tag:blogger.com,1999:blog-28205949323048802782024-03-26T14:29:16.558-07:00Mr. Stu's Record RoomStuart Kremsky was the San Francisco “Short Takes” correspondent for Cadence magazine from 1979-2007. His reviews have appeared in Option, Sound Choice, Cadence, and the IAJRC Journal. He was a sound man at the fabled Keystone Korner and for over ten years was the tape archivist for Fantasy Records, where his production credits include boxed sets of Sonny Stitt, Dexter Gordon, the Modern Jazz Quartet and the Grammy-nominated Sam Cooke With the Soul Stirrers. Email skremsky1 (at) gmail.comMr. Stuhttp://www.blogger.com/profile/11942149494207907981noreply@blogger.comBlogger286125tag:blogger.com,1999:blog-2820594932304880278.post-20938618375166836052024-03-26T14:28:00.000-07:002024-03-26T14:28:29.194-07:00Samo Šalamon/Vasil Hadžimanov/Ra-Kalam Bob Moses: Dances of Freedom<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiydKoRojkY75vUaDRdJspqoEnrIkttganD6FrNPMkp9KNlaaZHx6tEXtYgtVPGC-f5jrdLPB-G1J17ZjzmpezS6x5FHSE1nJtiQhHBZhwngRvDYewEBTnP_uaz5fyaKrlJHHY1mGmnaVosjoq85NAfekK4e_28_OspQYAjN5JN8BQpKlxcPxUf_ZmKGI4/s360/SamoSalamon_Dances-of-Freedom.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="324" data-original-width="360" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiydKoRojkY75vUaDRdJspqoEnrIkttganD6FrNPMkp9KNlaaZHx6tEXtYgtVPGC-f5jrdLPB-G1J17ZjzmpezS6x5FHSE1nJtiQhHBZhwngRvDYewEBTnP_uaz5fyaKrlJHHY1mGmnaVosjoq85NAfekK4e_28_OspQYAjN5JN8BQpKlxcPxUf_ZmKGI4/s320/SamoSalamon_Dances-of-Freedom.jpg" width="320" /></a></div><br /> <span style="white-space: normal;"><span style="white-space: pre;"> </span>Three boldly imaginative musicians, <b>Samo Šalamon, Vasil Hadžimanov & Ra-Kalam Bob Moses</b>, combine for <b><i>Dances of Freedom</i></b>. The set opens with <i>Cream of Emotion</i>, where Šalamon’s banjo, Hadžimanov’s synthesizer and Moses’ percussion create an ominous feeling of space music mired in Mississippi mud. Šalamon’s busy electric guitar and Hadžimanov’s ethereal electronic keyboard washes are buoyed by Moses’ aggressive percussion on <i>Free Dances</i>, where the music doesn’t develop as much as it just keeps pushing forward. On <i>Ocean Calimba</i>, Šalamon is back on banjo. He manages to evoke the sound of a thumb piano, with Moses clattering on what sounds like hand drums and cymbals while Hadžimanov contributes some other-worldly tones to the proceedings. For <i>Dirty Zone</i>, Hadžimanov moves to piano, and the music is mostly an upbeat duet between piano and drums, with occasional interjections by Šalamon on acoustic guitar. The meditative <i>Morphbed</i> is worth savoring again and again thanks to its mysterious blend of organ-like swells, piercing electric guitar, and chattering percussion. Even more shrouded in haze is <i>Pans</i>, where the combination of acoustic guitar, lightly tapped percussion, and unusual synth timbres yields a track of alluring beauty. <i>Hapi Mai</i> ends the album. This intriguing and introspective piece features subdued but insistent percussion over which Hadžimanov on piano and Šalamon on insistent electric guar. trade melodic lines to excellent effect. Endlessly stimulating and full of surprising textures, <i>Dances Of Freedom </i>makes for rewarding listening. Recommended. </span><p></p><p><span style="white-space: normal;"><b>Samo Records</b>; Samo Šalamon (el & ac g, bjo) Vasil Hadžimanov (kybds, p on *) Ra Kalam Bob Moses (d, perc); Moribor, Slovenia (probably), August 2021; Cream of Emotion/ Free Dances/ Ocean Calimba/ Dirty Zone*/ Conga/ Morphbed/ Pans/ Indian Base/ Hapi May*; 44:14. <a href="http://samosalamon.bandcamp.com/music">samosalamon.bandcamp.com/music</a></span></p><div><br /></div>Mr. Stuhttp://www.blogger.com/profile/11942149494207907981noreply@blogger.com0tag:blogger.com,1999:blog-2820594932304880278.post-49363094540162364652024-03-25T14:02:00.000-07:002024-03-25T14:02:44.741-07:00Alma Tree: Sonic Alchemy Suprema<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyPOLl39GbhgtQptlJdtkFolbxgYroTQQ5f2mNQYosEWVsowqjTGsKkXpQiE7OtaqAKt-RB-uFd-zZFs6dWigbtsMzS-8nBsod-HLOgw7BpQiRg87tfZdsPfVjTvjLWTpCUCOTfB2br-Ynhzfrbg0Vko9FY78Livcf9lEqnG3CEIxEpUMevpIATAPQTEw/s360/Alma%20Tree_%20Sonic%20Alchemy%20Suprema.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="360" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyPOLl39GbhgtQptlJdtkFolbxgYroTQQ5f2mNQYosEWVsowqjTGsKkXpQiE7OtaqAKt-RB-uFd-zZFs6dWigbtsMzS-8nBsod-HLOgw7BpQiRg87tfZdsPfVjTvjLWTpCUCOTfB2br-Ynhzfrbg0Vko9FY78Livcf9lEqnG3CEIxEpUMevpIATAPQTEw/s320/Alma%20Tree_%20Sonic%20Alchemy%20Suprema.jpg" width="320" /></a></div><br /> <span style="white-space: normal;"><span style="white-space: pre;"> </span>Percussion ensembles have been a viable format for improvisers at least since Art Blakey’s series of albums made for Columbia and Blue Note in the late Fifties. Swiss pianist George Gruntz teamed with five percussionists for his 1977 ECM release titled <i>Percussion Profiles</i>. And let’s not forget <i>Pieces Of Time</i>, a 1983 collaboration by Kenny Clarke, Milford Graves, Andrew Cyrille, and Famoudou Don Moye. And of course, there’s the mighty M’Boom ensemble, founded by Max Roach. To that illustrious list, add <b><i>Sonic Alchemy Suprema</i></b>, a vibrant new release from the percussion trio <b>Alma Tree</b>, featuring Ra Kalam Bob Moses, Vasco Trilla, and Pedro Melo Alves. The veteran Moses is no stranger to drum-centric projects. He played on Dave Liebman’s 1974 album <i>Drum Ode</i>, and performed duets with drummer Billy Martin on <i>Drumming Birds</i> in 1987. On five tracks, the percussion trio is joined by a saxophone trio with João Pedro Brandão, José Soares and Julius Gabriel. With the credits indicating positions (left, right, and center), <i>Sonic Alchemy Suprema</i> is especially savored on headphones. Most of the pieces were created by the percussionists, while the delicate <i>One With Infinite Spaces</i> and the murky <i>Prayer</i> were composed by Moses. Drums, cymbals struck and scraped, gongs, frame drums, bells and more are the tools for this trio’s cheerful racket. The horns add some spice to the proceedings, usually providing a sustained drone to underpin the drummers. Particularly fine are the three pieces featuring each of the percussionists (<i>Alma Ra Kalam</i>, <i>Alma Pedro</i>, and <i>Alma Vasco</i>), the somber and slow-moving <i>Cosmic Weaving Loom</i>, the longest piece here at just over seven minutes, the aggressive <i>Animal Instinct</i>, and the closing <i>Soaring Leaf</i>, a rambunctious improvisation that finally allows the horn section to cut loose. Snippets of dialog and laughter at various points reinforce the good feelings that abounded in the studio and are palpable in the group’s endeavors. Definitely recommended. </span><p></p><p><span style="white-space: normal;"><b>Carimbo Porta Jazz</b> PJ 099; Ra Kalam Bob Moses (d, perc: right) Vasco Trilla (d, perc: center) Pedro Melo Alves (d, perc: left) On * add João Pedro Brandão (as, fl : center) José Soares (as: right) Julius Gabriel (ts; left); Porto, Portugal, May 30, 2022; Opening/ One With Infinite Space#*/ Alma Ra Kalam/ An Ominous Odyssey/ Prayer#*/ An Eerie Garden Sighting/ High Spirits/ Dusk To Dawn Animalia*/ Cosmic Weaving Loom/ Plate Waltzing/ Alma Pedro/ Animal Instinct/ Dance of the Celestial Madmen*/ Alma Vasco/ Soaring Leaf*; 56:27. <a href="http://pedromeloalves.bandcamp.com/music">pedromeloalves.bandcamp.com/music</a></span></p>Mr. Stuhttp://www.blogger.com/profile/11942149494207907981noreply@blogger.com0tag:blogger.com,1999:blog-2820594932304880278.post-54789203880185734142024-03-25T13:13:00.000-07:002024-03-25T13:13:52.704-07:00Ivo Perelman/Chad Fowler/Reggie Workman/Andrew Cyrille: Embracing the Unknown<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1pb05B8YGL_vM-P_I_dWrvyJhXj65_cknajQy4FL6Kq60m6GilG4ySrOIghisMic502DsN6ZEVpYX_1dLI886V9vscN-7sthmRZEjk9uwMifnM6b3Yu8DABXLF1ZD8lM_ZYE6aAoQlGK8NE3IPA-HxOQvyv9vQKB86YU4dgSZ4qgSIHV_pqeUX9u-ylw/s360/Perelman_Fowler_Workman_Cyrille_Embracing%20the%20Unknownt.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="360" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1pb05B8YGL_vM-P_I_dWrvyJhXj65_cknajQy4FL6Kq60m6GilG4ySrOIghisMic502DsN6ZEVpYX_1dLI886V9vscN-7sthmRZEjk9uwMifnM6b3Yu8DABXLF1ZD8lM_ZYE6aAoQlGK8NE3IPA-HxOQvyv9vQKB86YU4dgSZ4qgSIHV_pqeUX9u-ylw/s320/Perelman_Fowler_Workman_Cyrille_Embracing%20the%20Unknownt.jpg" width="320" /></a></div><p> <span style="white-space: pre;"> </span>Reggie Workman’s musical saw and Andrew Cyrille’s percussion are the first sounds you hear on <b><i>Embracing the Unknown</i></b>, a tremendously exciting new release by the quartet of <b>Ivo Perelman, Chad Fowler, Reggie Workman, & Andrew Cyrille</b>. Tenor saxophone giant Perelman’s basic vision serves to embrace the unknown by leaving all preconceptions behind when starting to play. Chad Fowler, performing boisterously on stitch and saxello, makes a fine partner in the front line with Perelman’s commanding tenor playing. Both bassist Workman and drummer Cyrille, now in their 80's, are oriented to positive listening and immediate responses to what they’re hearing from the other players. Between them, they have participated in over 450 sessions over the decades, and they’ve played together many times since they both worked in the Jazz Composer’s Orchestra back in 1968. Cyrille played in the Reggie Workman Ensemble in the Eighties, Workman played in Cyrille’s quintet in the early Nineties, and the pair also appeared frequently with saxophonist Oliver Lake as Trio 3, so it is obvious that there’s a mountain of mutual respect. It’s worth noting that Cyrille’s first appearance on record was in 1961 with the master saxophonist Coleman Hawkins (<i>The Hawk Relaxes</i>, for Prestige). For him to play on this date emphasizes both the underlying continuity of the jazz tradition and the always forward-looking attitude of this broadly experienced musician. As the energy level rises and falls and rises again over the 21 minutes of the opening title track, it becomes clear that this is a deeply attuned unit, balanced and mutually attentive to the smallest musical gesture. <i>Soul Searching</i>, which starts out as a marvelous duet between an almost bluesy Perelman and Cyrille’s scintillating brush work, grows into a dramatic quartet blow-out around the half-way point. The saxophones shriek and moan together, Workman holds down the bottom with his dexterous walk, and Cyrille is all over his drum kit. <i>Self-reflection</i> begins with a surprisingly sweet sax duet, and evolves into a sort of free ballad. The joyous <i>Introspection</i> is a vigorous musical conversation that bounces happily along. <i>Self-analysis</i> has a curiously spiritual aspect, with moaning horns, prominent bass, and Cyrille using lots of space in his playing. I’m especially fond of the closing <i>Self-contemplation</i>, featuring a highly animated opening saxophone duet. In the middle of the tune comes a chipper Cyrille solo, played on what sounds like the rims of his drums and a cowbell, soon joined by Workman’s bowed bass. The piece develops into an appealing four-way conversation, and just like that, 68 minutes of intense music is over. To embrace the unknown is to be absolutely prepared to accept the world as it comes. Good advice for living, and superb advice for improvisers. Totally recommended. </p><p><span style="white-space: normal;"><b>Mahakala Music MAHA-076</b>; Ivo Perelman (ts) Chad Fowler (stritch, saxello) Reggie Workman (b, saw, perc) Andrew Cyrille (perc); Brooklyn, NY, no date specified; Embracing the Unknown/ Soul Searching/ Self-reflection/ Introspection/ Self-analysis/ Self-fulfilment/ Self-contemplation; 68:02. <a href="http://mahakalamusic.bandcamp.com">mahakalamusic.bandcamp.com</a><span style="white-space: pre;"> </span></span></p><div><br /></div>Mr. Stuhttp://www.blogger.com/profile/11942149494207907981noreply@blogger.com0tag:blogger.com,1999:blog-2820594932304880278.post-21280796195862865642024-02-29T14:19:00.000-08:002024-02-29T14:19:21.680-08:00Art Pepper: The Complete Maiden Voyage Recordings<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYe4UYQSWJ-MTp_EeGE7ObKkYAZvm7NcrwKiNMhin34wGic4IahBAI6ESdmWxgqpX7lR-7zP7C1yCb4ukmhlG7VgaYCMLYr0Ln00aU3tTBD17MP9FcIcIs-QDPyBPA1DIn98xUqFwx259R91EAYaKyNHQusCSbYnuxGipT0uX3RWfEppjZ8_eeGBcB7MM/s1500/ArtPepper_Complete-Maiden-Voyage-Recordings.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYe4UYQSWJ-MTp_EeGE7ObKkYAZvm7NcrwKiNMhin34wGic4IahBAI6ESdmWxgqpX7lR-7zP7C1yCb4ukmhlG7VgaYCMLYr0Ln00aU3tTBD17MP9FcIcIs-QDPyBPA1DIn98xUqFwx259R91EAYaKyNHQusCSbYnuxGipT0uX3RWfEppjZ8_eeGBcB7MM/s320/ArtPepper_Complete-Maiden-Voyage-Recordings.jpg" width="320" /></a></div><p> <span style="white-space: pre;"> </span>Back when I was the tape archivist for Fantasy Inc., I looked after a vault with thousands of tapes from labels including Prestige, Fantasy, Riverside, Pablo, Contemporary, Stax, Specialty, and more. When I would talk to people about the job, nearly everyone would wonder how much of that I got to hear during the work day. Sadly, although this was the coolest possible job for a jazz fan, I really didn’t get to listen to much of it. Much of what I did was to pull reels of tape off the shelves and bring them downstairs to the studio, then bring them back when the engineers were done with them, and make sure the tape boxes ended up where they started. One of the smaller labels under the Fantasy umbrella was Galaxy Records. Originally an R’n’B imprint, it was revived in 1977 as a jazz label. Among their notable artists were Roy Haynes, Hank Jones, and alto saxophonist <b>Art Pepper</b>. When the time came for Fantasy to be sold and the tapes moved away, one of my concerns was to get important tapes that were in the vault, but not owned by the label, to the rightful owners. In this case, Pepper’s widow Laurie Pepper, for whom I was storing a couple of shelves worth of tape. But I still didn’t get to hear it! That’s where the fantastic 7-CD boxed set <b><i>The Complete Maiden Voyage Recordings</i></b> comes in. Pepper recorded extensively for Galaxy between 1978 and 1982, with enough material to fill 16 compact discs in the boxed set of his complete recordings for the label. That not quite complete package included the originally issued tracks from a trio of album releases (<i>Roadgame</i>. <i>Art Lives</i>, and <i>APQ</i>) and added more selections for a total of 21 tracks. Now we get every note from the three nights of recording at this Los Angeles nightclub, for a total of 42 pieces, plus Pepper’s introductions to the songs and the musicians. Pepper’s hard-working quartet for these shows had George Cables on piano, David Williams on bass, and his favorite drummer Carl Burnett. Omnivore has put it all into a handsome (if delicate) bound book, with extensive reminiscences by the always enjoyable Laurie Pepper, plenty of photographs of the band from that time, some images of my old friends the tape boxes, and some of Pepper’s own notes on the tunes from hearing rough mixes on cassette. It’s like having a fascinating concert at home from one of the finest alto saxophonists of the era, and the set provides a rare opportunity for the dedicated listener to make his own choices of quality and compare them to the original albums sequenced by Ed Michel and Laurie Pepper, who co-produced all of Pepper’s Galaxy recordings. Definitely worth waiting for, and totally recommended. </p><p><span style="white-space: normal;"><b>Omnivore OVCD-521</b>; Art Pepper (as, cl on +) George Cables (p) David Williams (b) Carl Burnett (d); Los Angeles, CA, August 13-15, 1981; Disc 1 (77:04): Road Waltz/ Mambo Koyama/ Everything Happens to Me/ For Freddie/ Donna Lee*/ Begin the Beguine#/ Without a Song. Disc 2 (72:25): Samba Mom Mom/ What’s New?*/ “Landscape” Introduction/ Landscape*/ “Valse Triste” Introduction/ Valse Triste*/ Allen’s Alley/ Thank You Blues*/ Band Introductions. Disc 3 (75:54): “Straight Life” Introduction/ Straight Life/ Whims of Chambers/ “Allen’s Alley” Introduction/ Allen’s Alley/ Begin the Beguine#/ “Don’t Play the Clarinet Ever Again…”/ Everything Happens to Me/ “How the Sets Are Going to Go…”/ Landscape. Disc 4 (73:50): “Road Waltz” Introduction/ Road Waltz*/ Band Introductions/ “For Freddie” Introduction/ For Freddie*/ “Yours Is My Heart Alone” Introduction/ Yours Is My Heart Alone/ “Mambo Koyama” Introduction/ Mambo Koyama*/ “We’ll Be Back in Five Minutes…”/ Samba Mom Mom/ Valse Triste. Disc 5 (71:45): But Beautiful*/ “Donna Lee” Introduction/ Donna Lee/ “We’ll Be Back Tomorrow Night…”/ Roadgame/ Band Introductions/ Without a Song/ Everything Happens to Me*/ “For Freddie” Introduction/ For Freddie*. Disc 6 (63:21): “Allen’s Alley” Introduction/ Allen’s Alley/ Road Waltz*/ “We’ll Be Back to Finish the Night…”/ “Samba Mom Mom” Introduction/ Samba Mom Mom/ “Mambo Koyama” Introduction/ Mambo Koyama*/ “When You’re Smiling” Introduction/ When You’re Smiling*. Disc 7 (67:26): But Beautiful* (duet for alto saxophone & piano)/ Roadgame*/ “For Freddie” Introduction/ For Freddie*/ Road Waltz/ Donna Lee/ Arthur’s Blues*/ “The Record Will Be out Soon…”. Tracks with * have been previously issued on the Galaxy label. <a href="http://omnivorerecordings.com">omnivorerecordings.com</a></span></p><div><br /></div>Mr. Stuhttp://www.blogger.com/profile/11942149494207907981noreply@blogger.com0tag:blogger.com,1999:blog-2820594932304880278.post-7062948718564200532024-02-29T12:41:00.000-08:002024-02-29T12:41:29.749-08:00Sonny Clark: The Complete Sonny Clark Blue Note Sessions<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKwziE3OexwcOGcCAipUHpX95fAZ4Mfwm7vdEnlb8bwoXiPfGZX1m0RD6c4zBiRSLNcMlvvZrCiFhKk9avYkHfjzwNcw7f12xrtZuIGXSWn5ZriOsh4Uzh-XuLrQHBf3yzJBucYjPWn-17fBr2l0ULSEdmtv4RPN06Gxv6TrW8iqv1s0bn4VO-CwtaAOU/s360/TheCompleteSonnyClarkBlueNoteSessions.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="360" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKwziE3OexwcOGcCAipUHpX95fAZ4Mfwm7vdEnlb8bwoXiPfGZX1m0RD6c4zBiRSLNcMlvvZrCiFhKk9avYkHfjzwNcw7f12xrtZuIGXSWn5ZriOsh4Uzh-XuLrQHBf3yzJBucYjPWn-17fBr2l0ULSEdmtv4RPN06Gxv6TrW8iqv1s0bn4VO-CwtaAOU/s320/TheCompleteSonnyClarkBlueNoteSessions.jpg" width="320" /></a></div><p> <span style="white-space: pre;"> </span>In the mid-Eighties, Giovanni Bonandrini of Black Saint Records prodded pianist Wayne Horvitz into recording an album dedicated to the music of pianist and composer <b>Sonny Clark</b>. With John Zorn on alto saxophone, Ray Drummond on bass, and Bobby Previte on drums, The Sonny Clark Memorial Quartet recorded seven of Clark’s distinctive originals as <i>Voodoo</i>. Most of them first appeared on albums that were out-of-print at the time (1987). The release somehow made Clark’s music hip for a new generation of jazz fans. Zorn, in a trio with trombonist George Lewis and guitarist Bill Frisell, went on to record <i>News For Lulu</i> and <i>More News For Lulu</i> (both on hat Art) with songs by Clark, Kenny Dorham, and Hank Mobley, among others. Now comes what seems like the ultimate accolade for the undeservedly obscure pianist, a Mosaic boxed set. <i><b>The Complete Sonny Clark Blue Note Sessions</b></i> compiles nine albums, including a few that were first issued in Japan, as well as all the bonus tracks and alternates that have appeared on CD reissues of this material over the years. The big attraction here, besides the sheer pleasure of having it all in one place, is the phenomenal sound quality of this collection. Every session was recorded by Rudy Van Gelder, with all but the final date done at his original studio in Hackensack. (The 1961 album <i>Leapin’ And Lopin’</i> was made in Englewood Cliffs.) As earlier Blue Note reissues have noted, “No multitrack recording was used and consequently no mixing was required.” In other words, the session tapes became the masters with no intermediary steps. New high-resolution transfers of the original analog tapes were mastered with 24-bit technology. The results are stunning, and since the stereo spread reproduces the actual spatial orientation of the performers, listening to these CDs puts you right into the room with the musicians. As Bob Blumenthal, tells us in his typically fine and informative liner notes, Clark arrived in New York with Dinah Washington’s group after a few years of work on the West Coast. Clark’s first appearance on Blue Note was on a Hank Mobley sextet date, recorded on June 23, 1957. An impressed Alfred Lion of Blue Note signed him to a contract, and just a month later, on July 21, Clark did his own first date as a leader for any label with <i>Dial “S” For Sonny</i>. While this box is devoted to Clark’s sessions as a leader, he also appeared regularly in this period as a sideman with the likes of Lee Morgan, Hank Mobley, Stanley Turrentine, Jackie McLean, Curtis Fuller and Dexter Gordon. He’s also been featured on previous Mosaic collections, including <i>The Complete Recordings Of The Buddy DeFranco Quartet/Quintet With Sonny Clark</i> and <i>The Complete Blue Note Recordings Of Grant Green With Sonny Clark</i>. What distinguishes Clark’s music is the “sustained level of melodic invention” (Blumenthal), his “bright, irresistible swing” (Michael Cuscuna) and his “finesse and an exceptional technique, too” (tenor saxophonist Johnny Griffin). What’s sad about it is that as busy as he was playing music, he was also, like so many of his contemporaries, a heroin addict who overdosed at the age of 32. Clark himself was quite self-aware. ''Your soul is your conception,” he said to Nat Hentoff, “and you begin to have it in your playing when the way you strike a note, the sound you get and your phrasing come out of you yourself, and no one else.'' Sonny Clark always sounded like himself, and this marvelous anthology is his enduring testament. Absolutely recommended.</p><p><span style="white-space: normal;"><b>Mosaic MR6-276</b>; Disc 1 (78:28) Dial “S” For Sonny + Sonny’s Crib; Disc 2 (77:34) Sonny’s Crib concluded + My Conception; Disc 3 (49:06) Sonny Clark Trio; Disc 4 (75:26) Sonny Clark quintet + Cool Struttin’; Disc 5 (62:38) singles session + Blues In The Night; Disc 6 (55:37) Leapin’ And Lopin’. For complete discographical details, go <a href="http://www.mosaicrecords.com/product/the-complete-sonny-clark-blue-note-sessions" target="_blank">here</a>. Limited edition available from <a href="http://mosaicrecords.com">mosaicrecords.com</a></span></p>Mr. Stuhttp://www.blogger.com/profile/11942149494207907981noreply@blogger.com0tag:blogger.com,1999:blog-2820594932304880278.post-52114373755473096752024-02-09T14:02:00.000-08:002024-02-09T14:02:04.253-08:00Looking in the Rear View Mirror, Part 3: Location Location Location, Pirog, Gray, Simone<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSTv22tHcks_CwsFI32jV2TWKZ5BxEL4J-KLFdN0Zyf9M3XQ63bAvTlDef8BTFv1W3262LzY2J6fnuIeEDX9z5dL-RUxfVPEVqZqIKxijuZNcAPLMNHvTRgB1TFqma98BmYiSy-gHqcVVmZ5Bc5JY0m6nnXpt6OX2Wau2SRo12saUKoRZoXtv23VRTJZw/s360/LocationLocationLocation_DamagedGoods.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="360" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSTv22tHcks_CwsFI32jV2TWKZ5BxEL4J-KLFdN0Zyf9M3XQ63bAvTlDef8BTFv1W3262LzY2J6fnuIeEDX9z5dL-RUxfVPEVqZqIKxijuZNcAPLMNHvTRgB1TFqma98BmYiSy-gHqcVVmZ5Bc5JY0m6nnXpt6OX2Wau2SRo12saUKoRZoXtv23VRTJZw/s320/LocationLocationLocation_DamagedGoods.jpg" width="320" /></a></div><br /> <span style="white-space: normal;"><span style="white-space: pre;"> </span>What can a musician do to stay active during a pandemic that severely restricts gatherings and performing spaces? <b>Location Location Location</b>, a trio of guitarist Anthony Pirog, bassist Michael Formanek, and drummer Mike Pride came up with a solution. For <i><b>Damaged Goods,</b></i> the group’s first effort on Cuneiform, each man recorded his parts in different locations: Pirog in California and Maryland, Formanek in New Jersey, and Pride in upstate New York. The three players bring widely varied musical experiences to bear on this project. Since his first appearance on CD with Michael Formanek and drummer Ches Smith (<i>Palo Colorado Dream</i>, 2014), Pirog has recorded with the likes of saxophonists Jon Irabagon and James Brandon Lewis, the late trumpeter Jaimie Branch, and fellow guitarist Henry Kaiser. Formanek’s credits are legion, going all the way back to a 1976 album with the Dave Leibman Quintet, while drummer Pride, since his debut with his own quartet in 2002, has played with everyone from Anthony Braxton to Jon Irabagon to Kirk Knuffke. Pirog’s effects-laden guitar sound is the project’s main focus. Given the odd circumstances of its creation, and the need not to makes things overly complicated, <i>Damaged Goods</i> becomes a largely fusion-oriented set. Most of the tracks are credited to the trio, with one piece each written by Formanek (<i>Verdigris</i>) and Pride (the cheerfully grooving <i>79 Beatdowns)</i> plus two by Pirog (<i>The Door</i> and <i>Apperceptions</i>). The lengthy opening track, <i>Branch, Breezy</i>, keeps shifting gears and showcasing each member of the trio, complete with a short and unexpected burst of electric guitar at the very end. Formanek’s <i>Veridgris</i>, gliding along with Pride’s stately beat, Pirog’s emphatic guitar lines, and the composer’s steady bass, is one of my favorites. Another is the brief <i>Drips</i>, which makes a brief departure from the big beats of the surrounding tracks. Pride leads the way on marimba, shadowed by Formanek’s calm and responsive lines on acoustic bass. The wild finale, <i>Crisis of Attention</i>, is another highlight, as Pirog rages on guitar, Pride rumbles on drums, and Formanek holds it all together. Big fun, indeed! <b>Cuneiform RUNE 518</b>; Anthony Pirog (guitar, guitar synth, synthesizers: recorded in Monterey, CA, & Silver Spring, MD) Michael Formanek (4 & 5 string electric and double bass, guitar: recorded in West Orange, NJ) Mike Pride (drumset, marimba, bongos, dub: recorded in Chester, NY; Branch, Breezy/ Verdigris/ Trap Door/ Ground Zero/ Drips/ 79 Beatdowns/ Apperceptions/ A Sound That Shapes a Thing That Thinks/ Damaged Goods/ Crisis of Attention; 49:12. <a href="http://cuneiformrecords.com">cuneiformrecords.com</a></span><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi705pG3EJMeNmJClquoIQAixYx_9UzKD54BXfNlmyHW9UU6xWBIQ_pD8QlAR7hXBRhvCMuAXKFxTQzBVdQK9gzfJjwG_NFwkemmrllXQNkNfP9tgVGlJ9QeTc7euZq3e-HK78n9odrkvI3XcxmQhjEZK6T1DOgA0weaYEaFGKgyafj3gDT6Fr-szdMBhM/s360/AnthonyPirog_The%20Nepenthe%20Series_Vol.1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="360" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi705pG3EJMeNmJClquoIQAixYx_9UzKD54BXfNlmyHW9UU6xWBIQ_pD8QlAR7hXBRhvCMuAXKFxTQzBVdQK9gzfJjwG_NFwkemmrllXQNkNfP9tgVGlJ9QeTc7euZq3e-HK78n9odrkvI3XcxmQhjEZK6T1DOgA0weaYEaFGKgyafj3gDT6Fr-szdMBhM/s320/AnthonyPirog_The%20Nepenthe%20Series_Vol.1.jpg" width="320" /></a></div><p><span style="white-space: pre;"> </span>Guitarist <b>Anthony Pirog</b> had another pandemic idea, a combination thought experiment and music smorgasbord. Pirog asked musicians from a broad spectrum of styles what the word “ambient” meant to each of them, and requested a piece of music that reflected that understanding. Pirog then added his own ideas, for <b><i>The Nepenthe Series, Vol. 1</i></b>. Per Wikipedia, “figuratively, nepenthe means 'that which chases away sorrow,'" an apt description of the project’s purpose. For this first foray, Pirog mostly contacted a group of fellow guitarists in a broad spectrum of styles, with contributions from Nels Cline, John Frusciante, Andy Summers, Brandon Ross, Wendy Eisenberg, and Ryan Ferreira. There’s also one track pairing Pirog with Luke Stewart on electric bass, another with Pirog’s wife and producer Janel Leppin on pedal steel guitar, and a lone solo piece for guitar synthesizer, <i>Bernal Heights</i>. The music ranges from the organ-like swells of <i>Ripples of Light</i> (with Cline) to the relatively bouncy <i>Dense Blazing Star</i> (with Stewart) to the melancholy melodicism of <i>Inflorescence</i> (with Summers) to the droning electronic soundscape of <i>Bernal Heights</i> to the mysterious haze of <i>Night Winds</i> (with Eisenberg), and more. <i>The Nepenthe Series, Vol. 1</i> is a well-conceived and boldly provocative collection, well worth a listen. Is it “ambient”? That depends on how you mean it. <b>Otherly Love Records (digital album & vinyl)</b>; Ripples of Light (Nels Cline, AP - guitars)/ Aurora (John Frusciante - monomachine, AP - guitar)/ Dense Blazing Star (Luke Stewart - electric bass, AP - guitar)/ Inflorescence (Andy Summers - guitar, AP - guitar, guitar synth)/ Glowing Gesture (Janel Leppin - pedal steel guitar, AP - guitar)/ Bernal Heights (Pirog) (AP - guitar synth)/ Cirrus (Brandon Ross - guitar, AP - guitar, guitar synth)/ Night Winds (Wendy Eisenberg, AP - guitars)/ The Eternal River (Ryan Ferreira, AP - guitars); 40:48. <a href="http://anthony-pirog.bandcamp.com">anthony-pirog.bandcamp.com</a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj62FL2w3cs4H_cdwwJ7uGdOtJKkCaj98wnHe47Uz5NjsXbvNB6bWKRdCVc6y9nxtSiZMRlkF0zBYkS3FBYOgExUml0n1kXlCq67Ppr2gCiif_2XN9SvmMgGDMU8fvD5CEaBp7GBvgncdjph71b-FxT027jQwTHw8jfukLlAS0BIx6CNMKt8ea_9FwY3SQ/s360/DevinGray_MostDefinitely.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="360" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj62FL2w3cs4H_cdwwJ7uGdOtJKkCaj98wnHe47Uz5NjsXbvNB6bWKRdCVc6y9nxtSiZMRlkF0zBYkS3FBYOgExUml0n1kXlCq67Ppr2gCiif_2XN9SvmMgGDMU8fvD5CEaBp7GBvgncdjph71b-FxT027jQwTHw8jfukLlAS0BIx6CNMKt8ea_9FwY3SQ/s320/DevinGray_MostDefinitely.jpg" width="320" /></a></div><p><span style="white-space: pre;"> </span>Like many frustrated musicians during the pandemic, percussionist <b>Devin Gray </b>turned to solo performance. <b><i>Most Definitely</i></b> is a compendium of percussive techniques, with Gray exploring a variety of experimental approaches to sound production, plus occasional electronic manipulation. He also includes a few dedications to influential drummers, with the buoyant <i>Blackwell Magic</i> particularly inspired. At seventy-two minutes, this collection is probably not going to be played from start to finish very often, but it seems designed to be something you might dip into for a track or three. With just a few exceptions, most of the 23 pieces last for two minutes or less. For ultimate contrast, two tracks are much longer: <i>Soldier on, Milford</i>, an ultra-dynamic dedication to the late drummer and teacher Milford Graves, is a bit over twenty minutes long, and <i>Tough Love</i>, a meditation on tonal contrasts in the drum kit, fills nearly nineteen minutes. Think of these tracks more as compositions and improvisations for percussion, rather than drum solos, with all the negative baggage that phrase drags along with it. That will put you more in the frame of mind to enjoy your foray into Gray’s uniquely stimulating world of sound. <b>Rataplan (limited edition vinyl & CD; digital album)</b>; Devin Gray - drums, percussion; no locations or dates noted; Hunker Down/ Pull To Refresh/ Bad WiFi/ Most Definitely/ Upstate Berlin/ Tailgate Lunches/ Blackwell Magic/ Hoi Polloi/ Digital Nomads/ 2077/ Crypto Punks / Doom Scrolling/ Only the Poets (for Daniel Levine)/ Soldier on, Milford/ Case By Case/ Data Pollution/ Jack De Blues/ Tough Love/ Anthony, Burroughs/ Millennial Hotel/ Vone Call/ Subscription Fatigue/ Vone it in ; 72:11. <a href="http://rataplanrecordsnyc.bandcamp.com">rataplanrecordsnyc.bandcamp.com</a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6PSK6FBl0LPrPhIdL7bmjEacXm0h63R5CCIJqLaHCZVyQyrtA13qDWWHcVZWymnB-ZDBICtpqDWW4fAAArc8Y6vcZlMrHA5KdlVTKoix3h2TWBg4NFjyjuHMDq2Oe3qkEK_uTGezfVKbDEyVpRimJnsyIQQ9dhRIFuWwDa-1q27D45AcT8R_s7Moepo4/s360/NinaSimone_You'veGotToLearn.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="360" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6PSK6FBl0LPrPhIdL7bmjEacXm0h63R5CCIJqLaHCZVyQyrtA13qDWWHcVZWymnB-ZDBICtpqDWW4fAAArc8Y6vcZlMrHA5KdlVTKoix3h2TWBg4NFjyjuHMDq2Oe3qkEK_uTGezfVKbDEyVpRimJnsyIQQ9dhRIFuWwDa-1q27D45AcT8R_s7Moepo4/s320/NinaSimone_You'veGotToLearn.jpg" width="320" /></a></div><p><span style="white-space: pre;"> </span>Finally, in <i><b>You've Got To Learn</b></i>, we have a newly unearthed performance by the great <b>Nina Simone</b> at the 1966 Newport Jazz Festival. Recorded for posterity, deposited at the Library of Congress, it was then forgotten about for decades until it was discovered in the vault. Performing with her regular touring quartet of the era, featuring guitarist Rudy Stevenson, bassist Lisle Atkinson, and drummer Bobby Hamilton, Simone made the most of her half-hour slot on a day that included quartets helmed by Charles Lloyd, John Coltrane, Stan Getz, and Thelonious Monk, the Horace Silver quintet, and the Charlie Byrd trio. Her voice and piano get right into your soul with the preachy original title song, and she remains emotionally direct and affecting throughout her appearance. Her performance that afternoon of <i>Mississippi Goddam</i> is one for the ages, angry as hell, and, sadly, no less relevant today than it was in 1966. I seldom write about vocalists, but <i>You've Got To Learn</i> should not be missed. <b>Verve</b>; Nina Simone (vcl, p) Rudy Stevenson (g) Lisle Atkinson (b) Bobby Hamilton (d); Newport, RI, July 2, 1966; You've Got To Learn/ I Loves You, Porgy/ Introduction to Blues for Mama/ Blues For Mama/ Be My Husband/ Mississippi Goddam/ Music For Lovers; 32:58. <a href="http://www.ververecords.com">www.ververecords.com</a></p>Mr. Stuhttp://www.blogger.com/profile/11942149494207907981noreply@blogger.com0tag:blogger.com,1999:blog-2820594932304880278.post-70827398771582616272024-02-05T14:56:00.000-08:002024-02-05T14:56:40.869-08:00Looking in the Rear View Mirror, Part 2: Kell, Mendoza*Hoff*Revels, Sickafoose, Turner<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRFO1P2yW4lbM6_vqCKXZFkZfq9gjkcgdgr2N-zHxVphRBdArf-vwdyhVhXSU4a63ymQypbyLJQEiAwIXo9bgutLyco89g8GtjHer2LAmL4UDrrwfnDxKkaF714ofDvB-_bRK43slaIIVREp3K5GkRiKaPK03SRVZbDVbvKa7PkZ-QhmicCjt0UulU0ks/s360/ArthurKellSpeculationQuartet_LiveAtLunAtico.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="319" data-original-width="360" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRFO1P2yW4lbM6_vqCKXZFkZfq9gjkcgdgr2N-zHxVphRBdArf-vwdyhVhXSU4a63ymQypbyLJQEiAwIXo9bgutLyco89g8GtjHer2LAmL4UDrrwfnDxKkaF714ofDvB-_bRK43slaIIVREp3K5GkRiKaPK03SRVZbDVbvKa7PkZ-QhmicCjt0UulU0ks/s320/ArthurKellSpeculationQuartet_LiveAtLunAtico.jpg" width="320" /></a></div><p> <span style="white-space: pre;"> </span>I’m pretty much of a sucker when it comes to bands of two electric guitars, bass, and drums, which makes bassist <b>Arthur Kell’s Speculation Quartet</b>, captured <b><i>Live At LunÀtico</i></b>, a total treat. Nate Radley and Brad Shepik are the guitarists, Allan Medyard is on drums, and the enthusiastic audience, warming up by the band on a couple of February nights, is also a key part of the show. Bar LunÀtico is co-owned by Kell, so it’s no surprise that he feels right at home on the tiny stage. The tight setting, glimpsed in an online video of the quartet at work, provokes this band into intimate instant reactions. Kell’s compositions are essentially frameworks for improvising, and the quartet makes the most of their opportunities. Radley and Shepik trade lead and rhythm guitar duties seamlessly. The surging <i>Dry Delta</i> is a good example of the guitarists spurring one another on to ever more inventive zones while a rock-solid Kell and the hard-driving Mednard provide a potent rhythmic base. Kell has a fairly thin discography since his recorded debut on pianist Peggy Stern’s <i>Actual Size</i> back in 1998, and while I haven’t heard all his work, I really enjoyed his two Brooklyn Jazz Underground Records releases in 2008 (<i>Victoria</i>) and 2011 (<i>Jester</i>), and I’m glad to add this winning session to the shelf next to them. Recommended. <b>Origin 82884</b>; Nate Radley, Brad Shepik (g) Arthur Kell (b) Allan Mednard (d); Brooklyn, NY, February 15-16, 2022; Speculation (Intro)/ Haflat Zifaf/ The Djado/ Lullaby;Omi/ Pisciotta Blue/ Dry Delta/ Dark Green No. 15/ Regatta/ Polyamorphous/ Speculation; 71:17. <a href="http://arthurkell.com">arthurkell.com</a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5puzLko7AosTAnwMUJEnFGwwaqWOkbElb6iQUSYZvN4FPg68COiGQZi_NSoLw48qmKq3SRKfj9bVT0WixHYqmPuBJrk0-4KbecJrEOYu7n0lac1b6tXopfRqgpzh1ZphJAFI46ThmeWANKXyrI1RhpE7mi54WpbGvVC0fW3rqd47Hznvn2BTM9u0i5NQ/s360/Mendoza-Hoff-Revels_Echolocation.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="360" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5puzLko7AosTAnwMUJEnFGwwaqWOkbElb6iQUSYZvN4FPg68COiGQZi_NSoLw48qmKq3SRKfj9bVT0WixHYqmPuBJrk0-4KbecJrEOYu7n0lac1b6tXopfRqgpzh1ZphJAFI46ThmeWANKXyrI1RhpE7mi54WpbGvVC0fW3rqd47Hznvn2BTM9u0i5NQ/s320/Mendoza-Hoff-Revels_Echolocation.jpg" width="320" /></a></div><p><span style="white-space: pre;"> </span>If you’re looking for some over-the-top and almost brutal noise, then <b><i>Echolocation </i></b>just might be what you’re searching for. In <b>Mendoza * Hoff * Revels</b>, guitarist Ava Mendoza and bassist Devin Hoff are joined by tenor saxophonist James Brandon Lewis and drummer Ches Smith for 49 minutes of crunchy and unabashedly electronic rave-ups. Hoff and Mendoza split the composing chores, with the guitarist and saxophonist Lewis as the main solo voices. Hoff and drummer Smith have recorded together frequently since they first played in San Francisco keyboardist Graham Connah’s Jettison Slinky ensemble back at the turn of the century, so their lock on these dense and lively rhythms comes as no surprise. Mendoza, whose unhinged guitar pyrotechnics have graced albums by the likes of Allen Lowe, Moppa Elliott, and Erik Friedlander, sounds like she’s having a great time mixing it up with her bandmates. Crazy, thunderous, and totally relentless, <i>Echolocation</i> will either have you dancing with abandon or running out of the room. <b>AUM Fidelity AUM117 </b>(CD, DL or vinyl); James Brandon Lewis (ts) Ava Mendoza (e gtr) Devin Hoff (b) Ches Smith (d); Brooklyn, NY, no dates specified; Dyscalculia/ Echolocation/ Interwhining/ Babel-17/ New Ghosts / Diablada/ The Stumble/ Ten Forward; 49:16. <a href="http://aumfidelity.com">aumfidelity.com</a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgduF6WyYkZJC7VodR9-oWdshkDovyPxfvTPt1btnpFty6xiI8zz_yw2m1EPtyT1epmM-13Zz6-OisuC1mlLsqFANx1fLdVQP03NXScvT-CVhNCpz25tbCnbzYQrNNvm-WECqplItI9voLxZ7yNavawkFPYFv6LMGJSu72glR-5b8Tb9f6BCxzuKYN7WSE/s360/ToddSickafoose_BearProof.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="360" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgduF6WyYkZJC7VodR9-oWdshkDovyPxfvTPt1btnpFty6xiI8zz_yw2m1EPtyT1epmM-13Zz6-OisuC1mlLsqFANx1fLdVQP03NXScvT-CVhNCpz25tbCnbzYQrNNvm-WECqplItI9voLxZ7yNavawkFPYFv6LMGJSu72glR-5b8Tb9f6BCxzuKYN7WSE/s320/ToddSickafoose_BearProof.jpg" width="320" /></a></div><p><span style="white-space: pre;"> </span>It’s been a few years since <i><b>Bear Proof</b></i> was recorded, but bassist and leader <b>Todd Sickafoose</b> has been a busy man, with producing, orchestrating, and composing chores, so it seems like this project was on the back burner for a while. The nine original compositions on <i>Bear Proof</i> were intended to be played straight through, and the music was recorded just that way, as one continuous take. This stellar and well-rehearsed ensemble includes cornetist Kirk Knuffke, clarinetist Ben Goldberg, violinist Jenny Scheinman, guitarist Adam Levy, pianist Erik Deutsch, accordionist Rob Reich, and drummer Allison Miller. Over 62 minutes, Sickafoose unveils what he describes in a brief liner note as “a surreal meditation on BOOM and BUST.” Even if that intent never becomes clear to the engaged listener, the shifting textures and intricacies of Sickafoose’s arrangements, along with the manifest skills of his bandmates, will provide a heap of enduring pleasure. With brief solos darting out of the ensemble, and the surrounding support, there’s plenty of details to savor, and I expect that there will be fresh surprises to discover when this stirring set is played again and again. <b>Secret Hatch SH054</b>; Kirk Knuffke (cnt) Ben Goldberg (cl) Jenny Scheinman (vln) Adam Levy (g) Erik Deutsch (p) Rob Reich (acc) Todd Sickafoose (ac b) Allison Miller (d); Berkeley, CA, 2018; The Gold Gate/ Bent Into Shape/ Switched On/ Flush/ Magnetic North/ Boom Bust Startup Ruin/ Turns Luck/ Prospects/ Reverse Fortune; 61:52. <a href="http://toddsickafoose.bandcamp.com">toddsickafoose.bandcamp.com</a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd-iO6QRD0EmLRlaAweUKqdp5HhgseCTc9rd9KHC_gUxd6ybZNaAugOBSoem0e6_8aXzvPc6ln1JLo-MGaaKQxHYEc6g7vkKUb8W0xIm7ZmMqpP6wZjrTxvo9PTYlYW7OfBeGSwxWGzUGnWMQmxC2PVuas2RjPxjhecID6O_FSnMyAIGawqA_wPD6S_k0/s360/MarkTurnerQuartet_LiveAtTheVillageVanguard.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="315" data-original-width="360" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd-iO6QRD0EmLRlaAweUKqdp5HhgseCTc9rd9KHC_gUxd6ybZNaAugOBSoem0e6_8aXzvPc6ln1JLo-MGaaKQxHYEc6g7vkKUb8W0xIm7ZmMqpP6wZjrTxvo9PTYlYW7OfBeGSwxWGzUGnWMQmxC2PVuas2RjPxjhecID6O_FSnMyAIGawqA_wPD6S_k0/s320/MarkTurnerQuartet_LiveAtTheVillageVanguard.jpg" width="320" /></a></div><p><span style="white-space: pre;"> </span>Trumpeter Jason Palmer and tenor saxophonist Mark Turner are beautifully matched in the <b>Mark Turner Quartet</b>, with Joe Martin on bass and Jonathan Pinson on drums. <b><i>Live At The Village Vanguard</i></b>, from Jimmy Katz’s Giant Step Arts project, gathers eleven tunes recorded over two nights at the fabled New York nightspot. Turner wrote all the pieces for this date, and he has the knack of composing tunes that hold your interest without being too convoluted as well as proving to be valuable springboards for improvisation. While the closing <i>Lennie Groove</i> first appeared on Turner’s 1998 album <i>In This World</i>, the bulk of the repertoire comes from his well-received 2019 CD <i>Return From The Stars</i>. That ECM release was recorded with the same quartet that appears here, and their deep immersion into the material gives the music a special lift in this live setting. As soloists, Palmer’s fluid and expressive trumpet and Turner’s sensuous and seemingly off-hand tenor are always a pleasure, but it’s their intertwined duo exchanges that really stand out. The performances rely on the penetrating rhythms and unbounded creativity of the Martin and Pinson team. <i>Live At The Village Vanguard</i> is a most satisfying 130 minutes of music; strongly recommended. <b>Giant Step Arts</b>; Jason Palmer (tpt) Mark Turner (ts) Joe Martin (b) Jonathan Pinson (d); NYC, June 18-19, 2022; Disc 1 (63:32): Return From the Stars/ Terminus/ Bridgetown/ BrotherSister/ Nigeria 2/ Lincoln Heights. Disc 2 (67:17): 1946/ Unacceptable/ It’s Not Alright With me/ Wasteland/ Lennie Groove. <a href="http://www.giantsteparts.org">www.giantsteparts.org</a></p><div><br /></div>Mr. Stuhttp://www.blogger.com/profile/11942149494207907981noreply@blogger.com0tag:blogger.com,1999:blog-2820594932304880278.post-1951547189299807112024-01-29T13:10:00.000-08:002024-01-29T13:10:56.843-08:00Looking in the Rear View Mirror, Part 1: Perelman, Shipp, Childs, Akinmusire, Fiedler<p> <span style="white-space: normal;"><span style="white-space: pre;"> </span>2023 was a tumultuous year, both in the world and in my household. Events seemed to conspire to keep me from listening and writing for this blog as much as I (and the publicists who send me music) would have liked. And yet, in what was also a very busy year for new releases, there was quite a variety of new music to discuss and recommend. Hence this three-part post of very brief reviews of some releases I couldn’t find the energy to get to in a timely fashion.</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAdgTXTrXYRFCyJNZ7852hdyP5XJONmaYLvyeTrFfYr42ieZ0FrImtWwZusw5QbFhRPPhI6XPdaugU9q4bXdHRg_6Lp1ZqOcchRKxHoL6sW7cv9Cs8MFz2KDr0mRKZSS0LAq7jh8cUgSFjU_yJmrkpsruK7Vgaa3wt7ltZT4MQ1KchWhFOzmoeFeIHh34/s360/IvoPerelman_ElliottSharp_ArtificialIntelligence.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="360" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAdgTXTrXYRFCyJNZ7852hdyP5XJONmaYLvyeTrFfYr42ieZ0FrImtWwZusw5QbFhRPPhI6XPdaugU9q4bXdHRg_6Lp1ZqOcchRKxHoL6sW7cv9Cs8MFz2KDr0mRKZSS0LAq7jh8cUgSFjU_yJmrkpsruK7Vgaa3wt7ltZT4MQ1KchWhFOzmoeFeIHh34/s320/IvoPerelman_ElliottSharp_ArtificialIntelligence.jpg" width="320" /></a></div><p></p><p><span style="white-space: pre;"> </span>Successful free improvisation needs the participants to be compatible and equally fearless. The duo of <b>Ivo Perelman & Elliott Sharp</b> definitely fits the bill. On <b><i>Artificial Intelligence</i></b>, tenor saxophonist Perelman and guitarist Sharp, playing a Strandberg Boden 8-string instrument plus electronics, match wits with an air of casual intensity. Squeaks, squeals, and funny noises of all sorts abound, and at times it’s hard to tell who’s doing what. But that’s part of the fun to be had soaking up the unusual pathways the duo provides. There’s nothing artificial about <i>Artificial Intelligence</i>. This is the real thing, music made by real people in real time. I loved every second! <b>Mahakala Music MAHA-054</b>; Ivo Perelman (ts) Elliott Sharp (Strandberg Boden 8-string guitar, elec); Brooklyn NY, January 2022; Parts 1-4; 57:58. <a href="http://mahakalamusic.com">mahakalamusic.com</a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihyGeg2tRJrvQFX7XwYnq-FP5uPyfMln9TNQp3k7imCDBpt410InDcB0ZZqlWabeLzGi5zTR9Pw3AGsY7R7ITOE06_Ekd4avkNR_n2Q82wRd3960ihQXnORVpyUnaEs86_N9LaGD4OVldILKc5kg0WVFdKNFIqaYwli7r4IWRBcqEsrv6F2QbE-ZV5MYY/s360/MatthewShipp_TheIIntrinsicNatureOfShipp.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="360" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihyGeg2tRJrvQFX7XwYnq-FP5uPyfMln9TNQp3k7imCDBpt410InDcB0ZZqlWabeLzGi5zTR9Pw3AGsY7R7ITOE06_Ekd4avkNR_n2Q82wRd3960ihQXnORVpyUnaEs86_N9LaGD4OVldILKc5kg0WVFdKNFIqaYwli7r4IWRBcqEsrv6F2QbE-ZV5MYY/s320/MatthewShipp_TheIIntrinsicNatureOfShipp.jpg" width="320" /></a></div><p></p><p><span style="white-space: normal;"><span style="white-space: pre;"> </span>John Coltrane, among many other musical innovators, didn’t want liner notes on his albums, letting the music speak for itself. Poets and film directors have taken a similar stance, saying that if they could have told you what it meant, there wouldn’t have to be a poem or a movie. Creative individuals tell you who they are by their works. Pianist <i>extraordinaire</i> <b>Matthew Shipp</b> gives the best indication of his inner life on the totally absorbing <b><i>The Intrinsic Nature of Shipp</i></b>, a solo set. Echoes of Duke Ellington, Thelonious Monk, Bud Powell, Cecil Taylor and many others mingle and coalesce in Shipp’s musical world. Shipp once wrote an essay on what he calls “Black Mystery School Pianists,”an investigation into what he describes in his liner notes for a Hasaan Ibn Ali release as “a line of iconoclastic pianists that descended from Thelonious Monk who used an alternate set of parameters in their nomenclature and attitude that was different than the usual mainstream jazz.” I think it’s safe to say, some 37 years after his first appearance on record (<i>Sonic Explorations</i>, a duo with altoist Rob Brown on Cadence Jazz Records), that Shipp has assured his place in that lineage of innovators with the many remarkable releases as both leader and sideman in that time. And if you don’t know his 1990 trio album <b><i>Circular Temple</i></b>, it’s just been reissued by ESP-Disk. As NY poet and novelist John Farris concluded his liner notes for the original release, “Whose language are we speaking? The answer to that question is at one and the same time both easy and complex: the language of the trio. Matt Shipp’s language. If you want to understand, you simply have to listen. Dig?” These many years later, I’m still listening, and still digging it. </span></p><p><i>Intrinsic Nature</i> : <b>Mahakala Music MAHA-061</b>; Matthew Shipp (p); Brooklyn, NY, March 4, 2023; The Intrinsic Nature of Shipp/ Crystal Structures/ That Vibration/ The/ Jazz Emotions/ The Essence/ Jazz Frequency/ Tune Into It/ The Bulldozer Poetics/ Essence Of Silence; 50:15. <a href="http://mahakalamusic.com">mahakalamusic.com</a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht9rOAv_K_SuhIyDLM0bfhdIAGrdU-85ag7ytgQ90Xa3CKOJ5tsJPpboxXWFOuOmY6LgCyQb1oUN_Ft9uVcsSy4ClRI_NdLiU0nLk3sZj3WzlkGJUDWz62JHz3PAPRPgeuZvW8SVUcw_YueXub8dN0a92engRXsl5WZ9jLYWIBsUiwbTOfyQp7uLgujsU/s360/MatthewShipp_CircularTemple.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="360" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht9rOAv_K_SuhIyDLM0bfhdIAGrdU-85ag7ytgQ90Xa3CKOJ5tsJPpboxXWFOuOmY6LgCyQb1oUN_Ft9uVcsSy4ClRI_NdLiU0nLk3sZj3WzlkGJUDWz62JHz3PAPRPgeuZvW8SVUcw_YueXub8dN0a92engRXsl5WZ9jLYWIBsUiwbTOfyQp7uLgujsU/s320/MatthewShipp_CircularTemple.jpg" width="320" /></a></div><p></p><p><i>Circular Temple </i>: <b>ESP-Disk’ ESP4082</b>; Matthew Shipp (p) William Parker (b) Whit Dickey (d); NYC, October 16, 1990; Circular Temple #1/ Circular Temple #2 (Monk’s Nightmare)/ Circular Temple #3/Circular Temple #4; 46:19. <a href="http://www.espdisk.com">www.espdisk.com</a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG2sYWXULGz_TNKMqlShSfFxvjc76584ih1q5I5If9MrUTSadYIqcZmB2OGAF6pVyBeD6WEpifdMEMmF9-KzGPYWjBhj3VNAdn8L_JdUnpMd48H-Y2KG4-ZPMc_swC9xg_adyIhcA8RDmcOLUvDwdmDiC5Ln4FIlDWNcn1gEGI1mEdX3Sorev_6xcrugw/s360/Billy%20Childs_TheWindsOfChange.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="360" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG2sYWXULGz_TNKMqlShSfFxvjc76584ih1q5I5If9MrUTSadYIqcZmB2OGAF6pVyBeD6WEpifdMEMmF9-KzGPYWjBhj3VNAdn8L_JdUnpMd48H-Y2KG4-ZPMc_swC9xg_adyIhcA8RDmcOLUvDwdmDiC5Ln4FIlDWNcn1gEGI1mEdX3Sorev_6xcrugw/s320/Billy%20Childs_TheWindsOfChange.jpg" width="320" /></a></div><p></p><p><span style="white-space: normal;"><span style="white-space: pre;"> </span>Veteran pianist <b>Billy Childs</b> assembled a dynamite quartet for <b><i>The Winds of Change</i></b>, with trumpeter Ambrose Akinmusire, bassist Scott Colley, and drummer Brian Blade. Childs writes intricate compositions, full of dynamic changes, tempo shifts and surprising yet inevitable seeming melodic progressions. The quartet more than rises to the occasion, imbuing their performances with deep feeling and irresistible rhythmic vitality. Childs and company also pay homage to a pair of influential pianists, with a soothing reading of <i>Crystal Silence</i>, by the late Chick Corea, and an uptempo version of <i>The Black Angel</i>, a tune by the still-active Kenny Barron. This composition was introduced as the title track of a 1969 Freddie Hubbard album on Atlantic. Childs played in Hubbard’s band for six years in the Seventies, making the song’s inclusion here a double tribute. The exquisite trumpet stylings of Akinmusire are beautifully displayed in the quartet setting, making for some truly compelling listening. While I’m partial to the spirited exploration of the 10-minute long title track, as well as <i>Master of the Game</i>, a Childs original with an optimism that’s evoked by the melody, to tell the truth, there isn’t a dull second on this winning collection. <b>Mack Avenue MAC 1200</b>; Ambrose Akinmusire (tpt) Billy Childs (p) Scott Colley (b) Brian Blade (d); Hollywood, CA, May 14-16, 2022; The Great Western Loop/ The Winds of Change/ The End of Innocence/ Master of the Game/ Crystal Silence / The Black Angel/ I Thought I Knew; 52:36. <a href="http://mackavenue.com">mackavenue.com</a></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMlQuFR5KczSyCvtXECCLdnxtVme1Hx5Oh_1GJ1kCfikQmSRrdSXPH4aAz6fcp96j-V6X68MgLDrLSuVnXG_CAgmHPSq4khyphenhyphenPGcxoszNJplXhkjEOcx0ACWikl-bCUemP8o5mdfbC4bQXo5MPM05z_imZZm_r-cEUBXcm79KSlBRO4LD56d05krDZv4SM/s360/AmbroseAkinmusire_BeautyIsEnough.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="224" data-original-width="360" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMlQuFR5KczSyCvtXECCLdnxtVme1Hx5Oh_1GJ1kCfikQmSRrdSXPH4aAz6fcp96j-V6X68MgLDrLSuVnXG_CAgmHPSq4khyphenhyphenPGcxoszNJplXhkjEOcx0ACWikl-bCUemP8o5mdfbC4bQXo5MPM05z_imZZm_r-cEUBXcm79KSlBRO4LD56d05krDZv4SM/s320/AmbroseAkinmusire_BeautyIsEnough.jpg" width="320" /></a></div><p></p><p><span style="white-space: normal;"><span style="white-space: pre;"> </span>And speaking of <b>Ambrose Akinmusire</b>, he surprised just about everyone with the release of <b><i>Beauty Is Enough</i></b>, an absolutely gorgeous solo trumpet album, recorded in the vast reverberant space of Église Saint-Eustache. In a photo of this church, in Paris’ 1e <i>arrondissemont</i>, it appears to tower over the surrounding trees and buildings. Completed in 1632 after a century of work, the lively echoing and re-echoing from the stone gives a performer essentially a steady partner for his improvisations. Over sixteen tracks that generally last between 2 and 4 minutes each, Akinmusire uses his horn and the room to explore a world of pure sound. The man’s imagination seems to have no boundaries, and over the 48 minutes of this recital, we get to overhear his musical musings. It’s as if we have all been invited to listen to his unmediated experimentation with the myriad timbral and manipulative possibilities of the trumpet. The multi-instrumentalist and composer Anthony Braxton was a pioneer of solo improvising. Back in 1979, in his prescient liner notes for <i>Alto Saxophone Improvisations 1979</i>, he wrote about “the forming of a new kind of creative musician - whose activity transcends any one criterion and whose scope cannot be limited by superficial boundaries ... In actual terms we can now experience a spectrum of solo musics involving every kind of instrument ...” In Akinmusire’s capable hands, the future is now. <b>Origami Harvest</b>; Ambrose Akinmusire (tpt); Paris, France, no dates indicated; To: Taymoor/ 2->1<-/ Carvin./ Turns/ Launchpad/ Olusiji SR/ Off the ledge/ To: Shabnam/ Achilles/ Boots and Jewels/ Wallace/ -Ann_/ Rio/ Self-Portrait/ Sunknees/ To: Cora Campbell; 48:41. <a href="http://origamiharvest.bandcamp.com">origamiharvest.bandcamp.com</a></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinCqpHE0PMtY4YuOMI6nisbh1TyONb0ZLKIDy1pFMkDs1Wh8dmUr-7ay0U9sZhA3DXJFaFm0hMSdMgEHP8_p5U6CxdACcUED9HONEyuIlqBAofS4OwHbts_7mNJcHL36Ubu0EOgpx93OvuPihgopFyvW0ukkQrHTgAwn4NCoQzQ-4PBCTaaxi3LjaJqgk/s360/JoeFiedler_TheHowlandSessions.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="317" data-original-width="360" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinCqpHE0PMtY4YuOMI6nisbh1TyONb0ZLKIDy1pFMkDs1Wh8dmUr-7ay0U9sZhA3DXJFaFm0hMSdMgEHP8_p5U6CxdACcUED9HONEyuIlqBAofS4OwHbts_7mNJcHL36Ubu0EOgpx93OvuPihgopFyvW0ukkQrHTgAwn4NCoQzQ-4PBCTaaxi3LjaJqgk/s320/JoeFiedler_TheHowlandSessions.jpg" width="320" /></a></div><p></p><p><span style="white-space: normal;"><span style="white-space: pre;"> </span>Another spectacular solo brass release in 2023 was <b><i>The Howland Sessions</i></b> by the accomplished trombonist </span><b>Joe Fiedler</b>. Named for the Howland Cultural Center in Beacon, NY, where the music was recorded, the release is dedicated to the 50th anniversary of the innovative trombone master Albert Mangelsdorff’s audacious solo performance in Munich as part of Joachim-Ernst Berendt’s <i>Solo Now</i> festival. Fiedler, who named his Multiphonics Music label after Mangelsdorff’s trademark innovation, is a truly awesome performer. Using a panoply of extended techniques, he has immense control over his instrument and his breathing (check out that circular breathing on The Long No, for one instance). A gifted composer, he’s got the imaginative range of melody and emotion to put all that technique to use. Decidedly not designed for casual listening, the music of <i>The Howland Sessions</i> demands your attention. You’ll be repaid with a surfeit of beauty, and music to return to again and again. <b>Multiphonics Music MM07</b>; Joe Fiedler (tbn); Beacon, NY, April 26-27, 2022; The Jack Rabbit/ Otter Cam/ Fiedlowitz Manor/ The Long No/ Singer/ Empire Trail/ Sisyphean/ ‘72; 52:15. <a href="http://joefiedler.com">joefiedler.com</a></p>Mr. Stuhttp://www.blogger.com/profile/11942149494207907981noreply@blogger.com0tag:blogger.com,1999:blog-2820594932304880278.post-69420460236535355062024-01-03T16:17:00.000-08:002024-01-03T22:46:03.501-08:002023: Strange times to be sure, but a flood of excellent music<p style="text-align: center;">It was another strange year, both in the world at large and at home too.</p><p style="text-align: center;">Music, as always, helped to navigate all the stresses. Here are my favorites from 2023.</p><p style="text-align: center;"><b><i>First, New Releases (in alphabetical order):</i></b></p><p style="text-align: center;"><b>Ambrose Akinmusire</b> - <u>Beauty Is Enough</u> <i>(Origami Harvest)</i></p><p style="text-align: center;"><b>Billy Childs</b> - <u>The Winds Of Change</u> <i>(Mack Avenue)</i></p><p style="text-align: center;"><b>Satoko Fujii</b> - <u>Torrent</u> <i>(Libra)</i></p><p style="text-align: center;"><b>Tomas Fujiwara</b> - <u>Pith</u> <i>(Out Of Your Head)</i></p><p style="text-align: center;"><b>Rich Halley</b> - <u>Fire Within</u> <i>(Pine Eagle)</i></p><p style="text-align: center;"><b>Louis Hayes</b> - <u>Exactly Right!</u> <i>(Savant)</i></p><p style="text-align: center;"><b>Arthur Kell’s Speculation Quartet</b> - <u>Live at LunÁtico</u> <i>(Origin)</i></p><p style="text-align: center;"><b>James Brandon Lewis/Red Lily Quartet</b> - <u>For Mahalia, With Love</u> <i>(TAO Forms)</i></p><p style="text-align: center;"><b>Ivo Perelman & Elliott Sharp</b> - <u>Artificial Intelligence</u> <i>(Mahakala Music)</i></p><p style="text-align: center;"><b>Rudy Royston Flatbed Buggy</b> - <u>Day</u> <i>(Greenleaf Music)</i></p><p style="text-align: center;"><b>Matthew Shipp</b> - <u>The Intrinsic Nature Of Shipp</u> <i>(Mahakala Music)</i></p><p style="text-align: center;"><b>Denny Zeitlin</b> - <u>Crazy Rhythm: Exploring George Gershwin</u> <i>(Sunnyside)</i></p><div style="text-align: center;"><b>And then, Archival Discoveries:</b></div><div style="text-align: center;"><br /></div><div><div style="text-align: center;"><b>John Coltrane with Eric Dolphy</b> - <u>Evenings at the Village Gate</u> <i>(Impulse)</i></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><b>Wes Montgomery with the Wynton Kelly Trio</b> - <u>Maximum Swing: The Unissued 1965 Half Note Recordings</u> <i>(Resonance)</i></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><b>Art Pepper</b> - <u>The Complete Maiden Voyage Recordings</u> <i>(Omnivore)</i></div><div style="text-align: center;"><i><br /></i></div><div style="text-align: center;"><b>Nina Simone - </b><u>You've Got To Learn</u><b> </b>(Verve)</div><div style="text-align: center;"><br /></div><div style="text-align: center;"><b>Cal Tjader</b> - <u>Catch The Groove: Live At The Penthouse 1963-1967</u> <i>(Jazz Detective)</i></div></div><div style="text-align: center;"><br /></div><div><div style="text-align: center;">Endless thanks to the publicists and record labels who keep me busy. </div><div style="text-align: center;"><br /></div><div style="text-align: center;">And above all, eternal thanks to all the musicians!!</div></div>Mr. Stuhttp://www.blogger.com/profile/11942149494207907981noreply@blogger.com0tag:blogger.com,1999:blog-2820594932304880278.post-9742220478302738022023-12-08T13:25:00.000-08:002023-12-08T13:25:39.232-08:00Satoko Fujii: Torrent<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIGTtgY4EVYQi_fipTSXCjEm94jGBcvjpYBk1rLsTMav6t-3HUXrj9dCyoN85IH7HJ6Yf0Ska-Wt6CrqGtZBp_35ErBlE5o5cstuh1T8_qe4c9TTgDxWqwz0TuuB38i3ayfu7jC1Jgp9gPuWiEv8xi5uN5hL2Lq_mvBO4kx_S1l5Zrgfj1m2_idwaZ-AE/s360/SatokoFujii_Torrent.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="330" data-original-width="360" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIGTtgY4EVYQi_fipTSXCjEm94jGBcvjpYBk1rLsTMav6t-3HUXrj9dCyoN85IH7HJ6Yf0Ska-Wt6CrqGtZBp_35ErBlE5o5cstuh1T8_qe4c9TTgDxWqwz0TuuB38i3ayfu7jC1Jgp9gPuWiEv8xi5uN5hL2Lq_mvBO4kx_S1l5Zrgfj1m2_idwaZ-AE/s320/SatokoFujii_Torrent.jpg" width="320" /></a></div><p> <span style="white-space: pre;"> </span>Blessed with a fecund musical imagination and fleet fingers wedded to impeccable technique plus formidable determination, the prolific pianist <b>Satoko Fujii</b> is at her best on <i><b>Torrent</b></i>. The pandemic limited her to playing at home, either solo or with her husband, trumpeter Natsuki Tamura. This solo piano recital was recorded in the municipal theater in Iwo City, Japan, and was totally spontaneous. As she notes, after the restrictions due to Covid, she says she feels “more comfortable now playing unaccompanied. It’s like looking down into myself.” The audience, both in Iyo City and now at home, reaps the benefits of her introspection. Besides playing the piano at home, she must have done a fair amount of experimentation with pedals and playing the insides of the instrument. Some of the sounds she produces for this concert are other-worldly, almost electronic in places. The use of extended techniques is most pronounced on the endlessly fascinating <i>Cut the Painter</i>, with manipulation of the strings, bangs on different parts of the instrument, and a curious drone effect, plus gentle melodies from the keyboard. All of her music is wildly unpredictable, as short phrases lead to dense passages and calm sections are contrasted with turbulent bursts of sound. <i>Light on the Sea Surface</i> is one of the more impressive pieces on the program. In the first half, a constant flow of ripples from the right hand is contrasted with some heavy and dark chords from the left hand. The second half of the performance is somewhat solemn, with lots of silence and more strong work at the bass end of the piano. The track ends with a thunderous attack, heavy on the bass, before dissolving into silence. The first few minutes of the peaceful <i>Horizon</i> combine a gentle melody with occasional light strums directly on the piano’s strings. Slowly, the music becomes more aggressive and stormy. The finale, <i>Wave Crest</i>, starts out with a call-and-response pattern between the two hands. The approach is reminiscent of Cecil Taylor’s solo performances, both at the start and as the piece evolves into dense and busy flurries of notes in a sumptuous display of Fujii’s formidable and occasionally forbidding playing. <i>Torrent</i> is a total triumph, beautifully recorded, and a journey worth savoring again and again. </p><p><span style="white-space: normal;"><b>Libra 201-072</b>; Satoko Fujii (p); Iyo City, Japan, October 10, 2022; Torrent/ Voyage/ Light on the Sea Surface/ Cut the Painter/ Horizon/ Wave Crest; 52:56. <a href="http://satokofujii.bandcamp.com" target="_blank">satokofujii.bandcamp.com </a><a href="http://www.librarecords.com">www.librarecords.com</a></span></p><div><br /></div>Mr. Stuhttp://www.blogger.com/profile/11942149494207907981noreply@blogger.com0tag:blogger.com,1999:blog-2820594932304880278.post-43288439604641683562023-12-08T13:20:00.000-08:002023-12-08T13:20:39.081-08:00Rich Halley: Fire Within<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2j4LXOxVM0HTd0l-qwaYzM0dCwERYpWB5cN6fOCBXdmKgS84KENvsxGWAcZkomJqUWgfY2jT5fPiP9okNJ3qoUIr2FpYqNIOlBY3w1aPm8SmAhOT7bv_qsFFpex2mzVs1x5M34yRO2o_AH47GGkS-KS0h66gzpAs9RoA2nfe1_RfKryXcU5opIXRjnzg/s360/RichHalley-FireWithin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="360" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2j4LXOxVM0HTd0l-qwaYzM0dCwERYpWB5cN6fOCBXdmKgS84KENvsxGWAcZkomJqUWgfY2jT5fPiP9okNJ3qoUIr2FpYqNIOlBY3w1aPm8SmAhOT7bv_qsFFpex2mzVs1x5M34yRO2o_AH47GGkS-KS0h66gzpAs9RoA2nfe1_RfKryXcU5opIXRjnzg/s320/RichHalley-FireWithin.jpg" width="320" /></a></div><p> <span style="white-space: pre;"> </span><b><i>Fire Within</i></b> is the third collaboration between saxophonist <b>Rich Halley</b> and pianist Matthew Shipp’s trio with Michael Bisio on bass and Newman Taylor Baker on drums. Their rapport is inspiring through five collectively composed performances. The level of unconscious synchronicity the quartet displays is genuinely uncanny, as the musical focus shifts from player to player with an intuitive logic. Halley, with a formidable command of his instrument, seems more ruminative than I’ve heard him play in the past. While his tone may be a bit lighter, his imagination hasn’t flagged at all. <i>Angular Logic</i> offers some of his most robust and excitable playing of the session, provoking the rhythm section into some complex and upbeat areas. The always wonderful Matthew Shipp is in very fine form, accompanying Halley with immense sensitivity and soloing with a delicious sense of propulsion. With his big sound, bassist Bisio holds down the bottom with a calm and measured approach to his improvisations. Baker, who lays out often, is a vigorous and sensitive drummer, perfectly attuned to the needs of the music. His African-flavored opening to <i>Following the Stream</i> sets the stage for a turbocharged exploration of the many possibilities of the format, from a calm piano solo to furious onslaughts of sound from Halley’s tenor sax. Only the brief and moody <i>Through Still Air</i>, with its focus on Bisio’s whiny arco playing, failed to excite me. <i>Fire Within</i> presents a formidable improvising ensemble, well worth hearing. Definitely recommended. </p><p><span style="white-space: normal;"><b>Pine Eagle 015</b>; Rich Halley (ts) Matthew Shipp (p) Michael Bisio (b) Newman Taylor Baker (d); Brooklyn, NY, July 12, 2023; Fire Within/ Inferred/ Angular Logic/ Through Still Air/ Following the Stream; 54:31. <a href="http://www.richhalley.com">www.richhalley.com</a></span></p><div><br /></div>Mr. Stuhttp://www.blogger.com/profile/11942149494207907981noreply@blogger.com0tag:blogger.com,1999:blog-2820594932304880278.post-41542049400143527372023-12-08T12:22:00.000-08:002023-12-08T12:22:59.626-08:00Tomas Fujiwara: Pith<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvbUaDndxlxvMlNSIEwhF6sVy_xxR3VUMi1rsTR05Cea6k3gbLSECjZk20XZ5IlK5lwu3M5XWCiQ4vX7YtpVZY_G-IxmtYEw7JMn9Lsgex2unSFxCawbpXVqiuVtPyDlyA2BuR7W9ueZTdLoOVuKjDHTJ1JjouXo6CN2zd4fd_AdQVdnVQZk00BT-IocM/s360/Tomas%20Fujiwara_Pith.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="360" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvbUaDndxlxvMlNSIEwhF6sVy_xxR3VUMi1rsTR05Cea6k3gbLSECjZk20XZ5IlK5lwu3M5XWCiQ4vX7YtpVZY_G-IxmtYEw7JMn9Lsgex2unSFxCawbpXVqiuVtPyDlyA2BuR7W9ueZTdLoOVuKjDHTJ1JjouXo6CN2zd4fd_AdQVdnVQZk00BT-IocM/s320/Tomas%20Fujiwara_Pith.jpg" width="320" /></a></div><p> <span style="white-space: pre;"> </span>Percussionist <b>Tomas Fujiwara</b> leads his 7 Poets Trio, with Patricia Brennan on vibes and Tomeka Reid on cello, on the Out Of Your Head release <b><i>Pith</i></b>. Now, pith is a very interesting word, going back to before the 12th century. It originally meant a “central strand of spongy tissue in the stems of most vascular plants,” but came to also mean “the essential core”. These days, the word is most often heard as part of the adjective “pithy”. What does this have to do with the music, you may ask. The 7 Poets Trio dives right into the central conundrum of improvised music: with a given set of musicians, how can we balance their individuality and the need for group cohesion in a way that honors the music above all? That’s the pith of the situation. And the trio addresses that question with a series of delicately balanced and poised performances. Fujiwara composed all the material, save for <i>Other</i>, a collective free-for-all. His melodies serve as frameworks for inspired solos and dynamic interplay. As a teenager, Fujiwara studied with the great Boston drummer Alan Dawson before moving to New York to immerse himself in the scene there. His complex and inventive playing has enlivened many an ensemble, and he seems to be busy forming new ones all the time. The 7 Poets Trio is his latest venture, and it shows a lot of potential for further development. The imaginative cellist Tomeka Raid has quite a lot of tricks up her sleeves, from bass-like walking lines to extended arco technique. On the atmospheric and tempo-less <i>Resolve</i>, she delivers a ghostly sound with the bow while Fujiwara softly uses mallets on cymbals and drums. All the while Brennan is laying down an extended melodic line. Mysterious at first, the piece carefully turns into a peaceful ballad. <i>Josho</i>. with Fujiwara keeping a light and steady beat, is the most “jazzy” of his tunes, with Brennan and Reid each contributing succinct solos. On vibes, Brennan maintains a bright sound and a steady flow of ideas, making her a perfect foil to Fujiwara’s equally creative drumming. <i>Pith</i> is a thoroughly delightful release, highly recommended. </p><p><span style="white-space: normal;"><b>Out Of Your Head OOYH 022</b>; Patricia Brennan (vib) Tomeka Reid (clo) Tomas Fujiwara (d); New Haven, CT, April 15, 2023; Solace/Swelter/ Resolve/ Josho/ Other/ Breath; 38:44. </span><a href="http://www.outofyourheadrecords.com">www.outofyourheadrecords.com</a></p><div><br /></div>Mr. Stuhttp://www.blogger.com/profile/11942149494207907981noreply@blogger.com0tag:blogger.com,1999:blog-2820594932304880278.post-24611244363722976332023-11-30T15:37:00.000-08:002023-11-30T15:37:44.935-08:00Rudy Royston Flatbed Buggy: Day<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhskN_YRpcm3Zhh0DuO3eHrLTGoeoIADN7mPM2svPAS1sSdK2LuKzP2B8Nhmyo-n-O67pW2_jI_lSUNOH4JhOqo4DbcYytp_4I6YMIeS7D32VwXPnIKFtxAKN7ZmBhHu45I10e-pwUmKe0DjU929Scn0xWE8oqiauUvQBTD3uLYqJtfyrZ1T-fl0CstFro/s360/RudyRoyston_FlatbedBuggy_Day.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="360" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhskN_YRpcm3Zhh0DuO3eHrLTGoeoIADN7mPM2svPAS1sSdK2LuKzP2B8Nhmyo-n-O67pW2_jI_lSUNOH4JhOqo4DbcYytp_4I6YMIeS7D32VwXPnIKFtxAKN7ZmBhHu45I10e-pwUmKe0DjU929Scn0xWE8oqiauUvQBTD3uLYqJtfyrZ1T-fl0CstFro/s320/RudyRoyston_FlatbedBuggy_Day.jpg" width="320" /></a></div><p> <span style="white-space: pre;"> </span>The superb drummer <b>Rudy Royston & his Flatbed Buggy</b> ensemble are back with the thoroughly wonderful <b><i>Day</i></b>. An hour of original tunes, mostly by Royston, the work is meant to evoke the contours of a single day. The band offers the enchanting blend of bass clarinet (John Ellis), accordion (Gary Versace), cello (Hank Roberts), and bass (Joe Martin), with Royston’s deft and nuanced drumming at the core of the group’s sound. The combination of Ellis’ nimble bass clarinet, Roberts’ adroit cello, and Versace’s lively accordion gives this quintet a unique sound that captivates immediately. From the joyful opening on <i>Morning</i> through the rigors of the day and on to the unwinding of the evening in <i>It’s Time to Sleep</i> and Hank Roberts’ hypnotic <i>A.M. Hours</i>, the ensemble is distinctive, dynamic, and full of surprises. Royston has had a very busy career, appearing on well over 100 sessions since his recorded debut with saxophonist Fred Hess in December 1991. Also on that date was trumpeter Ron Miles, and the two shared many bandstands and recording dates over the years. Miles, passed away in 2022, and Royston touchingly dedicates this music to “my late brother Ritchie Royston and my late brother Ron Miles.” Royston has arranged the pieces in a way that tends to de-emphasize the solo contributions of his bandmates and instead stresses the entwined textures and myriad possibilities afforded by the instrumentation. The melancholy ballad <i>Missing You</i> is one highlight, with its sad melody carefully intoned by bass clarinet, accordion and cello. The pace is slow at first, gradually building to a controlled frenzy under solos by Ellis and Roberts until Royston brings things to a head, and the collective energy dissipates. The swinging <i>Keep It Moving</i> is another favorite, sparked by Royston’s exuberant drumming. There are echoes of gospel music, the blues, folk music of all kinds, and jazz in its many manifestations mixed up all together in Royston’s tunes, and it makes for a stirring brew. Heartily recommended. </p><p><span style="white-space: normal;"><b>Greenleaf Music GRE-CD-1100</b>; John Ellis (bcl) Gary Versace (acc) Hank Roberts (clo) Joe Martin (b) Rudy Royston (d); Paramus, NJ, August 2022; Morning/ Thank You For This Day/ Limeni Village/ Look to the Hills/ The Mokes/ Five-Thirty Strut/ Missing You/ Keep It Moving/ It’s Time to Sleep/ A.M. Hours; 59:46. <a href="http://greenleafmusic.com">greenleafmusic.com</a></span></p>Mr. Stuhttp://www.blogger.com/profile/11942149494207907981noreply@blogger.com0tag:blogger.com,1999:blog-2820594932304880278.post-48279636440996884342023-11-13T13:31:00.000-08:002023-11-13T13:31:44.963-08:00Wes Montgomery & the Wynton Kelly Trio: Maximum Swing: The Unissued Half Note Recordings<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2RD3rAX-2mn7PupQMKf90RqxCkJOeYXieubpH6KEzzBA5O6m19GFOloB1Ek4701jo-AM4QkyZOmOLI1jrWD2i_pGRAfNtxX7bFogWj0xZqMgX-o9Dc4YTxr4rVF7gZhqtKKc1Wphz4pYhVcLZWmbc-jpAMLqi788uwDbiUeB0XqwkjRyuTa7atsBuA_Q/s360/WesMontomery_WyntonKellyTrio_MaximumSwing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="360" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2RD3rAX-2mn7PupQMKf90RqxCkJOeYXieubpH6KEzzBA5O6m19GFOloB1Ek4701jo-AM4QkyZOmOLI1jrWD2i_pGRAfNtxX7bFogWj0xZqMgX-o9Dc4YTxr4rVF7gZhqtKKc1Wphz4pYhVcLZWmbc-jpAMLqi788uwDbiUeB0XqwkjRyuTa7atsBuA_Q/s320/WesMontomery_WyntonKellyTrio_MaximumSwing.jpg" width="320" /></a></div><p> <span style="white-space: pre;"> </span>Guitarist Wes Montgomery and pianist Wynton Kelly first recorded together in late 1961 on <i>Bags Meets Wes!</i>, a Montgomery/ Milt Jackson project for Riverside Records. Clearly, they really got along on a musical level, getting together again for Wes’ <i>Full House</i> in 1962 for Riverside, and for the classic <i>Smokin’ At The Half Note</i>, recorded for Verve at various times during 1965. Now, with the release of <b><i>Maximum Swing: The Unissued Half Note Recordings</i></b>, we have another two hours of the <b>Wes Montgomery & the Wynton Kelly Trio</b> to enjoy, all from 1965. The music will be available on limited edition vinyl for Record Store Day and on CD in early December. All of disc one and the first three tracks on disc two of the CD version were originally broadcast on Alan Grant’s WABC <i>Portraits in Jazz</i> radio show. The final five tracks were sourced from the private collection of Yoshio Tokui of the wesFANclub in Japan. Many of the airchecks appeared on bootlegs, in poor sound, but the fan club tapes are previously unissued in any format. The quarter-hour segments of the radio broadcasts featured two or three tunes. On the Tokui recordings, made without the self-editing necessary for the radio show, Wes and company got to really stretch out, extending their performances to lengths unheard in most other settings. Sound quality on the broadcasts is quite good, which took some tinkering by restoration engineer Matthew Lutthans. The poorly recorded Tokui segment is another matter, and Lutthans describes the process of making this section listenable. As rough as it still is after digital manipulation, you get used to the sound after a few minutes. The band’s fantastic 10-minute version of <i>Cherokee</i>, taken at the song’s typical frantic pace, offers a genuine look at Montgomery and company on stage with no considerations beyond hard blowing. Kelly gets to play more on these tracks, too, another bonus. Montgomery is in great form throughout both discs, with several outstanding performances that listeners will return to again and again, including a stunning solo on the November 12 version of <i>Four On Six</i> and more jaw-dropping soloing on <i>The Song is You</i>, which also features some spirited exchanges by Montgomery and Kelly with drummer Jimmy Cobb. The 52-page booklet includes Bill Milkowski’s informative liner notes, Lutthans’ discussion of mastering the album, and a note by Yoshio Tokui on the origin of the tapes. There are also previously unseen photographs by Raymond Ross, remembrances by Herbie Hancock and Ron Carter (who subbed for the incredibly busy Paul Chambers on the November 5 performance), and appreciations by Bill Frisell, Mike Stern, and Marcus Miller. Miller is Wynton Kelly’s cousin and he’s got some good stories to tell. Alan Grant signed off his broadcasts by saying “Stay beautiful” and that’s easy to do when savoring the sounds of Wes Montgomery and the Wynton Kelly trio. Highest recommendation! </p><p><span style="white-space: normal;"><b>Resonance HCD-2067 (also on vinyl)</b>: Wes Montgomery (g) Wynton Kelly (p) Paul Chambers$, Ron Carter*, Larry Ridley#, or Herman Wright% (b) Jimmy Cobb (d); NYC, dates as noted; Disc 1 (50:10): September 24, 1965: Laura/ Cariba/ Blues; November 5, 1965*: Impressions/ Mi Cosa/ No Blues; November 12, 1965#: Birks’ Works/ Four on Six/ The Theme. Disc 2 (74:18): November 19, 1965%: All the Things You Are/ I Remember You/ No Blues; late November, 1965#: Cherokee/ The Song is You/ Four on Six/ Star Eyes/ Oh, You Crazy Moon. <a href="http://www.resonancerecords.org">www.resonancerecords.org</a></span></p>Mr. Stuhttp://www.blogger.com/profile/11942149494207907981noreply@blogger.com0tag:blogger.com,1999:blog-2820594932304880278.post-68278942703399318932023-11-11T14:33:00.002-08:002023-11-11T14:33:33.640-08:00Cal Tjader: Catch The Groove, Live at The Penthouse, 1963-1967<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk4Y6M_zn37kE76xsTW7s9BOMBVY2J1WWuct7cab3kVBpOlHfJaRVqbzgb0apyg2IRLWgC3wwCdZzrjYtjycaftzew_orDB6JVqtK-ggxDZ6hzr9lWtPzsdiMKGiAGx_04bRTJN2T8lg2pIX66-Xvn-aHLKMq61MqQdmhu923B6D67k88ySaJ1Sr-SIEU/s365/CalTjader_CatchTheGroove.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="365" data-original-width="360" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk4Y6M_zn37kE76xsTW7s9BOMBVY2J1WWuct7cab3kVBpOlHfJaRVqbzgb0apyg2IRLWgC3wwCdZzrjYtjycaftzew_orDB6JVqtK-ggxDZ6hzr9lWtPzsdiMKGiAGx_04bRTJN2T8lg2pIX66-Xvn-aHLKMq61MqQdmhu923B6D67k88ySaJ1Sr-SIEU/s320/CalTjader_CatchTheGroove.jpg" width="316" /></a></div><p> <span style="white-space: pre;"> </span>In the press release for the Record Store Day issue of <b><i>Catch The Groove, Live at The Penthouse, 1963-1967</i></b>, a compilation of radio broadcasts by <b>Cal Tjader</b>, it’s noted that the last new music to be heard from the late vibraphonist came out two decades ago. The reference is to <i>Cuban Fantasy</i> (Fantasy, 2003), which I had the immense pleasure of producing from performances in San Francisco in 1977. Now I have the added enjoyment of listening to several earlier editions of his bands beautifully captured from a series of appearances at the Penthouse in Seattle. Zev Feldman has been working for years with the stash of tapes from the club recorded and preserved by Jim Wilke. In addition to the wonderful music that he’s been presenting, Feldman always puts together appreciative and informative packages for his releases. The booklet for this set includes memorabilia from the club, previously unseen photos, admiring notes from vibraphonists Joe Locke, Gary Burton, and Terry Gibbs, plus heartfelt reminiscences by drummer Carl Burnett (heard on the 1966 and 1967 sessions), pianist Eddie Palmieri (who made two records with Tjader), and percussionist Poncho Sanchez (who played in Tjader’s band from 1975 until Tjader passed away in 1982), and more. Jim Wilke describes the sound of the band as “good-natured, outgoing music,” and from the warm appreciations that appear in the booklet, it seems that “good-natured” and “outgoing” describe the man as well as his music. There have been a few non-Latin musicians who became well-known for their forays into Latin music. Tjader’s heritage was Swedish, but that didn’t really matter, since he demonstrated a genuine affinity for Latin rhythms. Palmieri calls him “the most natural musician I’ve ever met,” high praise indeed. The first of the 27 songs heard in this set is Billy Strayhorn’s <i>Take the “A” Train</i> and the last track is <i>Along Comes Mary</i>, the 1966 pop hit by the Association. Each one, and everything in between, including standards like <i>Here’s That Rainy Day</i> and <i>On Green Dolphin Street</i>, original tunes like Tjader’s <i>Davito</i> and <i>Soul Burst</i> and jazz compositions like Strayhorn’s <i>Lush Life</i> and Milt Jackson’s <i>Bags’ Groove</i>, gets a respectful and swinging arrangement. The musical treats here are plentiful, with Tjader’s immensely appealing vibraphone inventions front and center, with sustained rhythmic fire from drummers Johnny Rae and Carl Burnett, and Bill Fitch and the masterful Armando Peraza on congas and bongos. When a 24-year old Poncho Sanchez joined the Tjader group, Tjader advised him to “just catch the groove, man.” Good advice, whether you were playing in the band or just listening to their music. Happily recommended. </p><p><span style="white-space: normal;"><b>Jazz Detective DDJD-012 (also on vinyl)</b>; Cal Tjader (vib on all tracks); Seattle, WA; personnel and dates as noted: Disc 1 (76:41); February 2, 1963: Clare Fischer (p) Fred Schreiber (b) Johnny Rae (d, timb) Bill Fitch (cga, perc): Take the “A” Train/ In Your Own Sweet Way/ It Never Entered My Mind/ Morning of the Carnival (Manha de Carnaval)/ Insight. May 6, 1965: Lonnie Hewitt (p) Terry Hilliard (b) Rae (d, timb) Armando Peraza (cga, bgo): Sunset Boulevard/Here’s That Rainy Day/ Davito/ Pantano/ Leyte/ Half and Half. May 13, 1965: same group as May 6: On Green Dolphin Street/ Love For Sale/ Reza/ Maramoor Mambo. Disc 2 (70:14): June 9, 1966: Al Zulaica (p) Monk Montgomery (b) Carl Burnett (d) Peraza (cga, bgo): The Shadow of Your Smile/ Bags’ Groove/ Morning/ Mambo Inn. June 16, 1966: same group as June 9: On Green Dolphin Street/ I Can’t Get Started/ Soul Burst/ Cuban Fantasy. June 8 ,1967: Zulaica (p) Stan Gilbert (b) Burnett (d) Peraza (cga, bgo): O Morro Não Tem Vez/ Fuji/ Lush Life/ Along Comes Mary. <a href="http://www.thejazzdetective.com">www.thejazzdetective.com</a></span></p><div><br /></div>Mr. Stuhttp://www.blogger.com/profile/11942149494207907981noreply@blogger.com0tag:blogger.com,1999:blog-2820594932304880278.post-63748908831451746672023-11-10T13:34:00.002-08:002023-11-10T13:34:38.536-08:00Ahmad Jamal: Emerald City Nights, Live at The Penthouse, 1966-1968<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcCaquqkKJizLM7EZr6bBOuIfVhJ70okEBoX2hIozRDK1K4sFEPz4_bjPuDC7RqPpEMKg331CQ-E6eoObuLlFIRrs6NsvFF7w4kjFZSWBQqaubWoBsfuGu4tn2p9rUmILwk45bisyiSNeNxBT1ockJrB_pHpf3E0wBsNS5YAHT2fAEkEUXKxC7ZVKOoC0/s360/AhmadJamal_EmeraldCityNights_1966-1968.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="360" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcCaquqkKJizLM7EZr6bBOuIfVhJ70okEBoX2hIozRDK1K4sFEPz4_bjPuDC7RqPpEMKg331CQ-E6eoObuLlFIRrs6NsvFF7w4kjFZSWBQqaubWoBsfuGu4tn2p9rUmILwk45bisyiSNeNxBT1ockJrB_pHpf3E0wBsNS5YAHT2fAEkEUXKxC7ZVKOoC0/s320/AhmadJamal_EmeraldCityNights_1966-1968.jpg" width="320" /></a></div><p> <span style="white-space: pre;"> </span>The third and final compilation of radio broadcasts from Seattle showcasing pianist <b>Ahmad Jamal</b> and his trio is <i><b>Emerald City Nights, Live at The Penthouse, 1966-1968</b></i>, available on limited edition vinyl for Record Store Day and on CD in December. This time around, we get to hear just one of Jamal’s trios, with bassist Jamil Nasser and drummer Frank Gant, a unit that stayed together from 1966 until the mid-1970's. Jamal, with his influential block chord approach to building improvisations and the irrepressible flow of sound from his instrument, is always a pleasure to hear, especially when he’s in front of an audience. Jamal’s elaborate inventions tend to disregard most of the familiar melodies in favor of the underlying chord structures. For instance, Joseph Kosma’s <i>Autumn Leaves</i>, which Eugene Holley, Jr., mentions in his notes was “a mainstay in the Jamal songbook,” is delivered here “in a whirling dervish of ingenuity and taste.” Another Jamal favorite, Erroll Garner’s classic <i>Misty</i>, gets a similarly unusual treatment, with a lengthy piano/drum duet. Jamal’s lone solo excursion is a lovely investigation of Johnny Mandel’s <i>Emily</i>, a piece also favored by another extremely influential pianist, Bill Evans. As Holley reminds us, the jazz world was in a state of profound flux in the late Sixties. Jamal persevered with his trio, and he always felt at home in the Penthouse. Club owner Charlie Puzzo was a big fan, and brought a concert grand into the small club for Jamal’s frequent appearances in Seattle. Jamal, who passed away in April, 2023, was involved with this release, approving the selections, and telling Holley that “it was a great place to work.” That feeling is apparent in the ebullient performances on offer. Holley’s liner notes follow an introductory note by co-produced Zev Feldman, and are joined by excerpts from brief interviews with pianists Les McCann, Emmet Cohen, Monty Alexander and Jamal himself, plus some previously unpublished photos. Definitely recommended. </p><p><span style="white-space: normal;"><b>Jazz Detective DDJD-006 (also on vinyl)</b>; Ahmad Jamal (p) Jamil Nasser (b) Frank Gant (d); Seattle, WA, dates as noted; <i>Disc 1 (45:13)</i>: September 29, 1966: Gloria/ Fantastic Vehicle/ Misty. August 24, 1967: Mr. Lucky/ Autumn Leaves. <i>Disc 2 (48:37)</i>: August 31, 1967: Corcovado (Quiet Night of Quiet Stars)/ Where is Love/ Dance to the Lady. April 26, 1968:Naked City Theme/ Emily (solo)/ Alfie. <a href="http://www.thejazzdetective.com">www.thejazzdetective.com</a></span></p>Mr. Stuhttp://www.blogger.com/profile/11942149494207907981noreply@blogger.com0tag:blogger.com,1999:blog-2820594932304880278.post-52377322672518342922023-11-08T13:45:00.005-08:002023-11-08T13:45:40.157-08:00Louis Hayes: Exactly Right!<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDCBR1gryR1aj9oFo9UjCnYM40xfsPO6uZCSom_zmY764TT8TKCnrW5sMOO2W3-9QV6qSmOqdtB4gfRRLwogQtXTDKsk_grn8LmVW3s46LpOCzlCTB2nDO27yuHycwNn-jlj27ILv9F7Zuiemg69vmnqxsgt8prahej5J1bhMJ0pXMf4kBfrVxk44I0jI/s360/LouisHayes_ExactlyRight!.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="360" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDCBR1gryR1aj9oFo9UjCnYM40xfsPO6uZCSom_zmY764TT8TKCnrW5sMOO2W3-9QV6qSmOqdtB4gfRRLwogQtXTDKsk_grn8LmVW3s46LpOCzlCTB2nDO27yuHycwNn-jlj27ILv9F7Zuiemg69vmnqxsgt8prahej5J1bhMJ0pXMf4kBfrVxk44I0jI/s320/LouisHayes_ExactlyRight!.jpg" width="320" /></a></div><p> <span style="white-space: pre;"> </span>When NEA Jazz Master drummer <b>Louis Hayes</b> counts off the tempo to start a tune, you can be sure that it will be <b><i>Exactly Right!</i></b>, which happens to be the apt title of his latest Savant release. Accompanied by his frequent associates tenor saxophonist Abraham Burton, vibraphonist Steve Nelson, pianist David Hazeltine, and bassist Dezron Douglas, Hayes swings hard through an hour of inspired small combo jazz. The music is basically in the hard bop style that was prevalent when Hayes made his recording debut back in 1956 as a member of the Horace Silver quintet. To honor his early days, Hayes and company perform Silver’s <i>Mellow D</i>, originally heard on 1959's <i>Finger Poppin’ With The Horace Silver Quintet</i> with Hayes as the drummer. There’s also a homage to fellow percussionist Art Blakey with the closing tune, Cedar Walton’s <i>Ugetsu</i>, the title track of a 1963 Blakey album on Riverside. Tenorman Burton’s burly tone serves him well on upbeat numbers like Duke Pearson’s <i>Is That So</i>, and he also has a beautiful way with a ballad, as he demonstrates on Sergio Mendes’ <i>So Many Stars</i> and Fred Lacey’s <i>Theme For Ernie</i> with exquisite support from vibist Nelson and the sensitive Hazeltine. By now, you might have noticed that Hayes, as bandleader and co-producer with bassist Douglas, has a well-honed talent for picking interesting tunes to play, and ones that are not heard too often. In the Sixties, Hayes briefly co-led a quintet with Freddie Hubbard and Joe Henderson called the Jazz Communicators. It’s a name that the drummer revived around 2010, with many of the same musicians as <i>Exactly Right!</i> , but even if he’s not using the moniker now, the essence is the same: music that’s honest, unpretentious, and deeply satisfying. Recommended. </p><p><span style="white-space: normal;"><b>Savant SCD 2206</b>; Abraham Burton (ts) Steve Nelson (vib) David Hazeltine (p) Dezron Douglas (b) Louis Hayes (d); Paramus, NJ, December 16-17, 2022; Exactly Right!/ Is That So?/ Hand in Glove/ So Many Stars/ Carmine’s Bridge/ Nefertiti/ Mellow D/ Theme For Ernie/ Scarborough Fair/ Ugetsu; 54:54. <a href="http://www.jazzdepot.com">www.jazzdepot.com</a></span></p><div><br /></div>Mr. Stuhttp://www.blogger.com/profile/11942149494207907981noreply@blogger.com0tag:blogger.com,1999:blog-2820594932304880278.post-36003243505945815832023-11-06T12:24:00.012-08:002023-11-06T12:26:58.410-08:00Mark Reboul/Roberta Piket/Billy Mintz: Seven pieces/ about an hour/ saxophone, piano, drums<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLjX4UHIutvoWRXd5X6Dxh4M0EA2vSpe6UjN6qmKwKF4v92L1sPNjjXAKrvVkVqPxJpQLHoIeI5802Ez7I4KjkBbOkSlmNw8ajN9bHbvBda6JXX5NhDnv6MAjKwluROAwSu0h2aV3r3-KXhnyF97jkjv1geK_-__rzf4D4mivNXbkj06EI_kIzzxgIh1g/s360/MarkReboul_RobertaPiket_BillyMintx_Seven%20pieces_about%20an%20hour_%20saxophone,%20piano,%20drums.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="360" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLjX4UHIutvoWRXd5X6Dxh4M0EA2vSpe6UjN6qmKwKF4v92L1sPNjjXAKrvVkVqPxJpQLHoIeI5802Ez7I4KjkBbOkSlmNw8ajN9bHbvBda6JXX5NhDnv6MAjKwluROAwSu0h2aV3r3-KXhnyF97jkjv1geK_-__rzf4D4mivNXbkj06EI_kIzzxgIh1g/s320/MarkReboul_RobertaPiket_BillyMintx_Seven%20pieces_about%20an%20hour_%20saxophone,%20piano,%20drums.jpg" width="320" /></a></div><p><span style="white-space: pre;"> </span>The legendary ESP-Disk label, which recorded such prominent avant-garde artists as Albert Ayler, Sun Ra, and Marion Brown, also released albums by relatively obscure musicians who remained unknown to all but a few cognoscenti. I’m thinking of players like pianist Lowell Davidson and reedist Marzette Watts. To that small list, add the name of saxophonist Mark Reboul, an almost unknown player from the New York scene. The newly issued <i><b>Seven pieces/ about an hour/ saxophone, piano, drums</b></i> was recorded back in 2004 by the trio of <b>Mark Reboul, Roberta Piket & Billy Mintz</b>. ESP-Disk’ has been through several incarnations since it was founded in 1963, but the original dictum that “the artists alone decide what you will hear” is still in force. The current manager of ESP, Steve Holtje, solicited this set from Reboul who he knew from attending one of his rare gigs. Unlike a lot of what’s usually called “free jazz” with its stereotypical connotations of blasting saxophones and bashing drums, Reboul’s music is quietly intense and often very slowly paced. The solemn breathiness of his saxophones is nicely complemented by Piket’s careful comments at the keyboard and Mintz’ typically subtle and spare drumming. Seven pieces is a fascinating document of an underexposed talent who is well worth hearing. Recommended. </p><p><span style="white-space: normal;"><b>ESP-Disk’ ESP5041</b>; Mark Reboul (sax) Roberta Piket (p) Billy Mintz (d); Brooklyn, NY, 2004; 7¾/ 10/ 13/ 3/ 6¾/ 9/ 11¾; 61:49. <a href="http://www.espdisk.com">www.espdisk.com</a></span></p>Mr. Stuhttp://www.blogger.com/profile/11942149494207907981noreply@blogger.com2tag:blogger.com,1999:blog-2820594932304880278.post-15375707466990767282023-10-02T12:37:00.002-07:002023-10-02T12:37:39.670-07:00John Coltrane with Eric Dolphy: Evenings At The Village Gate<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtzUYPLuNBHUpDLKk1JuSH0t0kiCkWK2wZ7a_UtHDedX9LOtmNWtloMMaTT01qEFxkhHyiDfLWjlicUujxnfdajxyQw7Aa5V-ew9Ii6MBDY0KkYGRNhCjGCH0UOo2ZZ3yiRL3vqeCvJ4YGhQAHz6DgOy_gRQewFO07RXDz8Rx90ANM7jlgp00juMOv2yk/s360/JohnColtrane_WithEricDolphy_EveningsAtTheVillageGate.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="360" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtzUYPLuNBHUpDLKk1JuSH0t0kiCkWK2wZ7a_UtHDedX9LOtmNWtloMMaTT01qEFxkhHyiDfLWjlicUujxnfdajxyQw7Aa5V-ew9Ii6MBDY0KkYGRNhCjGCH0UOo2ZZ3yiRL3vqeCvJ4YGhQAHz6DgOy_gRQewFO07RXDz8Rx90ANM7jlgp00juMOv2yk/s320/JohnColtrane_WithEricDolphy_EveningsAtTheVillageGate.jpg" width="320" /></a></div><p> <span style="white-space: pre;"> </span>Richard Alderson was a New York recording engineer in 1961 when he was enlisted to check out a new sound system being installed at the Village Gate. It happened that saxophonist John Coltrane was appearing at the club for the month of August, with various musicians invited to join him on stage. That’s the basic back-story behind the scintillating Impulse! release of <b><i>Evenings At The Village Gate</i></b>, with eighty minutes of <b>John Coltrane with Eric Dolphy</b> plus McCoy Tyner on piano, Reggie Workman on bass, and Elvin Jones on drums. The tapes were lost and found, and then lost again until this recent rediscovery, and every jazz fan should be thankful for the appearance of this music, no matter how belated it might be. Coltrane and Dolphy started working together earlier in 1961, on <i>Olé</i> for Atlantic and <i>Africa/Brass</i> for Impulse. They teamed up again in November at the Village Vanguard (eventually collected on the 4-CDs of <i>The Complete 1961 Village Vanguard Sessions</i>), and then took off for a series of concerts in Europe. Some of those performances came out on bootlegs and a few appeared later on <i>Live Trane</i>, a 7-CD set on Pablo. The repertoire is largely familiar, starting with <i>My Favorite Things</i>, a rare jazz “hit” and a popular song frequently associated with Coltrane who played it very often. Here it features some prime Dolphy flute. Next up is <i>When Lights Are Low</i>, which might have been a Dolphy suggestion, since ‘Trane had recorded it just once, with Miles Davis in 1956. Featuring his highly expressive bass clarinet playing, this Benny Carter-Spencer Williams composition became a Dolphy favorite, and he performed the tune at his European concerts immediately following the Village Gate shows. The traditional melody <i>Greensleeves</i>, which Coltrane played a lot that year, gets a real workout in a sixteen minute extravaganza with a killer Dolphy solo on alto, followed by a Coltrane soprano solo that makes you almost forget the first solo. The sequencing saves the best for last, with an extended version of Coltrane’s <i>Africa</i>, the only known live performance of this number from the <i>Africa/Brass</i> sessions. Coming out of a typically volcanic Elvin Jones solo, the last five minutes with both horns wailing is the most thrilling music I’ve heard in many a moon. While the drums are too loud, and Workman’s bass is down in the mix, I imagine the system still passed the test as far as the club was concerned. The Village Gate finally closed its doors in 1994, but this music will be prized as long as there are ears to hear it. <i>Evenings At The Village Gate</i> is a treasure, and one of the most important releases of this or any year. Absolutely recommended. </p><p><span style="white-space: normal;"><b>Impulse!</b>; John Coltrane (ts, ss) Eric Dolphy (as, fl, bcl) McCoy Tyner (p) Reggie Workman, Art Davis* (b) Elvin Jones (d); NYC, August 1961; My Favorite Things/ When Lights Are Low/ Impressions/ Greensleeves/ Africa*; 80:15. </span><a href="http://www.impulserecords.com/#/">www.impulserecords.com/#/</a></p><div><br /></div>Mr. Stuhttp://www.blogger.com/profile/11942149494207907981noreply@blogger.com0tag:blogger.com,1999:blog-2820594932304880278.post-29021924061142733912023-09-07T13:31:00.002-07:002023-09-07T13:31:12.729-07:00James Brandon Lewis/ Red Lily Quintet: For Mahalia, With Love<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsYwsCW4c8zdYQVL2fV1btz_7qhmCCiEcKmpHDAAdj5k2lT61jcdQNNgRxk_RJQyffpyTxiVkqs_D6DXeTgSHCN8Trnf6bI620CsxqrUefKcnlZZx-ZAE8bmJcNeZ1NvdQmZvgzl--RYkedMqTgbRqt-mPEEDTqT7PHpPJx8cL3Qr1qjmTI6d2DrHcvU8/s360/JamesBrandonLewisForMahaliaWithLove.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="360" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsYwsCW4c8zdYQVL2fV1btz_7qhmCCiEcKmpHDAAdj5k2lT61jcdQNNgRxk_RJQyffpyTxiVkqs_D6DXeTgSHCN8Trnf6bI620CsxqrUefKcnlZZx-ZAE8bmJcNeZ1NvdQmZvgzl--RYkedMqTgbRqt-mPEEDTqT7PHpPJx8cL3Qr1qjmTI6d2DrHcvU8/s320/JamesBrandonLewisForMahaliaWithLove.jpg" width="320" /></a></div><p> <span style="white-space: pre;"> </span>Sometimes you know it immediately. It took me less than 20 seconds to realize that <b><i>For Mahalia, With Love</i></b> by <b>James Brandon Lewis and his Red Lily Quintet</b> was going to be a deeply moving and spiritual set of modern music. And so it is. In what proves to be a perfect pairing of material and musicians, tenor saxophonist Lewis, inspired by childhood memories of his grandmother talking about Mahalia Jackson, wrote arrangements for a batch of songs associated with the great gospel singer. The performances by the Red Lily Quintet fuse the time-honored melodies with the fervor of the modern tenor saxophone tradition, as exemplified by innovators like Albert Ayler and David Murray. Joining Lewis in the front line is the imaginative cornetist Kirk Knuffke. Drummer Chad Taylor and bassist William Parker are a superbly responsive rhythm team. The quintet is rounded out by Chris Hoffman on cello, an instrument that seems to insist on multiple roles in an improvising context, from bass-like pizzicato to horn-styled arco work and more. That calls for great versatility and command, and Hoffman, a regular in various Henry Threadgill ensembles since 2011, has all that and more. His solo, leading into a duet passage with Parker on <i>Deep River</i> is just one of the program’s many high points. The spirit of the quintet is powerful from start to finish, and the quintet’s devoted recastings are thrilling. <i>For Mahalia, With Love</i> is a wonderful CD, totally recommended. And that’s before I mention a companion CD with the first edition of Lewis performing an original suite, <i>These Are Soulful Days</i> (51:53), recorded live in Poland (Wrocław, November 21, 2021) with the Lutosławski String Quartet. The format is not really my cup of tea, but it is a chance to hear another side of the adventuresome Lewis. </p><p><span style="white-space: normal;"><b>TAO Forms TAO 13 (CD [first edition with bonus disc]; 2-lp set; & digital album</b>; Kirk Knuffke (cnt) James Brandon Lewis (ts) Chris Hoffman (clo) William Parker (b) Chad Taylor (d, tambourine); South Orange, NJ, no dates specified; Sparrow/ Swing Low/ Go Down Moses/ Wade in the Water/ Calvary/ Deep River/ Elijah Rock/ Were You There/ Precious Lord; 71:35. <a href="http://aumfidelity.com/collections/tao-forms">aumfidelity.com/collections/tao-forms</a></span></p><div><br /></div>Mr. Stuhttp://www.blogger.com/profile/11942149494207907981noreply@blogger.com0tag:blogger.com,1999:blog-2820594932304880278.post-20023623706837282002023-09-07T13:21:00.002-07:002023-09-07T13:21:23.407-07:00Wadada Leo Smith and Orange Wave Electric: Fire Illuminations<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwLz76R7hHB4YKxlqQXrGv7k69SfaFT6VdU68Co8bSk96wyjDCJ6Bt9q2OjDTVHncmvNdbl0SMumLzz2puMyP3RTgMhL9nc5huUhce7MuvQnOTr5y4hd3yNNhH_Er3mz0U_TRlfljzRZAQjj2i4GSJjk0IkSClACpY2kTNif8pYwSVyeuD1uRsu7D4Fcs/s360/WadadaLeoSmith_FireIlluminations.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="360" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwLz76R7hHB4YKxlqQXrGv7k69SfaFT6VdU68Co8bSk96wyjDCJ6Bt9q2OjDTVHncmvNdbl0SMumLzz2puMyP3RTgMhL9nc5huUhce7MuvQnOTr5y4hd3yNNhH_Er3mz0U_TRlfljzRZAQjj2i4GSJjk0IkSClACpY2kTNif8pYwSVyeuD1uRsu7D4Fcs/s320/WadadaLeoSmith_FireIlluminations.jpg" width="320" /></a></div><p> <span style="white-space: pre;"> </span>Devotees of the three volumes of the Wadada Leo Smith and Henry Kaiser’s <i>Yo Miles!</i> projects will be happy to latch on to <b>Wadada Leo Smith and Orange Wave Electric</b>’s <b><i>Fire Illuminations</i></b>. This digital-only project on Smith’s own Kabell imprint features Wadada’s bright and incisive trumpet against the swirling backdrop of multiple electric guitarists (Nels Cline, Brandon Ross and Lamar Smith in various combinations), the twin electric basses of Bill Laswell and Melvin Gibbs, the free-funk drumming of longtime Smith associate Pheeroan akLaff and percussionist Mauro Refosco. Sound designer Hardedge adds subtle electronics to a couple of tracks. As usual, Smith’s inspirations come from all over the cultural spectrum. His touchstones for this collection of tracks recorded over several years include the poet and playwright Ntozake Shange, Muhammad Ali, and drummer Tony Williams. Most of the music is heavily influenced by the late electric period of Miles Davis, with long, layered grooves and a gleaming trumpet on top. On the finale, <i>Muhammad Ali and George Forman Rumble in Zaire Africa</i>, the first few minutes feature disjointed stop and start rhythms with akLaff’s drums up front as Cline wails over ominous bass lines. Eventually, Smith joins the fray with his bright and authoritative trumpet. Wadada’s music continues to surprise and delight, and <i>Fire Illuminations</i> is no exception. Recommended. </p><p><span style="white-space: normal;"><b>Kabell KB112 (digital only);</b> Wadada Leo Smith (tpt) Nels Cline (g, exc on 2 & 3) Brandon Ross (g on 1 & 4) Lamar Smith (g, exc on 5) Bill Laswell, Melvin Gibbs (el b)Pheeroan akLaff (d) Mauro Refosco (perc, exc on 5) Hardedge (elec on 1 & 4); no locations specified, January 2019-2021; 1) Ntozake Shange/ 2) Muhammad Ali's Spiritual Horizon/ 3) Fire Illuminations Inside the Particles of Light/ 4) Tony Williams/ 5) Muhammad Ali and George Forman Rumble in Zaire Africa; 48:32. <a href="http://wadadaleosmith1.bandcamp.com">wadadaleosmith1.bandcamp.com</a></span></p><div><br /></div>Mr. Stuhttp://www.blogger.com/profile/11942149494207907981noreply@blogger.com0tag:blogger.com,1999:blog-2820594932304880278.post-45579989181233284912023-07-25T23:20:00.000-07:002023-07-25T23:20:13.533-07:00Freddie Hubbard: The Complete Blue Note & Impulse ‘60s Studio Sessions<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR1xk4_TFjO20pUymMOK7qzkyvOUN4Ps_ldnk3P_2Vw9UQflpRxMBWhKAHZnUaScSkDaBChuYcE72ET6YI3beLisoqo_k3GbnmZWeMbbq4LDh7ysrLNAaGwBMIbsR4ND_J_XmNzu0kD-7hXxuKSZe-rAwffGyLhwJfsOWag2Hu6GWXUa26zJCFOTU8xik/s360/FreddieHubbard_CompleteBlueNote_And_ImpulseSessions.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="360" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR1xk4_TFjO20pUymMOK7qzkyvOUN4Ps_ldnk3P_2Vw9UQflpRxMBWhKAHZnUaScSkDaBChuYcE72ET6YI3beLisoqo_k3GbnmZWeMbbq4LDh7ysrLNAaGwBMIbsR4ND_J_XmNzu0kD-7hXxuKSZe-rAwffGyLhwJfsOWag2Hu6GWXUa26zJCFOTU8xik/s320/FreddieHubbard_CompleteBlueNote_And_ImpulseSessions.jpg" width="320" /></a></div><p> <span><span style="white-space: pre;"> </span>By their very nature, compilations of the recordings by a particular artist on one label tell just one part of the story of that era in a musician’s life. Mosaic Records has assembled a 7-CD boxed set of <i><b>The Complete Blue Note & Impulse ‘60s Studio Sessions</b></i>, with eight Blue Note titles and two Impulse recordings by the incomparable trumpet master <b>Freddie Hubbard</b>. Only the vagaries of corporate ownership allow the Blue Note and Impulse albums to be issued together, and it points up the problems of assembling a truly comprehensive view of Hubbard’s amazing odyssey in less than five years, from the time of <i>Open Sesame</i>, his initial Blue Note release recorded in June 1960, to February 1965, when he made his final album for the label, <i>Blue Spirits</i>. During that span, Hubbard did one live session for Blue Note (<i>The Night Of The Cookers</i>, with Lee Morgan), and appeared as a sideman on Blue Note sessions for Tina Brooks, Hank Mobley, Kenny Drew, Dexter Gordon, and Herbie Hancock. He also participated in sessions led by Ornette Coleman (<i>Free Jazz</i>), John Coltrane (<i>Africa/Brass</i> and <i>Olé</i>), Oliver Nelson (<i>The Blues And The Abstract Truth</i>), Curtis Fuller, Randy Weston (<i>Uhuru Africa</i>), J.J. Johnson, Benny Golson, Wayne Shorter and many others. As of late 1961, Hubbard became a member of Art Blakey’s Jazz Messengers, recording a batch of live and studio dates for Blue Note, and with a whole new book of tunes to learn. In fact, I could go on and on with his credits in this period when he performed on an astonishing number of critically acclaimed albums. All of these sessions, plenty of opportunities to perform in clubs and concerts, and a slew of memorable compositions (including <i>Birdlike</i>, <i>Arietis</i>, <i>Lament For Booker</i>, <i>Thermo</i> and <i>Hub-tones</i>) point to Hubbard’s powerful work ethic in this period, his ability to shine in any and all musical situations, and the obvious esteem in which he was held by other musicians. In his typically astute and insightful essay that graces the 20-page booklet, Bob Blumenthal writes of Hubbard’s “skill at sight-reading orchestral parts...,” but even that facet of Hubbard’s tool-box can’t account for the sheer volume of material he seemed to master in no time at all. It’s been said of Coleman Hawkins that he could arrive at the studio and be shown the lead sheet for a song he’d never played. He’d look it over, step up to the microphone and play it like he had written it. I suspect the same could be said of Hubbard. The albums presented here, in stellar sound and with all the bonus tracks that have been issued on CDs over the years, are an education by themselves. We can hear how the 22-year old leader of <i>Open Sesame</i>, featuring tenor saxist Tina Brooks and pianist McCoy Tyner, making his own Blue Note debut, grew quickly and steadily into one of the greatest trumpeters of the modern era. An immersion in <i>The Complete Blue Note & Impulse ‘60s Studio Sessions</i> will all by itself provide an intense look at this period of Hubbards’ career. If all of this great music provokes you into a more detailed exploration of Hubbard’s artistry in a myriad of contexts, you’ve got many, many hours of inspiring music to look forward to. Highest recommendation! </span></p><p><b>Mosaic MD7-274</b>; Disc 1 (72:17): (A) Open Sesame (6/19/60), (B) Goin’ Up (11/6/60)/ Disc 2 (72:16): Goin’ Up continued, ©) Hub Cap (4/9/61)/ Disc 3 (76:15): (D) Ready For Freddie (8/21/61), (E) The Artistry Of Freddie Hubbard (7/2/62)/ Disc 4 (59:02): (E) The Artistry Of Freddie Hubbard continued, (G) Here To Stay (12/27/62)/ Disc 5 (72:46): (F) Hub-Tones (7/2/62), (J) The Body And The Soul (5/2/63, small group session)/ Disc 6 (71:52): (H) The Body And The Soul (3/8/63, strings session), (I) The Body And The Soul (3/11/63, big band session), (K) Breaking Point (5/7/64)/ Disc 7 (62:02): (L) Blue Spirits (2/19/65, first session), (M) Blue Spirits (2/26/65, second session), (N) quintet session, 3/5/66, two tracks completed. All tracks recorded in Englewood Cliffs, NJ, except session (H), recorded in NYC. <i>The Artistry Of Freddie Hubbard</i> and <i>The Body And The Soul</i> originally on Impulse Records; the remainder on Blue Note Records. For complete discographical details, go <a href="http://www.mosaicrecords.com/product/freddie-hubbard-blue-note-impulse" target="_blank">here</a>. Limited edition of 5,000 sets available directly from Mosaic at <a href="http://www.mosaicrecords.com">www.mosaicrecords.com</a></p>Mr. Stuhttp://www.blogger.com/profile/11942149494207907981noreply@blogger.com0tag:blogger.com,1999:blog-2820594932304880278.post-39492906368966073872023-07-20T15:30:00.002-07:002023-07-20T15:30:21.186-07:00George Freeman: The Good Life<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrbVbHm_oYqoC5MnDGXirT-A77THjtvmGjHUgBY-d0DPqqx32i15iXuifVPPO7KUH7Tl-vHBukgohBuQhXaZZdEOMKY3p12Kc9rYc15Gl5RAEkRo8tFpUXdvTHjdJxDsg6yqIV6p5KDtNnAGoSkLLMyqrl8Cmp2J6mDZAaKAVWCg1YgCnOQ_oMgAdW0zI/s360/GeorgeFreeman_TheGoodLife.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="360" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrbVbHm_oYqoC5MnDGXirT-A77THjtvmGjHUgBY-d0DPqqx32i15iXuifVPPO7KUH7Tl-vHBukgohBuQhXaZZdEOMKY3p12Kc9rYc15Gl5RAEkRo8tFpUXdvTHjdJxDsg6yqIV6p5KDtNnAGoSkLLMyqrl8Cmp2J6mDZAaKAVWCg1YgCnOQ_oMgAdW0zI/s320/GeorgeFreeman_TheGoodLife.jpg" width="320" /></a></div><p> <span style="white-space: pre;"> </span>Guitarist <b>George Freeman</b>, of the eminent Freeman clan of Chicago, made his debut on record with Joe Morris and his Orchestra in 1947 when he was just 20 years old and one of the earliest electric guitarists in jazz. Starting in his teens, he’s performed with a long list of prominent musicians including Charlie Parker, Lester Young, Groove Holmes, Gene Ammons, Jimmy McGriff, Johnny Griffin, Red Holloway, brothers Bruz and Von Freeman, and nephew Chico Freeman. He’s also recorded frequently as a leader, and his latest opus, <b><i>The Good Life</i></b>, find him in stellar company with two separate trios. Whatever he may have lost in dexterity, and it doesn’t sound like he’s lost much, he more than makes up for it with deep feeling and well-chosen and imaginative phrasing. First up is an organ ensemble, with Joey DeFrancesco at the keyboard and Lewis Nash on drums. It’s the instrumental setting in which Freeman feels most comfortable, and the enveloping soulfulness of organ-oriented jazz is apparent from the first downbeat of <i>If I Had You</i>. This extended version of a song that dates from the late Twenties draws the listener right into the trio’s sound. DeFrancesco, in one of his final recordings, establishes a calm and easy-going mood for this lengthy excursion. Nash’s ever-tasty and swinging drumming is a plus on any session. He takes a beguiling solo that sounds like he’s dancing on the drums, and he and Freeman trade some licks along the way. I’m not sure that opening a CD with a track that runs just over eleven minutes is the best sequencing idea, but it works here just fine. The organ unit plays two more songs, both composed by Freeman. The guitarist was excited about playing with Joey DeFrancesco, and <i>Mr. D</i> was written in his honor. It’s a bright, finger-snapping groove, and they make the most of it. Then there’s the smoking <i>Up and Down</i>, an utter romp that features bold drumming from Nash, a intensely hard-driving solo by DeFrancesco, and best of all, a definitive George Freeman solo, touching on the blues and bebop, and full of quotes and surprising twists and turns. As Michael Cuscuna writes in his highly appreciative liner notes, this is one of “the ‘outside’ solos that have prompted people since 1945 to ask, <i>Who is this guy?</i>” The other session is another trio, this one with the superb bassist Christian McBride and the widely accomplished drummer Carl Allen. McBride is characteristically rock-solid and exceptionally supportive, contributing succinct solos along the way. A basic blues original by Freeman, <i>Lowe Groovin’</i>, kicks things off as they get down and dirty with a piece that sounds like it would perfect in a smoky club late at night. Another Freeman tune, <i>1,2,3,4</i>, swings hard with guitar and bass having a spirited conversation amid appropriate commentary from the drums. <i>Sister Tankersley</i>, the last of Freeman’s originals, might just have you out of your seat and slow-dancing to the snaky groove. The finale is an utterly gorgeous version of Sacha Distel’s <i>The Good Life</i>, first heard in 1962, and recorded hundreds of times over the years. It starts out as a slow stroll through the melody, picks up some momentum in the middle section, and calms down again for the last minute in a beautifully arranged ending. It’s the fitting conclusion for this highly enjoyable release. Happily recommended. </p><p><span style="white-space: normal;"><b>HighNote HCD 7352</b>; George Freeman (g) with Joey DeFrancesco (org) Lewis Nash (d); Chicago, IL, June 23, 2022; If I Had You/ Mr. D./ Up and Down; with Christian McBride (b) Carl Allen (d); Chicago, IL, May 7. 2022; Lowe Groovin’/ 1,2,3,4/ Sister Tankersley/ The Good Life; 50:57. <a href="http://www.jazzdepot.com">www.jazzdepot.com</a></span></p><div><br /></div>Mr. Stuhttp://www.blogger.com/profile/11942149494207907981noreply@blogger.com0tag:blogger.com,1999:blog-2820594932304880278.post-2457285627627668002023-07-18T14:11:00.002-07:002023-07-18T14:11:24.208-07:00Denny Zeitlin: Crazy Rhythm: Exploring George Gershwin<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzsI_RJ3QUKAMn_7bDw-hWkRy9S2-bwkASIHg3kQmiP5lAVQUWnPSgxSh99vdu7_nOmtc77d1-1yMr8vk-V8JmDapC7j8bcH8nBYwGmeMDUQQJ3SinLNtnM-fM6-SfcxXrneR9qR8ghPZfugBo36kIMLYzr8GSFzYoPvgHLtVJM0AQz8sa_8crMfK9jAk/s360/DennyZeitlin_CrazyRhythm_ExploringGeorgeGershwin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="360" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzsI_RJ3QUKAMn_7bDw-hWkRy9S2-bwkASIHg3kQmiP5lAVQUWnPSgxSh99vdu7_nOmtc77d1-1yMr8vk-V8JmDapC7j8bcH8nBYwGmeMDUQQJ3SinLNtnM-fM6-SfcxXrneR9qR8ghPZfugBo36kIMLYzr8GSFzYoPvgHLtVJM0AQz8sa_8crMfK9jAk/s320/DennyZeitlin_CrazyRhythm_ExploringGeorgeGershwin.jpg" width="320" /></a></div><p> <span style="white-space: pre;"> </span>Beginning with the 2014 edition of his annual solo concert at Oakland, California’s Piedmont Piano showroom, pianist <b>Denny Zeitlin</b> has used the occasion to delve into the work of a single composer. In 2018, it was time to investigate the compositions of George Gershwin. As he told journalist Jesse Hamlin before the show “It’s hard to imagine better springboards into improvisation. They also lend themselves gracefully to re-harmonization, which attracts musicians who like to put their own stamp on a tune and stay with it at the same time.” If you think he’s including himself when he mentions “musicians,” you would be completely accurate. <i><b>Crazy Rhythm: Exploring George Gershwin</b></i> is a wonderful survey that offers deeply personal reimaginings of familiar tunes like <i>The Man I Love</i> and <i>Summertime</i>. As well-known as these songs still are after so many years and countless performances, Zeitlin’s reinventions make them new all over again. The most obscure composition is <i>By Strauss</i>, originally a piece played for comedic effect at parties and later adapted for a scene in <i>An American In Paris</i>. Zeitlin plays it slowly and compassionately, in a way that emphasizes its graceful melody. Among the many other high points of this set are a breakneck romp through <i>S’Wonderful</i>, an appropriately moody extended version of <i>My Man’s Gone Now</i>, and a marvelously complex jaunt through <i>Fascinating Rhythm</i>. In his short liner essay, Zeitlin, who heard much of Gershwin’s music as a child, mentions that the Miles Davis version of <i>My Man’s Gone Now</i>, as arranged by Gil Evans, “affected me deeply in my college years.” That would mean that Zeitlin, now 83 years young, very likely heard this famous rendition around the time that the Davis/Evans <i>Porgy And Bess</i> album was released in March, 1959. That’s given him a lifetime to ruminate on these songs and absorb their nuances. The audience in Oakland, and now listeners at home, are the clear beneficiaries of this long acquaintance, now immortalized on this thoroughly delightful CD. Highest recommendation! </p><p><span style="white-space: normal;"><b>Sunnyside SSC 1693</b>; Denny Zeitlin (p); Oakland, CA, December 7, 2018; Summertime/ How Long Has This Been Going On?/ S’Wonderful/ Bess You is My Woman Now/ It Ain’t Necessarily So/ By Strauss/ The Man I Love/ My Man’s Gone Now/ I’ve Got a Crush on You/ Fascinating Rhythm/ I Was Doing All Right; 68:33. <a href="http://www.sunnysiderecords.com">www.sunnysiderecords.com</a></span></p><div><br /></div>Mr. Stuhttp://www.blogger.com/profile/11942149494207907981noreply@blogger.com0tag:blogger.com,1999:blog-2820594932304880278.post-28603393457804572802023-07-18T13:06:00.002-07:002023-07-18T13:06:51.667-07:00Zack Lober: NOFILL3R<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgKY1dYKEUCvBfkHiVSCaoaXRvEPFzTLEGIUFLlgfMiXWGLcdVPPBIF6K08Z0g3HssbLZzqG5Il2v4Rsv8a0sh5MEnr_68RbvSmbgUI8bWaRbRXMA4gDMwstxD7oqB7CgeXq4MRsIShWQup88odH2-4TflHePTxrUfLKijNl9TpbvB2zARv15NEHnj0CE/s360/ZackLober_NoFill3r.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="360" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgKY1dYKEUCvBfkHiVSCaoaXRvEPFzTLEGIUFLlgfMiXWGLcdVPPBIF6K08Z0g3HssbLZzqG5Il2v4Rsv8a0sh5MEnr_68RbvSmbgUI8bWaRbRXMA4gDMwstxD7oqB7CgeXq4MRsIShWQup88odH2-4TflHePTxrUfLKijNl9TpbvB2zARv15NEHnj0CE/s320/ZackLober_NoFill3r.jpg" width="320" /></a></div><p> <span style="white-space: pre;"> </span>Bassist <b>Zack Lober</b>’s trio with trumpeter Suzan Veneman and drummer Sun-Mi Hong delivers an entertaining and lucid half-hour of original compositions on <b><i>NO FILL3R</i></b>. The music was recorded live in the famed Wisseloord Studios in The Netherlands, and the setting contributes to the lively interplay among the musicians. The tunes are mostly by Lober. We’re also treated to one each by Veneman (<i>Loved Ones</i>) and Hong (<i>Sun Drums</i>), along with the collectively composed title track. Lober is originally from Montréal, lived and played in New York City for more than a decade, and moved to The Netherlands in 2019. Trumpet, bass, and drums is one of the more perilous ensemble instrumentations, but Lober, Veneman and Hong navigate the territory with keen aplomb and a refreshing sense of mutual reinforcement. Trumpeter Veneman has a warm tone that’s centered in the lower reaches of her horn, and she displays plenty of imagination in her conversational improvising style. Lober’s sturdy bass lines, which remind me of Dave Holland’s quintet work in the Nineties, works quite well with drummer Hong and her dynamic approach to drums and cymbals. It’s a formidable ensemble, and my only complaint is that the set is too short. It’s one of the great pleasures of reviewing new releases to encounter talents that are new to you. Maybe next time out, they can get more expansive, but for now <i>NO FILL3R</i> is well worth hearing. </p><p><span style="white-space: normal;"><b>ZenneZ 023002</b>; Suzan Veneman (tpt) Zack Lober (b) Sun-Mi Hong (d); Hilversum, The Netherlands, August 24-25, 2021; Mid Music/ Force Majeure/ A Hymn/ No Fill3r/ Blues/ Chop Wood/ Sun Drums/ Luck (Alice)/ Loved Ones; 30:44. <a href="http://www.zennezrecords.com">www.zennezrecords.com</a></span></p><div><br /></div>Mr. Stuhttp://www.blogger.com/profile/11942149494207907981noreply@blogger.com0