Enzo Carniel and Filippo Vignato as Silent Room: Aria.

  Just a few minutes of the eponymous opening track on Aria., by the trombone/piano duo of Enzo Carniel and Filippo Vignato as Silent Room, is enough to lower my blood pressure and magically make me almost totally relaxed. The spell continues with Waterdreams, and it’s fascinating to me how such quiet and slowly moving music should be this soothing. Back when “new age” music was all the rage, I found that the supposedly calming effect often affected me in quite another way, making me unusually nervous. Happily, there are no pretensions in Silent Room, just two closely aligned performers, content to float along and bounce ideas off of one another as they meander through eight original pieces. Trombonist Vignato’s broad tones and slightly phrasing make an ideal match for pianist Carniel’s thick voicings and more assertive playing. Occasionally, as on Stretched Mirrors and the multi-part In All Nilautpala, there are mild electronic effects which serve to enhance the already subdued atmosphere. Things get a trifle stranger on the closing Aria ‘Electro” where the electronic treatments are more pronounced. The mellow feeling engendered by the rest of the disc remains largely intact, and makes me long for a follow-up that more deeply involves the subtle clouds of electronic wizardry. For now, Aria., the first effort from Silent Room, is a genuine pleasure to listen to, and easily recommended. 

Menace MNC009 (CD, LP, download); Filippo Vignato (tbn) Enzo Carniel (p, prep p, Rhodes el p, synth); Arezzo, Italy, no dates specified; Aria/ Waterdreams/ Babele/ Stretched Mirrors/ Earth Echo/ Arbre d’Airain/ In All Nilautpala/ Aria ‘Electro”; 46:02. menaceparis.bandcamp.com/album/aria

Michaël Attias & Simon Nabatov: Brooklyn Mischiefs

 

Michaël Attias & Simon Nabatov met to play together for the first time in July 2014 when the alto saxophonist and pianist were booked together at a Brooklyn club. Brooklyn Mischiefs was unearthed from Nabatov’s archives during a pandemic that precludes events like this one. The program offers five spontaneous inventions plus a brief look at Herbie Nichols’ The Spinning Song. Their intense concentration and cohesion are evident from the very start of Glimpses & Tangles, the aptly named first track. Attias likens the “miracle of a happy first encounter” to the “sudden ease of dreams ...” The key difference, of course, between dreaming and actually living the dream is the intention and action required to bring their music into being. In this respect, the adaptable Nabatov and the volatile Attias make an exemplary pair with instant compositions seemingly plucked from the air. The moods range from careful tone poems to full-on rampages and almost everything between those poles, sometimes in the space of one improvisation, like Languid. That’s the first half of a medley with the Nichols tune, alluded to then elaborated by Nabatov. Attias re-enters the scene and they proceed to spar and commune for a spell. While I’m partial to the jauntier sections of their journey, like the second half of Gowanus at Night or the happy-go-lucky feeling that emerges in the midst of Glances, improvised music fans will find much here to hold their interest. Recommended. 

Leo CD LR 901; Michaël Attias (as) Simon Nabatov (p); Brooklyn, NY, July 6, 2014; Glimpses & Tangles/ Gowanus By Night/ Medley: Languid, The Spinning Song/ Glances/ Poetic Bug Bite; 53:38. www.leorecords.com

Jeremiah Cymerman: Citadels & Sanctuaries

  Primarily a clarinetist, Jeremiah Cymerman also has a way with electronics. Witness his new solo effort, Citadels & Sanctuaries, with ten tracks dedicated to composers and performers who have been important to his development. It’s an interesting selection, largely devoted to modern classical composers including Toru Takemitsu, Alvin Lucier, and Morton Feldman, plus a few names that will be familiar to a listener coming to this album from the jazz side of things. Bill Smith played clarinet with Dave Brubeck in the Fifties, and went on to compose under the name William O. Smith. The composition dedicated to him, From the Metaphysical to the Transcendental, leads off the set with a smooth melodic line and orchestral sounding electronics. The piece’s hushed demeanor relaxes the listener, which makes the piercing electronics and wildly overblown clarinet of Spheres of Humanity (for Alvin Lucier) even more startling than it might be in another context. The strangeness continues with The Absolute and Its Tearing (for Horaţiu Rădulescu). Here it’s the clarinet jumping up into higher tones, complete with circular breathing techniques, while the electronic effects make me think of a pack of race cars in competition. Another dedicatee, clarinetist Tony Scott, started out with Benny Carter and Claude Thornhill in the Forties, then played with Duke Ellington, Sarah Vaughan and Billie Holiday and led his own bands in the Fifties. In 1964, he recorded Music For Zen Meditation for Verve, generally considered the first “new age” album, which is likely to be what he is most remembered for. Cymerman’s tribute to him, For As Long As Grass Grows, puts the clarinet at the calm center of swirling electronics. With the Old Breed, a joking title dedicated to the fierce modernist Nate Wooley, is the noisiest of the batch, with fearsome electronic textures that could be out of a monster movie soundtrack, coupled to a soothing organ tone that’s way down in the mix. Manifesto, written for the Romanian composer Iancu Dumitrescu, is curiously absorbing, with what sounds largely like tightly controlled and contoured feedback. I suppose that there’s some clarinet in there, but it’s hard to pick out from the mass of sound. For a minute of two, I swear I could have been listening to the Grateful Dead, circa 1969 (!). The finale, Conscious Faith, is for innovative saxophonist and instant composer Evan Parker. A slow-moving mass of bell-like tones, a quivering bass line, and washes of synthesized sound surround Cymerman’s processed clarinet. It concludes with everything fading out except for the ghostly notes at the very top of the clarinet’s range as the listener exits Cymerman’s very personal soundworld and goes back to the noises of everyday life. Citadels & Sanctuaries is a powerful collection, well worth investigation. 

5049 Records; Jeremiah Cymerman (cl, elec); Brooklyn, NY, November 2020; From the Metaphysical to the Transcendental (for Bill Smith)/ Spheres of Humanity (for Alvin Lucier)/ The Absolute and Its Tearing (for Horaţiu Rădulescu)/ Broken Language (For Morton Feldman)/ Between Always and Forever (for Toru Takemitsu)/ Knot of Breath (for Mario Diaz de Léon)/ For As Long As Grass Grows (for Tony Scott)/ With the Old Breed (for Nate Wooley)/ Manifesto (for Iancu Dumitrescu)/ Conscious Faith (for Evan Parker); 47:24. www.5049records.com

Harvie S Trio: Going For It

  Here’s a thrilling surprise: a 1985 nightclub appearance by the ad hoc Harvie S Trio with guitarist Mike Stern and master drummer Alan Dawson. The story behind Going For It is that about 35 years after these recordings were made, bassist Harvie S learned during a casual conversation about the good old days that superfan David Lee had cassettes of all three fabled nights. Stern and Harvie went back to the Seventies, and when a short run opened up at Cambridge’s 1369 Jazz Club, the two talked and then enlisted Dawson for the gig. As Harvie’s liner notes tell us, there “was no rehearsal, no set list, no discussion ...” They just set up, called a tune, and they were off. Stern is brilliant, brimming with ideas and the chops to execute whatever he hears. Harvie S, who recorded with Steve Kuhn, Sheila Jordan, and Jim Hall in the mid-Eighties, is his usual dependably swinging self. And what can I say about Alan Dawson? Because he stayed in Boston, he never really got the recognition he deserved. I first heard his work on a glorious series of Booker Ervin albums on Prestige, and that was enough to get me hooked on his playing. Harvie S calls him “without a doubt one of the greatest drummers and educators of all time ...” and notes that the music on this disc “shows a side of him rarely heard on his other recordings.” Dawson’s playing is impeccable throughout the hour, and his dynamic solo on John Coltrane’s Moment’s Notice is reason enough to grab this CD. With two microphones feeding a cassette player in the middle of the room, Lee managed to capture the music surprisingly well. Don’t miss this one. 

Savant SCD 2195; Mike Stern (g) Harvie S (b) Alan Dawson (d); Cambridge, MA, 1985; On Green Dolphin Street/ Softly, As in a Morning Sunrise/ Peace/ Like Someone in Love/ Moment’s Notice/ Windows/ Bruze; 62:24. www.jazzdepot.com

Ochs-Robinson Duo: A Civil Right

  Saxophonist Larry Ochs and drummer Donald Robinson have played together countless times over the past three decades. They were both members of Glenn Spearman’s Double Trio and formed What We Live, a trio with bassist Lisle Ellis that recorded seven albums between 1994 and 2004. Then there’s the Larry Ochs Sax & Drumming Core, with Ochs, Robinson and fellow percussionist Scott Amendola, and more. Living not too far from one another has made it easy for them to spend many hours playing. No surprise, then, that the Ochs-Robinson Duo serves up a pungent and inspired helping of free jazz on A Civil Right. The pair dives right into an adept dialogue of tenor saxophone and drums on Arise the Poet. It serves as a richly detailed introduction to their conversational and improvisational styles. A beautifully developed Robinson cymbal solo starts off Yesterday and Tomorrow, which features Ochs on sopranino saxophone, an octave higher than an alto. The best moments of the piece come when Robinson switches to thunderous drums and Ochs takes flight with long, sinuous tones. Ochs’ gruffly vocalized and testifying tenor on Robinson’s A Civil Right is a showcase for the saxophone language that he’s developed over decades in the Rova Saxophone Quartet and myriad other projects. After an initial drum roll flurry, Robinson merely keeps time with bass drum and hi-hat for the entire piece. Ochs’ The Others Dream is a strong full-bore burst of sound, with some biting sopranino work, more powerhouse tenor and hard-driving drumming by Robinson, including a lengthy and absorbing drum solo. The doomy sound of mallets on tom-toms opens the finale, Regret, a ravishing melody by Ochs that’s emotionally rich and piercingly tender. Robinson, a minimalist at heart, keeps the rolling toms going for the entire performance, another gem in a series of superb performances. Absolutely recommended. 

ESP-Disk’ ESP5052; Larry Ochs (ts, sop s) Donald Robinson (d); Oakland, CA, 2018-2019; Arise the Poet/ Yesterday and Tomorrow/ A Civil Right/ The Others Dream/ Regret; 45:58. www.espdisk.com

Wadada Leo Smith: Sacred Ceremonies & Trumpet

  The trumpeter, composer and musical theorist Wadada Leo Smith turns eighty at the end of 2021. A number of significant releases are planned during the year to celebrate that milestone. First out of the gate are a pair of 3-CD sets on the TUM label, a Finnish imprint that has previously issued a batch of his projects in various formats. Reading the tune titles on Sacred Ceremonies, collaborations with electric bassist Bill Laswell and percussion master Milford Graves, and Trumpet, a solo set, provides a firm sense of Smith’s abiding interests. Music, of course, is a primary concern, and it’s worthwhile to note the breadth of his inspirations, which includes such figures as Baby Dodds, Albert Ayler, Amina Claudine Myers, Prince, and Minnie Riperton. Writers and poets are another focus for Smith, with dedications to James Baldwin and Henry Dumas. Social justice (Social Justice - A Fire for Reimagining the World, one of the Sacred Ceremonies) and spiritual concerns (Discourses on the Sufi Path, on disc 3 of Trumpet) also figure into Smith’s insatiable curiosity about the world. The unique trajectory of Smith’s life began in Leland, Mississippi, where his family home was a meeting place for blues artists like B.B. King and Elmore James. He played in the high school concert and marching bands, and composed his first piece (for three trumpets!) at age 12. You can read all about his career in the extensive biographical notes that TUM includes in the thick booklets that accompany the music. Even with his extensive experiences playing in Army bands for about 5 years, his move to Chicago in 1967 as an early member of the AACM, and his subsequent development of a music system that he calls “ahkreanvention,” Smith maintains that “the Blues was my first language and it never went away.” The truth of that statement is in the playing, where his acute sensitivity and the vocal-like aspects of his trumpet playing are continually on display. 

Sacred Ceremonies combines separate duet sessions with Graves and Laswell recorded on successive days in May 2016 with a trio session from the previous December. Smith is no stranger to duets with percussionists, having previously recorded sessions with Ed Blackwell (1986), Yoshisaburo "Sabu" Toyozumi (1994), Hamid Drake (1998), Adam Rudolph (2002), Gunter “Baby” Sommer (2006), Jack DeJohnette (2008), and Louis Moholo-Moholo (2011). Graves’ very personal sense of rhythm, centered in the body and his researches into the heartbeat as a healing force, dovetails with Smith’s expansive sense of open forms and free improvisation. Their duet session on the first disc is a searching exploration of their connection and a distinct manifestation of what Smith calls Graves’ “conscious heart that’s over-flowing with Divine Love.” On the second disc, Bill Laswell, with a seemingly limitless capacity for fitting into any musical situation, proves that he is one of a handful of electric bass guitarists who can go head to head with Smith and create beauty in the process. Their duets are often rather delicate, like Donald Ayler’s Rainbow Summit or the somber Mysterious Night. One of the set’s many highpoints comes when, appropriately enough, Smith evokes the sound of a muted Miles Davis on the pair’s tribute to the great drummer Tony Williams. Laswell’s complementary throbbing bass part, with some subtle electronics in the mix, keeps the music moving smartly. Smith’s assertive trumpet makes a great combination with Laswell’s subdued and enveloping bass on Earth - A Morning Song, another of the CD’s highlights. Finally, on the third disc of the set, there’s the majestic sound of all three. For a little over an hour, the trio digs deeply into their connection as sonic adventurers who recognize no boundaries in their music. There is some history among the players: Laswell and Graves performed together in New York and recorded a duet album of their own for TUM in 2013, and the bassist contributed to Smith’s Najwa CD in 2014, also on TUM. First is Social Justice - A Fire For Reimagining the World, with a blazing Smith, the loose and free drums of Graves, and Laswell’s resourceful electric bass. on. Next up is the urgent improvisation of Myths of Civilizations and Revolutions with a loose-limbed Graves alongside Smith and Laswell’s sophisticated call and response interaction. The bassist starts off Truth in Expansion with an extended solo that mixes string sounds and effects that make it sound more like an organ. Graves soon sets up a beat, the bass falls right in, and Smith joins the fray. Graves begins The Healer’s Direct Energy with his Afro-Cuban styled drums and the steady shake of his hi-hat. The piece develops into a rich conversation among Smith’s clear and relaxed tones, Graves’ busy clatter, and Laswell’s bass with that organ effect at work. Waves of Elevated Horizontal Forces starts out with forceful bass and trumpet; the entrance of Graves’ drums after the first two minutes settles things down into a dancing groove. Smith’s trumpet, with his characteristic unhurried approach to improvisation, unfolds in contrast to the more animated rhythms of Graves and Laswell. The effect is to give the track a degree of inner tension that pulls the listener briskly along. The plaintive cry of Smith’s horn on An Epic Journey Inside the Center of Color is yet another illustration of the centrality of the blues to Smith’s aesthetic. He has the first two minutes to himself before bass and drums create a suitable atmosphere for further musical travel. The closing Ruby Red Largo - A Sonnet is loose and free as the music sweetly strolls and bobs along. It’s a fitting end to this enlightening musical journey. Sacred Ceremonies is highly recommended. 

Even a single CD of solo trumpet can prove challenging to many music enthusiasts, but Wadada Leo Smith’s first album in 1971 for his own Kabell label was titled Creative Music-1: Six Solo Improvisations. He’s continued to mine the possibilities of the format over the decades, including the superb Solo: Reflections And Meditations On Monk in 2015. The recently released triple-CD set, simply titled Trumpet, offers two and a quarter hours of solo music recorded in a fifteenth century stone church in Pohja, Finland, during four days in July 2016. Over the course of fourteen pieces, we’re treated to a cornucopia of trumpet sounds, from a clear clarion call to a pinched, nasal tone, and much more. The natural resonance and reverb time of the room becomes another tool for Smith to manipulate, as the space itself becomes a duet partner. I think of the three discs as separate recitals. There’s a mixture of pieces dedicated to a pair of Sufi teachers, one for James Baldwin: No Name in the Street; War, and another devoted to the joys of a sauna bath, Finnish style. Most of the pieces are inspired by other musicians, including bassist Reggie Workman, trumpeters Howard McGhee and Miles Davis, saxophonist Albert Ayler, and fellow AACM members drummer Steve McCall, violinist Leroy Jenkins, and keyboardist Amina Claudine Myers. Finally, there’s a twelve minute suite entitled Family - A Contemplation of Love, Parts 1-4, and a finale called Trumpet. There’s a mindful and emotional clarity to Wadada’s every note, and his creative meandering takes the listener on an absorbing journey. In typically comprehensive TUM fashion, the lavish booklet includes a few short poems by Smith, a poem by saxophonist Oliver Lake, Smith’s notes to each of the pieces, an illustrated discography of his previous solo efforts, a biographical note, and even a note about the church’s history, along with photographs of the building inside and out. Sitting down with the music, reading Smith’s words, and looking at his self-portraits used in the art design, make you feel that you’ve been in the presence of a warm, thoughtful and distinctly creative individual. Happily recommended. 

Sacred Ceremonies: TUM BOX 003; Disc 1: Wadada Leo Smith (tpt) Milford Graves (d, perc); West Orange, NJ, May 27, 2016; Nyoto (in 3 parts)/ Baby Dodds in Congo Square/ Celebration Rhythms/ Poetic Sonics/ The Post: Play Ebony Play Ivory; 53:41. Disc 2: Smith, Bill Laswell (basses); West Orange, NJ, May 26, 2016; Ascending the Sacred Waterfall - A Ceremonial Practice/ Prince - A Blue Diamond Spirit/ Donald Ayler’s Rainbow Summit/ Tony Williams/ Mysterious Night/ Earth - A Morning Song/ Minnie Riperton - The Chicago Bronzeville Master Blaster; 55:36. Disc 3: Smith, Graves, & Laswell; West Orange, NJ, December 11-12, 2015; Social Justice - A Fire for Reimagining the World/ Myths of Civilizations and Revolutions/ Truth in Expansion/ The Healer’s Direct Energy/ Waves of Elevated Horizontal Forces/ An Epic Journey Inside the Center of Color; Ruby Red Largo - A Sonnet; 64:45. 

Trumpet: TUM BOX 002; Wadada Leo Smith (tpt); Pohja, Finland, July 26-29, 2016; Disc 1 (50:01): Albert Ayler/ Rashomon (Part : The Film/ Part 2: The Killing/ Part 3: The Court/ Part 4: The Memories and Reflections/ Part 5: The Verdict/ Howard and Miles - A Photographic Image/ Metallic Rainbow/ Sauna - A Healthy Journey. Disc 2 (44:53): Malik el-Shabazz and the People of the Shahada/ The Great Litany (Part 1 - The Opening/Part 2 - First Meditation/ Part 3 - Second Meditation/ Part 4 - Third Meditation/ Part 5 - The Closing)/ Leroy Jenkins Violin Expressions/ James Baldwin - No Name in the Street: War/ Amina Claudine Myers. Disc 3 (41:29): Sonic Night - Night Colors (For Reggie Workman)/ Discourses on the Sufi Path - A Remembrance of Dr. Javad Nurbakhsh (Part 1 - Chivalry; Noble Attributes; Unity of Being/ Part 2 - Festival of the Two Breaths/ Part 3 - Pilgrimage; The Heart; The Valley of Annihilation; Divine Unity/ Part 4 - Presence of Breath; Presence of Heart)/ Family - A Contemplation of Love (Part 1 - Agape - Unselfish Love/ Part 2 - Philia - Love, Friendship, Affinity and Beloved/ Part 3 - Eros - Representing Love or the Power of Love/ Part 4 - Agape - Unselfish Love; The Love of God for Humankind)/ Trumpet. www.tumrecords.com

Roy Hargrove & Mulgrew Miller: In Harmony

  There are some musicians who always bring magic into whatever situation they find themselves. Two of the brightest stars in modern jazz, Roy Hargrove & Mulgrew Miller, were like that, and both of them died too young. In Harmony finds trumpeter Hargrove in a series of duets with pianist Miller taken from concerts in New York City in 2006 and in Easton, Pennsylvania, in 2007. Both were largely impromptu affairs, creating for an audience the kind of music that more often took place in practice rooms or after-hours sessions. Bradley’s in New York had that kind of spirit, fondly remembered by anyone who hung out there, and Miller and Hargrove were regulars whenever they were in town. They were both pretty busy working musicians whose paths crossed on the road, but never long enough to record the duet album that they had thought of doing. This collection consists of familiar standards and versions of well-traveled jazz tunes, including two apiece by Dizzy Gillespie (Con Alma and Ow!) and Thelonious Monk (Monk’s Dream and Ruby, My Dear). These delightful and spontaneous recordings, filled with joyous invention and a playful spirit, were captured on stage by Hargrove’s long-time manager Larry Clothier, who co-produced this package with Zev Feldman. Along with a short essay by Ted Panken, the booklet features reminiscences from an amazing array of prominent musicians, most of whom played with Hargrove or Miller at some point. Sonny Rollins, Christian McBride, Common, Ron Carter, Jon Batiste, Karriem Riggins, Ambrose Akinmusire, Keyon Harrold, Chris Botti, Eddie Henderson, Robert Glasper, Victor Lewis, Sean Jones, Kenny Barron, and George Cables share their experiences and thoughts in a valuable collection of insightful pieces. In Harmony is a beautiful set, highly recommended. 

Resonance HCD-2060 (2xCD/2xLP); Roy Hargrove (tpt, flgh) Mulgrew Miller (p); NYC, January 15, 2006 or Easton, PA, November 9, 2007; Disc 1 (52:38): What is This Thing Called Love?/ This is Always/ I Remember Clifford/ Triste/ Invitation/ Con Alma. Disc 2 (50:51): Never Let Me Go/ Just in Time/ Fungii Mama/ Monk’s Dream/ Ruby, My Dear/ Blues for Mr. Hill/ Ow!. www.resonancerecords.org