Wadada Leo Smith: Constellations And Hemispheres

     The pieces on Constellations And Hemispheres, the latest communiqué from trumpeter and composer Wadada Leo Smith, are drawn from various sessions recorded over a five year period. Four different ensembles are represented, with plenty of overlapping personnel. Smith’s echo-laden trumpet floats over the top, like a visitation from another sound world. His drifting pieces strike me as spiritual exercises lightly disguised as extended meditations in sound. Most of the time, the focus is on Smith’s endlessly expressive trumpet, but there are sections for some of his associates to come to the fore. Pianist Sylvie Courvoisier, whose bold playing bolster Dark Energy, has collaborated with Smith a few times, notably with 2024's Angel Falls, a duet project. Most of the other musicians, notably drummer Pheeroan akLaff, have worked with Smith on a variety of projects, and it’s a special pleasure to hear vibraphonist Bobby Naughton back on record after a long absence. Deep Canyons on Mars, starting out with the wildly distorted electric basses of Bill Laswell and Melvin Gibbs, changes abruptly at the five-minute mark as akLaff’s cymbals and Naughton’s gentle vibraphone strikes usher in some hard blowing by Smith. For Meditation on Love, Smith plays without any echo, just his raw trumpet sound leading Naughton, akLaff, Lamar Smith on electric guitar, and a pair of percussionists. All in all, a fascinating compilation from the immensely talented octogenarian, well worth hearing. 

Burning Ambulance; Wadada Leo Smith (tpt) with Diamonds* (Sylvie Courvoisier, p; Marcus Gilmore, d), Nda Kultur# (Bobby Naughton, vib; Lamar Smith, el g; Mauro Refosco, Brian Jarawa Gray, perc; Pheeroan akLaff, d), Blue Dreams+ (Nda Kultur band plus Bill Laswell, Melvin Gibbs, el b), Springtime 5@ (Naughton, Laswell, Gibbs, akLaff); New Haven, CT, 2017-2022; Dark Energy*/ Lake Tanganyika#/ Dark Matter, Particles of Light, Mirror of the Unseen*/ Deep Canyons on Mars@/ Meditation on Love#; 59:13. burningambulancemusic.bandcamp.com

Bobby Watson: Continuum

 

   The late great Art Blakey had a lot of roles, as drummer, bandleader, and astute observer of young talent ready for his Jazz Messengers. A key role was as a teacher, helping new musicians in his group learn thing like pacing a set and comportment on the bandstand before turning them loose to lead their own groups. Alto saxophonist Bobby Watson was a Jazz Messenger from 1977-1981, and on his latest release, Continuum, he shows that he learned a lot from his tenure there. The sextet here includes younger musicians like trumpeter Wallace Roney, Jr., trombonist Kysen Ellis, and pianist Jordan Williams. Joining Williams in the rhythm section are long-time associate Curtis Lundy on bass and the veteran Victor “Yahya” Jones on drums. This effective rhythm team provides just the right bluesy and soulful cushion for the front line. There are plenty of exciting solos scattered throughout the hour, including a fluid Roney solo and a flowing piano interlude by Williams on Pappy’s Prophecy, a tune written by bassist Lundy, Ellis’ carefully constructed solo on Watson’s Beatitudes, and Roney's fleet soloing on the closing Letter to Bobby. Watson is at his best on Mal Waldron’s classic Soul Eyes with a passionately engaging solo. In addition to the enjoyment of this release, there’s the anticipation of hearing more in the future from Wallace Roney, Jr., Kysen Ellis, and Jordan Williams. Recommended. 

HighNote HCD 7362; Wallace Roney, Jr. (tpt) Kysen Ellis (tbn) Bobby Watson (as) Jordan Williams (p) Curtis Lundy (b) Victor “Yahya” Jones (d); NYC, no dates specified; On the One/ Brothers Mine (The Six R’s)/ Carter’s Way (For Larry)/ Pappy’s Prophecy/ Soft Shoe/ Soul Eyes/ Beatitudes/ Karita/ Letter to Bobby; 61:24. www.jazzdepot.com 

Brandon Seabrook: Utility Modern

   On blues records back in the Fifties you’d often hear the singer signal an instrumental break by hollering something like “c’mon boys, make a racket!” Making a racket seems to be a chief concern of guitarist/banjoist Brandon Seabrook and his dynamite quartet on Utility Modern. With fellow guitarist Bill Frisell, bassist Rashaan Carter on bass, and Marcus Gilmore on drums, this band makes quite a racket on this irresistible program of Seabrook originals. His tunes tend to have attention deficit disorder, with unexpected changes in tempo, volume, and attitude the rule. The guitar parts, particularly when both Seabrook and Frisell are playing electric instruments, often have rapidly played interlocking call and response riffs. Watching a video for The Guitar Is A Weather Event, Even that’s available on the album’s Bandcamp page, Frisell seemed delightfully surprised at what Seabrook was playing and responding with his own trenchant replies. It’s great to hear Frisell sounding so good and being musically challenged after some of his recent efforts have bordered on the soporific. With Carter taking a upfront role with fat bass lines, and the always impressive Gilmore on drums, this quartet is ready to take on whatever Seabrook’s imagination comes up with. Frisell and Seabrook’s frisky back-and-forth on The Guitar Is A Weather Event, Even, is one of the many high points of this set. Another is the delightfully eccentric guitar solo, probably by Seabrook, in the middle of Document and Tapestry. This is one tune that maintains a mood for its entire length without taking any noisy tangents. Seabrook writes that he intended “this music to sound like one giant guitar: a single instrument whose technical boundaries are stretched, blurred, and at times completely shattered.” That’s absolutely the sound that the band achieves on this truly impressive effort. Heartily recommended. 

Out Of Your Head Records OOYH 049 (lp and cd); Brandon Seabrook (el & ac g, bjo) Bill Frisell (el & ac g) Rashaan Carter (el b) Marcus Gilmore (d); Brooklyn, NY, no dates specified; Crater For Ascending Angles/ The Serial Fabulist/ Star-Crossed Phantasms/ Once Upon A Time in the Quest/ Document and Tapestry/ Membrane Soundtable/ The Guitar Is A Weather Event, Even/ Tapestry and Document; 43:52. www.outofyourheadrecords.com

Asaf Yuria: In Light of a New Moon

     It’s always a pleasure to hear fresh versions of tunes that just aren’t played much these days. After all, how often do you hear Hank Mobley’s Hipsippy Blues or John Hicks’ After the Morning. The carefully curated repertoire is one reason to listen to tenor saxophonist Asaf Yuria’s quartet release, In Light of a New Moon. A better reason is the band he’s put together for this date. Pianist George Cables, one of Yuria’s musical teachers, and a favored accompanist for sax players like Dexter Gordon and Art Pepper, is in top form. Bassist Omer Avital, who uses Yuria in his quintet, acquits himself very well, fitting in beautifully with his elders in the rhythm section. And what can you say about drummer Billy Hart, another mentor to Yuria, whose dynamic presence and unbridled swing have anchored so many memorable recording sessions? Veteran trumpeter Joe Magnarelli appears on two tracks, adding another distinctive voice to the proceedings. Yuria has a fluid and compelling sound on tenor, with a disconcerting habit of occasionally ending his phrases with a high-end squeal. His melodic temperament comes to the fore on a delicately moving version of the lone standard, Jimmy Van Heusen’s ever-elegant Polka Dots and Moonbeams, played as a duet by Yuria and Cables. The pianist contributes two original tunes. Circle, the title track for his 1979 Contemporary album, gets a relaxed bossa treatment. EVC, with its sinuous melody, is reprised from his 2002 quartet date Looking For The Light. Here it’s mostly a vehicle for a twisting and turning solo by Yuria. Cables takes a few commanding bars to bring the tune down to earth, and Yuria takes it out with some conversational playing alongside Cables’ piano. Yuria’s sole original is the uptempo burner Praise of Shadows, featuring a beautifully intricate solo by trumpeter Magnarelli. Dizzy Gillespie’s Con Alma is the closing track. Recorded at the end of the session in one take, it’s performed by Yuria and Cables in slower than usual tempo, putting the emphasis on the melody. A solid and rewarding date, heartily recommended. 

Jojo Records; Asaf Yuria (ts) Joe Magnarelli (tpt on *) George Cables (p) Omer Avital (b) Billy Hart (d); Englewood Cliffs, NJ, no dates specified; After the Morning/ Hipsippy Blues*/Polka Dots and Moonbeams/ Circle/ Praise of Shadows*/ EVC/ Con Alma; 40:58. www.jojorecords.com

Joshua Breakstone: Wonderful!

     Guitarist Joshua Breakstone recorded this, his first album, back in 1983. Wonderful! features the superb rhythm section of Barry Harris on piano, Earl Sauls on bass (also making his recorded debut), and Leroy Williams on drums. The album was originally released on the Canadian Sonora label, and this reissue on Capri is the first time it has appeared on compact disc. The nicely varied program leads off with a hard-swinging version of Gershwin’s S’Wonderful, segues to a lovely extended version of Tadd Dameron’s Soultrane, and follows that up with a pair of Breakstone’s original compositions. There’s also the unexpected delight of a finger-snapping version of Lennie Tristano’s Two Not One, first heard on Lee Konitz & Warne Marsh’s 1955 Atlantic album, and the concluding romp through Django’s Castle, a Django Reinhardt composition. Breakstone is cramming a lot of notes into his solos, but now he says that he can’t help but think “If I only knew then what I know now.” Wonderful! was an auspicious beginning to Breakstone’s long career, which has seen him tour Japan frequently, as well as collaborating with such luminaries as pianist Kenny Barron, organist Jack McDuff, and baritone saxophonist Pepper Adams on nearly two dozen releases over the years. Fans will be happy to have this debut date widely available. 

Capri 71006-2; Joshua Breakstone (g) Barry Harris (p) Earl Sauls (b) Leroy Williams (d); NYC, May 24, 1983; S’Wonderful/ Soul Train [sic]/ Sevens-up/ This Is It!/ Time on My Hands/ Two Not One/ Django’s Castle; 45:28. caprirecords.com

Honoring Pat Martino, Volume 2 + Ella Zirina and Teis Semey

     In addition to the sheer enjoyment of listening to the members of the Alternative Guitar Summit performing compositions by the influential Pat Martino on Honoring Pat Martino, Volume 2, this CD and the companion Volume 1 enforce the realization that guitarists of every style really like to play with other guitarists. These compilations result from a proposed concert to honor Martino that had to be cancelled due to the Covid pandemic. Most of the tracks on Volume 2 were recorded in 2021, with three more pieces done in February 2025 fill out the CD. There are eighteen different guitarists represented, mostly performing in quartets with bassists and drummers. The exceptions include Kurt Rosenwinkel, who recorded Gil Goldstein’s City Lights at home alone, and Joel Harrison, Steve Cardenas, and Max Light, who provide a spirited version of El Hombre, the title track of Martino’s first album in 1967. With around seventy originals to Martino’s credit, there’s plenty of material for the performers to choose from. There’s only one piece that’s played by two different bands, Lean Years, from Martino’s second album, later in 1967. The affection among the players for Martino is apparent on every piece. Most of these pieces have not been recorded very often, and if these tribute albums serve to point out the virtues of taste and swing that Martino’s pieces inevitably display, leading to more interpretations, that would be a bonus. As it is, we have these thoroughly engaging performances to listen to. Recommended. 

HighNote HCD 7368; 1. Villa Hermosa (Chico Pinheiro, Steve Cardenas, g; Vicente Archer. b; Allen Mednard, d)/ 2. Lean Years (Cecil Alexander, Pete McCann, g; Archer, b; Mednard, d)/ 3. Remembrance (Adam Rogers, Peter Bernstein, g; Dezron Douglas, b; Mednard, d)/ 4. A Blues for Mickey O (Sheryl Bailey, Ed Cherry, g; Douglas, b; Mednard, d)/ 5. City Lights (Kurt Rosenwinkel, g)/ 6. El Hombre (Joel Harrison, Steve Cardenas, Max Light, g)/ 7. Song Bird (Oz Noy, Nir Felder, g; Chulo Gatewood, b; Tobias Ralph, d)/ 8. A Portrait of Diana (Dave Stryker, Paul Bollenback, g; Douglas, b; Mednard, d)/ 9. Lean Years (Slight Return) (Howard Paul, g; Lawrence Hobgood, kybd; John Lee, b; Karl Latham, d)/ 10. Welcome to a Prayer (Rez Abbasi, Jeff Miles, g; Douglas, b; Mednard, d); 1-4,6,7,8, & 10 recorded in Brooklyn, NY; 5 in private studio; 9 in Warwick, NY; recorded in 2021, except 1,2, & 6, February 2025. 56:30. www.jazzdepot.com 

    Speaking of guitarists playing together, Ella Zirina and Teis Semey have recorded a series of duets, released as Dark Yellow: Music for Two Guitars. That Ella Zirina, from the Netherlands, and Teis Semey, from Denmark but now active on the Dutch jazz scene, are closely attuned to one another is evident from the opening Arpeggios for Two Guitars. It’s the first of seven original compositions plus a joint meditation on George Gershwin’s I Loves You, Porgy. The duo’s music is generally relaxed and relatively soothing, but there’s often a dark undercurrent at play. Tune titles like The Monsters Between Us and Trapped In My Chest hint at the anxieties that lie beneath the varied playing styles and the intense listening that’s at the heart of their musical conversations. Most of the music is performed on electric instruments, with judicious use of effects. Favorites include the calmly drifting Agusts, the richly interactive title track, and the emotionally fraught See My Hurt. A very satisfying encounter, well worth hearing. 

AGS Recordings; Ella Zirina, Teis Semey (g); no recording information available; Arpeggios for Two Guitars/ The Monsters Between Us/ Trapped In My Chest/ Agusts/ Dark Yellow/ Chords/ I Loves You Porgy/ See My Hurt; 38:08. agsrecordings.bandcamp.com

Ran Blake: Voices

 

      Pianist Ran Blake casts a musical spell with Voices, a solo album recorded in 2023, when Blake was eighty-eight years old. Most appropriately, the release is on Tzadik Records. A tzadik is an individual who opens paths for the world. With his music, his wide-ranging collaborations, and his decades teaching at the New England Conservatory, Blake has truly opened paths for students, other musicians, and the listening public. Blake delights in the sounds of jazz, pop songs, movie themes, opera, and well, just about everything. The clarity and luminosity of his piano ruminations on these nineteen songs makes for utterly absorbing listening. Blake is still exploring favorite melodies, still learning their depths, and perhaps surprising himself as much as he surprises his listeners. Very happily recommended.     

Tzadik TZ 4062; Ran Blake (p); July 27, 2023 & December 29, 2023; Westwood, MA; If I Should Lose You/ Hallelujah, and I Love Her So/ My Name Is Mimi/ Robert Pete Blues/ Buy and Sell/ Vradiazi/ You Are My Sunshine/ Midnight March/ Silent Night/ Go Gently to the Water/ Judy/ How ‘Bout That/ La Vie en Rose/ Ain’t Misbehavin’/ Saving All My Love For You/ The Bebopper/ The Thrill is Gone/ You’ll Have to Swing It/ Vilna; 54:56. www.tzadik.com

Rich Halley 4: A Distant Land

 

     The hard-blowing tenor saxophonist Rich Halley and the expressive trombonist Michael Vlatkovich have been collaborators since the Nineties, and A Distant Land is the latest installment of new music from the Rich Halley 4. Halley and Vlatkovich are joined by bassist Andrew Jones and drummer Carson Halley. Of their eight performances, five are compositions by Halley, with the remainder noted as “spontaneous improvisation.” You’d be hard-pressed to figure out which are which by merely listening. That’s a tribute to the impressive cohesion of the quartet’s playing. Perhaps the improvisations are a trifle tentative at times, but the spark of the group mind is always readily apparent. High points include the mildly combative saxophone/trombone duet that’s the focus of the improvised title track, Halley’s brawny solo on his Subterfuge, and Vlatkovich’s casually beautiful a capella opening to South of South, which turns into a high-life influenced delight. Throughout the set, the dynamic and responsive team of Jones and Carson Halley is impressive as they keep things moving. If you haven’t yet investigated the extensive discography of this Portland, Oregon based master saxophonist, it’s never too late to start. Definitely recommended. 

Pine Eagle 017; Michael Vlatkovich (tbn) Rich Halley (ts) Andrew Jones (b) Carson Halley (d); Portland, OR, July 26-27, 2025; Mismatch/ Crossways Logic/ A Distant Land/ Message From Maputo/ The Edge of Surprise/ Subterfuge/ South of South/ Harnessing the Churn; 53:03. richhalley.com

Henry Threadgill Zooid: Cut You Where You Was & Henry Threadgill, Vijay Iyer, & Dafnis Prieto: Fifteen

     Beginning with Air, back in the mid-Seventies, the music of Henry Threadgill has always confused me - but in a good way. His compositions are consistently thought-provoking, particularly about the nature of music itself. Wherever his pieces start, there’s no way to know where they are going to end up, or how they’ll get there. It’s one of the many ways that improvisational music has expanded over time into a more open-ended musical space, in contrast to the close-ended format of head-solo(s)-head. Like many composer/improvisers, Threadgill often has a number of projects in the works. One of his bands is Henry Threadgill Zooid, a quintet with Threadgill on alto sax and flutes, Liberty Ellman on acoustic guitar, Jose Davila on tuba and trombone, Christopher Hoffman on cello and Eliot Humberto Kavee on drums. Zooid last recorded in late 2019 (Poof), and it’s back with Cut You Where You Was. Hoffman has been a member of Zooid for 15 years and the other musicians even longer. That kind of dedication is uncommon and it testifies to the absorbing allure of Threadgill’s music. A succinct outing at just under 36 minutes, the music on Cut You Where You Was is as brash and inventive as ever. Most of the pieces tend to emphasize the ensemble’s work as a unit. Red Admiral Red Moon Rising, by far the longest piece on the disc at 12:21, is the one track that gives the players plenty of room for imaginative solo work. Hoffman is up first, Threadgill follows with a typically knotty and mildly aggressive solo on alto, and then guitarist Ellman, who also produced and mixed the album, takes over before a suitably surprising finish. Davila, on tuba, and Kavee provide robust support. On the second half of the disc, Zooid presents 5 pieces, each under 2 minutes in length. That's about the capacity of the Edison cylinder, the earliest form of widely-distributed recorded sounds. As Threadgill notes, “You can’t take your time to get to the point because there won’t be a second chorus ...” These gem-like miniatures explore Threadgill’s compositional and arrangement strategies in a new way. Cut You Where You Was is another enigmatic and provocative release from this singular figure in creative music. 

Pi Recordings PI114; Henry Threadgill (as, fl, bass fl) Liberty Ellman (ac g) Jose Davila (tba, tbn) Christopher Hoffman (clo) Elliot Humberto Kavee (d); NYC, June 23-24, 2025 or *Brooklyn, NY, June 25, 2025; Flouroscope*/ Bingo Pat 1*/ Bingo Pat 2*/ Bingo Pat 3*/ Bingo Pat 4*/ Red Admiral Red Moon Rising*/ Blur/ Off and On What Happened/ Lightnin’/ Snow Bones/ Wind at My Back; 35:53. pirecordings.com

     The trio of Henry Threadgill, Vijay Iyer, & Dafnis Prieto first performed for a fundraiser at the Jazz Gallery in New York in 2012. They have periodically reconvened at the Jazz Gallery, and they’ve toured nationally and internationally. Over that time, they’ve achieved a state of deep empathy in their music, as clearly demonstrated on Fifteen, their very first release. With three of Threadgill’s originals, another three compositions by Iyer, and a pair by Prieto, this is very much a group effort. Threadgill on alto sax and flute is prominent in the mix, complemented by Iyer’s complex and jagged piano lines, and buoyed by the imaginative percussion work of Prieto. The trio’s music is focused and distinctly interactive, with each member of the trio soloing and listening to the other players at the same time. Particular highlights in this bountiful program include the drums and piano duet that’s the centerpiece of Threadgill’s Trio Piece, Iyer’s dynamic and emotionally wrought Fire City, and Prieto’s On the Way, a furiously upbeat number that features some harsh and forceful alto from Threadgill. It took a long time for this band to get into a studio, but it was more than worth the wait. Heartily recommended. 

Nonesuch 7559789247; Henry Threadgill (as, fl) Vijay Iyer (p) Dafnis Prieto (d); Mt. Vernon, NY, November 15-16, 2025; Trio Piece/ Last Night/ I Wanted a Map/ Where Coconuts Fall/ Gently Trapped/ Fire City/ Perfect Victims/ On the Way; 47:46. www.nonesuch.com
 

Two From Giant Step Arts: The Phoenix Trio & Dave Adewumi

        The Phoenix Trio is tenor saxophonist Mark Turner, bassist Joe Martin, and drummer Marcus Gilmore. The cooperative unit’s first release is Tomorrow Is Today, a live set featuring compositions by each of the band members. Turner, who has the highest profile of the three, contributes one piece, the alluring 1946. Gilmore also has one tune in the program, the chipper and bouncy Harvest. The other four tunes are by the expressive bassist Martin, whose pieces are designed to provoke the spirited interplay that this band displays at every turn. Turner and Martin go as far back as the mid-Nineties, and Gilmore has recorded frequently with Martin since 2008. So the comfort level is high among these three improvisers, and so is the palpable rapport they exhibit in front of the audience at Ornithology, a club in Brooklyn. Giant Step Arts, a non-profit that, in their words, is “a one-of-a-kind collaboration between forward thinking musicians and Jimmy Katz” has been recording its artists in live settings. That’s the best way to showcase a group’s energy and dynamics, and Katz and James Kogan do a superb job, with a suitably live and spatial feel to the end product. Among the many highlights of this performance are Turner’s intricately thoughtful solo on Martin’s The Fencer and his quiet accompaniment to Martin’s own solo, the poised alignment of the trio on Martin’s Lioness, the absorbing quarter-hour conversation of Martin’s title track, and the entrancing bass and drums duet towards the end of Safe. I expect we’ll be hearing much more from The Phoenix Trio in the future, and they’re off to a superb start with Tomorrow Is Today. Recommended. 

Giant Step Arts GSA 20; Mark Turner (ts) Joe Martin (b) Marcus Gilmore (d); Brooklyn, NY, March 23-24, 2025; The Fencer/ Lioness/ 1946/ Harvest/ Tomorrow is Today/ Safe; 65:42. www.giantsteparts.org

    Another Giant Step Arts artist, trumpeter Dave Adewumi makes his debut as a leader with The Flame Beneath The Silence. The main thing you need to know is that this cat can play. At different moments on this club date, he evokes such trumpet masters as Dizzy Gillespie, Lester Bowie, and Wadada Leo Smith, among others. He also composes, and all the pieces here are originals. He can be quiet as on Infinite Loop or the brief Pensive, be intricate and edgy on The Vine, or be boldly assertive (with a Freddie Hubbard flair) on the album’s longest track, If I Need to Do This Again I’m Going to Throw a Fit. While it’s not all that common for a trumpeter to be the only horn in his first outing as a leader, Adewumi’s command of the horn and his self-assurance make The Flame Beneath The Silence a debut to be savored. It certainly helps that he’s assembled a superb band with Joel Ross on vibes, Linda May Han Oh on bass, and Marcus Gilmore on drums. Worthy of note are Oh’s delicate solo on If I Need to Do This Again I’m Going to Throw a Fit and Gilmore’s dynamic drumming and Ross’ bluesy solo on The Light You Left Behind, but the concentrated energy of their accompaniment is evident in every bar. Dave Adewumi is the most exciting new trumpeter I’ve run across in a while, and The Flame Beneath The Silence is a strong contender for debut release of the year. Warmly recommended. 

Giant Step Arts GSA 19; Dave Adewumi (tpt) Joel Ross (vib) Linda May Han Oh (b) Marcus Gilmore (d); Brooklyn, NY, July 6-7, 2024; The Flame Beneath the Silence/ Is/ Abandon/ Breach the Gap/ Infinite Loop/ Pensive/ The Vine/ Out Cry/ If I Need to Do This Again I’m Going to Throw a Fit/ The Light That You Left Behind; 46:42. www.giantsteparts.org

Satoko Fujii & Myra Melford: Katarahi

 

   The two-piano format has never been a favorite of mine, but maybe I haven’t listened to the right players. Pianist/composers Satoko Fujii & Myra Melford joined one another on stage at a jazz festival in Austria, and the distilled results of their appearance is preserved on Katarahi. The album title is a Japanese word, meaning a heart-to-heart conversation between intimate friends, a beautiful concept and the clearest way to characterize the musical flow of their music. As Fujii says to Ed Hazell for his liner notes, “We both write a lot, and I enjoy playing her compositions.” Melford comments that “She’s so present in the moment that it’s easy to connect and build the music together.” That’s exactly what they do, utilizing a quartet of Melford’s pieces, a trio of Fujii’s, and a whole lot of intuitive improvisation. Almost silent at times, and poundingly intense the next, the music of Katarahi never fails to surprise and delight. Not to be missed. 

RogueArt ROG-0149; Satoko Fujii, Myra Melford (p); Leibnitz, Austria, September 24, 2024; Interlude I/ Signpost/ Pairs/ Chalk/ Kaiwa/ IV/ From Sometime; 51:38. www.roguart.com

Ivo Perelman/Matthew Shipp/William Parker/Bobby Kapp: Synesthesia

    The free improvisers Ivo Perelman, Matthew Shipp, William Parker, & Bobby Kapp present just over an hour of thoroughly engaged and telepathically connected instant compositions on Synesthesia. The title refers to a perceptual phenomenon where, in its simplest form, one sensory experience (color, for example) stimulates an involuntary experience of another type (like a musical note). Although the incidence of synesthesia in the general population is small, as Wikipedia tells us, “synesthetes are very likely to participate in creative activities.” These five lengthy improvisations, undoubtedly titled after the fact, refer to synesthetic experiences, like First Color Heard, Blue Taste, and the closing One Sense. The myriad connections among these veteran performers would take up way too much space. Just from listening, it should be clear to anyone that these four imaginative players and profound listeners have achieved a lofty level of spontaneous creation. There is so much at work in this music that it merits frequent listening and relistening to fully grasp the exquisite intensity of Synesthesia. The prolific Perelman frequently uses a duo format, which creates one sort of conversational dynamic. The quartet setting, in this traditional tenor sax plus rhythm section format, suggests a more careful and mildly restrained approach to the music. Here that’s all to the good. In parts of First Color Heard, for instance, Perelman seems to channel jazz phraseology from the past, at times sounding like Eddie “Lockjaw” Davis, of all people. Kapp’s delicate brushwork on Afterglow is the perfect complement to Shipp’s tender piano stylings and Parker’s calm bass lines, giving Perelman all the space he needs to rev things up. The jumpy One Sense, the longest track of the session, is an uptempo scorcher at first before it turns to a more contemplative mood to end the disc. The only thing to do is take a breather, and start listening again from the beginning. Totally recommended! 

defkaz records; Ivo Perelman (ts) Matthew Shipp (p) William Parker (b) Bobby Kapp (d); Brooklyn NY, December 2024; First Color Heard/ Phosphene/ Blue Taste/ Afterglow/ One Sense; 61:55. defkaz.bandcamp.com

Matt Slocum: A Revolving Alliance

     Drummer/composer Matt Slocum brings together guitarist Emmanuel Michael and veteran Larry Grenadier on bass for A Revolving Alliance. The title track leads things off, and “revolving alliance” is an apt metaphor for the band’s energetic interactions. The blend of Michael’s effects-laden guitar, Grenadier’s fluid bass, and Slocum’s sensitive drumming is captivating from the very start. With the focus continually shifting, the listener has a number of ways to listen as the music unfolds. The inter-generational lineup is an energizing force in this trio. Bassist Grenadier is the eldest, with hundreds of credits since his first appearance on a recording by pianist Larry Vuckovich in 1983. Drummer/leader Slocum, just two when Grenadier went into the studio for the first time, made his debut as a leader in 2011 with After The Storm. A Revolving Alliance is hie fourth release for Sunnyside, and Grenadier has been aboard for all of them. Guitarist Michael, younger still, has only burst on the scene in the last few years, recording with the likes of Dayna Stephens, Marcus Gilmore, and Gregory Hutchinson. Although the program includes some up-tempo burners, like the title track and the surging Two Dragons, with a terrific drum solo by Slocum, much of A Revolving Alliance offers gently atmospheric pieces, like Yerazel with some beautifully delicate playing by Michael and an absorbing bass solo by Grenadier, and A Disappearing Path, largely a feature for Michael’s ethereal guitar stylings. I’ve only heard a couple of the sessions the guitarist has worked on, so it’s a particular pleasure to listen to his innovative playing in the relatively austere context of a trio. A very rewarding disc, and well worth revisiting often. Happily recommended. 

Sunnyside SSC 1810; Emmanuel Michael (g) Larry Grenadier (b) Matt Slocum (d); NYC, March 21, 2025; A Revolving Alliance/ Yerazel/ A Disappearing Path/ New Dream/ Two Dragons/ Solstice/ A Dissolving Alliance; 41:09. sunnysiderecords.com

Ivo Perelman/Nate Wooley/Matt Moran/Mark Helias/Tom Rainey: A Modicum of the Blues

     A Modicum of the Blues by a quintet of Ivo Perelman, Nate Wooley, Matt Moran, Mark Helias and Tom Rainey starts out with the familiar-sounding cautious bleeps and bleats of a free jazz ensemble, which slowly develops into a busy soundscape. It’s every man for himself, usually with just a hint of the blues to be heard. Sometimes it feels like a rehearsal for a song that no one seems to know, but the musicians are happy to wing it just the same. Things get pretty stormy around the eight minute mark in Part 1, driven by Rainey’s energetic drumming, with Moran’s vibes peeking in and out of the mix as a relatively calm presence in the general tumult. The music then settles right down, as if the wildness of the last few minutes has drained everyone’s energy. Perelman has recorded duet sessions with Moran, Wooley, and Rainey. Helias and Rainey have worked often together in the last 36 years, including a trio session with Perelman and a quartet date that added pianist Matt Shipp. Combining all those talents into creating a cohesive statement as this session does, is to underscore the way that Perelman casts his sessions. When Perelman and Wooley open Part 3 with a display of matching high notes, followed by Helias’ bowed bass and Moran’s bell-like vibes, it’s their previous associations that provide the foundation for their mutual interactions in this larger setting. In the true spirit of free playing, Rainey lays out for the first minutes before introducing a busy rhythm that gooses the improvisation along. The blues feeling is most pronounced in Part 4, introduced by Helias’ firm bass lines and soon picked up by an alternately growling and soaring Wooley with delicate touches from Moran and Rainey. Part 5 leads off with bass and saxophone duet that starts out with heads figuratively butting before slowly dovetailing into a more subdued encounter as the rest of the ensemble comes into the picture. Notable in this piece is a dialog between Rainey’s drums and Moran’s vibes, with Helias’ bass happily caught in the middle. At the same moment, Perelman and Wooley rejoin the fray for the final few minutes of Part 5, with Perelman getting the last word as everyone else drops out. A Modicum of the Blues is a stellar example of the ethos of totally free improvisation in a small group context. Recommended. 

Fundacja Słuchaj; Nate Wooley (tpt) Ivo Perelman (ts) Matt Moran (vib) Mark Helias (b) Tom Rainey (d); Brooklyn, NY, May 2024; A Modicum Of Blues part 1-5; 46:43. sluchaj.bandcamp.com

Phillip Golub: Partisan Ship

      Descriptions like busy, complex, and synth-driven only begin to characterize keyboardist and composer Phillip Golub’s latest project, the boldly inventive Partisan Ship. To broaden the instrumental range of the music, Golub has enlisted the talents of some of the forward-looking musicians in New York City, including saxophonists Anna Webber, Yuma Uesaka and David Leon, trumpeter Amir ElSaffar, and 5-string violinist Layale Chaker. Each of them drops in the mix here and there to contribute a solo. The spare but effective soloing by ElSaffar, who’s feeling quite at home in the electronic haze on loyalty oath, alto saxophonist Leon and Chaker on the murky and vaguely Middle Eastern blue-orange reflections, and Anna Webber, throaty and angular on cries of the initiated, are worth noting. But the real star of the show is the rhythm section, with Golub with his Flexichord virtual piano and synthesizers, Elias Stemeseder and his synthesizers, bassist Sam Minaie and percussionist Jon Starks. Together, they create a densely textured symphony of beeps, bloops, mini-explosions, ghostly piano tinkling, and much more. Since the individual tracks all run into the next piece without a pause, the three-quarters of an hour running time of Partisan Ship is seemingly designed to be listened from start to finish. While I’m especially fond of the tricky rhythms of loyalty oath, the glorious cacophony of cries of the initiated and the warped ballad utopian micronation, it’s the overall effect that is especially impressive. Partisan Ship is a fascinating album, and is heartily recommended. 

Berthold Records; Phillip Golub (Flexichord virtual piano, Behringer Neutron, Arturia Digital synths) Yuma Uesaka (cl, bcl, cbcl, ts, bass ‘clariflute’ on 1, 3, 5, 8, 10) Amir ElSaffar (tpt on 1, 3, 5, 9) Anna Webber (fl, ts on 3,5,8) David Leon (as on 7,9) Layale Chaker (5-string violin on 7) Elias Stemeseder (Prophet VI, Moog Minitaur, Modular Synths on 1,3,5,6) Sam Minaie (b on 3,5,8) Jon Starks (d, sensory perc, snaps, drum machine on 1-3, 5, 7-10; elec on 2); Brooklyn, NY & NYC, no dates specified; 1 loyalty oath/2 interlude (aboard)/ 3 partisan ship/ 4 interlude (adorn)/ 5 mutiny meeting/ 6 interlude (adrift)/ 7 blue-orange reflections/ 8 cries of the initiated/ 9 utopian micronation/ 10 afterword: partisan session; 44:46. phillipgolub.bandcamp.com

Carla Bley: Joyful Noise

     Back in March 1984, keyboardist/composer/arranger/bandleader Carla Bley took her 10-piece orchestra into NDR’s Studio 10 in Hamburg for a concert. The two CD set released as Joyful Noise marks the first time this music has been available. Bley comes on stage to enthusiastic applause and tells the audience that she asked around about “what kind of music would appeal to the people in Hamburg, and this is what is they told me.” She’s already getting laughs before anyone in the audience could know what was coming next, but Bley’s deadpan announcement no doubt has some seasoned fans with minds racing to guess what the song might be. Complete with a “ha ha fooled you” opening, it turns into a totally danceable version of La Paloma, a popular song from around 1860 (!). Aside from an elaborate arrangement of Thelonious Monk’s Misterioso, the balance of the program is stocked with original Bley compositions. Bley, who recorded mostly at the piano, plays organ and glockenspiel here, with the little-known Ted Saunders on piano. The rhythm section is completed by two masters of the art, Steve Swallow on electric bass and Victor Lewis on drums. The brass section consists of Michael Mantler on trumpet, Gary Valente on trombone, the inimitable Bob Stewart on tuba, and Vincent Chancey on French horn. The two-man reed section is Steve Slagle on alto & soprano saxes and flute, with Tony Dagradi on tenor sax and clarinet. Bley as arranger mastered the knack of making the ensemble sound bigger than it really is. Having an array of expert musicians to execute her charts certainly didn’t hurt. The band is impeccable as Bley’s compositions make the most of their talents. Since many of these musicians were in her bands over a period of years, Bley likely composed much of her work with these individuals in mind. It’s the factor that provides that extra kick of individuality to the collective endeavor. While it truly is a fool’s game to pick favorites from a Carla Bley performance, since every track has so much to say and so much to recommend it, I’ll go out on a limb and single out the slow drag The Lord is Listenin’ To Ya, Hallelujah! This gospel-oriented piece features a long and testifying solo from trombonist Valente, who returns for a big crowd-pleasing finish after a short organ interlude. From Bley’s comments, this has clearly been released in the original performance sequence. With several Bley pieces that were not recorded elsewhere, Joyful Noise is a valuable addition to the discography of one of the most consistently intriguing composers and arrangers of her era. Happily recommended. 

MIG M1230; Michael Mantler (tpt) Gary Valente (tbn) Vincent Chancey (Fr hn) Bob Stewart (tba) Steve Slagle (as, ss, fl) Tony Dagradi (ts, cl) Carla Bley (org, glockenspiel) Ted Saunders (p) Steve Swallow (electric bass) Victor Lewis (d); Hamburg, West Germany, March 14, 1984; Disc 1 (49:10): La Paloma/ Talking Hearts/ Joyful Noise/ The Lord is Listenin’ To Ya, Hallelujah!/ Light or Dark/ Misterioso. Disc 2 (67:28): Venus Fly Trap/ Nu Derection/ Ending It/ Starting Again; Ups and Downs/ Battleship/ Copyright Royalties. www.mig-music.de/en/mig-music 

Kenny Barron, Ray Drummond, & Ben Riley: So Many Lovely Things: Live In Brecon

 

   Yusef Lateef, Dizzy Gillespie, Freddie Hubbard, Joe Henderson, Booker Ervin, Stan Getz: just a small sampling of the illustrious jazz figures who have given pianist Kenny Barron plenty of work since his recorded debut on brother Bill Barron’s 1961 Savoy album The Tenor Stylings Of Bill Barron. Besides being a much in demand sideman, Barron has also recorded over 50 albums as leader. A new addition to his discography is the recently unearthed So Many Lovely Things: Live In Brecon, a 1995 performance featuring the impeccably balanced trio of Kenny Barron, Ray Drummond, & Ben Riley. Recorded before an appreciative audience in the 400-seat Christ College Auditorium in Brecon, Wales, this set offers over 90 minutes of pure enjoyment. Barron, whose exquisite touch and elegant sense of swing are in evidence from the first note, starts off the show with Oh, Look at Me Now, a melody by Joe Bushkin that goes back to the early 1940's. Barron must have spending some time listening to the Tommy Dorsey band. That song, and the contemporaneous Bob Russell composition Time Was are the oldest songs in the program. Like most well-traveled pianists, Barron probably knows hundreds of tunes, and he writes some of his own as well. He plays two originals for the Welsh crowd. His gently relaxed Silent Rain is a solo piano feature, while the enchanting Nikara’s Song is explored at length by the trio. The balance of the program includes Freddie Hubbard’s Up Jumped Swing, two pieces by Thelonious Monk (a solo excursion on Shuffle Boil, and a mildly uptempo trio version of Ask Me Now), and three well-loved standards. As bassist Drummond comments to Ted Panken in the liner notes, “Kenny’s universe includes many dimensions.” Barron himself notes that he “likes music, and I like all of it.” And he loves to play all of it, too, as this lovely set proves. Happily recommended. 

Elemental 5990464 (Lp and CD); Kenny Barron (p) Ray Drummond (b) Ben Riley (d); Brecon, Wales, August 12, 1995; Disc 1 (54:08): Oh, Look At Me Now/ Up Jumped Spring/ Shuffle Boil/ Time Was/ Silent Rain/ Ask Me Now. Disc 2 (53:40): Nikara’s Song/ The Surrey With the Fringe on Top/ The Very Thought of You/ Canadian Sunset. www.elemental-music.com

Charles Downs Quartet: Inner

   

      The music of the Charles Downs Quartet on Inner is precisely what you’d expect from the storied ESP-Disk label: unfettered free improvisation that employs a broad range of strategies to move the music forward. Drummer/leader Downs, now 82 years old, performed under the name Rashid Bakr for most of his career, playing with several editions of Cecil Taylor’s bands, as well as with Jemeel Moondoc and Other Dimension In Music. He reverted to his birth name earlier this century, playing in the Flow Trio with Joe Morris on bass and Louie Belogenis on tenor sax, and with multi-instrumentalist Joe McPhee. Morris joins him for this outing, Downs’ very first release as leader. Jamie Saft, whose musical résumé is dauntingly lengthy, plays piano, and Hery Paz is out front on tenor saxophone. Downs’ nuanced drumming, dynamic control, and polyrhythmic expertise serve to energize his companions. Paz’s growly sound and quick reflexes are complemented by Saft’s incisive piano lines and Morris’ adventurous bass. The exemplary ebb and flow of this session makes for a wholly enjoyable recording. Recommended. 

ESP-Disk’ ESP5044; Hery Paz (sax) Jamie Saft (p) Joe Morris (b) Charles Downs (d); Brooklyn, NY, December 16, 2024; Inner, parts 1-5; 58:02. espdisk.com

Rob Garcia: Sizzle Ensemble

     I’ve always appreciated truth in advertising, so I’m happy to report that the Sizzle Ensemble helmed by drummer Rob Garcia makes good at the promised excitement of the name. The quintet, an A-team line-up with Shane Endsley on trumpet, Noah Preminger on tenor, Gary Versace on pianos, and Kim Cass on bass, is clearly having a ball right from the start, with their novel arrangement of Thelonious Monk’s theme song, Epistrophy. That’s one of three cover versions in the set, along with Marcus Miller’s Tutu, a staple in Miles Davis concerts in the last part of his career, and Herbie Hancock’s 1965 classic Maiden Voyage, played here with Versace on funky electric piano and bluesy solos from Preminger and Endsley. Garcia composed all the rest, save for Sizzle, a lively group composition and one of the two bonus tracks, noted as “not on the digital release.” The first of his pieces, Early Celebration, captures the raucous energy and cross-conversations of a great party. The tempo accelerates and decelerates, just like the ebb and flow of a convivial gathering. And in truth, the session sounds like just that kind of party. It no doubt helps that Preminger and Cass have been playing and recording together for over a decade, while Garcia and Preminger have collaborated on seven projects since Garcia’s Perennial CD (2009). The versatile multi-keyboard artist Gary Versace is ubiquitous, with well over 150 sessions to his credit since 2000. Trumpeter Endsley, with a bold, fluid sound, has worked with a wide array of musicians since 1996, including Steve Coleman, Ralph Alessi, Ben Allison, and as a member of Kneebody. Maybe all you need to know about Rob Garcia is that he might be the only drummer who’s worked with both Joseph Jarman (LifeTime Visions, 2000) and Woody Allen (soundtrack to Wild Man Blues). Among the many high points are the uptempo strut of Autumn Mischief, the deceptively simple Department of Peace, and the artful groove of Dreambreaker, with Cass setting the pace amid more powerhouse soloing from Preminger and a typically inventive Garcia solo. With each member of the band having worked in many disparate styles of jazz, it gives the members of the Sizzle Ensemble a potent and refined group sound. Seriously recommended. 

Connection Works; Shane Endsley (tpt) Noah Preminger (ts) Gary Versace (p, el p) Kim Cass (b) Rob Garcia (d); New Jersey, November 15, 2025; Epistrophy/ Early Celebration/ Tutu/ Autumn Mischief/ Department of Peace/ River/ Bully/ Maiden Voyage/ The Shadow Nose/ Dreambreaker/ Ghosts Present/ Follow the Thread*/ Sizzle*; 68:37; Tracks marked * are “bonus tracks not on digital release.” www.connectionworks.org

Tribute Albums From Bobby Broom, Richard Baratta, & Gregory Hutchinson

     The tribute album is a format that’s likely to never go out of style, especially since there are so many major figures to pay homage to. 

     Guitarist Bobby Broom had two five-year stints in the Sonny Rollins band (from 1982 to 1987, and again in 2005-2010), and is clearly attuned to the breadth of Rollins’ compositions over the decades. With Dennis Carroll on bass and another Rollins alumnus Kobie Watkins on drums, Notes Of Thanks offers potent renditions of nine Rollins originals, plus Carroll’s gently swinging Me Time. Broom, Carroll, and Watkins have been recording as a trio on and off since 2005. They’ve achieved the state of instant communication that locks the musicians into one another’s sounds. Especially worthy of note are The Freedom Suite (part 1) from 1958, Allison from 1987, and, all from 1956, an elegant version of Paul’s Pal, a thoughtful look at Strode Rode, and the upbeat Pent Up House. In one sense, the whole album is a highlight by spotlighting Sonny Rollins’ enduring compositions; in a more important way, Notes Of Thanks offers nearly an hour of unfailingly lively group interplay. Warmly recommended. 

Steele SR 008/Clean Sweep Music CSM 122; Bobby Broom (g) Dennis Carroll (b) Kobie Watkins (d); Chicago, IL, September 30 & October 1, 2025; Alfie’s Theme/ The Freedom Suite (part 1)/ Doxy/ Allison/ Kim/ Me Time/ Paul’s Pal/ Strode Road [sic]/ Pent Up House/ Valse Hot; 53:54. www.bobbybroom.com

    Another Kind Of Bird (Reimagining Charlie Parker) is an pleasing collection of tunes that most jazz fans will know. Drummer and bandleader Richard Baratta has gathered a crew of four respected saxophonists, placed them in various combinations with a versatile five-piece rhythm section, and set the ensemble loose on fresh arrangements of Parker compositions (plus one standard). The charts are by pianist Bill O’Connell, known for frequently working in a Latin jazz context. There have been countless tributes to Parker since he passed away in 1955, an acknowledgment of his vast influence. But there’s always room for another thought-provoking tribute to this seminal figure. The presence of altoist Vincent Herring is the one constant of this session. When he’s joined by Eric Alexander, Craig Handy, and Abraham Burton on the first four tracks, there’s a hint of the 70's era Supersax, though O’Connell’s arrangements largely eschew their harmonized sound in favor of a jam session feel. Highpoints include Herring’s tender balladry on Gershwin’s Embraceable You, a Parker favorite, a Latin styled version of Little Suede Shoes with Handy on flute, a funkified Ah-Leu-Cha complete with a hot guitar solo by Paul Bollenback, and the hard-driving version of Yardbird Suite with some forceful drumming from Baratta. While I prefer the second half of the disc, with Herring as the sole horn, there’s something here for everyone, since everybody is a Bird fan right? As with all successful tribute albums, this one made me want to listen to some Charlie Parker music. Recommended. 

Savant SCD 2229; Vincent Herring (as) Craig Handy (ts on 1,2; fl on 3; ss on 4) Abraham Burton (ts on 1,4) Eric Alexander (ts on 1,4) Bill O’Connell (p, el p) Paul Bollenback (g) Michael Goetz (b) Richard Baratta (d, perc) Paul Rossman (cga, perc); Paramus, NJ, October 10-11, 2025; 1.Donna Lee/ 2.Ornithology/ 3.Little Suede Shoes/ 4.Ah-Leu-Cha/ 5.Embraceable You/ 6.Now’s the Time/ 7.Moose the Mooche/ 8.Yardbird Suite/ 9.Segment/ 10.Au Privave; 56:51. www.jazzdepot.com

     Miles Davis was at the forefront of the latest developments in jazz for many decades, from bop to fusion and beyond, which makes him a tricky subject for a tribute album. The choices of material and instrumentation are nearly endless. In his forward-looking stance towards compositions that in some cases are decades old, drummer Gregory Hutchinson takes a particularly Milesian path on Kind Of Now : The Pulse of Miles Davis. He's put his extraordinary septet to work on a choice selection of tunes associated with Miles in various phases of his discography. Trumpeter Ambrose Akinmusire and saxophonist Ron Blake share the front line of this multi-generational lineup, with guitarists Jakob Bro and Emmanuel Michael, pianist Gerald Clayton, and bassist Joe Martin joining Hutchinson in the rhythm section. Among the numerous highpoints are the spunky treatment of Charlie Parker’s Ah-Lu-Cha, first recorded by Miles with Bird in 1948, a mellow version of Fran-Dance that’s largely a feature for pianist Clayton, Akinmusire’s a cappella opening and brief but potent solo on Wayne Shorter’s Orbits, the irresistible blend of Akinmusire and Blake on Water Babies, another Shorter composition, Blake’s smoking solo on a romping version of Victor Feldman’s Seven Steps to Heaven, and the dub-flavored reconstruction of Bitches Brew with more incisive trumpet from Akinmusire. Hutchinson contributes a few of his own pieces to the program. He name-checks influential drummers of the past and present over a web of drums and electronics on The Masters, takes over the spotlight for a drum solo on Ellehcem’s Time, and whips up a backwards tape loop for the brief I’m Done. Akinmusire’s brilliant playing and Blake’s powerhouse tenor saxophone might be the main reasons to grab this one, but the well-curated selection of tunes and the potent ensemble work make Kind Of Now a exemplary tribute to the great Miles Davis in his centenary year. Recommended. 

Warner Music (LP & CD): Ambrose Akinmusire (tpt) Ron Blake (ts, bcl) Jakob Bro, Emmanuel Michael (g) Gerald Clayton (p) Joe Sanders (b) Gregory Hutchinson (d); NYC, July 1-2, 2025; Ah-Leu-Cha/ Fran-Dance/ Fall/ Orbits/ The Masters/ Feio/ Water Babies/ Seven Steps to Heaven/ Bitches Brew/ Black Comedy/ Ellehcem’s Time/ Circle in the Round/ I’m Done; 57:19. 

Timely Music From Civil Disobedience & Tyshawn Sorey

     Jazz has always reflected the social situation in which it is created. In these troubled times, that engagement with the world is inescapable, and different bandleaders have taken several approaches to that necessity. Here are two. 

    Civil Disobedience is a quintet spearheaded by bassist David Ambrosio. The band’s debut release features cover versions of five jazz compositions originally recorded for Blue Note Records in the late Sixties but unreleased at the time. It was a difficult period for the company and for jazz records in general. Many albums were taped, sequenced, prepared for release, and then shelved. It took the late Michael Cuscuna to dig into the Blue Note vault and produce dozens of previously unissued albums, first on Lp and later on compact discs. The band’s debut release seeks to remind the listening audience of both the civil turmoil of the era and some of the compositions neglected due to the circumstances of their appearances in the marketplace. The quintet succeeds on both counts, doing justice to tunes like Bobby Hutcherson’s For Duke P., James Spaulding’s A Time to Go (from Hutcherson’s Patterns album), and two from drummer/composer Joe Chambers, Irina and Ankara. The most explicitly political tune is Harold Land’s Poor People’s March, first heard on another Hutcherson album, Spiral. With trumpeter Ingrid Jensen and saxophonist Donny McCaslin in the front line, plus a rhythm section of Ambrosio, pianist Bruce Barth, and veteran drummer Victor Lewis, Civil Disobedience is perfectly positioned to do justice to these unfairly passed-0ver tunes. The astute selection and arrangements deliver a solidly enjoyable musical experience along with a jolt of political resonance. As the record jacket says, “There may not be a more crucial moment to examine the windows of history in order to comprehend the current situation in America. The music featured [here] serves as one such window.” Recommended listening. And a special shout-out to the great Victor Lewis, who shines on this date as he did so many times before, beginning with his 1974 appearance on Woody Shaw’s The Moontrane. Because of some physical problems he’s been having recently, Civil Disobedience is probably his last recording. 

Blue Frog BF2501 (Lp); Ingrid Jensen (tpt) Donny McCaslin (ts, ss) Bruce Barth (p) David Ambrosio (b) Victor Lewis (d); NYC, February 2, 2025; For Duke P. (a/k/a XYZ)/ A Time to Go/ Irina/ Poor People’s March/ Ankara; 35:54. bluefrogrecords.com

 

    Where Civil Disobedience delivers fresh versions of compositions from the Sixties, more or less in the progressive bop style of the era, the multi-faceted Tyshawn Sorey has radically recast the songs from Max Roach’s 1968 Atlantic album Members, Don’t Git Weary into a suite titled Members... Don’t! Roach was one of the more outspoken musicians of the Fifties and Sixties, particularly about racial issues. His classic 1960 Candid album, We Insist ! - Freedom Now Suite, with an ensemble that included Coleman Hawkins, Booker Little, and Abbey Lincoln, is probably his best-known politically oriented release. In contrast, Members, Don’t Git Weary is more oblique in its implications. Roach’s band consisted of Charles Tolliver on trumpet, Gary Bartz on alto saxophone, Stanley Cowell on piano, and Jymie Merritt on electric bass, with a vocal by Andy Bey on the title track. Merritt was just a couple of years younger than Roach, but the rest of the band was considerably younger, in the great jazz tradition of bandleaders hiring the new generation of musicians to help stay current. (As the great drummer and bandleader Art Blakey once said, "young cats keep me young. I learn from them just like they learn from me.") Sorey, the much-praised drummer, pianist, composer and bandleader, follows in that tradition, putting together his quintet with a similar age distribution. The broadly experienced tenor saxophonist Mark Shim is the oldest member of the ensemble. But trumpeter Adam O’Farrill, pianist Lex Korten, and bassist Tyrone Allen II are much younger and starting to make names for themselves. Sorey’s quintet played two sets a night for three nights before recording the fourth and final night for this release. As Sorey told Nate Chinen for the liner notes, “It took that four-night run for us to arrive at being able to confidently perform the suite, but without having to spend extensive time rehearsing it.” In addition to Sorey’s expansion and resequencing of the original material, he’s arranged it all in one long medley laced with the occasional quiet passage to allow the musicians to take a tiny break. The band settles in quickly at the start of Stanley Cowell’s Abstrusions, the leadoff track to the Roach album and one of his three compositions, along with Effi and Equipoise. (Bartz composed Libra, and Merritt wrote Absolutions.) From there, the music ebbs and flows for 95 minutes, more than three times as long as the source material. The music stays the course as themes come and go, anchored by Korten’s calm style at the piano and propelled by Sorey’s magnificent drumming. There are some potent solos by O’Farrill and Shim, but it’s the ensemble as a whole that really shines. Sorey declares the title track of Roach’s album, “to be the apex of the original release” and that he wanted to “present an experience where all of the other music decisively arrives at Members, Don’t Git Weary.” Sound artist Fay Victor applies her avant-blues vocal to the song, credited to Max Roach and based on the traditional song Keep Your Lamps Trimmed and Burning. Victor’s histrionics are not usually my cup of tea, but she nails this performance in a cathartic climax to the forceful and impassioned music that leads up to it. Definitely one of the best albums of the year. 

Pi Recordings PI112; Adam O’Farrill (tpt, elec) Mark Shim (ts) Lex Korten (p) Tyrone Allen II (b) Tyshawn Sorey (d) Fay Victor (vcl on *); NYC, June 14, 2025; Disc 1 (52:09): Abstrusions/ Effi/ Absolutions/ Equipoise (Part 1). Disc 2 (43:46): Equipoise (Part 2)/ Libra/ Members, Don’t Git Weary*. pirecordings.com 

Joseph Branciforte & Jozef Dumoulin: ITERAE

     

Most of the time, minimalist electronic music leaves me cold. And yet every once in a while, for a totally inexplicable reason, I find myself mesmerized and totally tuned in to the sounds. That’s the case with ITERAE, a collaboration by Joseph Branciforte & Jozef Dumoulin, which features both performers on Fender Rhodes electric pianos and added electronics, plus live editing by Branciforte. The eight untitled pieces tend to be soothing and dreamy, streams of sound in which you can easily lose your sense of self completely for a while. Naturally this is even more effective on headphones. The {greyfade} label has released ITERAE “as a multi-disc edition at the scale of a vinyl LP. The album’s material is distributed across four 80mm compact discs (plus a full-length CD for continuous playback), extending the music’s structural logic into physical form.” I don’t know much about “structural logic;” all I know is the consistently relaxed feeling that these electronic musings provide. 

Greyfade GF011; Joseph Branciforte (Rhodes el p, elec, live editing) Jozef Dumoulin (Rhodes el p, elec); no recording information available; eight untitled tracks; 68:09. www.greyfade.com 

Joe Fiedler's Big Sackbut: Journey To Bowerbird

      If a line-up of three trombones, tuba and drums appeals to you, then Joe Fiedler's Big Sackbut is just what you’ve been waiting for. On Journey To Bowerbird, the imaginative Fiedler is joined by Ryan Keberle and Luis Bonilla on ‘bones, the accomplished tubist Marcus Rojas, and drummer Satoshi Takeishi for nine of his attractive and infectious originals. Fiedler’s smart and attractively textured arrangements combine with Takeishi’s appropriately aggressive drumming to make this album a thoroughly enjoyable outing. Strong and focused solo work by all hands is the icing on the cake. Definitely recommended. 

Multiphonics Music; Joe Fiedler, Ryan Keberle, Luis Bonilla (tbn) Marcus Rojas (tba) Satoshi Takeishi (d); New Haven, CT, January 30-31, 2026; Portrait of Tito Matos/ The Box/ Journey to Bowerbird/ Guiro Nuevo/ Elements of Know/ Room 719/ Flexible Flyer/ Kingston/ Go Get It; 55:02. joefiedler.bandcamp.com

Jimmy Farace: Big Shoulders, Big Sounds

   

     Baritone saxophonist Jimmy Farace joins forces with the Chicago area’s premier bass and drums team, Clark Sommers and Dana Hall, on his latest release, Big Shoulders, Big Sounds. With over a dozen previous sessions in which Sommers and Hall were in the rhythm section, the two have developed the art of deft dynamic support and intensity. With nowhere to hide, and without the encumbrance of a chordal instrument, Farace’s smooth and resonant sound is an absolute delight. An imaginative and resourceful soloist, he gets around his saxophone with ease. The trio expounds at length on five of Farace’s original compositions. Especially worthy of close attention are Prophetic Dreams, which opens with a feeling of hushed melancholy before developing into an animated 3-way conversation, and DST, where Dana Hall breaks out with an energetic drum solo to lead off this cheerful tune. Another high point comes with the slowly paced Cloud Splitter, featuring a lovely melody, a well-constructed baritone solo, and a brief bass and drums duet before Farace returns to lead the band out. The trio’s enchanting version of the oft-recorded I'll Be Seeing You is appropriately tender and yearning. They also explore Strayhorn’s exquisite Chelsea Bridge and baritonist Charles Davis’ Just Us Blues, which nobody else seems to have picked up on since its appearance on 1963's Illumination! by the Elvin Jones/Jimmy Garrison Sextet. One aspect of the appeal of this session is the unique baritone/bass/drums format, but it’s the emphasis on mutual communication and a conversational attitude that makes the music work so beautifully. Everybody lets loose on the high-powered finale, appropriately titled Three Headed Dragon. Three-headed perhaps, but with a common commitment to digging deeply into the music and making the most of it. Gladly recommended.

Shifting Paradigm SP233; Jimmy Farace (bari s) Clark Sommers (b) Dana Hall (drums and cymbals); Chicago, IL, (probably), no dates indicated; Decorah's Dance/ Just Us Blues/ Prophetic Dreams/ DST/ I'll Be Seeing You/ Cloud Splitter/ Chelsea Bridge/ Three Headed Dragon; 62:18. www.shiftingparadigmrecords.com

More Vault Treasures:From Yusef Lateef, Ahmad Jamal, Joe Henderson & Mal Waldron

     Nobody runs a jazz club to get rich. Impresarios like Todd Barkan (Keystone Korner in San Francisco), Max Gordon (The Village Vanguard in New York), and Joe Segal (The Jazz Showcase in Chicago) were all fans of the music they presented on their stages. One of the semi-hidden perks of running a club is having the man in the sound booth tape the show. I should know, because I did precisely that when I worked at Keystone Korner in the late Seventies. By now, it’s no surprise at all, and so many Keystone tapes have been spruced up for official release (including an earlier Resonance release by Jaki Byard and Tommy Flanagan) that it’s hard keeping track of them. It turns out that Joe Segal, who opened his Jazz Showcase in 1947 and subsequently moved the location many times over the years, amassed a collection of between 8,000 and 10,000 tapes. As producer Zev Feldman writes “The path to releasing this material has been long and, at times, complicated ... I’m very lucky to have known Joe over the course of many years ... he always knew I was looking for tapes to release. In 2011, I began to work with him to delve into his archives and go over his collection of tapes, and now, 13 years later here we are.” Working closely with Joe Segal’s son Wayne Segal, who continues to operate The Jazz Showcase, Feldman has settled on an initial four releases, available on vinyl for Record Store Day and on CD one week later. Each booklet in these sets comes with an introduction by producer Feldman, reminiscences by Wayne Segal, and Joe Segal’s neighbor, friend and lawyer Stu Katz, plus some comments by Sonny Rollins on Joe Segal, who he describes as “one of a kind.”

    The earliest music in the batch comes from multi-instrumentalist Yusef Lateef on Alight Upon The Lake: Live At The Jazz Showcase. As Lateef biographer Herb Boyd writes in his liner essay, Lateef put his quartet, with Kenny Barron on piano, Bob Cunningham on bass, and “Tootie” Heath on drums, back together in order to bring some income into his life. Boyd says that “Yusef and his crew settled in for a live recording.” It’s finally out, as a 3-LP/3-cd package. Lateef took an unusual approach to a live record date, starting off with the nearly half-hour excursion through pianist Barron’s The Untitled. Only one tune in the lengthy program, Lateef’s I Remember Webster is under 10 minutes. The band is hitting hard from the start of The Untitled, with Lateef on tenor, but it breaks down in the middle for a very long piano solo before erupting into a wild passage as the drums come in, and Barron and then Lateef steer the piece to a close. I’ve always thought of Lateef’s most successful work as hard bop with a personal slant, and so a burner like his original composition Mutually Beneficial is one of the highlights of the music for me. The tempo is ferocious, the rhythm section is giving it all they’ve got with an explosive Lateef on top. Over the course of the concert, Lateef also plays bamboo and transverse flutes, and oboe. A solo on bamboo flute leads off Roy Brooks’ Eboness, which features a well-recorded arco solo by Cunningham. The second half includes a long look at Kenny Barron’s bouncy Inside Atlantis, followed by I Remember Webster, a beautiful and otherwise unrecorded Lateef original ballad dedicated to Ben Webster. The half-hour long Opus 1 & 2, written by Akira Inoue, sustains the mellow mood as Lateef wields his transverse flute after a long introductory passage featuring Cunningham’s bowed bass. The set winds up with a romp through Nat King Cole’s Straighten Up and Fly Right, and then the oft-recorded set closer and the “going home number” Yusef’s Mood, an r’n’b flavored number that has everybody feeling all right. Your guides to contextualize both the music and the man are producer Zev Feldman, who knew Lateef many years ago, Herb Boyd, and saxophonist Bennie Maupin. Maupin describes Lateef as “a great mentor to me.” The most important things he learned from him, he says were “how to be truthful, to speak your mind creatively ...” The booklet also includes a great photo spread of old Joe Segal concert posters, with an engagement by the Yusef Lateef band on each one. Alight Upon The Lake has plenty to offer for fans of this influential figure in improvised music. 

Resonance HCD-2088 ; Yusef Lateef (ts, fl, oboe) Kenny Barron (p) Bob Cunningham (b) Albert “Tootie” Heath (d); Chicago, IL, June 1975; Disc 1 (55:26): The Untitled/ Mutually Exclusive/ Eboness. Disc 2 (55:28): Inside Atlantis/ I Remember Webster/ Opus 1 & 2. Disc 3 (51:21): Golden Goddess/ Straighten Up and Fly Right/ Yusef’s Mood. resonancerecords.org

    The influential pianist Ahmad Jamal is heard At The Jazz Showcase: Live In Chicago in his usual trio format, with John Heard on bass and Frank Gant on drums. Gant spent over a decade playing with Jamal, mostly with Jamil Nasser on bass. Heard was a member of the trio for just a year. Jamal was a frequent performer for Joe Segal over the years. Jamal, of course, grew famous in the Fifties when he recorded At the Pershing: But Not for Me in Chicago in 1958. He could always be sure of a receptive audience when he played there, and the tracks included here prove it. Jamal’s music was changing in the mid-Seventies, but his innate melodicism and firm touch never abandoned him. The repertoire encompasses Johnny Mandel’s Theme From M*A*S*H (also a Bill Evans favorite in this period), Antonio Carlos Jobim’s Wave, and Herbie Hancock’s Dolphin Dance plus a few standards. At 9:28, Jamal’s solo rendition of Duke Ellington’s Prelude to a Kiss, is a very long prelude to what one hopes is a fantastic kiss. His other solo excursion, a calm and deliberate version of A Nightingale Sang in Berkeley Square, closes the show on a graceful note. Jamal’s frequent tendency on stage to turn the tunes into marathons of twists and turns doesn’t always grab me, and I wish the piano didn’t sound quite so tinny. Eugene Holley, Jr.’s liner notes, John Heard’s memories, and appreciations by pianists Fred Hersch and co-producer Joe Alterman all help to put this concert in perspective. 

Resonance HCD-2085; Ahmad Jamal (p) John Heard (b) Frank Gant (d); Chicago, IL, March 20-21, 1976; Disc 1 (50:08): Ahmad’s Song/ Wave/ Have You Met Miss Jones?/ Theme From M*A*S*H. Disc 2 (52:26): Dolphin Dance/ Prelude to a Kiss/ A Time For Love/ Swahililand/ A Nightingale Sang in Berkeley Square. resonancerecords.org

     Tenor saxophonist Joe Henderson was between labels at the time of Consonance: Live At The Jazz Showcase. No longer a Milestone artist, he would record his sole Contemporary release in 1979. He was probably touring at the time of this show with pianist Joanne Brackeen (her name is on the poster for this gig), adding a new rhythm section in each town. Bassist Steve Rodby and drummer Danny Spencer were called upon in Chicago, and as Rodby told producer Zev Feldman, Henderson “made you sound good just by playing with him.” Rodby was the house bassist at the Jazz Showcase for a spell, and backed many of the headliners. Another interviewee, Danny Spencer, notes that he knew Joe Henderson through his brother Leon, when Spencer and Leon Henderson were both members of the Contemporary Jazz Quintet. Playing with Joe, Spencer feels, was like having a conversation in music on stage. Joanne Brackeen, was Henderson’s pianist of choice from 1972-1975, and obviously performed in his groups after that. She told Feldman these performances “reflect a way we often played, but which was never captured on recordings.” The elements are all in place for an inspired (and long) evening from the quartet. And so it proves to be. They come on strong with an almost impossibly fast and extended version of Coltrane’s Mr. P.C., with solo space for all. The quartet proceeds to tackle a trio of Henderson’s best-known compositions (Inner Urge, Recorda Me, and Isotope), Bird’s Relaxin’ at Camarillo, Monk’s 'Round Midnight, and a few of his favorite standards. Among the high points are Henderson’s unaccompanied opening to the Monk tune, the joyous finger-snapping approach the quartet brings to Softly, As In a Morning Sunrise, and the evolved hard-edged bebop of Relaxin’ at Camarillo. Co-producer John Koenig contributes a set of informative liner notes and there’s an array of photographs of the musicians as well. Henderson was always regarded as a top tenorman by other musicians, but he didn’t really achieve more visibility and recognition until his The State Of The Tenor albums for Blue Note in 1985. He was always a star to those in the know, and this collection of live performances is further proof. Recommended. 

Resonance HCD-2084; Joe Henderson (ts) Joanne Brackeen (p) Steve Rodby (b) Danny Spencer (d); Chicago, IL, February 1978; Disc 1 (80:00): Mr. P.C./ Inner Urge/ Invitation/ Relaxin’ at Camarillo. Disc 2 (79:31): Recorda Me/ ‘Round Midnight/ Good Morning Heartache/ Softly, As in a Morning Sunrise/ Isotope. resonancerecords.org

   Pianist Mal Waldron had a fascinating career. He was first heard on record as a house pianist for the Prestige label in the late Fifties. He was the regular accompanist for Billie Holiday from April 1957 until her untimely death in July 1959. In 1963, he suffered a breakdown from a heroin overdose which left him unable to play or remember any music. But the human brain is remarkable, and through hard work and perseverance, he relearned the piano and returned to the scene. He made a few records in Europe in the late Sixties, with a more obsessive and forceful style than he’d exhibited in the Prestige years. His philosophy was expressed in his ECM album Free At Last, the initial release of the iconic label. By the time of Stardust & Starlight At The Jazz Showcase, Waldron was splitting his time between Europe and the United States. A glance at his recordings in this period reveals that his repertoire on the two continents was equally divided. In February 1979, he recorded Mingus Lives, a solo piano concert in Belgium of original compositions. That April, he appeared at Jazzbuhne Berlin 1979 with European modernists like Manfred Schoof and Gerd Dudek, again playing his own tunes. By contrast, while back in the United States, he was playing standards plus a couple of older originals. On a piece like his much admired Fire Waltz, originally recorded in 1961, the link between his early playing and the freer, more hypnotic style he developed in the second half of his career becomes clear. Waldron was touring as a single, and Joe Segal hired Steve Rodby on bass and the well-established Wilber Campbell on drums. They get to relax for a long stretch of solo piano as Waldron explores the standards I Thought About You and It Could Happen to You, and Monk’s classic ‘Round Midnight. At times during Waldron’s week in Chicago, Sonny Stitt would step up for a couple of numbers, and after a swinging rendition of Stella By Starlight by the trio, Stitt takes over on the final two performances. Old Folks dates back to 1938; and Hoagy Carmichael’s Stardust is older still, composed in 1927. Waldron hadn’t recorded either one in decades, and he supports Stitt’s florid soloing with a minimal touch. Stardust & Starlight presents an almost mainstream side to Waldron’s playing, in contrast to the many European albums of the period, and to an avowed Waldron fan, this music is a true revelation. Liner notes are by the esteemed Howard Mandel, who must have witnessed dozens and dozens of shows at the Jazz Showcase, There’s also an appreciation of Waldron’s sound by pianist Lafayette Gilchrist, plus memories of the week with Waldron by bassist Rodby. Definitely recommended. 

Resonance HCD-2087; Mal Waldron (p) Steve Rodby (b) Wilber Campbell (d) Sonny Stitt (as); Chicago, IL, August 1979; All Alone/ All God’s Chillun Got Rhythm/ Fire Waltz/ I Thought About You/ It Could Happen to You/ ‘Round Midnight/ Stella By Starlight/ Old Folks*/ Stardust*; 67:37. resonancerecords.org