just that way. The Jerry Granelli Trio Plays Vince Guaraldi & Mose Allison is an unexpected release, to be sure, and one of the better surprises in a year that’s had way too many unhappy ones. Listening to this music will absolutely improve your day, so don’t miss it. 

RareNoise RNR120 (CD)/RNR120LP (violet vinyl); Jamie Saft (p) Bradley Christopher Jones (b) Jerry Granelli (d); Brooklyn, NY, no dates indicated; Cast Your Fate to the Wind/ Parchman Farm/ Baby Please Don’t Go/ Mind Prelude 1/ Everybody’s Cryin’ Mercy/ Star Song/ Young Man Blues/ Mind Prelude 2/ Your Mind is on Vacation/ Christmas Time is Here; 50:08. www.rarenoiserecords.com

Pianist Denny Zeitlin made his first recordings in 1964 in a trio format. While he has performed in a variety of contexts since that debut, he always comes back to the standard acoustic piano, bass, and drums lineup. His latest is Live At Mezzrow, an intimate New York club, in the company of bassist Buster Williams and drummer Matt Wilson. Zeitlin delights in stretching familiar themes every which way, and he needs musical co-conspirators that are on the same wavelength. After 18 years of playing with Zeitlin, the absolutely reliable Williams and the exuberant Wilson are right there with him at all times, and the music just flows and flows. Selections include the Monk-Hawkins composition I Mean You (great trades between Wilson and Zeitlin), Gershwin’s The Man I Love, a fresh look at Arthur Schwartz’ 1931 Dancing in the Dark, Wayne Shorter’s Paraphernalia, and a pair of Zeitlin’s original compositions, Echo of a Kiss, a waltz first played as a duet with bassist David Friesen 1994, and the challenging 10 Bar Tune with what the composer describes as its “circular structure.” Zeitlin has a special affinity for the music of Billy Strayhorn, and the thoughtfully sequenced program includes three pieces from the pen of one of the masters of jazz writing. The Star-Crossed Lovers is played with cool restraint. The inimitable Isfahan, as Zeitlin notes, “lends itself to many approaches.” The trio styles it as a slow bossa nova, with a gentle piano introduction and graceful drumming from Wilson as Zeitlin explores the melody in typically incisive fashion. Strayhorn’s The Intimacy of the Blues was originally a vehicle for an Ellington octet in 1967. Here it becomes the occasion for some upbeat and tasty swinging. The finale is the Shorter tune, introduced on Miles Davis’ 1968 album Miles In The Sky, and a Zeitlin favorite for decades. The trio gives it a free interpretation, with the pianist’s brooding introduction setting the tone for the group’s exploration. Matt Wilson’s drive and forceful but understated playing is especially impressive on this number. Indeed, his playing is a total joy throughout. His playing, in conjunction with Williams’ sensitive bass work and Zeitlin’s deeply probing piano, will keep me coming back to this date again and again. Happily recommended. 

Sunnyside SSC 1582; Denny Zeitlin (p) Buster Williams (b) Matt Wilson (d); NYC, May 3-4, 2019; The Man I Love/ Echo of a Kiss/ I Mean You/ The Star-Crossed Lovers/ 10 Bar Tune/ Dancing in the Dark/ Isfahan/ Intimacy of the Blues/ Paraphernalia; 71:56. sunnysiderecords.com

Pianist Micah Thomas is out with his first trio album, after appearances on discs by Immanuel Wilkins and Walter Smith III. There are eight original compositions on the self-produced Tide, recorded in performance at the Kitano Hotel in New York. He proves in the first two minutes of Tornado, the opening track, that he’s more than ready for the spotlight. With bassist Dean Torrey and drummer Kyle Benford contributing spirited accompaniment, Thomas takes flight and soars. The piece is aptly titled, a whirlwind of intriguing chord progressions and a quick pace that at some points threatens to overwhelm pianist and the audience alike. Torrey’s bass solo slows things down somewhat, and we get to hear some lovely comping from Thomas before he comes roaring back in. The title track is calm at first, then picks up steam after a Torrey bass solo, with an energetic Thomas exploring every nook and cranny of his song. Benford, another newcomer, sounds great here, with a strong sense of pacing and dynamics. From their tightness and empathetic playing, it sounds to me like this trio has been playing together quite a bit. Across My Path is a pretty ballad that’s carefully caressed by the band in a crafty arrangement that has Thomas alone at the beginning and the end. Grounds is a happy cooker, the kind of tune that you might be humming on the way home from a gig. It’s the kind of piece that gives you the feeling that they could keep it up for hours in an endless series of variations. At just under 9 minutes, this is one of the disc’s highlights. The fun continues with the multi-sectioned The Game, with plenty of tempo shifts and fresh motifs along the way. The Day After is hushed, with bowed bass and gentle chords from the piano in a rather precious and unconvincing performance. The music is back on track with the mellow Vänta, a solo excursion for Thomas in an exploratory vein. It almost feels like he’s having a conversation with himself. Closing the session is Wanderer, which picks up where Vänta leaves off. The trio moves into a light-hearted melody that leads to some delicate interplay and features some fine deep bass playing and convincingly understated drumming. I expect that jazz fans will be hearing a lot more music from Micah Thomas in the future. Don’t miss this one. 

self-produced; Micah Thomas (p) Dean Torrey (b) Kyle Benford (d); NYC, March 2019; Tornado/ Tide/ Across My Path/ Grounds/ The Game/ The Day After/ Vänta/ Wanderer; 64:09. micah.io

Piano Trios: Lafayette Gilchrist, Kjetil Mulelid, Jeff Hamilton

A trio of piano, bass, and drums forms the bedrock of the modern jazz combo. As a format, it seems virtually inexhaustible, limited only by the imaginations and talents of the musicians. A steady supply of trio music arrives at Mr. Stu’s Record Room. In a pair of posts, I’ll discuss six recent projects. 

Pianist and composer Lafayette Gilchrist and his trio with Herman Burney on bass and Eric Kennedy on drums come ready to rock the house and rile things up on Now, with a generous running time of nearly two-and-a-half hours on two CDs. Gilchrist has mined a number of musical areas to come up with his own approach to composing and playing. In his irresistible melding, we find the blues, of course, the spirit of early jazz piano styles like stride and ragtime, a healthy dose of gospel, echoes of Hollywood scores and television theme music, the musical knowledge gained over two decades performing with saxophonist David Murray, and crucially, the funk-soul feeling of go-go music, the long-lasting Washington, D.C.-based musical style and one of the few remaining regional musics in America. Gilchrist and company easily avoid the trap of set routines that a piano, bass, and drums combo sometimes falls into during the course of an evening’s listening. Bassist Burney is a steady ensemble player and fine soloist, and the group picks his solo spots wisely. It’s the same with the eminently tasty drumming of Eric Kennedy. Instead of showy drum solos, we’re treated to his deep in the pocket groove and his consistently rewarding lock with Burney. I’m of the mind that there are different ways to listen to any given album, and while Gilchrist’s formidable pianism is obviously the main event, taking the time to concentrate on the bass and drums throughout this set will be seriously edifying. Touches like the bowed bass and mallets on shimmering cymbals approach to the relatively gentle Say a Prayer For Our Love or the dynamic free-flowing give and take that they bring to the next track, Bmore Careful, are just two examples of their knack of getting it just right every time. Gilchrist’s last release was a solo effort, Dark Matter, one of the best discs of last year, and when I get around to compiling a list for this strangest of all years, I’m sure Now will on it. Memorable melodies, unstoppable invention from Gilchrist, and a solidly rocking and swinging beat seal the deal: Now is music for right now and many tomorrows to come. Strongly recommended. 

Lafayette Gilchrist Music; Lafayette Gilchrist (p) Herman Burney (b) Eric Kennedy (d); Bowie, MD, no dates specified; disc 1 (75:36) : Assume the Position/ Bamboozled/ Rare Essence/ Old Shoes Come to Life/ On Your Belly like a Snake/ Say a Prayer for Our Love/ Bmore Careful/ The Midnight Step Rag. disc 2 (73:25): Tomorrow Is Waiting Now (Sharon's Song)/ The Wonder of Being Here/ Purple Blues/ Newly Arrived/ Enough/ Get Straight to the Point/ Can You Speak My Language/ Specials Revealed. www.lafayettegilchristmusic.com

I was so taken with the first CD by the Kjetil Mulelid Trio when I reviewed it that you might expect their next effort, What You Thought Was Home, to soar to the top of my review pile. But humans are notoriously perverse, and slim discs in slim cardboard sleeves are too easily overlooked. Or maybe I just needed to wait until the right time to start listening to it, with the news all bad and getting worse. It can’t hurt to have some eminently pleasing and almost startlingly optimistic piano trio music on hand to change your mood. Mulelid, who composes the bulk of the material, has a knack for one enchanting melody after another. His trio caresses his genial songs with enough rhythmic vitality and energy to keep the music in motion. Bassist Bjørn Marius Hegge, who composed the gentle Bruremarsj (Wedding March), and drummer Andreas Skår Winther work together very well, making their presence felt without drawing much attention away from pianist Mulelid. The overall feeling of Mulelid’s music is best summed up with his song When Winter Turns Into Spring. The title alone evokes an immediate positive response from anyone who has ever lived with a cold and snowy winter. And Mulelid is from Norway, so the change of seasons is an especially noteworthy event. Particularly fine are Homecoming, a calm processional that has echoes of Keith Jarrett and Abdullah Ibrahim, and the exploratory flow of Far Away, a solo feature for Mulelid. There’s also a bit of musical humor in the appropriately titled A Cautionary Tale Against a Repetitive Life. Hummable melodies, pleasing interactions among the musicians, and the overall feeling of music delivering the equivalent of a warm embrace make What You Though Was Home an eminently worthy follow-up to their first release. Warmly recommended. 

Rune Grammofon RCD2208 (CD/lp); Kjetil André Mulelid (p) Bjørn Marius Hegge (b) Andreas Skår Winther (d); Halden, Norway, November 15-16, 2018; What You Thought Was Home/ Folk Song/ Bruremarsj (Wedding March)/ Tales/ Far Away/ A Cautionary Tale Against a Repetitive Life/ Waltz For Ima/ When Winter Turns Into Spring/ Homecoming; 37:06. runegrammofon.com

The drummer and leader of the Jeff Hamilton Trio has amassed hundreds of credits in a distinguished career that began in the Seventies with Monty Alexander and Woody Herman. He was a member of the L.A. Four from 1978-82, played with prominent figures like Ray Brown, Barney Kessel, and George Shearing, and in 1985, co-founded the Clayton-Hamilton Jazz Orchestra with bassist John Clayton and alto saxophonist Jeff Clayton, which still plays gigs and records. He’s also managed to keep a trio together with pianist Tamir Hendelman for the last 22 years. Their latest effort is Catch Me If You Can, with bassist Jon Hamar joining the trio to replace Christoph Luty. The trio’s crisp rapport is in evidence from the first notes of Make Me Rainbows, an early piece by composer John Williams that swings right along at a bright tempo. Hamilton plays a lot of sessions, which exposes him to songs he might otherwise miss, like the Williams song he encountered while playing a Holly Hoffman date. It’s a lovely melody that sets the tone for the entire disc. Hamilton is close friends with pianist George Cables, and Cables’ timelessly beautiful Helen’s Song is treated to a charming, finger-snapping arrangement. Hendelman’s title track arose as a challenge from Hamilton, who asked for “a medium up-tempo piece.” Hamilton adds “Big mistake!” as the pianist wrote a devilishly tricky tune, but they have a lot of fun just the same. Hamilton studied with drummer John Von Ohlen, citing him as a major influence on his playing. Von Ohlen was a pianist as well as a big band drummer with Woody Herman and Stan Kenton, and The Pond is one of his tunes. Hendelman handles it with care, and Hamilton’s brushwork is impeccable. Lapinha comes from the repertoire of Sergio Mendes, and it cooks in a lightly swinging bossa groove. Bassist Hamar contributes two songs. The Barn is a bluesy mid-tempo swinger named for the trio’s rehearsal space, and a feature for Hamar’s sturdy bass playing. His other piece, Bucket O’ Fat, starts off with a powerful yet relaxed bass solo, then develops into a sort of blues. Hamilton, once again on brushes, is impressive on this one. The last three tracks were associated with big bands. Bijou is a Ralph Burns composition that the drummer used to play with the Herman band, played here as a tribute to the great Herman drummers. Thad Jones’ Big Dipper was played by the Thad Jones/Mel Lewis Jazz Orchestra, and Hamilton tells us in his friendly liner notes that as a teen, he would start every day by playing along to the recording. Here he lays down a slightly up tempo that works perfectly for the tune. The finale is Moonray, an Artie Shaw song brought in by Hamar, and played with bright panache. Catch Me If You Can is a well-crafted and enjoyable mainstream piano date that swings like nobody’s business. Recommended. Capri 74163; Tamir Hendelman (p) Jon Hamar (b) Jeff Hamilton (d); Hollywood, CA, August 14-15, 2019; Make Me Rainbows/ Helen’s Song/ Catch Me If You Can/ The Pond/ Lapinha/ The Barn/ Bucket O’ Fat/ Bijou/ Big Dipper/ Moonray; 58:02. caprirecords.com

Dave Sewelson: More Music For A Free World

Baritone saxophonist Dave Sewelson is probably best known as a member of the long-running Microscopic Septet. He steps out on his own with More Music For A Free World, a brawny, take-no-prisoners excursion into freely improvised music. His companions are the well-traveled trombonist Steve Swell, the inimitable William Parker on bass, and the relatively obscure Marvin “Bugalu” Smith on drums. Smith played in the Sun Ra Arkestra in the Eighties, then reappeared on the scene in the early part of this century, recording with pianist David Haney and saxophonist Teodross Avery. The quartet comes out wailing on Memories, with everyone listening closely and contributing to the overall effect. The attractive combination of baritone sax and trombone has not been exploited very much in jazz over the years. Offhand, I can only think of a 1957 Curtis Fuller session with Tate Houston on baritone, Gerry Mulligan with Bob Brookmeyer on valve trombone in the mid-Fifties, a couple of obscure Serge Chaloff live recordings made in 1950, and Music For A Free World, this group’s debut (FMR, 2018). Sewelson and Swell have both been members of Parker’s large ensembles, and so their dynamic interplay comes as no surprise. Parker is well-known as a powerhouse soloist, and he’s adroit in that role, but it’s his rock-solid ensemble work that stands out here, along with his occasional dialogues with drummer Smith. Smith kicks off the second track, Dreams, with a grooving drum solo, and the band moves into nearly a half-hour of inspired activity. Most often, it seems like four people are soloing at the same time, popping in and out of the musical scrum as the circumstances demand. I love the way that Smith comments on the proceedings and subtly ups the tempo around the 4-minute mark, adding more grit and force to the ensemble. From that point, the music takes off for parts unknown. Once again, the horns drop out for a spell, leading to a particularly fine bass and drums section, before Sewelson and Swell come back to toss riffs back and forth over mildly agitated rhythms. The finale, Reflections, eases up on the tempo, but maintains their core approach of open-ended improvisation. This is the kind of free jazz that will have you nodding your head and tapping your feet in response to the quartet’s freewheeling power if you haven’t fled the room at the first hint of their forceful attitude. Count me as one who happily sticks around for all of it.
Mahakala Music MAHA20-002; Steve Swell (tbn) Dave Sewelson (bari s) William Parker (b) Marvin "Bugalu" Smith (d); Brooklyn, NY, December 17, 2018; Memories/ Dreams/ Reflections; 59:00. sewelsonics.com