Bassist/Composer Martin Wind Offers Some Beautiful Music on "STARS"

 

Martin Wind: STARS: Newvelle Records

The bassist Martin Wind has long been on my radar as one of the more inventive and melodic bass players around. I’ve seen him perform live with multi-reedist master Scott Robinson several years back and reviewed several of his past albums that have shown the breadth and depth of this man’s musicality. I had the opportunity to interview Wind back in 2014 with the release of his fabulous album Turn Out the Stars which you can read here. 

Wind’s latest release Stars is on Newvelle Records, a label that is celebrating its tenth-year anniversary this year. The album is a joyful and sonorous studio album that became available on January 30, 2026, and features Wind’s upright bass paired with a star-studded band that includes the master pianist Kenny Barron, the mellifluous clarinet of Anat Cohen and the creative drum work of Matt Wilson.

Matt Wilson, Anat Cohen, Martin Wind and Kenny Barron (photo credit unknown)

The fifty-eight-year-old Wind was born in Flensburg, Germany. He studied orchestral bass at the Music Conservatory at Cologne and received a Master’s in Jazz Performance and Composition at the Music Conservatory in Cologne.  Wind moved to New York in 1995, won third in the Thelonious Monk Bass Competition in Washington, D.C. and continued studies with Mike Richmond, Jim McNeely, Kenny Werner and Mike Holober to name a few.  The bassist has been a member of the faculty at New York University since 1997 and has been a faculty member of the National Youth Jazz Orchestra in Germany. He continues with   on- going musical relationships with European artists like Belgian guitar ace Philip Catherine, Dutch trumpeter Ack van Rooyen and German guitarist Ulf Meyer. With over fifteen albums that he has released as both a leader and co-leader, it is always worth following the progression of this man’s prolific work.  

Stars opens up with the sauntering “Passing Through,” in some ways the perfect composition that sets the tone and purpose that Wind has in mind when recording this album. The album is reflective, evokes memories from the bassist’s experiences as a musician, and has a quiet sense of elegant melodicism. “Passing Through” is a composition from the bassist/composer Aaron Bell. Bell was a one-time Ellington bassist and an inspiration. The music is deceptively simple, clear and narrative without being obvious. This newly assembled group reveals just how at ease they work together, allowing the music to gently unfold and wrap you with a blanket of joy. Cohen’s clarinet is warm, woody and provocative. Barron’s piano can at times evoke a down and dirty bluesy sense, but the man also has an undeniably elegant feel and a deep well of creativity to draw upon. Wilson’s drum kit is always joyful, like a toy box radiating bliss, and Wind’s warm pizzicato bass lines guide the leisurely shuffle expertly. Clearly this is Wind’s beautiful homage to a felloe player like Bell and a tip of his hat to the Ellingtonian era. Not to mention, this is a hell of a composition that is strangely seldom heard,

Duke Ellington and Aaron Bell (photo credit unknown)

“Life” is presumably a ballad composed by the leader Wind. It features some beautiful three-way improvisational lines by Cohen, Barron and Wind that weave themselves like sinewy silk threads into a melodic tapestry.

The album continues with “Black Butterfly,” a Duke Ellington composition that is played in a jazz-chamber ballad form. It features the vocal-like sound of Cohen’s resonating clarinet, and the heartbeat-like bass solo by Wind that glows with warmth and elegance. Barron’s accompaniment is superb, as Wilson keeps the pace with subtle ingenuity. The music is reminiscent of a simpler, relaxed, more elegant time.

“Moody” is a gentle, contemplative Wind composition. Lead by Cohen’s expressive clarinet's tubular sound and some dynamic counterpoint bass work by Wind, the music is ethereal. Hanging in the air like a reflective mood, not melancholic but deep in thought and reverend.

Wind gives a nod to the importance of bebop to the canon of music. Here he chooses Bud Powell’s iconic “Wail,” which was first heard on his album The Amazing Bud Powell from 1951. Powell had the lead horns of the powerful tenor of Sonny Rollins and Fats Navarro’s incendiary trumpet to trade ideas on this quick paced gem. Here Martin and Cohen lay out the challenging, circuitous lines of the melody concurrently with impeccable skill, but at a decidedly more relaxed attack. Wind shows that no matter how complex the music may be, it can be effectively entertaining and interesting at any pace if the core of the music’s message is retained by the artists presenting it.  Wind and mates let the music flow with satin smoothness and facility, and the results are rewarding. Kenny Barron’s piano work here is a master class of modern interpretation. Barron is a true descendant that preserves some of the history of jazz music in every note he plays.

Wind opens “The Feel of the Jazz,” another Ellington composition (also credited are Bobby Troup and Geore T. Simon), with an extended, plucky bass entre that hums with joy and creativity. The original release of this song was on Duke Ellington and John Coltrane from 1963 and included the rhythm section of  Aaron Bell on bass and drummer Sam Woodward. When Cohen’s clarinet enters this one, there is a sense of history meeting modernity. Barron’s piano interacts with Cohen’s clarinet as the song progresses and the two pros meld notes so easily at times with ease and familiarity that makes it look effortless.

“Pra Diza e a Deus” is a beautiful ballad composed by the Brazilian composers Edú Lobo and Torquato Neto. It was made popular by Sergio Mendez and Brasil ’66 from their album Look Around from 1967.  The English title of this song is “To Say Goodbye” and anyone who has heard this version can’t forget the sad voice of Sergio Mendes and beguiling sound of singer Lannie Hal or the vocalist Flora Purim’s moving version. For the bassist, this is another homage that recognizes just how much Brazilian music has influenced Wind and added to the jazz canon. Barron’s delicate solo opens this song, before Wind’s aching arco bowing of the bass gorgeously spells out the melody. Wilson drum work opens the rhythm with exquisite restraint, as Barron’s piano expands on the melody. When Cohen’s clarinet enters the mix it’s like her sound takes on the yearning, voice-like element that one remembers from the original. Despite being wordless, these guys transmit the pathos of the sentiment of  saying goodbye to a lover.

The album continues with “Standing at the Window Waving Goodbye,” another Wind composition, that deals with poignant moments of dealing with saying goodbye to someone who is important to you. This reflective, unresolved piece is another example of the music that speaks the most to this bassist as a composer. Cohen’s clarinet seems to float above the music, as Barron’s piano is perfectly supportive. Barron’s solo work always elevates the possibilities of harmonic inventiveness and Wind and Wilson maintain the breezy rhythm.  

Mitchell Parish’s “Stars Fell on Alabama” is a ballad played at a slow gait that has an easy swing to it, and has an obvious tie-back to the album’s theme, Stars. Cohen’s burnished clarinet resonates with sustained warmth, and she navigates the melody with reverence and unadorned emotion. This song brings you back to a time when the pace was more forgiving and a twilight concert offered at a local gazebo could allow you to just sit back and get lost in the music.

My digital release had two bonus songs, the first is a Bill Mays composition “Blues with Two Naturals.” Mays is a pianist/composer that is part of the Martin Wind Quartet. Mays is known for his harmonic humor and on this one he naturalizes the two notes in the key signature, counter to a standard blues form that uses flattened notes.  Kenny Barron, Wind and Wilson make this one all their own.

“Marc’s Moment” is another digital release bonus track that Wind composed and didn’t include on the album. This closer is a joyous, free flowing song that has a medium swing feel to it. Cohen’s clarinet just hovers like a feather, twirling up and gliding down along the thermals as the rhythm section is led by Wind’s booming bass, Barron’s pianistic accompaniment and Wilson’s gossamer drum work.

Martin Wind’s Stars offers the listener some joyful, easy listening music played by a remarkably cohesive band, whose artistry should not be missed.

West Coast Guitarist Jim Witzel and his Quartet Mine the Music of Bill Evans on Very Early

 Guitarist Jim Witzel and his Quartet's Very Early : Remembering Bill Evans

Jim Wetzil Quartet: Very Early: Remembering Bill Evans: Joplin &Sweeney Records

The West Coast guitarist Jim Witzel is a new player to me. I was introduced to Witzel’s Quartet work on his latest release Very Early: Remembering Bill Evans out on the Joplin Sweeney label released August of 2025. I don’t always get a chance to listen to all of the music I receive in a timely manner, so my getting hip to this album now is no excuse. Better late than never.

Jim Witzel’s Very Early is a fresh look at some of the music that pianist Bill Evans’ incorporated into his repertoire. These songs were either written by Evans, or were penned by others, but they became invaluable vehicles of creative inspiration for the pianist over his career.  Credit Witzel and his pianist/co-arranger Phil Aaron for selectively choosing nine important compositions that beautifully represent the essence of Evans musical psyche.

I often find it helpful to learn a little of the history of an artist like Jim Witzel, to better understand what factors he encountered on his trip that helped him find his own musical voice. Witzel was brought up in the North Bay area town of San Rafael and picked up guitar at the age of twelve. He recalls three albums that made an indelible impression of him as a young aspiring guitarist- Wes Montgomery’s Boss Guitar, Jim Hall & Rob Carter’s Alone Together, and Pat Metheny’s Bright Size Life. He clearly had a good ear and excellent taste even back then.

Jim Witzel (photo credit unknown)

Jim took Creative Arts studies with a Music emphasis at San Franciso State University, where he had a chance to study with alto saxophonist John Handy.  He led his own jazz quartet, hosted and performed on a weekly television show “Jazz After Midnight,” and received a travel grant from the National Endowment of the Arts which allowed him to study with guitar great Jack Wilkins in New York and Howard Roberts in Los Angeles. Witzel eventually relocated to Los Angeles where he free-lanced in jazz groups, offered private guitar lessons to aspiring guitarists, and took a few private lessons with guitarists John Abercrombie and Joe Iorio. In 1992, Jim released an album titled Give and Take with bassist John Patitucci and drummer Ralph Penland, also featuring guests like John Abercrombie, saxophonist Ernie Watts, keyboardist Russel Ferrante and bassist Marc Johnson. All these experiences added to Witzel’s rapid maturation as a respected and talented jazz guitarist.

Witzel eventually returned to the Bay area, and besides being an active performer, he is currently a faculty member at Santa Clara University where he is a Professor of Jazz Studies.

Jim and pianist Phil Aaron have been collaborating since the late nineties. On this latest album, Very Early: Remembering Bill Evans, Witzel and Aaron are joined by Dan Feiszli on bass and Jason Lewis on drums.

The music opens with Victor Young’s classic “Beautiful Love.” The song preserves Evans’ probing approach to the composition’s melodicity that the pianist always strove to maintain for the listener, while still exploring   harmonic grounds that could surprise and delight. Witzel and company accomplish these goals while retaining their own contemporary voice throughout.  Witzel’s playing on his Gibson ES165 single pick-up guitar recalls the warm tone of Jim Hall. Aaron’s piano accompaniment is tactile, energized and on point.  Feiszli and Lewis swing with confident aplomb. In one break, the two trade lines,  bass and brushed snare work interchange, that impressively communicate a sense of intuition.

The set includes the less familiar “How My Heart Sings”, an Earl Zindars composition, which was first heard on Evans’ album of the same name from 1964.  The quartet also does their own take on Steve Swallow’s “Falling Grace,” which was first heard on vibraphonist Gary Burton’s album from 1966 The Time Machine. True to Evans approach to this song, first recorded by Bill on Intuition from 1975, Witzel's group abandon the ethereal approach that Burton and Swallow first envisioned and follow the pianist’s vision. They open with Witzel’s probing guitar lines, a Metheny-inspired exploration on the theme, as the band carry the circuitous route. Witzel explores the terrain with horizontal lines that seem to emerge from the ether.  Feiszli’s throbbing bass lines are strong and sustained. Aaron’s piano solo is inventive and joyful, while Lewis’ drum work is propulsive. Worth the price of admission.

Miles Davis is the listed composer of “Solar” first recorded on his album Miles Davis Quintet from 1954, but allegedly this was composed by the guitarist Chuck Wayne. Evans’ released, to many consider the seminal version of this song, on his album Bill Evans Trio Sunday at the Village Vanguard, from NYC in 1961. The song became a frequent part of the pianist’s repertoire. On Witzel’s version, Lewis’s drum set opens with a declaratory roll, before Feiszli’s walking bass lines add to the excitement and pace. Aaron’s piano is the first to explore his own harmonic ideas that swirl over the rhythm section. Witzel’s guitar lines enter with a fluidity that charms and impresses. The ideas that come out of Jim’s guitar percolate from an internal well of inventiveness that never runs dry. Toward the coda, the group executes some stop/starts that surprise and add to the kineticism and excitement of this great take.

The title cut Bill Evans’ “Very Early” is a beautiful ballad that oscillates from one musical idea to another in a repeating theme. The catchy theme tattoos to your mind as Witzel’s guitar lines lead you through the garden of thoughts. Aaron’s piano is the first to solo on the theme, expanding on the possibilities over this repeating melody. Witzel takes his turn using variously conceived, ascending and descending lines to accentuate his take this on this theme. Feiszli’s pizzicato bass work here adds a third interpretation.

“Israel” is a composition written by trumpeter/composer John Carisi and first heard on Miles Davis Birth of the Cool album from 1949. This minor blues tune was an important part of Bill Evans playing repertoire and here Witzel and bandmates execute this memorable piece with style and confidence. These guys swing on this one, led by Feiszli’s booming bass and Lewis’ responsive drum work. Aaron is the first soloist who mines some imaginative, blues-inspired improvisations in a trio of Feiszli’s bass and Lewis’s trap work.  It’s Witzel’s Wes-inspired guitar lines that take this tune into another orbit. Jim’s facility is marvelous and his fretboard ideas never seem to disappoint. Another example of how Evans’ repertoire still offers endless possibilities to creative artists.

This excellent album continues with Leonard Bernstein’s moving 1944 ballad “Some Other Time.”   Miles Davis composition “Nardis” includes a plucky opening pizzicato solo entre from Feiszli, and some great interplay by this intuitive group.  One my favorites Evan’s compositions “Peri’s Scope,” finishes of this album.

I first heard on his Portraits in Jazz with Scott LaFaro on bass and Paul Motion on drums from 1959. Witzel and company chooses to give this one a Latin rhythmic feel. Opening with Lewis’ syncopated stick work, the group takes it out with Witzel’s guitar leading the way into the ozone. Aaron’s piano spices things up with his own Latinized ideas as the rhythm section maintains the pulse energizing the melody to the finale.